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Natti Natasha Roller Skates With K-Pop Girl Group Momoland on ‘Yummy, Yummy Love’

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Natti Natasha is stretching her English pop chops as she joins South Korean girl group Momoland on the single “Yummy Yummy Love,” which dropped Thursday.

Along with releasing the bubblegum pop single about a fresh love affair, the six-member girl group — comprising Ahin, Jane, JooE, Hyebin, Nancy, and Nayun — put out a campy music video that follows the group as they show off their moves to the song’s sugary melody before being joined by the Dominican songstress at a rollerskating rink.

“You’re looking like you’re into the feeling so I deny/I can see right through you, I’m on your mind,” Natasha sings before joining the group for an ensemble choreography and the addicting chorus: “Are you ready for love like this? Are you ready for yummy, yummy love?”

The new track marks the “Sin Pijama” songstress’ first return to English-language hits since the release of her debut electropop record All About Me, which dropped a decade ago. Since then, she’s pivoted to mostly Spanish-language reggaetón tracks on her two latest LPs.

“I feel like it’s a positive vibe; it’s feisty, fire, and feels sexy,” Natasha said about the “Yummy Yummy Love” in a release.I am very happy about this collaboration, especially since it’s a new experience for me. It’s the first time of many, and I hope everyone enjoys it.”

Natasha has shared her desire to return English-language tracks in the past. “I’ve been doing that for a long time. It’s just, it’s more about what we really like, but little by little, I will be releasing it,” she told Entertainment Tonight in 2019.

Momoland’s collaboration with Natasha isn’t the first time that a K-pop artist linked up with a Latin music star. Becky G worked with BTS‘ J-Hope on “Chicken Noodle Soup,” Wendy from Red Velvet joined Ricky Martin on a remix of “Vente Pa’ Ca,” and Sebastián Yatra sang with Monsta X on “Magnetic.”

This is Momoland’s first single since joining electronic artists DJ Soda and Lost Chameleon on “Okay!” and Chromance on “Wrap Me in Plastic” last year. As for Natasha, she released her third album NATTIVIDAD in late September.

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Joe Rogan and Jordan Peterson Wax Idiotic on Climate Change and What It Means to Be Black

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There is a meditative quality to both Joe Rogan and Jordan Peterson’s work that sucks you in. For Rogan, it is his voice — a soft, curious, always credulous murmur that lends itself to explaining complicated topics. Watching Rogan deconstruct a mixed martial arts fight can be a genuine pleasure for fans of the sport, like listening to a close friend really nerd out over something they’re passionate about. Peterson is not as blessed sonically — he sounds like Kermit the Frog as a freshman philosophy major — but he too projects the same blithe confidence in his own words that can make almost any topic sound compelling. 

The only problem is, Joe Rogan and Jordan Peterson are two of the dumbest people on earth. The wildly successful podcast host and self-help author’s careers have intersected and built on one another multiple times, as their core audience of disaffected young men is largely the same. Their paths crossed once again this week in a four-hour marathon conversation on The Joe Rogan Experience, during which Peterson bizarrely and very proudly wore a tuxedo. Their topics were varied, but almost all of them were intensely stupid, if not incoherent.

Here is Peterson, for instance, confidently proclaiming a theory on climate change loaded with circular arguments that all come back to the same point: It’s not real. 

Holy moly. I don’t think I can do this. First words out of Peterson’s mouth in the Joe Rogan interview are complete self parody. I can’t even dunk on it. pic.twitter.com/hIDYPi0KDc

— bad_stats (@thebadstats) January 25, 2022

Peterson appears to be saying that because there are a large number of variables that influence the climate, it’s impossible to ascribe change to any particular variables (like, say, our massive consumption of fossil fuels). This is false, as the entire point of climate science is to identify which of those variables correlate to statistically significant changes in temperature or ozone levels et cetera, et cetera. And yet, Peterson talks on, saying the word “everything” multiple times without actually saying, well, anything. “Mmhm,” Rogan responds. “What do you mean by, ‘everything’?”

This sort of credulity is both Rogan’s biggest draw and his worst tendency. Rogan has built his brand around open-mindedness, which he passes off as “free thinking.” But in practice, instead of thinking about what his guests are saying to him, Rogan’s first instinct is to “mmhm” his way through topics that frequently stray into conspiracies, bigotry, or simple stupidity. Rogan’s guiding ethos doesn’t seem to be much more complicated than “seek out the controversial, and popular,” which has led him, during the pandemic, to repeatedly platform or publish misinformation about coronavirus and vaccines

Gibberish like this is laced throughout Peterson’s latest appearance. At one point, Peterson claims more people die from solar energy than nuclear energy, because they fall off of roofs while installing the panels. He and Rogan take turns ruminating about how you can’t say anything as a comedian these days, because of “protected classes.” And of course, things really take a turn when they discuss race. Rogan takes the lead in this clip, claiming that Black radio host and academic Michael Eric Dyson, a Peterson critic, is not “Black,” based on a complicated and truly idiotic discussion of various skin tones. 

On Joe Rogan’s Spotify podcast — Jordan Peterson claims Michael Eric Dyson is “not Black”

Rogan replies: “Unless you are talking to someone who is like 100% African from the darkest place where they are not wearing any clothes all day … the term Black is weird.” pic.twitter.com/Wyk00WHwus

— Alex Paterson (@AlexPattyy) January 25, 2022

This one is basically a parody of itself, no debunking necessary. It even includes the sublime: “I’m not white, I’m Italian.” But in itself it’s a good example of why Rogan and Peterson are, collectively and individually, incredibly stupid and incredibly compelling. At the center of both of their work is the same mantra that blends conservative traditionalism and new-age guruism into a superficial concept of modern masculinity, a quick-fix guide for men who struggle to find self-worth in a fractured and callous world. Their work is aimed at people who are seeking enlightenment, people who think that they want to change their minds about something. What they’re served is a flood of babble that includes just enough introspection, surface-level analysis, and controversy to be passed off as incisive. This babble falls apart as soon as you step back and apply even a tiny bit of logic. We have mountains of provable data that certain climate variables correspond to climate change, racial identity is not tied to skin tone, and that falling off a roof and exposure to radioactive compounds are not comparable risks.

But there’s a reason Rogan’s podcasts often go so long, and that Peterson has published two lengthy books that basically say the same things: Once you’re in, you’re in. You’ve entered the mind palace. Your brain is just stimulated enough to fire off dopamine when one of these two instantly recognizable, friendly voices says something that confirms a prior belief or makes you feel better about something. The water is warm. There is nothing to fear. It’s a safe space to be a little racist, a little incredulous, a little simplistic. The only people it hurts are the uninitiated, those outside the tribe, and it’s their own fault for clinging to identities that don’t fit into the narrow philosophy Rogan and Peterson have distilled. If those people just manned up they can come on in, as well. They can leave their brain at the door. All the thinking they need is clearly going on inside.

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Immolation’s Pitch-Black Death Metal Matures Like Fine Wine on ‘The Age of No Light’

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Death metal started out in the mid-Eighties as a mad sprint: a scrappy cohort of underground acts each looking to push the limits of speed and shock value. But for many in that first generation, it’s turned out to be a marathon. Of the bands that helped to cement the subgenre’s core features of growled vocals, maximalist drumming, and swarming, seething riffs, many of them — from Obituary and Carcass to Morbid Angel, Cannibal Corpse, Suffocation, Deicide, and even de facto death-metal forefathers Possessed — aren’t just surviving, but thriving well past the three-decade mark, regularly issuing new music and drawing die-hard crowds worldwide.

Right alongside them are Immolation. The Yonkers, New York, quartet was never death metal’s most high-profile act — while some of their peers were inking major-label deals in the early Nineties, they were still slugging it out in the underground. But as the years rolled on, and many of those same contemporaries changed course, shed key members, or outright disbanded, Immolation co-founders Ross Dolan and Bob Vigna kept their heads down and all their energies focused on crafting some of the most darkly enthralling records the movement has ever seen. Standouts like their 1991 debut, Dawn of Possession, and 2000’s monstrously intense Close to a World Below have influenced countless younger bands, as well as above-ground titans like Slipknot, whose guitarist Mick Thomson has a blasphemous image from the Dawn cover tattooed on his arm.

Immolation’s unswerving aesthetic means that their current output instantly conjures the pitch-black aura of their classic work. “The Age of No Light,” the second advance track from the band’s upcoming 11th full-length, Acts of God (out Feb. 18), announces itself with an ominously trilling figure from Vigna, the band’s sole composer and a guitarist who often seems more like a spellcaster than a mere wrangler of riffs. The full band — rounded out by bassist-vocalist Dolan, guitarist Alex Bouks, and drummer Steve Shalaty — enters in a blast-beat-powered cloudburst, as Dolan roars out a portrait of the arriving apocalypse. A trademark Immolation move arrives early, in the form of a downshift into a fierce half-time groove, which Shalaty peppers with borderline-funky syncopated snare accents.

Part of the charm of early Immolation was how frantic and chaotic their arrangements could sound, but over time, they’ve become masters of pacing, with each twist adding intrigue to their dark mini epics. The crafty arrangement of “The Age of No Light” — where an ominously trudging midsection builds to an eerie two-guitar break and overlapping solos, pointing the way to a suitably dismal outro riff — shows how, 31 years after their debut, they’re focusing as much on atmosphere as aggression. And on Acts of God, with the help of longtime producer Paul Orofino, they’ve achieved some of their clearest, fullest-sounding studio sound yet. Who knew? Maturity and death metal mix pretty well, after all.

Find a playlist of all of our recent Songs You Need to Know selections on Spotify.

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RFK Jr. Apologizes for Comparing COVID Measures to Anne Frank, Holocaust

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RFK Jr.
‘Deeply Sorry’ for Anne Frank Comparison …
During Anti-Vax Rant

1/26/2022 7:32 AM PT

Robert F. Kennedy Jr. is backpedaling big-time, and flat-out apologizing for drawing a parallel between the COVID vaccination measures and the Jewish Holocaust.

He’d been blasted for the remarks he made Sunday at an anti-vax rally in D.C. — even his wife, Cheryl Hines, condemned him for invoking Anne Frank‘s plight — and Tuesday he finally capitulated.

RFK Jr. said on Twitter, “I apologize for my reference to Anne Frank, especially to families that suffered the Holocaust horrors.” He also said, “To the extent my remarks caused hurt, I am truly and deeply sorry.”

1/23/22

CNN

He claimed he was trying to use the terror of Nazi Germany as a parallel to what he views as “the perils from new technologies of control.”

The son of the late Attorney General, and presidential candidate, RFK … has been a vocal opponent of the COVID vaccines, but his Sunday rant crossed a line even for his wife.

Cheryl reacted by saying, “My husband’s opinions are not a reflection of my own. While we love each other, we differ on many current issues.”

Perhaps they finally had a heart-to-heart — at least when it comes to him exploiting the Holocaust.

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