Let’s talk about why this case didn’t land the way many thought it would. Remember Marcia Clark? Now picture six white “Lawyer Barbies,” as MSNBC’s Lisa Rubin put it, going head-to-head with Combs’ racially diverse, elite legal dream team. The jury? Eight men, four women, ages 30 to 74, from Manhattan, the Bronx, and Westchester. Racially and generationally mixed. In other words, not Barbie girls, and they definitely don’t live in a Barbie world.
And here’s the uncomfortable truth: facts alone don’t win trials. Jurors read energy, tone, and relatability. And lawyers who reflect the jury’s lived experience? They can plant doubt even when the receipts are burning.
Prosecutor Maurene Comey painted Combs as a man of wealth, violence, and brazenness. But let’s keep it real: what New Yorker isn’t a little brazen? That audacious, no-apologies swagger is part of what made America fall for Diddy in the first place. The same story of rags to riches that made him a mogul may have helped shield him in court.
Whether you believe adult, consensual sex work should be criminalized or not, from a legal standpoint, this was the prosecution’s case to lose—and they lost.
So What Did Happen?
The jury acquitted Combs of the most serious charges: racketeering conspiracy and sex trafficking. He was convicted on two counts under the Mann Act—specifically, transporting individuals across state lines for prostitution.
Source: John Lamparski/WireImage / Getty
Now, let’s pause on that.
The Mann Act isn’t just any old statute. Passed in 1910 as the “White-Slave Traffic Act,” it has infamously been used to criminalize interracial relationships, punish polygamists, and enforce a puritanical, whitewashed vision of sexual morality. It got some PR updates in 1978 and 1986—“debauchery” and “immorality” were replaced with the more sanitized “any sexual activity for which any person can be charged with a criminal offense.”That being said, it’s been used to take down cultural giants and predators alike who seemingly danced in the face of law enforcement, such as Chuck Berry, Ghislaine Maxwell, Tony Alamo, or R. Kelly.
Combs now faces up to 20 years—10 per count—with no mandatory minimum. Realistically, based on federal sentencing guidelines and a clean(ish) criminal record, he’s probably looking at 50–70 months. Credit will, of course, be given for time served since his arrest in September 2024.
The Pattern Repeats
The Diddy verdict took me right back to the O.J. trial. I was one of the few Black kids at my predominantly white prep school, and I remember the thrill of watching Johnny Cochran beat Marcia Clark at her own game. For once, it felt like we won. A powerful Black man walked free. A brilliant Black lawyer bested the “evil white lady” prosecutor. It was personal.
Flash forward a few years to college: people were passing around the bootleg VHS of R. Kelly sexually abusing a minor like the collection plate on Sunday. And then came the 2008 acquittal—and a full-blown celebration. Doves released. Jokes cracked. A cultural moment. (And yes, Kelly would later be convicted under the same Mann Act that caught Diddy.)
But that was before #MeToo. Before video clips went viral in hours. Before we had the language and receipts to confront power differently. The surveillance video of Combs violently assaulting his then-girlfriend (and alleged co-conspirator) wasn’t passed around as a sick joke; it sparked outrage. This wasn’t 2008. And that’s why this verdict stings differently.
From an evidence standpoint, it looked like a slam dunk. Especially after defense attorney Marc Agnifilo, in what Judge Arun Subramanian called a “full-throated” admission, acknowledged Combs’ long history of violence. And still, the prosecution fumbled.
What Happens Now?
Judge Subramanian denied Combs’ request for bail pending sentencing. So, in the jungle, we wait until the dice reads five or eight.
And here I am—like so many Black women—torn. Wrestling with my core belief that Black women must be protected at all costs, while also reckoning with the instinct, ingrained from childhood, that any win against a government built on systemic racism deserves celebration.
FIFA President Gianni Infantino on 2026 FIFA World Cup, FIFA Club World Cup & more | FOX Soccer
Betting Odds
As of July 3, 2025, the odds (via DraftKings Sportsbook) for the match are:
Real Madrid: –155
Draw: +330
Borussia Dortmund: +400
Real Madrid vs. Borussia Dortmund Head to Head
Real Madrid and Borussia Dortmund have faced each other 16 times all-time. Real Madrid have won 8 of those matches, while Borussia Dortmund have won 3, with 5 ending in draws.
Real Madrid vs. Borussia Dortmund Past Results
2024/10/22: Real Madrid 5–2 Borussia Dortmund (UCL)
2024/06/01: Borussia Dortmund 0–2 Real Madrid (UCL)
2017/12/06: Real Madrid 3–2 Borussia Dortmund (UCL)
2017/09/26: Borussia Dortmund 1–3 Real Madrid (UCL)
2016/12/07: Real Madrid 2–2 Borussia Dortmund (UCL)
2016/09/27: Borussia Dortmund 2–2 Real Madrid (UCL)
2014/04/08: Borussia Dortmund 2–0 Real Madrid (UCL)
2014/04/02: Real Madrid 3–0 Borussia Dortmund (UCL)
2013/04/30: Real Madrid 2–0 Borussia Dortmund (UCL)
2013/04/24: Borussia Dortmund 4–1 Real Madrid (UCL)
2012/11/06: Real Madrid 2–2 Borussia Dortmund (UCL)
2012/10/24: Borussia Dortmund 2–1 Real Madrid (UCL)
2003/02/25: Borussia Dortmund 1–1 Real Madrid (UCL)
2003/02/19: Real Madrid 2–1 Borussia Dortmund (UCL)
1998/04/15: Borussia Dortmund 0–0 Real Madrid (UCL)
1998/04/01: Real Madrid 2–0 Borussia Dortmund (UCL)
Team Form
Below are the last 5 matches for each team and the results:
Real Madrid
7/1: vs Juventus (Win, 1–0)
6/26: vs Red Bull Salzburg (Win, 3–0)
6/22: vs Pachuca (Win, 3–1)
6/18: vs Al Hilal (Draw, 1–1)
5/24: vs Real Sociedad (Win, 2–0)
Borussia Dortmund
7/1: vs Monterrey (Win, 2–1)
6/25: vs Ulsan Hyundai (Win, 1–0)
6/21: vs Minnesota United (Win, 4–3)
6/17: vs Fluminense (Draw, 0–0)
5/17: vs Hokkaido Consadole Sapporo (Win, 3–0)
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Fort Worth police said a group of juvenile to young adult men showed up to a home and a fight broke out after an argument.
FORT WORTH, Texas — A 15-year-old girl was shot and pistol-whipped in what police said was a “possible home invasion.”
Fort Worth police said officer responded to a home on Prairie Wind Trail at approximately 9 p.m. Wednesday for a report that a female had been shot. When officers got to the home, the found a 15-year-old girl was shot. Police said the shooting was a result of a possible home invasion where several juvenile to young adult men showed up to the front door.
Police on scene told WFAA an argument ensured at the front door and a fight broke out. Then, someone began shooting, according to police.
The 15-year-old girl was shot and pistol-whipped in the incident, according to police. She was taken to the hospital with non-life-threatening injuries, police said.
Officers are questioning several teens who witnessed the shooting, but no arrests have been made, FWPD said.
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PROVIDENCE, R.I. – Passing a new law restricting assault weapons took Rhode Island lawmakers more than 10 years, but it may offer a road map to other states looking to ease the proliferation of such firearms.
For advocates, the fight is a prime example of the current challenges to passing gun control measures in the U.S., particularly surrounding semiautomatic rifles that have become the weapon of choice among those responsible for most of the country’s devastating mass shootings.
When Rhode Island’s bill was signed into law by Democratic Gov. Dan McKee late last month, its sponsor, Democratic Rep. Jason Knight, told jubilant supporters: “What was once the impossible became the inevitable.”
How? Persistent advocacy, a change in legislative leadership and a last-minute overhaul to note the broader legal landscape.
What did Rhode Island do?
Rhode Island’s ban, which goes into effect in 2026, prohibits the sale, manufacturing and distribution of certain high-powered firearms that were once banned nationwide. The law does not prohibit possessing such weapons, a key distinction compared with other assault weapon bans enacted elsewhere in the U.S.
Currently, only Washington state has a similar law.
A leadership change helped propel momentum
The assault weapons ban got a much-needed boost from Senate President Valerie Lawson, who secured the Senate’s top spot in the middle of session after her predecessor, Sen. Dominick Ruggiero, died in April. Lawson turned to the bill’s sponsors and others to find common ground between lawmakers in the House and Senate who remained split on how far the law should go.
Lawson’s endorsement was seen as critical to securing the bill’s passage, whereas Ruggiero had previously deferred action, pointing instead to the need for Congress to act rather than a state Legislature taking the lead.
“There are issues at certain points that meet the moment,” Lawson said. “I think it was the time for this.”
Gun control advocates also acknowledged that banning assault weapons in Rhode Island hadn’t previously been a top priority given that the state has largely been spared from national high-profile shootings that sometimes help propel legislative change.
Assault weapons bans consistently face court challenges
In the U.S., just 11 states and Washington D.C. have some sort of prohibition on certain high-powered firearms that were once banned nationwide. Rhode Island’s version is the only one not yet facing a constitutional challenge — though a lawsuit against it is all but assured.
Certain state legal battles are on hold until others make their way through lower federal courts. To date, none of the lawsuits have been completely thrown out, but the U.S. Supreme Court is expected to have the final say.
As Rhode Island lawmakers were in the middle of their gun debate, the high court declined to hear a challenge to Maryland’s assault weapons ban — a move that some of the more conservative justices opposed. Justice Brett Kavanaugh even signaled that laws banning assault weapons are likely unconstitutional.
“Opinions from other Courts of Appeals should assist this Court’s ultimate decision making on the AR–15 issue,” Kavanaugh wrote, referencing a popular style of high-powered rifle.
Yet the legal focus on banning such weapons often hinges on possessing firearms such as AR-15-style rifles and AK-47s, rather than on the distribution process. Rhode Island lawmakers hope that by tailoring their assault weapons ban to sales, manufacturing and distribution, they might will bypass the thorniest legal questions raised by the Second Amendment.
What other states are doing
Attempts to expand Democratic-dominated Hawaii’s assault weapons ban to rifles in addition to pistols stalled this year. In New Mexico, Democratic lawmakers who control the General Assembly adjourned without taking up an assault weapon ban.
In Rhode Island, advocates say their work isn’t over.
“It’s progress,” said Melissa Carden, executive director of the Rhode Island Coalition Against Gun Violence. “But we know that a true assault weapons ban includes an enforceable ban on possession as well.”
Defenders of Rhode Island’s law bristle that their version could be considered weak. They point out that residents looking to purchase an assault weapon from nearby New Hampshire or elsewhere will be blocked. That’s because federal law prohibits people from traveling to a different state to purchase a gun and returning it to a state where that particular of weapon is banned.
“Some of my constituents have already called me and made comments about ‘bad, bad bad, I’m going out and buying three and four of them now,’” said Sen. Louis DiPalma, the Senate sponsor of the statute. “Okay, come July 1st next year, you will not be able to do that anymore.”
Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
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The film Back to the Future (BTTF) is my favorite movie, so I write this as an unbiased and altruistic article. As we’ll see, there are plenty of reasons why the film holds up after 40 years, as well as some places it fails (and has been modernized accordingly). It also has plenty to teach us about adaptability. All that in one little article… Great Scott!
Modernized Myth: Trapped in Time Yet Timeless
If you haven’t watched BTTF recently (since there’s a high probability you’ve seen it at least once1), here’s a summary. Marty McFly (played by Michael J. Fox) is an average teenager, except that he’s friends with an eccentric scientist named Dr. Emmett Brown (Christopher Lloyd). Marty escapes Doc’s murder scene in a DeLorean time machine, goes back to 1955 where he must: make his parents fall in love, make Doc avoid his future murder, and retrofit the car to travel safely back to 1985.
Written and filmed in 1985, that shining age of hope, it’s no surprise that all of Marty’s dreams come true.
On the surface all of that sounds really heavy, but the actors balance the tension with humor, the stunning visual effects are fun and believable, and the storytelling is so exceptional it became the top-grossing film of 1985. In retrospect, the idea couldn’t lose: the setting aligned with Reagan’s ’50s nostalgia (I still cuff my jeans because of BTTF)—which transformed into cultural ’80s nostalgia (I love comparing an ’80s year to its 2020 counterpart), ultimately cementing this film into a classic—still popular 40 years later.
As I reached adulthood and still had an affinity for BTTF, I began telling people that it was my favorite film for mostly sentimental reasons. But when I watched Back in Time (free on YouTube), a 2015 documentary celebrating BTTF’s “immense cultural impact,” I learned there were industry professionals also enamored with the film. Dan Harmon, creator of Community and Rick and Morty (an overt homage to BTTF), opens the documentary.
He likens the movie to a modernized myth of Jack and the Beanstalk or Ulysses. As the documentary plays out, well-respected creators, fans, and even those involved with the project, continue to gush that BTTF is a masterpiece, a perfect film. So should we be concerned with what others think? That’s as loaded a question as “should Loraine have fallen in love with her son?”
On the one hand, we should shamelessly enjoy our fandom. In some ways, this leans into one of the film’s themes and a mythological trope of unabashedly pursuing what we want. On the other hand, it is incredibly validating to find respected Hollywood creators recognizing the same caliber of art as you do.
But for all of its “perfection,” the film has its detractors, which is fine; after all, we’re not Cafe ’80’s waiter simulacra. The plot, writing, and acting are simultaneously staunchly trapped in time and yet timeless, as most legends are. Written and filmed in 1985, that shining age of hope, it’s no surprise that all of Marty’s dreams come true. Maybe it’s my middle-aged cynicism, but now when I view the film’s denouement, I see the McFly family finding fulfillment in greed, consumerism… and indentured servitude.2
Marty is a storytelling contradiction. In not learning lessons, he’s like Narcissus or Icarus, or even Pluto, who is affiliated with greed (coincidentally Sid Sheinberg tried calling BTTF “Space Man From Pluto”). Conversely, he is like Nike, or Victoria, or Lord Murugan—gods known for victory, in that as a result of his adventure, Marty’s life is immediately improved. In ways no one can explain, the story still works, is somehow relatable, and just plain fun.
But in some ways, the story has adapted with the times. Firstly, fan experiences have changed since the original’s release. In 1985 your limited options were: go to the theater, discuss with friends, and, if the film did well, officially licensed merchandise became available.3
This experience didn’t deviate from the original film: a story playing on nostalgia from the ’50s, now compounded with nostalgia for the ’80s.
Nowadays, Comic cons have exploded for fans, cosplayers, and creators making art. Theaters hold special screenings. The internet and cheap filmmaking equipment allow people to remake or reimagine their favorite films. Theme parks cater special property-themed foods. And every once in a while, all these instances are rolled into one event, like Universal Studios’ recent, inaugural Fan Fest Nights. I had the pleasure of attending and, although covering multiple fandoms, BTTF’s 40th anniversary was a major focus.
The promoters encouraged cosplay (I saw numerous Martys, Docs, and a band of Hill Valley Cowboys), sold specialty food (I had an “asphalt” brownie with “flame” frosting and a time traveler milkshake), and provided a unique interactive experience. The experience was on the Universal Hollywood backlot where key moments in the movie were filmed, re-decorated as 1955 (the same square was used in The Twilight Zone’s pilot—lending credence to the ’50s vibe).
Picture opportunities abounded: on the clock tower steps, next to a screen-used DeLorean with a live Einstein inside, and the street where the DeLorean returns (which had perpetual flames burning). All this while Universal actors performed the final fifteen minutes of the film. It was something I’ll never forget.
This experience didn’t deviate from the original film: a story playing on nostalgia from the ’50s, now compounded with nostalgia for the ’80s. Yet the early 2020’s birthed a multinational musical which rightly keeps the central storyline intact, while adapting with the times. All the changes were justified, whether out of technical necessity or simply in communicating with this cultural moment (read my review of Back to the Future: The Musical here). A few of the stage play’s plot spoilers follow:
Doc is threatened by plutonium poisoning instead of Libyan terrorists, which was wise considering our post-9/11 world and the current Israel-Hamas war. I felt this fit better not just because North African terrorist stereotypes are racist and wearying (although indicative of the ’80s), but also because it was better and tighter storytelling.
Persons of Color (POC) representation also increased: Mayor Goldie Wilson has a larger role and, in the showing I saw, Jennifer was played by a Black woman. Not only did this improvement reflect more of the audience, but it continued the film’s acknowledgment of racial progress made from the ’50s to the ’80s (albeit tinged with the ’80s “colorblind“ fallacy), while thoughtfully recognizing the gap that still exists. (Visit BackToTheFutureMusical.com for venues.) This longevity and universatality (universal + versatility) is a testimony to the fans, the filmmakers, and Universal Studios, but the original story’s adaptability is also a significant factor.
A Real Adaptation Problem, McFly: Changing Circumstances vs. Changing Ourselves
Storytellers agree, BTTF breaks the mold: the protagonist doesn’t learn any lessons, and he has no moral revelations. In fact, the ending bugs me a little—you know, wrapping that whole greed, consumerism, and indentured servitude in a perfect bow. Nevertheless, as enjoyable as the overall film is, there is something deeper I think a lot of people miss. As stealthy as Biff stealing the almanac, the original film quietly reminds us to adapt.
Much of Marty’s behavior is based on his lack of control—a realization of our real-world limitations. As Christians, how much should we let go as we adapt?
Marty must maneuver a distracted, eccentric scientist into focusing and prioritizing on getting him back home. And he doesn’t manipulate Doc: without understanding the technical concepts, Marty lovingly manages his friend. I think of biblical young people like Joseph, Esther, and Daniel, who in taking on the stressful burden of management for a superior, became a witness for God and shaped the future (policies, culture, etc.). Marty takes similar action in the past, navigating unfamiliar language, technology, and problem-solving.
BTTF’s adaptation also teaches creativity. I think of Marty’s humorous but successful “Darth Vader” visit and repurposing a scooter as a skateboard. Doc’s creative frustration is evidenced by his shock that the flux capacitor actually works, yet he’s able to quickly innovate by converting the DeLorean’s energy source to… lightning-powered!
For the Christian, adaptability can be walking a line of allowing God’s creativity to work all things for good, while simultaneously using the creativity He has bestowed on us as sub-creators. I’ve long defined creativity as problem-solving and Marty has a list of problems as long as George’s laundry line. Most of the time Marty is out of his depth, but Michael J. Fox plays him perfectly, with a balance of anxiety, wonder, and determination.
And much of Marty’s behavior is based on his lack of control—a realization of our real-world limitations. As Christians, how much should we let go as we adapt? We can be tempted by two extremes: Not relying on God (“God helps those who help themselves”) or lazily waiting on God (never entering the doors He opens). As always, moderation (while leaning heavily on God) is key.
But even if we’ve learned to rely on God, C.J. Greene explains a tough reality: “Adapting is hard for Christians because we’re used to praying for God to change our situations, and not for God to change us while we are in a chaotic situation.” The sentiment is revelatory—even as Christians who are supposed to be transformed and living sacrifices, we seek to adapt our circumstances and not ourselves. And when we consider the societal changes in the last 40 years, the need for interior adaptability has grown.
Germinating the Flexibility to Experiment
The pace of the ’80s was slower than it is today. At the time it felt like things were moving at 88 miles an hour, but most relational methods hadn’t changed in decades. The necessity of face-to-face conversations and landline calls provided deeper connections and often forced intentionality. Granted, twenty-four-hour news networks debuted in the early ’80s, however, most media—newspapers, radio, mailed letters—was virtually unaltered.
Interior adaptability is a marathon, not a sprint. Therefore, BTTF may be one of the most honest reflections on the interior life that cinema has produced.
But with the advent of faster information sharing, the speed of life increased. Smartphones, the Internet, and social media have brought constant connection and real-time news coverage, but paradoxically created emotional distance and superficial communication. External issues have internal implications, and yet problems are often relative.
Marty came off back-to-back disappointments—like the Pinheads getting cut from band auditions (cameo by Huey Lewis) and the family car being wrecked—but that paled in comparison to the problems driven by his trip to the past. Fighting to save your family and its future puts those momentary problems in perspective. Sure, we may never run out of plutonium or orchestrate our parents’ first meeting, but these issues speak to natural fears and fundamental problems we do face.
The Biblical Apostolate for England and Wales explains: “Spiritual adaptability is very subtle, the fruits appear much later than the seeds we planted. Adaptability is as much about risk as it is about courage.” Interior adaptability is a marathon, not a sprint. Therefore, BTTF may be one of the most honest reflections on the interior life that cinema has produced—I know, a ludicrous thought for a silly Sci Fi movie.
Character development is an essential payoff in fiction, but people don’t change overnight. Of course Marty doesn’t learn anything in a week: his penchant for adaptability has been a long journey through childhood and adolescence.
However, seeds eventually grow, and the brief trip to 1955 prepared Marty for his trip to 2015, subsequent return to Hell Valley 1985, and the Wild West. On the surface, Marty’s “new man,” the mythological character who doesn’t learn a lesson but emerges victorious, is indicative of an ’80s Western worldview. And we’ve been so formed by the ’80s that vanguards like BTTF resonate deeply and increasingly reflect society’s worldview.
Yet I wonder if the film’s deeper connection, that undefinable perfection, what the French call a certain… I don’t know what, is Back to the Future’s “seeded adaptability.” This germinating flexibility, adapting ourselves not circumstances, and recognizing that growth takes time, could be life changing, because, as Marty says: “If you put your mind to it, you can accomplish anything!”
A 2018 poll found that (if my math is correct) 81% of people surveyed have seen some or all of the BTTF series. Additionally, According to CBS News, BTTF is the most desired remake among Americans and a staggering 92% of people had at least heard of the film, per a survey early this year (that number seems to be 95% in the 2018 survey) ︎
Biff isn’t rehabilitated into a productive, humble yet confident member of society He becomes instead a whiny, sniveling suck-up who only cares what George thinks. Couldn’t there be something in between bully and bondsman? ︎
In the 2024 documentary Brats, Malcolm Gladwell postulates that modernity is incapable of having a cultural moment as we did in 1985 and uses films as the example. ︎
Great Job Chris Fogle & the Team @ Christ and Pop Culture Source link for sharing this story.
“}],”blogId”:366,”contentRaw”:”Founded by the incredible Erik Unsgaard, Norway’s Sarkom never cease to astound us with their “Bestial Supremacy.” They unleashed a brilliant new scorcher, Exceed in2Chaos, in 2025. with yet another one of the genre’s finest pieces of artillery, Dominator, on drums.rnrnOver the years, Sarkom have collaborated with an astounding pool of talents, and the guests on the wild Anti-Cosmic Art (2016), which ranks among the most memorable black metal experiences available to ears, include TNT’s Ronni Le Tekrø.rnrnAs a special vinyl-edition bonus track for this album, Sarkom recorded an amazing reinterpretation of Black Sabbath’s “Symptom of the Universe.” It hits us both like a shot of pure adrenaline and a crowbar with its unbounded energy.rnrnThe ridiculously charismatic Unsgaard demonstrates his brutal vocal prowess; Paradigma and ex-Dødheimsgard’s Tom Kvålsvoll, who doubles as an exceptionally accomplished engineer, blows us away with his mastery on guitar; and drummer Defest and bassist Sgt. V, formerly of Magister Templi and Svarttjern, likewise slay us with their performances.rnrnA wicked new take on Sodom’s “Sodomy and Lust” can be found on Anti-Cosmic Art as well, and if you have not experienced that and Sarkom’s other excellent covers — “Breathe” (The Prodigy) and “Goatcraft Torment” (Urgehal) — we urge you to do so immediately.”,”content”:”
Founded by the incredible Erik Unsgaard, Norway’s Sarkom never cease to astound us with their “Bestial Supremacy.” They unleashed a brilliant new scorcher, Exceed in2Chaos, in 2025. with yet another one of the genre’s finest pieces of artillery, Dominator, on drums.
n
Over the years, Sarkom have collaborated with an astounding pool of talents, and the guests on the wild Anti-Cosmic Art (2016), which ranks among the most memorable black metal experiences available to ears, include TNT’s Ronni Le Tekrø.
n
As a special vinyl-edition bonus track for this album, Sarkom recorded an amazing reinterpretation of Black Sabbath’s “Symptom of the Universe.” It hits us both like a shot of pure adrenaline and a crowbar with its unbounded energy.
n
The ridiculously charismatic Unsgaard demonstrates his brutal vocal prowess; Paradigma and ex-Dødheimsgard’s Tom Kvålsvoll, who doubles as an exceptionally accomplished engineer, blows us away with his mastery on guitar; and drummer Defest and bassist Sgt. V, formerly of Magister Templi and Svarttjern, likewise slay us with their performances.
n
A wicked new take on Sodom’s “Sodomy and Lust” can be found on Anti-Cosmic Art as well, and if you have not experienced that and Sarkom’s other excellent covers — “Breathe” (The Prodigy) and “Goatcraft Torment” (Urgehal) — we urge you to do so immediately.
n”,”crossPostAttributionBottom”:””,”rawContent”:”
Founded by the incredible Erik Unsgaard, Norway’s Sarkom never cease to astound us with their “Bestial Supremacy.” They unleashed a brilliant new scorcher, Exceed in2Chaos, in 2025. with yet another one of the genre’s finest pieces of artillery, Dominator, on drums.
Over the years, Sarkom have collaborated with an astounding pool of talents, and the guests on the wild Anti-Cosmic Art (2016), which ranks among the most memorable black metal experiences available to ears, include TNT’s Ronni Le Tekrø.
As a special vinyl-edition bonus track for this album, Sarkom recorded an amazing reinterpretation of Black Sabbath’s “Symptom of the Universe.” It hits us both like a shot of pure adrenaline and a crowbar with its unbounded energy.
The ridiculously charismatic Unsgaard demonstrates his brutal vocal prowess; Paradigma and ex-Dødheimsgard’s Tom Kvålsvoll, who doubles as an exceptionally accomplished engineer, blows us away with his mastery on guitar; and drummer Defest and bassist Sgt. V, formerly of Magister Templi and Svarttjern, likewise slay us with their performances.
A wicked new take on Sodom’s “Sodomy and Lust” can be found on Anti-Cosmic Art as well, and if you have not experienced that and Sarkom’s other excellent covers — “Breathe” (The Prodigy) and “Goatcraft Torment” (Urgehal) — we urge you to do so immediately.
Founded by the incredible Erik Unsgaard, Norway’s Sarkom never cease to astound us with their “Bestial Supremacy.” They unleashed a brilliant new scorcher, Exceed in2Chaos, in 2025. with yet another one of the genre’s finest pieces of artillery, Dominator, on drums.
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As a special vinyl-edition bonus track for this album, Sarkom recorded an amazing reinterpretation of Black Sabbath’s “Symptom of the Universe.” It hits us both like a shot of pure adrenaline and a crowbar with its unbounded energy.
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The ridiculously charismatic Unsgaard demonstrates his brutal vocal prowess; Paradigma and ex-Dødheimsgard’s Tom Kvålsvoll, who doubles as an exceptionally accomplished engineer, blows us away with his mastery on guitar; and drummer Defest and bassist Sgt. V, formerly of Magister Templi and Svarttjern, likewise slay us with their performances.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”The ridiculously charismatic Unsgaard demonstrates his brutal vocal prowess; Paradigma and ex-Dødheimsgard’s Tom Kvålsvoll, who doubles as an exceptionally accomplished engineer, blows us away with his mastery on guitar; and drummer Defest and bassist Sgt. V, formerly of Magister Templi and Svarttjern, likewise slay us with their performances.”}}}},”currentTextLength”:367,”runningCounter”:4,”cumulativePodTextLength”:1164,”totalSimilarConsecutiveElements”:5,”totalTextLength”:1500},{“type”:”singlePostText”,”data”:{“text”:”
A wicked new take on Sodom’s “Sodomy and Lust” can be found on Anti-Cosmic Art as well, and if you have not experienced that and Sarkom’s other excellent covers — “Breathe” (The Prodigy) and “Goatcraft Torment” (Urgehal) — we urge you to do so immediately.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”A wicked new take on Sodom’s “Sodomy and Lust” can be found on Anti-Cosmic Art as well, and if you have not experienced that and Sarkom’s other excellent covers — “Breathe” (The Prodigy) and “Goatcraft Torment” (Urgehal) — we urge you to do so immediately.”}}}},”currentTextLength”:336,”runningCounter”:5,”cumulativePodTextLength”:1500,”totalSimilarConsecutiveElements”:5,”totalTextLength”:1500}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”2″,”html_title”:”Xasthur, “A National Acrobat””,”title_link”:””,”title_target”:null,”title”:”Xasthur, “A National Acrobat””,”html_subtitle”:””,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:””,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”It is safe to conclude that the lethally honest and ever-sassy Xasthur was America’s most legendary one-man black metal institution, a much-needed breath of fresh, frostbitten air arising from the oppressively hot land of California.rnrnAlthough Xasthur have moved on from the genre but not from music, the band daringly conquered Black Sabbath’s “A National Acrobat,” which appears on the Nightmares at Dawn (2012) compilation, during their black metal era.rnrnXasthur’s enigmatic mastermind, Scott Conner, cast the groovy, hallucinatory trip that is “A National Acrobat” in a shocking new light; the songwriting and lyrics (“Just remember love is life…”) stand in wonderful contrast to his ruthless vocals, thus providing the fuel for cognitive dissonance.rnrnConner has wisely taken on so many stellar groups from Manes to Katatonia, but what we really need now is for him to either cover or arrange some sort of duet with his beloved Chaka Khan!”,”desc”:”
It is safe to conclude that the lethally honest and ever-sassy Xasthur was America’s most legendary one-man black metal institution, a much-needed breath of fresh, frostbitten air arising from the oppressively hot land of California.
n
Although Xasthur have moved on from the genre but not from music, the band daringly conquered Black Sabbath’s “A National Acrobat,” which appears on the Nightmares at Dawn (2012) compilation, during their black metal era.
n
Xasthur’s enigmatic mastermind, Scott Conner, cast the groovy, hallucinatory trip that is “A National Acrobat” in a shocking new light; the songwriting and lyrics (“Just remember love is life…”) stand in wonderful contrast to his ruthless vocals, thus providing the fuel for cognitive dissonance.
n
Conner has wisely taken on so many stellar groups from Manes to Katatonia, but what we really need now is for him to either cover or arrange some sort of duet with his beloved Chaka Khan!
n”,”media_layout”:”bottom”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”What black metal bands have covered Ozzy’s solo work and Black Sabbath songs the best? Find out!”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=kl8fjpi8DA8″,”media_type”:”video”,”media_video_embed”:”
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“,”videoId”:”kl8fjpi8DA8″}}],”blogId”:366,”contentRaw”:”It is safe to conclude that the lethally honest and ever-sassy Xasthur was America’s most legendary one-man black metal institution, a much-needed breath of fresh, frostbitten air arising from the oppressively hot land of California.rnrnAlthough Xasthur have moved on from the genre but not from music, the band daringly conquered Black Sabbath’s “A National Acrobat,” which appears on the Nightmares at Dawn (2012) compilation, during their black metal era.rnrnXasthur’s enigmatic mastermind, Scott Conner, cast the groovy, hallucinatory trip that is “A National Acrobat” in a shocking new light; the songwriting and lyrics (“Just remember love is life…”) stand in wonderful contrast to his ruthless vocals, thus providing the fuel for cognitive dissonance.rnrnConner has wisely taken on so many stellar groups from Manes to Katatonia, but what we really need now is for him to either cover or arrange some sort of duet with his beloved Chaka Khan!”,”content”:”
It is safe to conclude that the lethally honest and ever-sassy Xasthur was America’s most legendary one-man black metal institution, a much-needed breath of fresh, frostbitten air arising from the oppressively hot land of California.
n
Although Xasthur have moved on from the genre but not from music, the band daringly conquered Black Sabbath’s “A National Acrobat,” which appears on the Nightmares at Dawn (2012) compilation, during their black metal era.
n
Xasthur’s enigmatic mastermind, Scott Conner, cast the groovy, hallucinatory trip that is “A National Acrobat” in a shocking new light; the songwriting and lyrics (“Just remember love is life…”) stand in wonderful contrast to his ruthless vocals, thus providing the fuel for cognitive dissonance.
n
Conner has wisely taken on so many stellar groups from Manes to Katatonia, but what we really need now is for him to either cover or arrange some sort of duet with his beloved Chaka Khan!
n”,”crossPostAttributionBottom”:””,”rawContent”:”
It is safe to conclude that the lethally honest and ever-sassy Xasthur was America’s most legendary one-man black metal institution, a much-needed breath of fresh, frostbitten air arising from the oppressively hot land of California.
Although Xasthur have moved on from the genre but not from music, the band daringly conquered Black Sabbath’s “A National Acrobat,” which appears on the Nightmares at Dawn (2012) compilation, during their black metal era.
Xasthur’s enigmatic mastermind, Scott Conner, cast the groovy, hallucinatory trip that is “A National Acrobat” in a shocking new light; the songwriting and lyrics (“Just remember love is life…”) stand in wonderful contrast to his ruthless vocals, thus providing the fuel for cognitive dissonance.
Conner has wisely taken on so many stellar groups from Manes to Katatonia, but what we really need now is for him to either cover or arrange some sort of duet with his beloved Chaka Khan!
It is safe to conclude that the lethally honest and ever-sassy Xasthur was America’s most legendary one-man black metal institution, a much-needed breath of fresh, frostbitten air arising from the oppressively hot land of California.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”It is safe to conclude that the lethally honest and ever-sassy Xasthur was America’s most legendary one-man black metal institution, a much-needed breath of fresh, frostbitten air arising from the oppressively hot land of California.”}}}},”currentTextLength”:245,”runningCounter”:1,”cumulativePodTextLength”:245,”totalSimilarConsecutiveElements”:4,”totalTextLength”:1012},{“type”:”singlePostText”,”data”:{“text”:”
Although Xasthur have moved on from the genre but not from music, the band daringly conquered Black Sabbath’s “A National Acrobat,” which appears on the Nightmares at Dawn (2012) compilation, during their black metal era.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Although Xasthur have moved on from the genre but not from music, the band daringly conquered Black Sabbath’s “A National Acrobat,” which appears on the Nightmares at Dawn (2012) compilation, during their black metal era.”}}}},”currentTextLength”:242,”runningCounter”:2,”cumulativePodTextLength”:487,”totalSimilarConsecutiveElements”:4,”totalTextLength”:1012},{“type”:”singlePostText”,”data”:{“text”:”
Xasthur’s enigmatic mastermind, Scott Conner, cast the groovy, hallucinatory trip that is “A National Acrobat” in a shocking new light; the songwriting and lyrics (“Just remember love is life…”) stand in wonderful contrast to his ruthless vocals, thus providing the fuel for cognitive dissonance.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Xasthur’s enigmatic mastermind, Scott Conner, cast the groovy, hallucinatory trip that is “A National Acrobat” in a shocking new light; the songwriting and lyrics (“Just remember love is life…”) stand in wonderful contrast to his ruthless vocals, thus providing the fuel for cognitive dissonance.”}}}},”currentTextLength”:333,”runningCounter”:3,”cumulativePodTextLength”:820,”totalSimilarConsecutiveElements”:4,”totalTextLength”:1012},{“type”:”singlePostText”,”data”:{“text”:”
Conner has wisely taken on so many stellar groups from Manes to Katatonia, but what we really need now is for him to either cover or arrange some sort of duet with his beloved Chaka Khan!
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Conner has wisely taken on so many stellar groups from Manes to Katatonia, but what we really need now is for him to either cover or arrange some sort of duet with his beloved Chaka Khan!”}}}},”currentTextLength”:192,”runningCounter”:4,”cumulativePodTextLength”:1012,”totalSimilarConsecutiveElements”:4,”totalTextLength”:1012}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”3″,”html_title”:”Rotting Christ, “Black Sabbath””,”title_link”:””,”title_target”:null,”title”:”Rotting Christ, “Black Sabbath””,”html_subtitle”:””,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:””,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”Within the pantheon of Greek black metal, Rotting Christ certainly seem to dominate, though their additional impact on gothic music and continued innovation cannot be underplayed.rnrnRotting Christ’s surprising cover of “Black Sabbath” premiered as the opening track on Sabbath Cadabra — A Greek Tribute to Black Sabbath (2013), which came with issue No. 340 of Metal Hammer Greece.rnrnThis offering envelops us in the nightmarish atmosphere of a clandestine dungeon ritual. The various types of vocals, ranging from incinerating growls to menacing whispers, conjure the presence of Satan himself.”,”desc”:”
Within the pantheon of Greek black metal, Rotting Christ certainly seem to dominate, though their additional impact on gothic music and continued innovation cannot be underplayed.
n
Rotting Christ’s surprising cover of “Black Sabbath” premiered as the opening track on Sabbath Cadabra — A Greek Tribute to Black Sabbath (2013), which came with issue No. 340 of Metal Hammer Greece.
n
This offering envelops us in the nightmarish atmosphere of a clandestine dungeon ritual. The various types of vocals, ranging from incinerating growls to menacing whispers, conjure the presence of Satan himself.
n”,”media_layout”:”bottom”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”What black metal bands have covered Ozzy’s solo work and Black Sabbath songs the best? Find out!”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=OL8vTIqJdYk”,”media_type”:”video”,”media_video_embed”:”
“,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Rotting Christ – Black Sabbath (Black Sabbath cover)”,”author_name”:”Rotting Christ”,”author_url”:”https://www.youtube.com/@RottingChristBand”,”type”:”video”,”height”:113,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/OL8vTIqJdYk/hqdefault.jpg”,”html”:”
“,”videoId”:”OL8vTIqJdYk”}}],”blogId”:366,”contentRaw”:”Within the pantheon of Greek black metal, Rotting Christ certainly seem to dominate, though their additional impact on gothic music and continued innovation cannot be underplayed.rnrnRotting Christ’s surprising cover of “Black Sabbath” premiered as the opening track on Sabbath Cadabra — A Greek Tribute to Black Sabbath (2013), which came with issue No. 340 of Metal Hammer Greece.rnrnThis offering envelops us in the nightmarish atmosphere of a clandestine dungeon ritual. The various types of vocals, ranging from incinerating growls to menacing whispers, conjure the presence of Satan himself.”,”content”:”
Within the pantheon of Greek black metal, Rotting Christ certainly seem to dominate, though their additional impact on gothic music and continued innovation cannot be underplayed.
n
Rotting Christ’s surprising cover of “Black Sabbath” premiered as the opening track on Sabbath Cadabra — A Greek Tribute to Black Sabbath (2013), which came with issue No. 340 of Metal Hammer Greece.
n
This offering envelops us in the nightmarish atmosphere of a clandestine dungeon ritual. The various types of vocals, ranging from incinerating growls to menacing whispers, conjure the presence of Satan himself.
n”,”crossPostAttributionBottom”:””,”rawContent”:”
Within the pantheon of Greek black metal, Rotting Christ certainly seem to dominate, though their additional impact on gothic music and continued innovation cannot be underplayed.
Rotting Christ’s surprising cover of “Black Sabbath” premiered as the opening track on Sabbath Cadabra — A Greek Tribute to Black Sabbath (2013), which came with issue No. 340 of Metal Hammer Greece.
This offering envelops us in the nightmarish atmosphere of a clandestine dungeon ritual. The various types of vocals, ranging from incinerating growls to menacing whispers, conjure the presence of Satan himself.
Within the pantheon of Greek black metal, Rotting Christ certainly seem to dominate, though their additional impact on gothic music and continued innovation cannot be underplayed.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Within the pantheon of Greek black metal, Rotting Christ certainly seem to dominate, though their additional impact on gothic music and continued innovation cannot be underplayed.”}}}},”currentTextLength”:179,”runningCounter”:1,”cumulativePodTextLength”:179,”totalSimilarConsecutiveElements”:3,”totalTextLength”:622},{“type”:”singlePostText”,”data”:{“text”:”
Rotting Christ’s surprising cover of “Black Sabbath” premiered as the opening track on Sabbath Cadabra — A Greek Tribute to Black Sabbath (2013), which came with issue No. 340 of Metal Hammer Greece.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Rotting Christ’s surprising cover of “Black Sabbath” premiered as the opening track on Sabbath Cadabra — A Greek Tribute to Black Sabbath (2013), which came with issue No. 340 of Metal Hammer Greece.”}}}},”currentTextLength”:232,”runningCounter”:2,”cumulativePodTextLength”:411,”totalSimilarConsecutiveElements”:3,”totalTextLength”:622},{“type”:”singlePostText”,”data”:{“text”:”
This offering envelops us in the nightmarish atmosphere of a clandestine dungeon ritual. The various types of vocals, ranging from incinerating growls to menacing whispers, conjure the presence of Satan himself.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”This offering envelops us in the nightmarish atmosphere of a clandestine dungeon ritual. The various types of vocals, ranging from incinerating growls to menacing whispers, conjure the presence of Satan himself.”}}}},”currentTextLength”:211,”runningCounter”:3,”cumulativePodTextLength”:622,”totalSimilarConsecutiveElements”:3,”totalTextLength”:622}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”4″,”html_title”:”Venom, “Megalomania””,”title_link”:””,”title_target”:null,”title”:”Venom, “Megalomania””,”html_subtitle”:””,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:””,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”Ozzy’s fellow countrymen Venom, the creators of the groundbreaking Black Metal (1982), are revered as one of the most important architects of the darkest genre of them all.rnrnOn Prime Evil (1989), not Venom’s blackest album but still an extremely sinister one, the powerhouse opted to reinterpret Black Sabbath’s “Megalomania.” If this remarkably heavy and electrifying cover doesn’t leave you feeling utterly obliterated, you haven’t listened properly.rnrnVocalist Tony “Demolition Man” Dolan, who made his debut with Venom on Prime Evil and currently leads Venom Inc., actually conceived the Black Sabbath tribute project Sabbatonero.”,”desc”:”
Ozzy’s fellow countrymen Venom, the creators of the groundbreaking Black Metal (1982), are revered as one of the most important architects of the darkest genre of them all.
n
On Prime Evil (1989), not Venom’s blackest album but still an extremely sinister one, the powerhouse opted to reinterpret Black Sabbath’s “Megalomania.” If this remarkably heavy and electrifying cover doesn’t leave you feeling utterly obliterated, you haven’t listened properly.
n
Vocalist Tony “Demolition Man” Dolan, who made his debut with Venom on Prime Evil and currently leads Venom Inc., actually conceived the Black Sabbath tribute project Sabbatonero.
n”,”media_layout”:”bottom”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”What black metal bands have covered Ozzy’s solo work and Black Sabbath songs the best? Find out!”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=4Yds8jY-D18″,”media_type”:”video”,”media_video_embed”:”
“,”videoId”:”4Yds8jY-D18″}}],”blogId”:366,”contentRaw”:”Ozzy’s fellow countrymen Venom, the creators of the groundbreaking Black Metal (1982), are revered as one of the most important architects of the darkest genre of them all.rnrnOn Prime Evil (1989), not Venom’s blackest album but still an extremely sinister one, the powerhouse opted to reinterpret Black Sabbath’s “Megalomania.” If this remarkably heavy and electrifying cover doesn’t leave you feeling utterly obliterated, you haven’t listened properly.rnrnVocalist Tony “Demolition Man” Dolan, who made his debut with Venom on Prime Evil and currently leads Venom Inc., actually conceived the Black Sabbath tribute project Sabbatonero.”,”content”:”
Ozzy’s fellow countrymen Venom, the creators of the groundbreaking Black Metal (1982), are revered as one of the most important architects of the darkest genre of them all.
n
On Prime Evil (1989), not Venom’s blackest album but still an extremely sinister one, the powerhouse opted to reinterpret Black Sabbath’s “Megalomania.” If this remarkably heavy and electrifying cover doesn’t leave you feeling utterly obliterated, you haven’t listened properly.
n
Vocalist Tony “Demolition Man” Dolan, who made his debut with Venom on Prime Evil and currently leads Venom Inc., actually conceived the Black Sabbath tribute project Sabbatonero.
n”,”crossPostAttributionBottom”:””,”rawContent”:”
Ozzy’s fellow countrymen Venom, the creators of the groundbreaking Black Metal (1982), are revered as one of the most important architects of the darkest genre of them all.
On Prime Evil (1989), not Venom’s blackest album but still an extremely sinister one, the powerhouse opted to reinterpret Black Sabbath’s “Megalomania.” If this remarkably heavy and electrifying cover doesn’t leave you feeling utterly obliterated, you haven’t listened properly.
Vocalist Tony “Demolition Man” Dolan, who made his debut with Venom on Prime Evil and currently leads Venom Inc., actually conceived the Black Sabbath tribute project Sabbatonero.
Ozzy’s fellow countrymen Venom, the creators of the groundbreaking Black Metal (1982), are revered as one of the most important architects of the darkest genre of them all.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Ozzy’s fellow countrymen Venom, the creators of the groundbreaking Black Metal (1982), are revered as one of the most important architects of the darkest genre of them all.”}}}},”currentTextLength”:179,”runningCounter”:1,”cumulativePodTextLength”:179,”totalSimilarConsecutiveElements”:3,”totalTextLength”:702},{“type”:”singlePostText”,”data”:{“text”:”
On Prime Evil (1989), not Venom’s blackest album but still an extremely sinister one, the powerhouse opted to reinterpret Black Sabbath’s “Megalomania.” If this remarkably heavy and electrifying cover doesn’t leave you feeling utterly obliterated, you haven’t listened properly.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”On Prime Evil (1989), not Venom’s blackest album but still an extremely sinister one, the powerhouse opted to reinterpret Black Sabbath’s “Megalomania.” If this remarkably heavy and electrifying cover doesn’t leave you feeling utterly obliterated, you haven’t listened properly.”}}}},”currentTextLength”:325,”runningCounter”:2,”cumulativePodTextLength”:504,”totalSimilarConsecutiveElements”:3,”totalTextLength”:702},{“type”:”singlePostText”,”data”:{“text”:”
Vocalist Tony “Demolition Man” Dolan, who made his debut with Venom on Prime Evil and currently leads Venom Inc., actually conceived the Black Sabbath tribute project Sabbatonero.
“,”podInfo”:{“type”:”tag”,”name”:”p”,”attribs”:{“dangerouslySetInnerHTML”:{“__html”:”Vocalist Tony “Demolition Man” Dolan, who made his debut with Venom on Prime Evil and currently leads Venom Inc., actually conceived the Black Sabbath tribute project Sabbatonero.”}}}},”currentTextLength”:198,”runningCounter”:3,”cumulativePodTextLength”:702,”totalSimilarConsecutiveElements”:3,”totalTextLength”:702}],”uniquePodTypes”:[“singlePostText”],”images”:{“urls”:[],”galleryUrls”:[]}},{“index”:”5″,”html_title”:”Cradle of Filth, “Mr. Crowley””,”title_link”:””,”title_target”:null,”title”:”Cradle of Filth, “Mr. Crowley””,”html_subtitle”:””,”subtitle_link”:””,”subtitle_target”:null,”subtitle”:””,”desc_title”:””,”desc_title_link”:””,”desc_title_target”:null,”desc_raw”:”There are those whom this pick may trigger, but we must nevertheless bravely and objectively acknowledge Cradle of Filth’s place within the history of black metal; and, indeed, their music remains linked to the genre.rnrnCradle of Filth’s interpretation of Ozzy’s “Mr. Crowley” first reared its ghastly, spectral head as a bonus track on most 2005 versions of Nymphetamine (2004). These Ozzfest alumni imbued the classic with their special brand of highly disturbing yet entertaining magic, symphonic pomp and other individualistic touches.rnrnOf course, we celebrate the legacy of the late guitar virtuoso Randy Rhoads, who helped make this hit from Blizzard of Ozz (1980) immortal.”,”desc”:”
There are those whom this pick may trigger, but we must nevertheless bravely and objectively acknowledge Cradle of Filth’s place within the history of black metal; and, indeed, their music remains linked to the genre.
n
Cradle of Filth’s interpretation of Ozzy’s “Mr. Crowley” first reared its ghastly, spectral head as a bonus track on most 2005 versions of Nymphetamine (2004). These Ozzfest alumni imbued the classic with their special brand of highly disturbing yet entertaining magic, symphonic pomp and other individualistic touches.
n
Of course, we celebrate the legacy of the late guitar virtuoso Randy Rhoads, who helped make this hit from Blizzard of Ozz (1980) immortal.
n”,”media_layout”:”bottom”,”layout_base”:”standard”,”layout”:”standard”,”custom_div_class”:””,”caption”:”What black metal bands have covered Ozzy’s solo work and Black Sabbath songs the best? Find out!”,”show_media”:true,”image”:[],”media_video_id”:”https://www.youtube.com/watch?v=pfQCIBeNCZI”,”media_type”:”video”,”media_video_embed”:”
“,”mediaPodContent”:[{“type”:”singlePostOembed”,”data”:{“title”:”Mr. Crowley”,”author_name”:”Cradle Of Filth – Topic”,”author_url”:”https://www.youtube.com/channel/UCXn3RjlO3DO_Wv83tWXj1Gg”,”type”:”video”,”height”:150,”width”:200,”version”:”1.0″,”provider_name”:”YouTube”,”provider_url”:”https://www.youtube.com/”,”thumbnail_height”:360,”thumbnail_width”:480,”thumbnail_url”:”https://i.ytimg.com/vi/pfQCIBeNCZI/hqdefault.jpg”,”html”:”
“,”videoId”:”pfQCIBeNCZI”}}],”blogId”:366,”contentRaw”:”There are those whom this pick may trigger, but we must nevertheless bravely and objectively acknowledge Cradle of Filth’s place within the history of black metal; and, indeed, their music remains linked to the genre.rnrnCradle of Filth’s interpretation of Ozzy’s “Mr. Crowley” first reared its ghastly, spectral head as a bonus track on most 2005 versions of Nymphetamine (2004). These Ozzfest alumni imbued the classic with their special brand of highly disturbing yet entertaining magic, symphonic pomp and other individualistic touches.rnrnOf course, we celebrate the legacy of the late guitar virtuoso Randy Rhoads, who helped make this hit from Blizzard of Ozz (1980) immortal.”,”content”:”
There are those whom this pick may trigger, but we must nevertheless bravely and objectively acknowledge Cradle of Filth’s place within the history of black metal; and, indeed, their music remains linked to the genre.
n
Cradle of Filth’s interpretation of Ozzy’s “Mr. Crowley” first reared its ghastly, spectral head as a bonus track on most 2005 versions of Nymphetamine (2004). These Ozzfest alumni imbued the classic with their special brand of highly disturbing yet entertaining magic, symphonic pomp and other individualistic touches.
n
Of course, we celebrate the legacy of the late guitar virtuoso Randy Rhoads, who helped make this hit from Blizzard of Ozz (1980) immortal.
n”,”crossPostAttributionBottom”:””,”rawContent”:”
There are those whom this pick may trigger, but we must nevertheless bravely and objectively acknowledge Cradle of Filth’s place within the history of black metal; and, indeed, their music remains linked to the genre.
Cradle of Filth’s interpretation of Ozzy’s “Mr. Crowley” first reared its ghastly, spectral head as a bonus track on most 2005 versions of Nymphetamine (2004). These Ozzfest alumni imbued the classic with their special brand of highly disturbing yet entertaining magic, symphonic pomp and other individualistic touches.
Of course, we celebrate the legacy of the late guitar virtuoso Randy Rhoads, who helped make this hit from Blizzard of Ozz (1980) immortal.
There are those whom this pick may trigger, but we must nevertheless bravely and objectively acknowledge Cradle of Filth’s place within the history of black metal; and, indeed, their music remains linked to the genre.
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Cradle of Filth’s interpretation of Ozzy’s “Mr. Crowley” first reared its ghastly, spectral head as a bonus track on most 2005 versions of Nymphetamine (2004). These Ozzfest alumni imbued the classic with their special brand of highly disturbing yet entertaining magic, symphonic pomp and other individualistic touches.
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Of course, we celebrate the legacy of the late guitar virtuoso Randy Rhoads, who helped make this hit from Blizzard of Ozz (1980) immortal.
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Although Ulver put their magnificent spin on “Solitude,” as featured on Shadows of the Sun (2007), after leaving black metal behind, this cover is still very black metal in spirit. It seems that only one of the movement’s pioneers could have supersaturated the composition’s soundscape with such crushing, epic darkness, granted guest jazz musician Mathias Eick adds wonders on trumpet here (in place of Tony Iommi’s flute).
n
Mournful as both the original track and Ulver’s version prove, Iommi described “Solitude” in his autobiography as “maybe the first love song we ever recorded.”
n
“Solitude” has also been brilliantly re-envisioned by the True Norwegian Progressive Metal heavyweights Green Carnation — an act that began their journey as death metallers and still boast members who have been part of some of black metal’s best bands, such as In the Woods…, Emperor and the wonderful miscreants dubbed Carpathian Forest.
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Although Ulver put their magnificent spin on “Solitude,” as featured on Shadows of the Sun (2007), after leaving black metal behind, this cover is still very black metal in spirit. It seems that only one of the movement’s pioneers could have supersaturated the composition’s soundscape with such crushing, epic darkness, granted guest jazz musician Mathias Eick adds wonders on trumpet here (in place of Tony Iommi’s flute).
n
Mournful as both the original track and Ulver’s version prove, Iommi described “Solitude” in his autobiography as “maybe the first love song we ever recorded.”
n
“Solitude” has also been brilliantly re-envisioned by the True Norwegian Progressive Metal heavyweights Green Carnation — an act that began their journey as death metallers and still boast members who have been part of some of black metal’s best bands, such as In the Woods…, Emperor and the wonderful miscreants dubbed Carpathian Forest.
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Although Ulver put their magnificent spin on “Solitude,” as featured on Shadows of the Sun (2007), after leaving black metal behind, this cover is still very black metal in spirit. It seems that only one of the movement’s pioneers could have supersaturated the composition’s soundscape with such crushing, epic darkness, granted guest jazz musician Mathias Eick adds wonders on trumpet here (in place of Tony Iommi’s flute).
Mournful as both the original track and Ulver’s version prove, Iommi described “Solitude” in his autobiography as “maybe the first love song we ever recorded.”
“Solitude” has also been brilliantly re-envisioned by the True Norwegian Progressive Metal heavyweights Green Carnation — an act that began their journey as death metallers and still boast members who have been part of some of black metal’s best bands, such as In the Woods…, Emperor and the wonderful miscreants dubbed Carpathian Forest.
Although Ulver put their magnificent spin on “Solitude,” as featured on Shadows of the Sun (2007), after leaving black metal behind, this cover is still very black metal in spirit. It seems that only one of the movement’s pioneers could have supersaturated the composition’s soundscape with such crushing, epic darkness, granted guest jazz musician Mathias Eick adds wonders on trumpet here (in place of Tony Iommi’s flute).
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Mournful as both the original track and Ulver’s version prove, Iommi described “Solitude” in his autobiography as “maybe the first love song we ever recorded.”
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“Solitude” has also been brilliantly re-envisioned by the True Norwegian Progressive Metal heavyweights Green Carnation — an act that began their journey as death metallers and still boast members who have been part of some of black metal’s best bands, such as In the Woods…, Emperor and the wonderful miscreants dubbed Carpathian Forest.
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Members of Metallica, Iron Maiden, and even Sabbath themselves reveal their favorite titles from the band’s catalog.
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Favorite Black Sabbath album:
Master of Reality
What he said about it:
“(Tony Iommi) can go from the heaviest doom riff into a happy mode and it would still sound heavy. We can’t do happy, but Tony can pull it off. My favorite track is ‘Into the Void.'”
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Great Job Jillian Drachman & the Team @ Loudwire Source link for sharing this story.
The Air Force is requesting $387 million in its current budget request to begin building the first of its version of a hypersonic missile system that has experienced several testing failures in the past.
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Four people were killed and 14 others wounded in a mass shooting Wednesday night in Chicago, police said.
The carnage erupted in the River North neighborhood, on the 300 block of West Chicago Avenue, when a vehicle pulled up to a location and at least one gunman opened fire on a crowd standing outside.
The vehicle fled the scene immediately and no one has been taken into custody, police said.
Four people were killed — two men and two women — and 14 others were wounded, including three who were hospitalized in critical condition. The victims were primarily in their 20s and 30s.
Further details were not immediately available.
Murder is down 32% in the city as of June 29 and shooting incidents are down 39%, according to Chicago’s crime data.
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President Donald Trump’s new trade deal with Vietnam sends a clear signal about where US tariffs on Chinese goods might ultimately land, as talks between Washington and Beijing continue following their recent truce.
Chinese goods currently face tariffs of around 55%, a level expected to remain through August. But under the latest Vietnam agreement, the US will slap a 20% tariff on Vietnamese exports to the US and a steeper 40% levy on goods deemed to be transshipped — the latter targeting a well-worn backdoor used by Chinese exporters since the first China-US trade war to dodge American tariffs.
By closing the loopholes, the Trump administration is signaling what any future deal with China might look like. The 40% tariff on transshipped goods suggests that even if tariffs on China are eventually reduced, they’re unlikely to fall below that threshold.
“The 40% figure in the Vietnam deal might reflect a broader conviction in the Trump administration about the appropriate tariff level on China, which would be similarly reflected in other bilateral deals,” said Gabriel Wildau, a managing director at Teneo focused on political risk analysis in China. “However, I am skeptical that Trump has a specific red line for minimum tariffs on China.”
Beijing and Washington reached a trade framework last month following talks in London, which remains in effect through mid-August. As part of the deal, China agreed to resume shipments of rare earths — key inputs for wind turbines, electric vehicles and military hardware. In return, the US offered to ease some export restrictions on ethane, chip-design software and jet engine components.
US tariffs on Chinese goods have been cut back to around 55%, down from as high as 145% in early April. But 20% tariffs tied to fentanyl remain in place. Beijing has since tightened controls on two precursor chemicals used to make the drug — one of the few obvious avenues it has to win further tariff relief.
“The 20% is really the focal point where all the attention is centered right now,” said Christopher Beddor, deputy China research director at Gavekal Research. “The thinking is that the Chinese government is very willing to do a deal on something related to fentanyl. They’ve been telegraphing that months.”
Still, those efforts are unlikely to bring Chinese tariffs below the 40% rate now applied to Vietnam. If China’s duties were to fall to 35%, for instance, it would restore a competitive edge to China and encourage firms to shift operations back, running counter to the Trump administration’s broader objectives.
For now, here are signs both sides are following through on the terms of the London agreement and displaying signs of goodwill. The Trump administration has lifted recent export license requirements for chip design software sales in China, and approved US ethane exports to China without additional approvals.
Treasury Secretary Scott Bessent said Chinese rare earth magnets are flowing, although they haven’t yet bounced back to the levels seen before Chinese imposed export curbs in early April. The US remains hopeful that China will further ease restrictions on those exports after their London deal, he said in an interview Tuesday on Fox News.
Meanwhile, a senior Chinese official on Thursday delivered one of Beijing’s most positive messages about his nation’s ties with the US in weeks. Liu Jianchao, head of the Communist Party’s International Department, said at the World Peace Forum that he was “optimistic” about future relations.
“China is keenly aware of what it’s gained from China-US cooperation,” Liu said “Our cooperation is mutually beneficial. The act of putting up barriers will hurt the other and ourselves as well.”
Other Negotiations
Apart from Vietnam, Beijing is growing increasingly cautious about US efforts to strike trade deals that could isolate China. With a July 9 deadline approaching, when Trump’s higher “reciprocal” tariffs are set to take effect, American officials are ramping up negotiations with key partners in Asia and Europe.
Washington is pushing for new deals that would include limits on how much Chinese components in goods can be used in exports for the US, or commitments to counter what the US views as unfair Chinese trade practices. India, another nation racing to complete a deal, has been negotiating over “rules of origin.”
What Bloomberg Economics says…
“The looming question now is how China will respond. Beijing has made clear that it would respond to deals that came at the expense of Chinese interests and the decision to agree to a higher tariff on goods deemed to be “transshipped” through Vietnam may fall in that category. Given China’s position as Vietnam’s largest trading partner and key source of inputs for domestic production, any retaliatory steps could have an outsized impact on Vietnam’s economy.”
— Rana Sajedi and Adam Farrar.
Beijing on Thursday said it’s taken note of the US-Vietnam trade deal and is currently assessing the situation.
“We’re happy to see all parties to resolve trade conflicts with the US through equal negotiations, but firmly oppose any party striking a deal at the expense of China’s interests,” He Yongqian, a spokesperson for the Ministry of Commerce, said at a briefing.
“If such a situation arises, China will firmly strike back to protect its own legitimate rights and interests,” she added, repeating a familiar warning.
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TROPICAL DOWNPOURS: Passing light rain, downpours this PM
DRIER 4TH: Spotty rain is possible, but likely dry for fireworks
QUIET WEEKEND: Rain chances less than 20%
FORECAST
The airport added to its already above-average rainfall total, receiving 0.32″ officially on Wednesday. There’s a decent possibility we add even more today.
TROPICAL DOWNPOURS
As we tap into good tropical moisture flow again today, scattered showers & downpours will develop. San Antonio’s rain chance: 40%. Otherwise, mostly cloudy & humid, with a high in the upper-80s.
Futurecast at 4pm Thursday (Copyright 2025 by KSAT – All rights reserved.)
DRIER WEATHER FOR INDEPENDENCE DAY
Yes, we’ll still see a few spotty downpours on the radar, especially for the first half of Friday. But, a drier setup will start to take over. That means firework festivities still look to be rain-free. Temperatures will be seasonal in the low-90s.
4th of July Forecast (Copyright 2025 by KSAT – All rights reserved.)
QUIET WEEKEND
Rain chances fall even more over the weekend to 10%. Partly cloudy skies will mean warmer weather. Highs are forecast to reach the mid-90s.
7-Day Forecast (Copyright 2025 by KSAT – All rights reserved.)
Daily Forecast
KSAT meteorologists keep you on top of the ever-changing South Texas weather.
QUICK WEATHER LINKS
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