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(03/05/21 5:00am)
King Gizzard and the Lizard Wizard are no strangers to making multiple albums within a year. In November 2020, the band released K.G., which served as volume 2 in their microtonal series. It offered new paths and directions for their sound and style with the Middle Eastern sounding “Ontology,” and the electro bop, “Intrasport,” but fell short in grabbing and keeping attention throughout the record. King Gizzard has always tried to push their boundaries: changing their sound on nearly every album and experimenting, making their 17th record L.W. look like a step backward. But over time, it proves to stand out on its own amongst the rest, while playing as the sequel to K.G. The band offers plenty of new routes to take their microtonal tuning and songwriting, and the lyrics are some of the best in their career. But some of the jams here can stale over time.
(03/05/21 9:32pm)
[embed]https://youtu.be/atqtO_jfLjo[/embed]
OK and Graham break down the winners of 2021 Golden Globe Awards, as well some discrepancies in the HFPA.
Checkpoint is Byte's video news series, reporting on recent events in the world of entertainment, tech, and pop culture. Whether its video games, film, television, or music, we've got you covered!
Anchors: OK Schlatter, Graham Harding
Executive Producer: Aaron Dwyer
Video Editing: OK Schlatter
Audio Editing: Shwetha Sundarrajan
Graphics: Kellyn Harrison
Music: Jack McGinnis
(03/05/21 9:30pm)
By Brandon Carson
King Gizzard and the Lizard Wizard are no strangers to making multiple albums within a year. In November 2020, the band released K.G., which served as volume 2 in their microtonal series. It offered new paths and directions for their sound and style with the Middle Eastern sounding “Ontology,” and the electro bop, “Intrasport,” but fell short in grabbing and keeping attention throughout the record. King Gizzard has always tried to push their boundaries: changing their sound on nearly every album and experimenting, making their 17th record L.W. look like a step backward. But over time, it proves to stand out on its own amongst the rest, while playing as the sequel to K.G. The band offers plenty of new routes to take their microtonal tuning and songwriting, and the lyrics are some of the best in their career. But some of the jams here can stale over time.
New microtonal paths
With Flying Microtonal Banana, King Gizzard introduced microtonal music to a more mainstream audience, colliding it with their psych-rock sound. K.G. returned to microtones over three years after Flying Microtonal Banana, and while some tracks felt completely original, others felt lackluster, beating around the bush until they ended. L.W., however, opens with something entirely original. “If Not Now, Then When?” picks up right where K.G. left off, flowing right into each other. But after the intro, the song completely changes to a jazzy, softer tone. It’s catchy, gripping, and entirely Gizzard. “Static Electricity” brings back the Middle Eastern influences and includes off-kilter, intricate verses that keep the listener's attention.
There are standout moments in each song, like the cathartic instrumental break in “O.N.E.,” the psyched-out jam at the end of “Supreme Ascendancy,” and the seamless transition from “Static Electricity” to “East West Link.” But the mother of all songs on L.W. is the eight-minute, microtonal doom metal track, “K.G.L.W.” It’s a continuation of K.G.’s opening track of the same name, but a journey culminating the double-album experience of K.G. and L.W. Each riff in the song feels essential and is produced with a raw, uncut sound. If the band were to make another metal album, this would be the way to go. The production on the record feels just as good as K.G. with dense tones and incredibly tight drums. But there are also fun synth melodies that come up from time to time and vocal chants in “O.N.E.” that add more depth to the song.
Eye-catching lyrics
One aspect that stood out on K.G. was the introspective and timely lyrics of environmental issues and the pandemic. L.W. finds similar themes of pessimistic world views of where the human race is headed, as well as political affairs and the environmental challenges our society has dealt with and the doomed future ahead, a King Gizzard staple. But the way they write has a quality unique to them, it's simple, but can be looked into deeper.
“Drink the blood of that you spill/underneath the whippoorwill/one more piece of Jenga to pull/then Necromancer will thank us all,”
Political themes can be found in “Supreme Ascendancy,” an angry take on how people who obtain power abuse it, using the Catholic Church as an example.
“Satan in a cassock casting black magic/Childhoods tragically ripped from their shaking feet/Conscious yet inadequate,”
Retracing old steps
Besides Flying Microtonal Banana, L.W. is their most consistent of the three microtonal volumes. Not jumping too far off the rails like K.G., but still managing to be adventurous in areas. However, a few tracks here do not hit the same highs as songs like “K.G.L.W.” and “Ataraxia,” while lyrically intricate, they fall short due to the quiet, confusing vocal performance from Joey Walker. Overall, the song has a Tool-inspired instrumental, but eventually meanders to nowhere during the end of the song, never finding a new direction. “See Me” introduces a hypnotic beat that resembles “Open Water” from Flying Microtonal Banana. But the longer the song goes, the more it drags on. The songs on L.W. could definitely be interchangeable with K.G., which is the point. However, when songs become forgettable, it begs the question, “Why wouldn’t they just put the best tracks from both records onto one album?”
Top tracks:
If Not Now, Then When?
K.G.L.W.
Static Electricity
Recommended if you like:
Thee Oh Sees
Tame Impala
Psychedelic Porn Crumpets
Sources: Metacritic
Featured Image: Genius
(03/06/21 5:00am)
Graham and OK break down the latest installment in the Terminator series - an anime from Production IG.Checkpoint is Byte's video news series, reporting on recent events in the world of entertainment, tech, and pop culture. Whether its video games, film, television, or music, we've got you covered!Anchors: Graham Harding, OK SchlatterExecutive Producer: Aaron DwyerVideo Editing: Graham HardingAudio Editing: Shwetha SundarrajanGraphics: Kellyn HarrisonMusic: Jack McGinnis
(03/05/21 3:46pm)
[embed]https://youtu.be/VEPGsJLDAUY[/embed]
Graham and OK break down the latest installment in the Terminator series - an anime from Production IG.
Checkpoint is Byte's video news series, reporting on recent events in the world of entertainment, tech, and pop culture. Whether its video games, film, television, or music, we've got you covered!
Anchors: Graham Harding, OK Schlatter
Executive Producer: Aaron Dwyer
Video Editing: Graham Harding
Audio Editing: Shwetha Sundarrajan
Graphics: Kellyn Harrison
Music: Jack McGinnis
(03/03/21 8:49pm)
By Conner Tighe
After he released his first EP, Elliot, German singer-songwriter Roosevelt began his synth-pop journey, putting him in the same ranks as other DJ artists today like Mark Ronson and Poolside. He wanted to bring back club culture through dance music inspired by the 80s in his latest album release, so it was exciting when Roosevelt announced his album POLYDANS, which sports an 80s color palette aesthetic on the cover. However, having listened through the 10-layered tracklist, I found there to be little if any new material, which hindered his latest EP Lovers, released on Feb. 12. I allowed some leeway with Lovers since he was close to releasing POLYDANS then, but after over 40 minutes of synth-pop lyrics and rhythm, I found myself disappointed.
Seeing double
Although Roosevelt is unwavering in his rhythms and tracks overall, it’s something that’s engrained in his brand and made him recognizable. The artist is skilled in meshing the fun and catchy rhythms of the 80s and 90s while speaking DJ alongside the music. Fans would and should expect something new, something fresh, and something relatively different and inventive even if it fails. Roosevelt did none of these things unless you count the tracks “Montjuic,” “Closer to my Heart,” and “Easy Way Out,” which were quite decent in their presentation. The tracks were fast-paced, full of life, and temporary detours from the lack of originality displayed in the tracklist.
Roosevelt’s tedious attempts to differentiate any of his albums and EPs will undoubtedly hurt his career in the long run as there’s little to look forward to with new releases. The artist releases singles from time to time which are admirable and perform excellently, but he didn’t take that leap of faith by changing things up here. It’s smart and worthwhile at times to create a staple for yourself, especially in the music industry, like Ariana Grande and her high-whistle vocals or Chance the Rapper’s maximization of choir and gospel undertones. However, Roosevelt is digging himself into a pigeonhole of stagnancy and unoriginality.
When an artist gets into a genre like synth-pop or DJ-influenced music, they run the risk of lacking originality and getting stuck in a pattern of similar-sounding tracks. Even those who haven’t been fans of the singer long can begin to witness the forming pattern of unoriginality. Like many artists today, Grande and Chance rely on the traditional spoken word and lyrics to assist their music. Roosevelt has lyrics, but they don't have any real substance, and I think that comes automatically with being in this genre.
A fun tracklist
There’s an undeniable aspect of entertainment in POLYDANS; listeners should keep Roosevelt in mind when in need of background music or something to lighten the mood. No track diminishes the overall sense of fun, and that’s what keeps this tracklist from sinking. I found myself surprised with the introduction of electric guitar in “Closer to My Heart,” which I guess I overlooked in previous tracks. “Closer to My Heart” is the “heart” of the tracklist as it’s one of the few fresh tracks and is catchy in its presentation. There are some undertones of love with the basic guitar backup, which always gets me.
Top tracks:
Easy Way Out
Closer to my Heart
Montjuic
Recommended if you like:
Spencer Brown
Mark Ronson
Goldroom
Sources: Indie Is Not a Genre, Byte, AOTY, Spotify, City Slang
Featured Image: Genius
(03/03/21 6:46pm)
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
(03/03/21 6:39pm)
In 1975, Toni Tennille stepped on stage sporting a sparkly purple dress and a bob haircut. “Okay, let’s get it, honey.” she said, smiling. Husband and wife duo Captain and Tennille dominated much of the 70s with their keyboard and piano instrumentals. Their 1975 cover of Neil Sedaka’s “Love Will Keep Us Together” did more than just rack in popularity. It continued the common tradition of husband-and-wife musician groups, like John Lennon and Yoko Ono and Sonny and Cher. Unfortunately, the duo’s time in the spotlight didn’t last much longer than a decade, leaving the memories of the two that much more reminiscent.
(03/03/21 6:36pm)
With the Infinity Saga wrapped up, it may feel like Marvel doesn’t have any more tricks up their sleeves. Phase Four recently began with the premiere of Wandavision, giving us a brief glimpse into what the next couple of years will look like for Marvel Studios. Wandavision marks the beginning of a story arc that will carry over into Spider-Man: No Way Home and concludes with Doctor Strange in the Multiverse of Madness. With the introduction of both the multiverse and characters that have been revealed that will be in Spider-Man: No Way Home, it’s looking like we’ll finally be getting a live-action version of the Spider-Verse, with Tobey Maguire and Andrew Garfield returning as their incarnations of the web-slinger. However, recent comments from Tom Holland have said otherwise. So, is there any factual evidence for the Spider-Verse?
(02/28/21 5:00pm)
Welcome back to another episode of Remixed! On today's episode, join us as we discuss the black roots in many music genres, as well as what they mean for the culture, and how we can open up conversations and genres between people of all races. Tune in for all this and more on another episode of Remixed!
(02/28/21 5:00pm)
Ball State Daily · Remixed S6E4: Black History Month, Music Edition
Welcome back to another episode of Remixed! On today's episode, join us as we discuss the black roots in many music genres, as well as what they mean for the culture, and how we can open up conversations and genres between people of all races. Tune in for all this and more on another episode of Remixed!
Hosts: Sam Shipe & Dr. Gabriel Tait
Edited by: Sam Shipe
Graphic by: Shwetha Sundarrajan
(02/28/21 1:18am)
Welcome back to this weekend's episode of Wrapped Up! This time, Kellyn Harrison is reporting on the latest news regarding Daft Punk's split, the expansion of Avatar and Leigh Bardugo's Grishaverse, PlayStation's new VR project, and Tom Holland's releasing of the third Spiderman title.
(02/28/21 1:15am)
Welcome back to this weekend's episode of Wrapped Up! This time, Kellyn Harrison is reporting on the latest news regarding Daft Punk's split, the expansion of Avatar and Leigh Bardugo's Grishaverse, PlayStation's new VR project, and Tom Holland's releasing of the third Spiderman title.
Host: Kellyn Harrison
Edited by: Kellyn Harrison
Thumbnail by: Emily Hanes
(02/27/21 3:00pm)
by Lia Weisbecker-Lotz
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
February is Black History Month and for a while now, I’ve wanted to write about Black punk bands. Punk has always been a community meant for those angry at the world, for screaming for change, for the chance to be heard, and most importantly, to be able to be themselves without backlash. Even so, after my last article on female punk bands, I realized that punk has not been so perfect at making sure everyone is heard and appreciated. But it’s the groups that aren’t as heard that are the most important to listen to. Black punk bands help spread not only a form of education as to what the Black community is going through, but also offer each other a sense of belonging in a largely white community. While the bands listed are Black punk bands, some are also infused with people of different races. However, this doesn’t change the importance or the impact of their messages and how they help the Black punk community. I do want to leave a disclaimer: I’m a white person who has never dealt with racism or its horrors, and I will never claim to. I can only hope to learn from the Black community about the problems they face and ways that I can support them through it.
Red Arkade
[caption id="" align="alignright" width="403"] Image from Afropunk[/caption]
Red Arkade is a high-energy, aggressive band from New York City. They released their first EP, Livewire, in 2016 which introduces the group’s main message: the desire for and importance of freedom. Red Arkade’s songs largely focus on being who you are and doing what you want with your life. Strangely for a punk band, their music is incredibly positive and invigorating, full of speedy riffs and hard-hitting drums. Red Arkade consistently mixes elements of hip hop and hard rock into their songs, which adds to their uniqueness in the punk community. Their latest EP, We Don’t Sing Pretty, was released in 2018 and seems to be about them claiming their spot as a punk band.
Big Joanie
[caption id="" align="alignright" width="401"] Image from Rolling Stone[/caption]
This London-based trio formed in 2013 to join a DIY festival and quickly started cranking out EPs. Big Joanie has become a haven where the members can “be completely themselves as Black women.” The three of them work to bring attention to the Black punk community in the UK and the fact that POC members of the punk scene exist. Big Joanie’s members even created the Decolonise Fest, an annual London DIY festival specifically for POC punks, and the Stop Rainbow Racism campaign. Their music is strongly reminiscent of post-punk bands, experimenting with heavy, harsh, and slow sounds. Most of Big Joanie’s songs center on the emotion behind the end of a relationship, full of a certain bitterness and longing. Some of their other songs discuss the racism they and others have dealt with from both individuals and society. Sistahs was their 2018 debut album, and they plan on releasing a follow-up album this year.
The TxLips
[caption id="" align="alignright" width="400"] Image from VOX ATL[/caption]
A musical collective, meaning that membership and participation are flexible and rotated, The TxLips currently have 14 members. Established and led by Gabriella Logan, this all-black, and mostly female group has been making music since 2018 and has been working toward its goal: to push “the status quo of what the world says artists of marginalized identities can do.” With a variety of artists, the music The TxLips produce is diverse, influenced by a lot of different backgrounds and genres. Many of their songs do contain consistent emotions regarding angst, anger, and the desire for a different life. In 2020, they released their album Prison of Life, which contains some remakes of songs from their original EP, Queens of the New Age.
FEVER 333
[caption id="" align="alignright" width="399"] Image from The Guardian[/caption]
FEVER 333 is a punk band that was created to be the soundtrack of the rebellion. They formed in 2017, debuting in the most punk way imaginable, an “unpermitted” demonstration at an LA landmark to share their ideas. Shortly after, FEVER 333 worked on releasing their first EP, Made An America, (its title song earned a Grammy nomination) a year later. The group’s songs are vehemently, unapologetically about the rampant amount of racism, xenophobia, misogyny, and general inequality in the U.S. The trio has songs calling out the unjust system capitalism is built on: “BURN IT,” “Walking in My Shoes,” “SUPREMACY,” “Soul’d Me Out,” etc. Often labeled post-hardcore, FEVER 333’s music is rapid and raucous, while experimenting with elements of rap, trap, and metal music. They use their latest EP, Wrong Generation, which came out in 2020, and continue to use their unique sound to spread their message demanding change.
The Muslims
[caption id="" align="alignright" width="404"] Image from Scalawag Magazine[/caption]
Another trio, The Muslims are an all-queer punk band that was prompted by the aftermath of the 2016 election to come together. They released their first album, The Muslims, in 2017 where they specifically call out the Islamophobia that’s pervasive in the U.S. They regularly use satire and humor to make songs that both mock white supremacists, transphobes, fascists, etc. whilst furiously pointing out the impact they have on African-American, queer, and other minority communities. The Muslims’s music is energetic, fun, and full of disgust at the current state of society. The trio’s lyrics switch between clever and blunt and are always complemented by the gritting, potent riffs and drums. Gentrified Chicken was their last album; it was released in 2020 and is focused on the government’s failures in recent years.
The 1865
[caption id="" align="alignright" width="404"] Image from Musical Notes Global[/caption]
Created in 2017, The 1865 was launched by well-known music journalist and producer/director Sacha Jenkins. Jenkins has stated that he created The 1865 to be able to “voice his frustrations and expressions of the current political landscape.” The band is named after the year the Civil War ended and slavery was abolished. While this was a turning point in history, The 1865 uses their music to point out how slavery continued to have an impact on African-Americans. Their songs are based on the perspective of enslaved and previously enslaved African-Americans during that tumultuous time. The 1865’s music matches the intensity of their lyrics, with powerful bass lines and full of violent energy. Their last album came out in 2019 and is titled Don’t Tread On We!
Sources: Afropunk, Big Joanie, BTRToday, Chardine Taylor Stone, Ebert Fest, Facebook, Genius, IMDB, Indy Week, Kerrang!, Kill Rockstars, Kit Monsters, Gal-dem, Play Alone Records, Riot Fest, Spotify, The Fader, The Grammys, The Guardian, The Muzlimz, The Txlips Band, This Magazine
Images: Afropunk, The Guardian, Musical Notes Global, Rolling Stone, Scalawag Magazine, VOX ATL
Featured Image: Scalawag Magazine
(02/26/21 10:00pm)
by Conner Tighe
In 1975, Toni Tennille stepped on stage sporting a sparkly purple dress and a bob haircut. “Okay, let’s get it, honey.” she said, smiling. Husband and wife duo Captain and Tennille dominated much of the 70s with their keyboard and piano instrumentals. Their 1975 cover of Neil Sedaka’s “Love Will Keep Us Together” did more than just rack in popularity. It continued the common tradition of husband-and-wife musician groups, like John Lennon and Yoko Ono and Sonny and Cher. Unfortunately, the duo’s time in the spotlight didn’t last much longer than a decade, leaving the memories of the two that much more reminiscent.
Captain and Tennille were known for their love ballads, never straying from the slow, peaceful story of two in love. The two never fully joined the ranks of “stardom” after forming in 1974, but created eight albums and had an admirable career even with underlying issues. “Love Will Keep Us Together” was the band’s number one hit till 1979 when “Do That To Me One More Time” was released, which again hit number one in early 1980. In comparison, Richard and Karen Carpenter sang similar sounding music for those unfamiliar with the band. The Carpenters captured the essence of love and the perfect life throughout much of their career with hits like “We’ve Only Just Begun,” “Top of the World,” and “Can’t Smile Without You.”
[caption id="" align="alignright" width="409"] Image from Showbiz CheatSheet[/caption]
Daryl Dragon, known by his stage name Captain Keyboard, worked with The Beach Boys for five years until he joined Tennille in 1972. Tennille, at the time, was creating music for the musical Mother Earth which tackled environmental issues caused by large corporations. Tennille was and still is a gifted singer-songwriter. In an interview with Bob Andelman, she claimed that much of her career was for Dragon’s approval, which she never fully received. She blames much of his behavior on his childhood and growing up in a dysfunctional family, and says that he never said “I love you” once in all the years they were married.
Even after their career peak, the two continued working together until their divorce in 2014. The duo’s time together was mainly glued by a contract and a shared business that thrived for decades. Tennille claims she tried to “fix” Dragon, but it never happened. As much as it appeared that Tennille and Dragon were the perfect musical couple, it was a different story behind closed doors. In a 2016 interview with Insider, Tennille said, “People thought we had this fairytale relationship, and I knew that they would be disappointed.” Tennille wanted to marry Dragon initially but says they worked better as professionals, not husband and wife.
Two years later, Tennille published her memoir about her career and marriage to Dragon, writing on some difficult subject matter. To say the least, the two had a rocky relationship. Dragon dealt with tremors for much of his later life until his death in 2019 from kidney failure. Tennille is still sporting her same haircut from three decades ago, a decade where many would say was the happiest time of the duo’s life. But to Tennille, now is her time of freedom from a man she called her best friend for over 30 years.
Sources: CBSNews, Discogs, RateYourMusic, Rolling Stone, The Washington Post, UCR, USA Today, Village-News, YouTube
Images: Showbiz CheatSheet
Featured Image: NPR
(02/26/21 8:30pm)
by Mason Kupiainen
With the Infinity Saga wrapped up, it may feel like Marvel doesn’t have any more tricks up their sleeves. Phase Four recently began with the premiere of Wandavision, giving us a brief glimpse into what the next couple of years will look like for Marvel Studios. Wandavision marks the beginning of a story arc that will carry over into Spider-Man: No Way Home and concludes with Doctor Strange in the Multiverse of Madness. With the introduction of both the multiverse and characters that have been revealed that will be in Spider-Man: No Way Home, it’s looking like we’ll finally be getting a live-action version of the Spider-Verse, with Tobey Maguire and Andrew Garfield returning as their incarnations of the web-slinger. However, recent comments from Tom Holland have said otherwise. So, is there any factual evidence for the Spider-Verse?
Jamie Foxx and Alfred Molina
[caption id="" align="alignright" width="372"] Image from CinemaBlend[/caption]
[caption id="" align="alignright" width="373"] Image from The Hollywood Reporter[/caption]
The first clue that Spider-Man: No Way Home introduced the Spider-Verse was the announcement of Foxx returning as Electro. This came as shocking news since he previously played the character in The Amazing Spider-Man 2, with his performance not really liked by audiences. It’s still unclear if he’s playing the exact version from that film or an alternate universe version, but Foxx did let it slip that he wouldn’t “be blue this time.” Sometime after this announcement was made, another familiar face joined the cast. Molina was revealed to be returning as Doctor Octopus, the same character he played in Sam Raimi’s Spider-Man 2. His version, on the other hand, is beloved by audiences and continues to show evidence that Maguire and Garfield could be returning.
Doctor Strange and Wanda
[caption id="" align="alignright" width="370"] Image from DroidJournal[/caption]
Another returning character that will be appearing in this film is Doctor Strange. With the Doctor Strange sequel being titled In the Multiverse of Madness, and being the conclusion of the story arc set up in Wandavision and carrying over into Spider-Man: No Way Home, it feels right that the Spidey film will bring in other iterations of the character. Wanda Maximoff, who will be in Multiverse of Madness, has been rumored to be making an appearance in this film as well. If Wandavision does introduce the multiverse in the series finale, maybe Maguire and Garfield will surprise the world with a cameo.
Casting Rumors
Other than Foxx and Molina, there have been many other casting rumors for the third Spidey film. Willem Dafoe as Green Goblin, Thomas Haden Church as Sandman, and Charlie Cox as Daredevil have all been rumored to be making appearances in the film. If Dafoe and Church actually are in the film, then it would be hard to argue that we won’t be seeing the other Spider-Men. If this is true, there is a possibility of the Sinister Six as the main antagonist since we’ll have Green Goblin, Doc Ock, and Sandman all from Maguire’s universe, Elector from Garfield's, and Vulture and Mysterio from Holland’s. Having all three Spider-Men join together in the finale of the film facing off the Sinister Six would be a great way to end this trilogy, as well as keep audiences excited for the future of the Marvel Cinematic Universe.
Multiple Titles
Although the title has been officially revealed as Spider-Man: No Way Home, there were multiple titles revealed by the cast the day before. Those titles included Phone Home, Home-Wrecker, and Home Slice. Although none of these titles specifically refer to the multiverse, there have been theories about why three fake titles were revealed. One of those theories is that each of the titles refers to the three Spider-Men. The theory claims that Home-Wrecker is referring to Garfield’s Spider-Man destroying the lives of Gwen Stacy’s family, with Home-Slice referring to Maguire’s Spider-Man being a pizza delivery man. Finally, Phone Home refers to Holland’s Spider-Man calling Happy.
Holland’s Response
The main piece of information holding back the idea that Maguire and Garfield could be showing up in this film was a statement from Holland. During an interview, when he was asked about other Spider-Men showing up, he simply replied, “No, no, they will not be appearing in this film.” This should be taken with a grain of salt since he could simply be trying to cover up the secret that the other two Spider-Men will make an appearance. While there hasn’t been an official statement from the studio or those involved with the film that all three Spider-Men will be in the film, there also hasn’t been a statement that they won’t.
Sources: CBR, CinemaBlend, Geekfeed, Heroic Hollywood, Newsweek, The Hollywood Reporter, The Verge
Images: CinemaBlend, Droid Journal, The Hollywood Reporter
Featured Image: Mashable India
(02/27/21 5:00am)
Blake and Graham break down Bethesda's future event to show off upcoming games following their acquisition by Microsoft. Checkpoint is Byte's video news series, reporting on recent events in the world of entertainment, tech, and pop culture. Whether its video games, film, television, or music, we've got you covered!Anchors: Blake Chapman, Graham HardingExecutive Producer: Aaron DwyerVideo Editing: Blake Chapman Audio Editing: Shwetha SundarrajanGraphics: Kellyn HarrisonMusic: Jack McGinnis
(02/26/21 3:27pm)
[embed]https://youtu.be/yHGPntIAu_8[/embed]
Blake and Graham break down Bethesda's future event to show off upcoming games following their acquisition by Microsoft.
Checkpoint is Byte's video news series, reporting on recent events in the world of entertainment, tech, and pop culture. Whether its video games, film, television, or music, we've got you covered!
Anchors: Blake Chapman, Graham Harding
Executive Producer: Aaron Dwyer
Video Editing: Blake Chapman
Audio Editing: Shwetha Sundarrajan
Graphics: Kellyn Harrison
Music: Jack McGinnis
(02/25/21 6:43pm)
Graham and Blake break down Nintendo's latest announcements about the Legend of Zelda series. Checkpoint is Byte's video news series, reporting on recent events in the world of entertainment, tech, and pop culture. Whether its video games, film, television, or music, we've got you covered! Anchors: Graham Harding, Blake ChapmanExecutive Producer: Aaron DwyerVideo Editing: Aaron DwyerAudio Editing: Shwetha SundarrajanGraphics: Taylor SheridanMusic: Jack McGinnis
(02/25/21 5:00pm)
Wrapped Up continues this week with this week’s top stories on the latest Nintendo Direct, Donald Glover’s move to Amazon Prime, and the plethora of new trailers for HBO and Disney.
