New month, new things to watch on Netflix.

In the month of March, Netflix will usher in an array of films to make your spring cleaning endeavors a little more entertaining. From comedy to drama and everything in between, here are just nine of the best movies hitting Netflix in March that we can't wait to stream.

Corpse Bride

Helena Bonham Carter and Johnny Depp voice the leading couple in Tim Burton's animated feature, in which a dude accidentally marries a dead lady. Spooky!

Opinion

Misogyny Disguised as Misery: We Need to Talk About Hobo Johnson

It's time we acknowledge the emo rapper's repeatedly sexist subject matter.

Note: This article mentions non-violent sexual assault that some readers may find disturbing. The alleged victim later recanted her statement on January 29, explaining that the incident was a misunderstanding between her and her friend, who shared the original Tweet referenced below.

In 2018, a YouTube clip of a Californian quasi-rapper by the stage name of Hobo Johnson went viral.

The video, an entry for NPR's Tiny Desk Contest, depicted a dorky, socially anxious 20-something and his band, dubbed the Lovemakers, performing a song called "Peach Scone" in a backyard. The lovelorn tune fuses minimalistic folk-rock with Johnson's slam-poetry style delivery which, more often than not, sounds like he's on the verge of tears. "She is like the nicest person I've ever met in my whole life / And I'm sure you know it 'cause you sleep next to her every night," goes one of the song's most bitter couplets.

www.youtube.com

Nearly two years and 17 million views later, Johnson is now arguably one of the most polarizing acts in the "emo rap" universe—if not the most outwardly hated. Though many media outlets praised Johnson for his vulnerability and outspokenness on mental health issues, an equally prominent portion of listeners swiftly labeled him an incel (short for involuntary celibate, a descriptor for men who blame their inactive sex life mostly on women alone rather than their own personality flaws). "My ex knows why my last one's my last one / Hey, guess why? It's all my stupid f--king actions," Johnson croons on "February 15th." "I'm gonna be alone forever."

This week, Hobo Johnson's name trended on Twitter because of a (now retracted) accusation. "Hobo Johnson has genital herpes," a now-private user alleged in a tweet. "This is nothing to be ashamed of, except he took off the condom while having sex with my friend, without her knowing, after one of his meet and greets. That's assault and he knowingly gave her herpes." But later the woman in question tweeted:

Though there are currently no laws in the U.S. that prohibit secretly removing a condom during sex—or "stealthing," as it's so cutely been nicknamed—the act is widely considered a form of non-violent sexual assault. Though the statement has since been backtracked and we'll never know for sure what happened, it's worth pointing out that in the original tweet's responses, Johnson received backlash that cited his previous behaviors and the subject matter in his songs. This incident underscores a trend of misogyny that exists in many men under the guise of radical male sensitivity.

In a track from his 2017 album The Rise of Hobo Johnson, Johnson pleads: "Mario's never getting some, and Link's never getting some / So why would princesses love me?" Somehow, he manages to incriminate himself and imply that video game damsels owe sex to their saviors in one fell swoop. "You know, it's something that I'd do / Like not text back for a day or two," he digresses on "Mover Awayer," a song about the anger he feels over the girl he likes moving away. "She deserves someone better, but / Every single guy she's ever loved to me sounds really f--king dumb." One of the worst offenders is "Sex in the City," a song featuring a chorus that earnestly speculates "sex in the city probably feels really really nice."

In other moments, it's evident that Johnson means well; he pretty explicitly denounces police brutality in "Demarcus Cousins & Ashley," and repeated references to his parents' severed marriage are likely to console listeners who are children of divorce. But if those same young children think Hobo Johnson exemplifies healthy relationships and sincere expressions of love beyond childish desires to "get some," then we're in a world of trouble. No matter how he treats women in real life, his artist persona and the attitudes he expresses in his music pose real dangers with potentially nauseating consequences.

CULTURE

Post Malone Falls, Gets Face Tattoo, Hugs BTS on New Year's Eve

His entire night was a very symbolic reconstruction of the incredibly chaotic 2010s and an invitation into what is sure to be an equally chaotic new decade.

Post Malone had a tumultuous New Year's Eve, to say the least.

Just hours before his headlining performance in Times Square, Posty decided to emblazon his face with yet another tattoo. It's "like a gauntlet and like a flail—it's like a big spiked ball on a chain," he told TMZ.

This means that he is rapidly running out of space for more face tattoos, a true achievement. When asked about the tattoo, he said, "It hurt like a motherf*cker."

Later that night, Post Malone headlined Dick Clark's New Year's Rockin' Eve in Times Square. He performed his hits in a neon pink suit, and, at some point, he tumbled into the audience. Though the fall caused a stir, Post was unscathed and appeared to be laughing as security helped him back onstage.

Post Malone falls off stage mid performance at Dick Clark's Nye celebrations www.youtube.com

By midnight, he had completely bounced back from the fall, and fellow headliners and K-pop stars BTS drew him into a group hug as the clock struck twelve.

When you're living under late capitalism, sometimes simply being a complete disaster is a revolutionary act.

Thus, Post Malone's disastrous New Year's Eve celebration—face-plant and face tattoo and who knows what other shenanigans—might be read as an act of revolution against a system that expects us to be visually composed and perpetually re-optimizing ourselves. On the other hand, it might just mean that Post Malone—like our global ecosystem and economy—is really in free-fall, and we're just going to keep watching things plummet.

Regardless, Post Malone's New Year's Eve sounds like a true last-night-of-2019 mood, the perfect way to ring in a new decade that's sure to be at least as chaotic and Post Malone-filled as the last. Despite all the mishaps and painful inking experience, the kind of compassion displayed by BTS in Post's hour of loneliness is what might get us through it all.

You can feel nostalgia for lost futures running through every note and lyric of Lil Peep's music, memorialized today on the massive compilation album Everybody's Everything.

Even while he was alive, his music was heavy with a sense of doom, always colored by a longing for a different mind and a different world.

Doom was part of his brand. He seemed allergic to his own mind and kinetically drawn to death; he appeared in a coffin on his last album, Come Over When You're Sober, Part 1. On his song "ghost boy" he sings, "When you are on your own / Just know that I love you / I won't pick up the phone / Just know that I need you." Though he sang those words while he was alive, they sound like a cry from beyond the veil, a futile attempt at making contact.

Witchblades and Rockstars: Lil Peep's Raw Honesty

Lil Peep always made music like he wasn't afraid to die, like every song could've been his last. Always, there was a sense of urgency, a throb to the basslines and a desperation to his voice that made it sound raw and real even when played through clusters of filters. The same went for his lyrics, which constantly veered between being laundry lists of vices and spurts of raw confession. "In high school I was a loner / I was a reject, I was a poser," he says on "witchblades," another song that toes the line between almost absurd performative artifice and moments of startling honesty. "I swear I mean well. I'm still going to hell."

When you listen to Lil Peep, you dive into a universe of pure id. The emotions are undistilled, dark and shrouded in decay, but they often veer towards surprising earnestness. From the start, Lil Peep was always honest about his desire to love and be loved, to be remembered and to do no harm to others.

Lil Peep - Text Me (ft. Era) (Official Audio) www.youtube.com

A lot of his songs rely on pop chord progressions and camp, which adds a sense of wide-eyed innocence to the music. That can feel like a kindness amidst the wilderness of all the binges and death, an eye in the storm of bass and hyper-processing. The same goes for his lyrics—he'll sound like a jaded old soul, but every once in a while his youth shows its face, or a wildly cheesy line will pop out of nowhere. "I'm a real rockstar," he says in "Rockstars," and you remember he's just a kid who fell into the vortex of Los Angeles. Of course, it wound up swallowing him.

A Portrait of Gen-Z Counterculture: Xanax, Social Media, and SoundCloud Clout

Throughout his short life, Peep struggled with anxiety and drug addiction, both of which made it difficult for him to connect to others. He took Xanax and other drugs to escape, and his music is a kind of map of the internal anxieties (and external methods of self-medication) that seem to define much of Gen-Z. There's a constant oscillation between overdose and withdrawal, a desire to feel everything and then a desire to escape it all.

Peep's short life, as chronicled on Everybody's Everything, is perhaps as good a portrait of the emotions of young people in 2017 as anything else in pop culture today. In the social media dimension, users are confronted with images of death and apocalypse, posted right alongside artificial visions of glory and glamour. Naturally, conflicting emotions like guilt, crushing realities, and illusions blur together in technicolor on every feed, just as they do on every Peep song.

Fortunately, Peep was a capable musician, capable of spinning these emotions into cohesive, hypnotic gestalt. "Text Me" is a fragile and spacey guitar ballad that will speak to children of the digital age as well as anyone who's ever felt a sense of longing for something they couldn't quite reach. "Belgium" is another song about disconnect that threads dreamy synths with a pounding, heady rhythm. Still, some of his best songs remain unreleased, like the impossibly dreamy "lose my mind," the woozily dark "The Way I See Things," and the anthemic "Broken Smile."

LiL PEEP - The Way I See Things www.youtube.com

Kurt Cobain and the Legacy of Fallen Stars

Peep is perpetually compared to Kurt Cobain, another star who struggled with depression and drugs and died too young. The Nirvana frontman was well-known for his hyper-sensitivity and empathy, which made it hard for him to live in the real world. The same could be said of Lil Peep, who posted a series of desperate captions on Instagram in the months and days leading up to his death. The day before he died, he wrote, "I just wanna be everybody's everything."

However, it's now almost certain that Peep didn't commit suicide. He died at 21 from an accidental fentanyl overdose, before he had the chance to fill arenas (as he certainly would have), before his sadness could mature and crystallize, before his music could ripen, and before he could make deeper connections and develop his burgeoning social consciousness. Because of this, his body of work will always be incomplete. Even so, Everybody's Everything is strong on its own, but even more so when you realize it's a skeleton. These songs are graveyards, haunted by everything that could've been.

That's also part of why, in spite of the care that was clearly put into curating the album and documentary, it's still hard to listen to them without wondering if they sound how Peep would've wanted them to, or if he would've wanted them released at all.

Haunted Futures

Sometimes, though, it's hard not to feel like Peep knew his fate. On "haunt u," one of his many unreleased songs, he sings, "I could live forever if I want to / I could stop time / but I never wanna do that again." He's aware that he could fill arenas, stop the world in its tracks, but he doesn't want that kind of power. Ironically, it's so easy to imagine that song filling outdoor amphitheaters and to envision fans' cellphone lights waving along like stars.

The theorist Mark Fisher coined the term "hauntology" to describe any feeling of "nostalgia for lost futures," emphasizing that usually, the loss of faith in a future—the belief that we've reached some kind of end of history—is involved in holding these futures back from becoming real. In this way, Lil Peep's vision of his fate became a self-fulfilling prophecy. "When I die, I'mma haunt you," he sings at the end of "haunt u." Few promises have been better kept.

lil peep - haunt u [extended w/lyrics] www.youtube.com


lil peep - star shopping (prod. kryptik) www.youtube.com


CULTURE

A Defense of Face Tattoos (and a Few Cautionary Tales)

Face tattoos are far from just SoundCloud trends.

Face tattoos have a pretty bad rap.

We love to make fun of them, laughing at the knowledge that there are people out there who are going to be stuck with a garish numerical figure on their foreheads or a phrase like "Always Tired" under their eyes for the rest of their lives.

Rooster Magazine

On the other hand, tattoos in general have always received harsh criticism. Though every millennial seems to have at least a few fine-line arm tattoos nowadays, all over the world and in many faiths, tattoos are sacrilegious, evidence of Satan's corrupting influence or its many iterations. Thus, tattoos have always been mechanisms of subversion and counterculture, whether as markers of membership in certain groups, or monikers of individuality, or signifiers of devotion to a certain kind of art or person. They've been ways of reclaiming or altering one's physical appearance, ways of taking ownership of a body that, all too often, capitalism and the media try to devour or force to align with some standard.

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CULTURE

Why Have We Not Canceled Adam22?

In light of Dame Dash's recent interview with the "No Jumper" podcast host, we take a look back at all the despicable things Adam Grandmaison has done over the years.

Twitter

In 2005, a young woman met a man online named Adam Grandmaison. Grandmaison, who goes by Adam22, is the founder and host of the popular hip-hop podcast No Jumper.

The podcast established Grandmaison as a sort of hip-hop tastemaker, as it's historically offered candid interviews with many of rap's upcoming stars. From XXXTENTACION to Suicideboys and Smokepurpp, the podcast has achieved critical acclaim for having its finger on the pulse of hip-hop culture.

With that in mind, the young woman met up with Grandmaison in Manhattan, they went to his apartment, and they started to hook up. "[It] quickly became uncomfortable as it went further than I wanted to go," the woman told Pitchfork. "I told him I wasn't into it, but he didn't stop and became pretty angry." He allegedly continued to have "sex with [her] lifeless body."

DJ Akademiks Interviews Adam22 from No Jumper on his Rape Accusations |Full Interview| www.youtube.com

Grandmaison went on to slut-shame the woman on a public forum in 2009 when he got word that she claimed he raped her. The 1,800-word post, titled "The Time a Girl Accused Me of Rape," goes on to describe in "graphic terms" the sexual intercourse he had with her, maintaining that it was consensual. "She was letting me touch her all over and was making out with me the whole time, but she didn't seem like she was really enjoying it all that much," he wrote. "How much a woman enjoys sexual activity is usually not highly correlated to how much fun I'm having though, so I didn't give it much thought."

Another woman told Pitchfork a similar story, claiming that as she watched Netflix with Grandmaison, she tried to "barricade" her hands over her v-gina while telling Grandmaison to "stop" as he continually tried to have sex with her. Grandmaison proceeded to "pull her arms over her head," before allegedly raping her. The woman and Grandmaison supposedly met online when she was just 16. "I was like, 'Dude, I told you I wanted to wait,'" she said. "'Why did you do that?'" Grandmaison asked the woman to keep what happened "a secret" between them, as the Internet personality was still "getting lots of heat" over the first claim of rape. The woman was 18 at the time of the alleged assault. The 35-year-old podcast host later wrote another 9,000-word blog post about the incident deriding the woman and claiming "she was pretending to not want to bang me."

When both accusations resurfaced in 2018, they caused Grandmaison to lose a record deal with Atlantic Records. Besides that, the career of Adam22 has continued, practically uninterrupted, despite multiple other accusations of "serial rape" and intimidation coming to light in recent years. He even once "apologized" for raping a woman.

In addition to a disturbing history of violence against women, the internet personality has a backlog of racist, pedophilic, and homophobic Tweets dating back years. "Can any and all hot high school students stop following me on Instagram? I have enough temptation in my life as it is," read one. "Most blacks are habitual line steppers," read another. "Shouts to all the 18-year-old girls that let a real dude like me hit it even though when I was 8 they were still an egg," read another. "If statutory rape is wrong, I don't wanna be right," read another. Grandmaison has claimed that all the tweets are fake. Here are just a handful of them below.






Despite his blanket denials of all the accusations against him, Grandmaison hasn't exactly attempted to hide his misogynistic view from the public eye. In what was meant to be a candid expose with Rolling Stone, Grandmaison talked about how he almost had a threesome the night before the interview. "At one point, I had my door closed in my room and [two women] were smoking cigarettes out the window...I'm sitting on the bed and both their asses are right there." He told the publication. "I was thinking, 'I need to just grab their asses and start rubbing their p*ssies and this could totally get cracking right now." Grandmaison said he "didn't have it in him."

Adam22 has regularly been called an "influential tastemaker" in hip-hop. He has made a career out of discovering upcoming rap talent, yet his "genius" seems completely recyclable. "I stay up most nights until like 6 or 7 in the morning listening to music online, watching videos and going down weird reading wormholes," he said of his process. In addition to all the aforementioned offenses, Adam22 is regularly accused of being a culture vulture, and even before his time on No Jumper, he came under scrutiny for posting a video of BMX bikers bunny-hopping over homeless people. "I feel like ever since we moved west, I have a much better understanding of who hates me in bmx," Grandmaison Tweeted. "And just as I suspected, it's mostly f-gs." This past Friday, he dismissed Sam Smith's pronoun change as mere album promotion.

With all of these factors at play, his ability to peruse the internet for new music and carry on conversations with artists shouldn't make him immune to cancel culture or legal repercussions. Hip-hop underdogs should think twice before allowing this man to be their first major co-sign. "For most men, being falsely accused of rape is a horrible experience that can ruin their reputation, cost them thousands in legal fees and may land them in jail, but for me," Grandmaison wrote in a statement following the allegations of rape, "I would have to say that it was overall a very positive experience."