church of the wild ones tour

Interview: Andy Biersack of Black Veil Brides Talks Golden Gods Awards, 'Wretched and Divine' and Devoted Fans

The year is shaping up to be a impressive one for Andy Biersack and Black Veil Brides.

They've already released The Wretched and Divine: The Story of the Wild Ones , which debuted at No. 7 in the US; they've unveiled a motion picture, Legion of the Black , done two North American legs and one European leg of the Church of the Wild Ones tour — and they're up for two Golden God awards.

Let's not forget they're also featured in the March 2013 issue of Guitar World , which you can check out here .

We recently sat down with Biersack, the band's singer and founder, and got his thoughts on the Golden Gods. For more about this year's Golden Gods awards, head here.

GUITAR WORLD: Golden Gods-wise, you guys are up for an award in the Most Devoted Fans category. What makes your fan base so special?

I think, obviously, we are noted for having a very dedicated fan base. There is a visual, aesthetic part of it where you have the makeup and the costumes. The devotion of the BVB Army, with its very big online presence, is amazing. We’ve been fortunate from the very beginning. It was something that was really able to spur on our career.

When it came to record labels and management, people didn’t give a shit until the fans sort of forced our way into places. You can't deny a band whose fans are so dedicated. You can’t deny a band whose fans will literally do anything to see them win the awards. We’re very appreciative to the fan base. That mutual feeling of appreciation is something that really helps.

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Do you think part of it might stem from early on, especially with your "lyrics of the disenfranchised"? Do you think they struck a chord with fans who were preached to with pop music and that made you guys a great alternative?

Absolutely. The message of the band goes hand in hand with the fan base. We never made attempts to say we were anybody’s role model or the be-all-end-all of what people should look up to. We have always just been very open about the fact that we have difficulties and we are messed-up people just as our fans are. We kind of wanted to do it together with them. With that being said, the feeling of comradery between us and the audience has really always been there.

Bands talk about their audience bringing their kids to shows. Have you seen fans bring their parents along for the ride?

Our shows have always been sort of an all-generations thing, people from 6 to 60. The other night, we played a show and we had a woman who was probably 70 to 75 years old, and she was there alone and she was singing every song. On the other end of the spectrum, there was a 7-year-old on his dad’s shoulders and the dad is singing along. You have the teenagers as well, of course. We are a band that stylistically crosses a lot of barriers and generational gaps. The heavier portion of the band, the modern music elements, the visual part of the band appeal to a younger audience. For an older audience, we have chops and great songs that are reminiscent of the things that were great about rock and roll when they enjoyed it. We’re the kind of band that can cross those lines.

True. You aren’t going to sound foreign to someone who grew up listening to a Motley Crue or a W.A.S.P. Your music has modern elements, but it isn’t going to turn off a listener who's in his or her 40s or 50s.

Honestly, it boils down to songs. Good songs are always good songs. People can listen to a song by an artist such as a Van Halen, and no one in the room is going to go, “Oh, this is terrible." Good songs cross those lines. Our focus on the record was to make them as good as possible, and those things will stand the test of time and relate to any audience. I’m not going to name any names, but we certainly have a lot of counterparts in bands that are popular, drawing well, selling well and are of the same age group as us. My point is always, where are the songs? What is memorable about this?

On the subject of songs, “In The End” is up for Song of the Year at the Golden Gods. If I remember correctly, that was the last track you did for the album. Did you have the complete concept of the album laid out at that point, and how did the story coincide with writing all the album’s lyrics?

It all started with a short story I wrote on a plane and then spiraled. I had two friends, Patrick Fogarty and Richard Millwood, who were very dedicated artists and friends of ours. When we got home, I gave it to them and told them about that story and said maybe we can do something with it. As a band we sort of dissected it and built the record out of it.

Do you write as a unit?

Every song has a different process. There will be some songs where it comes together right away and we’ll all be sitting around and know it. Then there are songs that take quite a while. A song like “Nobody’s Hero,” for example, took a lot of days of back and forth with our producer, John Feldman, with “The chorus should be more like this or that." A song like “In The End” came together fairly quickly.

I think a lot of people overlook or are unaware of the fact that you are extremely talented musicians. You have a classically trained musician in the band and a guitar duo that's reminiscent of Glenn Tipton and K.K. Downing of Judas Priest.

I think that is something we've always liked with that guitar duo. Even on stage, it’s sort of “classic” rock and roll.

Is there anyone in particular you're listening to right now?

We are big fans of a band out of Europe called CRASHDÏET. They have come out to a bunch of our shows but haven’t toured much in the US just yet.

Black Veil Brides have a few more dates in the US before taking the Church of the Wild Ones tour to Europe for April. The band returns home to the US to be part of the Vans Warped Tour, which runs all summer long. Keep up with their current tour dates at officialbvb.com .

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Black Veil Brides Deliver Rock ‘N’ Roll Sermon to the Wild Ones in Massachusetts

It may have only been a Saturday night, but when the Black Veil Brides rolled into the Palladium in Worcester, Mass., on Jan. 26, church was officially in session. With their ‘Church of the Wild Ones’ tour now in full swing, the Black Veil Brides resided over their pulpit delivering a sermon of good-for-the-soul, raw, rock 'n’ roll.

Rife with theatrics, gratuitous guitar solos, and just enough attitude to carry it all off, the Black Veil Brides deliver a live show that’s reminiscent of the decadence of glam rock in the late ‘80s and early ‘90s but completely transformed for a new generation, or an army as the case may be. Their fans, known as the BVB Army, were out in full force paying homage to the band with face paint and all the signature BVB trappings.

Frontman Andy Biersack, bassist Ashley Purdy, guitarists Jake Pitts and Jinxx and drummer CC Coma – collectively known as the Black Veil Brides, rang in the new year with their latest disc ‘Wretched and Divine: The Story of the Wild Ones’ – a conceptual disc that largely inspired their current stage show and set list. From kicking off the show with ‘I Am Bulletproof’ to new tracks like ‘Nobody’s Hero,’ ‘Wretched and Divine’ and 'Shadows Die,’ the set list brilliantly showcases their latest work.

With that in mind, fans hoping to hear music from BVB’s first two discs won’t be disappointed on this tour at all. ‘We Stitch These Wounds’ was represented with tracks like ‘Knives and Pens’ and the single ‘Perfect Weapon.’ 2011’s ‘Set the World on Fire’ provided some of the loudest crowd sing-a-longs of the evening from ‘Fallen Angels’ to ‘The Legacy’ and ‘Rebel Love Song.’

The Black Veil Brides are a young band building on something big. With a vision for their music that includes not just the audible but the visual and visceral, the Black Veil Brides provide more than just a concert, it’s an overall rock experience. In addition, they seem to understand the importance of the intangible things in the music world like the relationship they’ve cultivated with their fans throughout the years.

The Black Veil Brides continue their tour run through the beginning of March; check out all of the remaining tour dates here .

View Photos from Black Veil Brides 'Church of the Wild Ones' Tour in Worcester, Mass.

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Black Veil Brides Announces The Church of the Wild Ones Tour

Black Veil Brides announces “The Church of the Wild Ones Tour” with support from William Control. You can check out the dates after the break.

Joshua Weidling

1/18 – Baltimore, MD @ Rams Head Live 1/19 – Philadelphia, PA @ The Trocadero 1/22 – Cleveland, OH @ Peabody’s 1/23 – Buffalo, NY @ Club Infinity 1/25 – New York, NY @ Best Buy Theater 1/26 – Worcester, MA @ The Palladium 1/27 – Manchester, NH @ Armory Ballroom 1/29 – Pittsburgh, PA @ Alter Bar 1/30 – Toronto, ON @ Opera House 2/17 – Allentown, PA @ Crocodile Rock Cafe 2/19 – Louisville, KY @ Headliners Music Hall 2/20 – Bloomington, IL @ The Castle Theatre 2/22 – Pontiac, MI @ Crofoot Ballroom 2/27 – Salt Lake City, UT @ The Complex 2/28 – Boise, ID @ Knitting Factory 3/1 – Spokane, WA @ Knitting Factory 3/2 – Seattle, WA @ Studio Seven 3/4 – Chico, CA @ Senator Theatre 3/5 – Reno, NV @ Knitting Factory 3/6 – Sacramento, CA @ Ace of Spades 3/8 – San Francisco, CA @ Regency Ballroom 3/9 – West Hollywood, CA @ House of Blues

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The church of the wild ones tour

Black Veil Brides Announce Additional Details For New Album

Metal outfit Black Veil Brides have announced details for their forthcoming brand new album, including the whopping 19 song track list. The band will be releasing their highly anticipated new album, titled Wretched and Divine: The Story Of The Wild Ones, on January 8. Black Veil Brides will be setting out the absolutely massive, two-month long, […]

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Wretched And Divine: The Story Of The Wild Ones

• Edit source

Cover artwork by Richard Villa

Ultimate Edition cover artwork by Richard Villa

Wretched And Divine: The Story Of The Wild Ones is Black Veil Brides 's third studio album, released through Lava Records/Universal Republic Records on January 8, 2013. It is described as a rock opera concept album. "The Church of the Wild Ones" tour supported the album from January-April, 2013. Wretched And Divine: The Story Of The Wild Ones - Ultimate Edition CD/DVD was released on June 11, 2013.

A film titled Legion of the Black was released in support of the album which tells the visual story of the concept presented in the album.

• 1 Release and Promotion
• 2.1 Commercial Reception
• 2.2 Critical Reception
• 3 Album Artwork
• 4 Track Listing
• 5.1 Black Veil Brides
• 5.2 Additional Personnel

Release and Promotion [ ]

Insert text here.

Reception [ ]

Commercial reception [ ], critical reception [ ], album artwork [ ], track listing [ ].

• Act 1: Hope Exordium
• I Am Bulletproof
• New Years Day
• F.E.A.R. Transmission 1: Stay Close
• Wretched and Divine
• We Don't Belong
• F.E.A.R. Transmission 2: Trust
• Devil's Choir
• Resurrect The Sun
• Act 2: Faith Overture
• Shadows Die
• Days Are Numbered
• Done For You
• Nobody's Hero
• Lost It All
• F.E.A.R. Transmission 3: As War Fades
• F.E.A.R. Final Transmission
• Ultimate Edition Revelation
• Victory Call
• Let You Down

Personnel [ ]

Black veil brides [ ].

• Andy Biersack (lead vocals)
• Jake Pitts (lead guitar, backing vocals)
• Jinxx (rhythm guitar, violin, piano, backing vocals
• Ashley Purdy (bass, backing vocals)
• Christian "CC" Coma (drums, percussion)

Additional Personnel [ ]

• Insert personnel.
• 1 Andy Biersack
• 2 Black Veil Brides
• 3 Wretched And Divine: The Story Of The Wild Ones

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Music Features

Post malone's winding country road, 'f-1 trillion' marks a new chapter, but it's no wild swerve: the one-time soundcloud rapper has had his eye on nashville for years.

Sheldon Pearce

Just shy of a decade after debuting in hip-hop, Post Malone completes a long-gestating country turn with the new album F-1 Trillion . Photos by Randy Shropshire/Brett Carlsen/Getty Images/Illustration by Jackie Lay hide caption

Only a few months after Post Malone unveiled his debut single, “ White Iverson ,” in 2015, the Texas-raised rap upstart was already mapping out his honky-tonk future. Though he’d presented himself in his breakthrough moment as a swaggin’, saucin’, ballin’ adopter of the spoils-obsessed melodic hip-hop surfacing on SoundCloud, an all-caps tweet from that spring found him setting a course for different territory: “WHEN I TURN 30 IM BECOMING A COUNTRY/FOLK SINGER.”

There was already a marked disconnect between what Post presented to the world and how he saw himself. The music he was making prior to his breakthrough was a dead giveaway, leaning into the rootsy aspirations of a singer-songwriter and guitarist obsessed with Bob Dylan and Hank Williams, the revelation of which fueled accusations that he was a hip-hop opportunist. As packaging, “white rapper” has frequently been a fast track to commercial viability, but even then there were signs that the artist was wielding that expediency in service of a very specific course to stardom, one that might not have been available to him as a run-of-the-mill folksinging Texan. “The old country singers, they were badass, they were the American badass people,” he told The Fader that year when asked about his role in the rap ecosystem, the sideways response indicating that he’d set his goalposts on a different field. This week, the 29-year-old crosses into the endzone a year earlier than he predicted, completing his country transformation with the new album F-1 Trillion .

On the face of things, there’s a sizeable gulf between the Post Malone of “White Iverson” and the one who recently shut down Broadway in Nashville shooting the video for “ Guy for That ,” lipsynching alongside Luke Combs in the bed of a moving 18-wheeler: He’s undone the cornrows, stripped off the chains and unlaced the Jays, opting instead for a mesh trucker hat, cowboy boots and a wooly beard, and exchanging the Bentley for something more blue-collar. In the same way, his decade-long graduation from SoundCloud rapper to diamond plaque collector to All-American mainstay arm-in-arm with some of country music’s most prominent stars can read from afar as chaotic harmony, a series of drastic and unlikely reinventions that somehow resolved into steady upward progress. But zoom in a bit, and it becomes clear that he’s mapped this trajectory with care, and that his seeming big swings are better understood as myriad baby steps, gingerly evading the strictures of authenticity. That’s not to say there haven’t been plenty of lucky breaks on the path to his rhinestone makeover. But if a young Austin Post saw rap as his ticket to the Top 40 all those years ago, it was becoming a pop star that truly made his country dream a reality.

Though country seemed to be calling out to Post from the start, the path didn’t reveal itself right away. A rap career presented itself first in Los Angeles, after an adolescence spent in high-school hardcore bands. He first learned to make beats from his friend Jason Stokes, the YouTuber MinecraftUniverse, and they started a rap duo together in Grapevine, Texas, which Post initially hid from his parents. “I don't want to say I was mad, but I was mad,” his father told the Dallas Observer in a 2016 profile, saying he worried right away how the inevitable “culture vulture” pushback to his son’s rap turn might affect his state of mind: “All the things you think of with a kid like Austin, with his demographic, those things go through a dad's head with the challenges he's going to face.” Stokes invited Post to live in a gated San Fernando mansion dubbed The White House, and Post abandoned his first semester at college to start recording there. Being around other aspiring artists led him to the Atlanta producer FKi 1st, whom he convinced to move to LA full time and live at The White House. They recorded “White Iverson” on a whim; it had a million plays in six days. But the internet giveth and taketh away, and he quickly found his feet to the fire for a digital footprint that made him seem like a hobbyist at best and a raider at worst. Addressing his controversial image — which included resurfaced video of him using the N-word — he claimed to be drawing from a single wellspring: “Hip-hop and country aren't too far different,” he said. “They got shiny suits and the boots and the guitars with their names on it. I was infatuated with that type of stuff."

Despite benefiting from the optics of a white kid pantomiming Blackness, Post was reluctant to commit to rap in name. “I'm not a rapper,” he told the Observer . “It’s music instead of a genre.” His refusal to stop and consider the way his early music was coded often came off as ignorance, even if many artists — rappers especially — are wary of strict genre labels. In truth, there was something to what he was saying: He had a knack for hooks that suggested a studied pop songcraft, and even his debut mixtape, August 26 , hinted at a genreless ambition, interpolating Fleetwood Mac’s “Dreams” into the intro for the nightmare trap of “ Comedown .” In the 2017 hit “ Congratulations ,” from his debut album, Stoney , you can hear an increasing refinement to his droned, blotting vocals and the way he deploys them, and hints of a core style shifting away from his early posturing.

Questions about genre identity and its relationship to appropriation and authenticity have followed Post throughout his career. In 2016, XXL editor-in-chief Vanessa Satten said that while considering Post for their annual Freshman cover feature, she was “told by his camp that he wasn't paying attention to hip-hop so much. He was going into more of a rock / pop / country direction.” Post denied the claim, but his immediate trajectory told a different story. By 2017’s Beerbongs & Bentleys , he had already begun to make his move away from trap. FKi 1st, whose fingerprints were all over Stoney , did not appear on it at all. Even the binary of the title suggested a new aesthetic juxtaposition. It has never felt like a coincidence that the album’s lead single was “ Rockstar ,” or that the riffy, crooned “ Better Now ” nudged him closer to pop’s center (country gal turned pop supernova Taylor Swift once admitted she was jealous of the hook).

He had already taken a sideways stance on hip-hop’s utility in an interview that year , drawing ire for comments about what he perceived as a lack of depth in rap music: “If you’re looking for lyrics, if you’re looking to cry, if you're looking to think about life, don't listen to hip-hop,” he said. “Whenever I want to sit down and have a nice cry, I'll listen to some Bob Dylan,” indirectly drawing a line back to the Dylan covers he uploaded to YouTube as Austin Richard before he was famous. He’d later walk the comments back, but not before doubling down: “What I was trying to say is that a lot of people, except for a handful of artists, are saying the same s***, they’re not saying anything super meaningful.” Post has spent the rest of his albums — the most recent of which was simply titled Austin , a time-honored gesture at realism and legitimacy — inching away from “rapper” and toward a more ambiguous stardom. The songs of his Diamond Collection compilation, which gathers all eight of his singles to achieve the coveted RIAA certification, display an artist finding his way back to neutral ground: from the trap imitations of “White Iverson” and “Congratulations” through the mainstreamer moves of “ Psycho ” and “ Sunflower ” to the soft rock of “ Circles ” and “ Chemical .”

Post Malone: Tiny Desk Concert

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As for his country swing, there have been signposts throughout the Post run signaling its eventual arrival. In a ViceCanada video from 2017, he explained why he loved the music, again comparing the swag to rap’s and planting the seed: “Later down the line, I might make a country album.” In 2018, Post took over Nashville’s Exit/In club as part of Bud Light’s “Dive Bar Tour.” That same year, he joined Dwight Yoakam on his newly debuted SiriusXM radio channel to perform a duet of the latter’s “A Thousand Miles from Nowhere.” At a tribute for Elvis Presley in 2019, he performed alongside Blake Shelton and Keith Urban. For the “We’re Texas” benefit concert held by Matthew and Camila McConaughey in 2021, he was joined by Yoakam's band for renditions of his country favorites, like Brad Paisley’s “I’m Gonna Miss Her” and Sturgill Simpson’s “You Can Have the Crown.”

Throughout the 2020s, Post has seemed to ingratiate himself with the heavy hitters in that corner of the industry, in a way that came to feel like a political candidate gladhanding important donors on the campaign trail. He took Kane Brown out for a night on the town in Nashville, and introduced Carrie Underwood to his mom. Sturgill Simpson expressed a desire to produce a Post Malone album of live instrumentation, in the caption of a video in which he’d covered Post’s Spider-Verse hit “Sunflower.” In 2022, Post dueted with Billy Strings, played beer pong with Randy Travis and connected with Luke Bryan and Wynonna Judd at his Nashville show. “Music has no boundaries,” Judd tweeted. “Post Malone and the Country Music Hall of Fame in one day.” She didn’t know how right she was. Last year, Post seemed be in soft-launch mode, guesting on Noah Kahan’s “Dial Drunk” and performing a Joe Diffie medley with Morgan Wallen and Hardy at the CMAs . By November, he made it official: “Country record is coming,” he announced on Twitch. “We made such sick music down in Nashville.”

That Paisley and Wallen and Combs and Dolly and Strings and Shelton and Hardy all appear on F-1 Trillion feels like the culmination of long-term aspirations and careful wrangling efforts. Drinking too much and being in dysfunctional relationships have been calling cards in his music since Stoney , and there has been an outlaw sensibility lingering beneath the rap flexer all along, but on songs like “ I Had Some Help ” and “ Pour Me a Drink ," he is emboldened by partnership, invoking a different kind of street cred. That establishment backing was perhaps the only way, after years rolling around in Bentleys, to make the switch to singing about working 40 hours and “breaking my back just keepin’ up with the Joneses” without sounding eye-rollingly out of touch — a trick he might have learned from having his intentions questioned in hip-hop so often.

Beyond Post’s individual efforts, the stars have aligned for F-1 Trillion : If there ever were a time to make the move, it’d be now. Rap and country have been shuffling closer together ever since Lil Nas X and Billy Ray Cyrus took those horses to the old town road, but 2024 has been defined by the country crossover. Morgan Wallen’s rap-inflected pop continued its domination thanks to One Thing at a Time . Beyoncé staked her claim to the music and its history, with “Texas Hold ‘Em” topping the Hot 100 and the Hot Country chart earlier this year, before Cowboy Carter flipped tradition inside out (with an assist from Post for good measure on “Levii’s Jeans”). And the alt-country riser Shaboozey has taken over the airwaves with “A Bar Song (Tipsy),” interpolating a lost rap hit from 2004 . If Post were truly genreless, this would be an ideal moment to push his chosen styles even closer together, mashing them up in a way that strips both of their usual conceits, but the album’s pre-release singles have charted a course for straight-ahead Nashville reverence. For all the talk of bold reinvention that has accompanied this move, there is an inherent safety in its execution.

It’s worth noting that Post, like Wallen, has benefited from crossing a boundary that has generally been more porous on one side than the other, in large part because of how genres are often policed along racial lines. Combs’ “Fast Car” breakthrough brought country music’s black-and-white gatekeeping back into view, while Post was embraced at the CMAs in a way that Beyoncé, in the moment that became Cowboy Carter ’s origin story, was not. Some of that is a result of timing, but it’s also clear that Post’s outsider status has mostly not been weaponized against him, and in fact has helped him build momentum. Part of his success in this moment feels linked to an underlying idea that he is coming home where he belongs: There is a sense of redemption in transitioning from goofball white rapper to down-home country musician that those in the latter camp might find easy to root for.

Even before “eras” became a buzzword, pop music has always been about reinvention, a near-constant act of roleplaying that has often required genre performance of one kind or another. A generous reading of the Post Malone arc might offer that fluidity in artistic practice allows for both greater creativity and more costumes for the entertainer — and in this context, you could look at his embrace of country as merely another performance. There is another reading, supported by his early comments, that suggests this is the artist that he wanted to be all along: the American badass, Hank Williams’ long-lost kin. Post himself seems to want listeners to believe it’s both — that, just like Beyoncé, country speaks to his character as a Texan, yet it’s also something he is tapping into as a free-flowing artist following his whims. That duality is the ultimate payoff for a rare talent maybe he alone in pop possesses: actualizing a self-concept that uses the signals of authenticity to transcend actually being anything in particular.

• Post Malone

Danish Golf Championship: DP World Tour Fantasy ones to watch

Feel closer to the action on the DP World Tour by competing against golf fans from around the world in our official Fantasy game as the Closing Swing reaches its final event with the tenth edition of the Danish Golf Championship .

To play Fantasy DP World Tour, click here .

This week sees the end of the Global Swings section of the season ahead of the Back 9 starting at next week's Betfred British Masters hosted by Sir Nick Faldo.

The Closing Swing comes to an end this week with last week's winner David Ravetto and the man he beat into second Jesper Svensson the only two players who can overhaul Robert MacIntyre at the top of the Rankings and take home the US$200,000 bonus.

The leading DP World Tour member (not otherwise exempt) will also qualify for the BMW PGA Championship , the third of five Rolex Series events this season.

But that is not all that is on offer on Sunday as a further $1million Bonus Pool will be shared among the leading ten players on the Race to Dubai who have played a minimum of eight ‘regular’ Global Swings events outside the Major Championships and Genesis Scottish Open.

Rasmus Højgaard became the first home winner of this event 12 months ago when he defeated Nacho Elvira in a six-hole play-off and he returns to defend his title, with identical twin brother Nicolai also in the field.

They lead a strong Danish contingent with event Chairman Thomas Bjørn also teeing it up alongside the likes of Søren Kjeldsen and Thorbjørn Olesen and rising stars Rasmus Neergaard-Petersen and Jacob Skov Olesen at new venue Lübker Golf Resort.

If you have not done so already, you can sign up to play the official 2024 DP World Tour Fantasy game  here  and submit your six-man team before round one gets under way on Thursday.

The 2024 season-long winner will win a trip to the DP World Tour Championship in Dubai next year, enjoy a lesson with a DP World Tour professional and a round of golf on the Earth Course at Jumeirah Golf Estates. For more information on this amazing prize and others, read  here .

Fantasy Insight : As it stands, Nicolai Højgaard is the most-picked player this week, featuring in a whopping 88% of teams, making him the most popular pick for any event so far this season, overtaking Cam Smith's 78.89% at the season-opening Fortinet Australian PGA Championship.

Countryman Olesen would hold that honour were it not for Højgaard, as he is in 85% of teams, with Austrian Bernd Wiesbgerger the next most popular player in a distant third (41%).

Here, we pick out three players in action this week who are worth considering for your Fantasy team selections.

Favourite - Nicolai Højgaard

It is a tight-run thing this week in terms of favouritism, with many bookmakers unable to separate the Højgaards, but we are giving the edge to Nicolai - just.

The World Number 48 is the highest-ranked player in the field and arrives off the back of a productive first full season on the PGA TOUR, while also playing in two Rolex Series events, all four Majors and the Olympic Games.

Following his victory at the DP World Tour Championship, he achieved a top ten in his next Rolex Series start at the Hero Dubai Desert Classic and finished second at the Farmers Insurance Open the following week.

The Ryder Cup winner finished seventh in Paris at the Olympics two weeks ago and as one of the few players in the field with some knowledge of the new venue, it is no surprise Fantasy players are selecting him in their droves this week.

Form Horse - Bernd Wiesberger

Could Bernd be back?

If there is one thing Wiesberger has always been it is consistent and he has unsurprisingly brought that into the 2024 season, missing just one cut and recording only one other finish outside the top 25 in his first eight events.

A runner-up finish at the European Open in June suggested he may be ready to turn that good form into a win and he recorded a top ten in his next appearance at the KLM Open before making it three in six starts last time out the D+D REAL Czech Masters.

And while we may be at a different venue this week, the fact that two of his eight DP World Tour victories have come at this event has not gone unnoticed, certainly not by the 41% of players who have him in their team this week.

Wild card - Rasmus Neergaard-Petersen

Neergaard-Petersen is making just his tenth DP World Tour start but he has certainly made a splash in the game since turning professional after his graduation from the University of Oklahoma last year.

He recorded a top ten on debut at the BMW International Open and made the cut in each of the four other events he played in 2023, while also registering three top tens on the European Challenge Tour and making it to the Final Stage of the Qualifying School.

A maiden professional win at the Kolkata Challenge on the Challenge Tour in March of this year was followed by another at the UAE Challenge a month later as he recorded top tens in five consecutive events to top the Road to Mallorca Rankings.

He remains at the summit despite not having recorded a top ten since April but he will have a large and vociferous home crowd behind him this week and it is no surprise he features in 11% of teams.

Looking Back - D+D REAL Czech Masters

A huge tip of the cap to anyone who picked last week's winner David Ravetto as the Frenchman racked up an eye-watering 254 points. He arrived in the Czech Republic having made just six cuts in 16 DP World Tour events in 2024 but with a win on the European Challenge Tour and a top-three in the SDC Championship, which may have prompted his 636 picks (1.95%). And you really had a jump on your rivals if you were one of the five players (0.03%) who had him as your captain.

Our favourite Tom McKibbin did not make the weekend for just the third time this season but Wild Card Sami Välimäki (158 points) and Form Horse Romain Langasque (144 points) both finished in the top 40.

Season so far - 2024 DP World Tour Fantasy Top 10 player rankings

D+D REAL Czech Masters: DP World Tour Fantasy ones to watch

Feel closer to the action on the DP World Tour by competing against golf fans from around the world in our official Fantasy game as the Closing Swing reaches its penultimate event with the tenth edition of the D+D REAL Czech Masters. To play Fantasy DP World Tour, click here.

DP World Tour Partners

BLACK VEIL BRIDES: Video Report From 'Legion Of The Black' Movie Premiere

Los Angeles theatrical rockers BLACK VEIL BRIDES premiered their brand new movie, "Legion Of The Black" , this past Friday, December 21 at the Silent Movie Theater in Los Angeles, California.

Directed by Patrick Fogarty , written by Andy Biersack , Patrick Fogarty and Richard Villa III , "Legion Of The Black" tells the visual story of BLACK VEIL BRIDES ' upcoming album, "Wretched And Divine: The Story Of The Wild Ones" . The film follows a group of rebels known as "The Wild Ones" as they defend their hearts, minds and bodies against F.E.A.R.

A video report from the movie premiere — which includes interviews with the band and Fogarty — can be seen below.

"Wretched And Divine: The Story Of The Wild Ones" will be released on January 8 via Lava / Universal Republic . The CD was produced by by John Feldmann ( PAPA ROACH , THE USED , ATREYU ) and is a full-fledged concept effort, though the band's lead singer, Andy Biersack , has not revealed the exact narrative just yet. "Lyrically, the most important thing for me is, how can I tell a cohesive story?" he told Revolver magazine. "How can I take the story and kind of weave it into songs that are written otherwise about a lot of personal experiences and the band's experiences?"

BLACK VEIL BRIDES will launch the first leg of "The Church Of The Wild Ones" world tour on January 4 in Las Vegas. The trek will wrap in San Francisco on March 8.

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ACROSS THE COUNTRY

In Counterculture San Francisco, a Church Has Become the Place to Be

Yoga, laser art and Bobby McFerrin are attracting residents who are longing for a community — but not necessarily religion.

WHY WE’RE HERE

We’re exploring how America defines itself one place at a time. In San Francisco, a city that loves the new, many residents are flocking to an old cathedral.

By Heather Knight

Reporting from Grace Cathedral in San Francisco

San Francisco residents have always celebrated the new, the innovative, the cutting-edge. The weirder, the better. But these days, they are flocking to a surprising venue for the cool factor: a church that is older than the city itself.

High atop Nob Hill, above the clanging cable cars and luxury hotels, stands the majestic Grace Cathedral . The Episcopal congregation dates back to 1849, the year before the city was incorporated, when pews were filled with miners tossing gold dust into the offering plates at a precursor to the current building.

The Gothic cathedral, built in 1927 for the same congregation, has for decades been home to traditional religious rites and events: Sunday services, baptisms, weddings, funerals and Christmas choral performances. But in the past few years, it has boomed for reasons that have nothing to do with the Bible. Just the other week, a public art display featuring colorful lasers beamed from the roof of the nearby Fairmont Hotel into the big, round window at the front of the cathedral. The event drew more than 1,000 onlookers, including Sergey Brin, the billionaire co-founder of Google, and Kudra Kalema, a Ugandan prince and tech founder.

Kanye West, the rapper, has visited the cathedral during quiet hours to play the organ. Bobby McFerrin, the singer made famous by his 1988 hit, “Don’t Worry, Be Happy,” regularly leads cathedral goers in improvised song circles.

But it’s not just star power fueling the interest in Grace. In a city where office buildings remain among the emptiest in the nation, many remote workers in San Francisco are longing for a real-world community.

Two years ago, the San Francisco cathedral created Grace Arts, a program designed like a museum membership that charges an annual fee in exchange for benefits that include discounts on classes and events.

It has proven so popular that Grace Arts members now outnumber regular church members. About 820 households subscribe to Grace Arts, compared with 550 churchgoing households. Annual surveys show the average age of a Grace participant has dropped from 63 to 40 in just two years, signaling the new program is drawing a younger crowd.

Kimberly Porter-Leite volunteers at the cathedral’s twice-weekly yoga classes, sessions so popular she has to perform what she calls “mat Tetris” to ensure everybody fits between the columns and pews. The fire department has even required the cathedral to block off an open path with colorful cones so that the yogis can get out in an emergency, she said.

Ms. Porter-Leite, wearing black leggings and heart socks at a recent session, said she felt incredibly lonely during the pandemic, a hole made worse by the death of her mother.

She is not religious and is married to a woman she described as “a recovering Catholic” who felt mistreated by the church for being a lesbian. A cathedral was an unlikely place for her to spend her time, but she lives nearby and knew that Grace had a reputation for being liberal and welcoming. In 2021, she tried out a yoga class and was hooked.

“This place was a lifeline for me,” she said. “It is so weird and quirky and lovely and inclusive. It was such a relief.”

Darren Main has taught yoga classes at the cathedral for many years but said they used to be small and only recently have swelled. He, too, is gay and felt shamed by the Catholic church in which he was raised.

“A lot of people here left the church, not feeling particularly welcome or safe,” he said. “But we still need a space where we can be together for some reason besides bickering about politics.”

Others are finding community and joy at the cathedral by packing monthly sound baths, where they nestle into their sleeping bags to listen to musicians play by candlelight. They are dancing in the pews at tribute concerts to Sting, Queen — and, of course, Taylor Swift.

They are joining tours that allow them to venture into nooks of the cathedral that were long barred to visitors — including the closets where the bishop’s vestments are kept, the bell tower and the catwalks overlooking large stained glass windows featuring biblical scenes in vibrant colors. In some areas, the clearance is so low, visitors must don hard hats.

The cathedral has even hosted carnivals, drag queens and trapeze artists swinging from its soaring ceilings.

“Crazy San Francisco! Isn’t it great?” joked the Very Rev. Malcolm Clemens Young, the dean of Grace Cathedral, who regularly ditches his collar for a T-shirt and shorts at yoga class.

The groundswell of interest may seem unlikely in a city known for its counterculture and where organized religion is not a focus of many residents’ lives — except on Easter Sunday when they pack the hills of Dolores Park for the annual Hunky Jesus contest. One 2020 study , conducted by the Association of Statisticians of American Religious Bodies, found that 35 percent of San Franciscans were religious adherents, compared with nearly 49 percent nationally.

Mr. Young said he was heartened that people of all religious stripes, as well as those who are agnostic and atheist, were joining the fun at the cathedral.

“We always say you can belong before you believe, or you can belong and never believe,” he said. “There’s such a spiritual hunger. We’re always going to look up at the stars in wonder. And we’re always going to ask why we’re here.”

Of course, the unusual offerings were designed out of self-interest, too.

Grace is just one of many churches around the country that has tried to pay the bills in an era in which fewer people are going to church and tithing every Sunday.

Maintaining the cavernous structure and paying for staff and utilities cost a staggering $17,000 a day. The cathedral relies mostly on large private donations, but its Grace Arts membership fees, as well as charges for one-off classes, tours and concerts help, too. Praying and meditating at the church remain free.

Some churches have had after-lives as cafes, nightclubs or fraternity houses . Housing proponents see an opportunity for congregations with a surplus of land, such as expansive parking lots, to build affordable units alongside their churches, using the slogan YIGBY, “Yes in God’s Backyard.”

Tell Us About Where You Live

Mark Elsdon, a consultant who works with churches on transitioning their properties to other uses and is also an ordained minister, said more and more churches will face these conundrums.

“It’s a wave, a tsunami, and we’re actually just on the beginning of it,” he said. “There just isn’t the need for all that space.”

Mr. Young said he hears from the deans of cathedrals in Washington, D.C., New York City and elsewhere who want ideas on how to draw more people to their buildings, if not to their church services.

“We definitely consult with each other,” he said. “But we are the ones who are pushing the envelope more than they are.”

Or unfurling the yoga mat as the case may be.

On a recent Tuesday evening, Paul Wong performed his weekly routine: arriving early to claim a prized yoga spot on the labyrinth at the center of the cathedral, and stripping off his work clothes to reveal shorts and a T-shirt.

He is a religious agnostic but said he feels at home at Grace.

“It does feel like going to church a little bit, but it’s not pushed on you,” he said. “Whatever worries or stresses I have, it helps me release them.”

He lay down on his back and gazed up at the waning sunlight streaming through the stained glass windows. He took a deep breath. He was at peace.

Ruth Graham contributed reporting.

Heather Knight is a reporter in San Francisco, leading The Times’s coverage of the Bay Area and Northern California. More about Heather Knight

Across the Country

We’re exploring how america defines itself one place at a time..

San Francisco: Yoga, laser art and Bobby McFerrin are attracting residents who are longing for a community  — but not necessarily religion.

Alamo, Texas: Every weekend, a flea market transforms from a Latino shopping mecca into a dance floor . The locals’ colorful moves have drawn fans around the world.

San Juan, Puerto Rico: A federal plan to remove feral cats from a historic site has upset some residents, who are also feeling pushed out as housing costs soar .

Muenster, Texas: The town has hosted a German-heritage festival for nearly 50 years. Then some locals rebelled .

Columbus, Miss.: Each spring, this Southern city has opened its Civil War-era homes to visitors. But some say the event should instead reflect  the oppression behind the architecture .

Utah medical cannabis patients leave stores empty-handed due to software glitches

Work-around is now in place, but hundreds of patrons, some suffering from terminal cancer, couldn’t get their medicine..

Bugs in a state-run software system that medical cannabis dispensaries use to verify patient eligibility have resulted in hundreds of patients being turned away over the span of several days.

“It’s making us look bad to the patients,” said Chris Jeffery, owner of WholesomeCo. “We can’t serve patients, and some of these patients are terminal cancer patients. They need their medicine, and we had to turn them away.”

On Sunday, the Utah Department of Health and Human Services installed a new electronic verification system — used to ensure customers have a valid medical cannabis card and to track purchases to ensure they aren’t sold more than is legally allowed. It was supposed to go live Monday morning.

But shops quickly ran into problems, unable to access some patients’ records. Selling to patients without checking their eligibility can carry a fine of up to $5,000 and jeopardize the store’s license, so numerous patrons had to be turned away.

According to representatives of three Utah companies — Beehive Farmacy , Dragonfly Wellness and WholesomeCo — 20% of the patients who have come into their dispensaries since Monday have been unable to make purchases.

Bijan Sakaki, owner of Beehive Farmacy, estimated that more than 100 customers could not be processed through the verification system at his store alone. Since the issues impacted all of the dispensaries in the state — some do considerably larger volume than Beehive — hundreds of patients had to leave empty-handed.

Or almost empty-handed.

“We have tried to work with the patients,” Sakaki said. “If [the clerks] can’t get it done, they give them a discount card for their next visit.”

The downside, he said, is that means he’s losing the sale and the discount on the next sale. Worse, Sakaki said, is that because every dispensary in the state is required to use the same software, patients are unable to just go to another store to get their medicine.

“Their only choice,” he said, “is to go to a dealer or go to Wendover.”

Desiree Hennessy, who leads the Utah Patient Coalition, said Utah’s program puts an emphasis on ensuring products are tested and meet standards — part of the reason prices are high. Patients who can’t get their medicine at a dispensary and then buy it illicitly aren’t guaranteed that level of purity and end up taking a risk.

A spokesperson for the Utah Department of Health and Human Services, which administers the software, said that “most patients could purchase medical cannabis without issues, but this reportedly caused a small number of patients to be unable to purchase medical cannabis.”

A short-term work-around has been put in place while the department and the vendor strive to address the software issues, the department said. By Wednesday, it added, all patients were able to check in at the pharmacy and buy cannabis.

“Medical cannabis patients are our main priority,” the department stated, “and we are glad that a temporary fix is in place so all patients can purchase medical cannabis.”

Part of the dispensary owners’ frustration is that Utah didn’t test the software before it went live and had no backup plan in case it failed. When it did, they said, the state suggested that they verify the patients using the last four digits of their Social Security numbers but later backed away from that idea.

For its part, the Department of Health and Human Services said the software had undergone extensive testing since May. It was installed at the pharmacies Sunday evening and went live Monday. While it had bugs, the department said it is functioning properly — without the work-around — as of Saturday.

Replacing the verification system is just the first phase in a three-part overhaul of the software the state uses for the medical cannabis program. The next step is replacing the software cashiers use at the point of sale and then the state will replace the “seed-to-sale” software used to track every plant grown in Utah.

The dispensary owners hope the health department learned lessons that will help avoid these kinds of disruptions in the future.

“I’m just worried that this is the first of three steps of the reboot of the software across the industry,” said Jeffery, who worked in technology before moving to the cannabis business. “We need a little more time and attention paid on some very foundational aspects of the software that were either overlooked or weren’t working from an engineering perspective.”

Editor’s note • Aug. 17, 9:25 p.m .: The story has been updated to reflect that the Department of Health and Human Services said Saturday that the software had been tested before deployment and that a permanent fix was being worked and soon would be verified. This article is available to Salt Lake Tribune subscribers only. Thank you for supporting local journalism.

RELATED STORIES

How to navigate utah’s ‘wild west’ of psychedelic-assisted therapy options, is it safe to use cannabis during pregnancy here’s what utah researchers found., dragonfly wellness becomes utah’s first unionized cannabis dispensary, legislative leaders say fear of california-style laws, foreign influence cause to rush constitutional amendment, letter: in 2020, “a good man beat a con man.” it’s time for a good woman to do the same., letter: millcreek can go further with their proposed adu code changes, ‘excited and worried’: hundreds of salt lake city kids begin school at new campuses after elementary closures, the feds own millions of acres of public land in utah. now the state is suing for control of over half of it., featured local savings.

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• Black Veil Brides
• December 18, 2013 Setlist

Black Veil Brides Setlist at Barrowland, Glasgow, Scotland

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Tour: The Church of the Wild Ones Tour Part II Tour statistics Add setlist

• Shadows Die Play Video
• I Am Bulletproof Play Video
• Wretched and Divine Play Video
• Knives and Pens Play Video
• The Legacy Play Video
• All Your Hate Play Video
• Rebel Yell ( Billy Idol  cover) Play Video
• Perfect Weapon Play Video
• Christian 'CC' Coma Drum Solo Play Video
• Rebel Love Song Play Video
• Nobody's Hero Play Video
• Fallen Angels Play Video
• In the End Play Video

Edits and Comments

6 activities (last edit by ExecutiveChimp , 12 Nov 2015, 22:32 Etc/UTC )

Songs on Albums

• I Am Bulletproof
• Nobody's Hero
• Shadows Die
• Wretched and Divine
• Fallen Angels
• Rebel Love Song
• All Your Hate
• Knives and Pens
• Perfect Weapon
• Christian 'CC' Coma Drum Solo
• Rebel Yell by Billy Idol

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Black Veil Brides Gig Timeline

• Dec 15 2013 O2 Academy Bristol Bristol, England Add time Add time
• Dec 17 2013 Wulfrun Hall Wolverhampton, England Add time Add time
• Dec 18 2013 Barrowland This Setlist Glasgow, Scotland Add time Add time
• Dec 19 2013 Manchester Academy 1, University of Manchester Manchester, England Add time Add time
• Dec 20 2013 Rock City Nottingham, England Add time Add time

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