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Once again, Conor McGregor showed up late to a UFC press conference. And once again, it was easily worth the wait.

While the conference was scheduled to start at 3 p.m. PST, McGregor didn’t show up until about 3:40, and probably on purpose. McGregor is in full mind-game mode and showing up late has always been in his arsenal of tricks.

By the time McGregor did show up, Khabib was long gone, but nevertheless, the former two-division champion still had plenty to say, particularly about Khabib’s trainer, alleging that he is a terrorist with potential 9/11 ties.

McGregor last fought in the UFC on November 12, 2016, defeating Eddie Alvarez to claim the UFC lightweight championship. At the time of his big win, McGregor became the first fighter in UFC history to hold two titles in two different weight classes simultaneously; he was also the featherweight champion at the time.

Nurmagomedov, meanwhile, claimed the vacant UFC lightweight title at UFC 223 on April 7, 2018 in Brooklyn, New York. Nurmagomedov scored a unanimous decision victory win over Al Iaquinta in the main event. Khabib was initially scheduled to fight Tony Ferguson for the title, but the bout fell through in the final days leading up to the event and Iaquinta stepped up on short notice.

UFC 229 takes place Saturday, Oct. 6 at T-Mobile Arena in Las Vegas, Nevada. The UFC 229 main card will air on pay-per-view, with preliminary bouts on FOX Sports 1 and UFC Fight Pass.

WATCH: Conor McGregor Makes His Prediction For UFC 229

Source: https://coed.com/2018/10/04/conor-mcgregor-khabib-nurmagomedov-manager-terrorist-911-video/

How many times have you heard the phrase “oh, that only happens in the movies”? Probably a lot. Featured below are some funny examples that never ever happens in real life but all the time on the big screen. Illustrated by Paul from Unrealitymag.

Embattled actor Danny Masterson took to social media on Saturday to throw his support behind The Ranch‘s first half-season without him.

Masterson, who costarred and executive-produced the sitcom alongside former That ’70s Show costar Ashton Kutcher, was fired last December after being accused of raping four women in the early 2000s. He last appeared in the Part 5 finale when his character, Rooster Bennett, was threatened at gunpoint and forced to leave town. In Part 6, which was released on Friday, Rooster was killed off in a freak motorcycle accident (read recap). To help fill the void, Kutcher’s former Punk’d cohort Dax Shepard was cast in a recurring role.

“The Rooster may be MIA but The Ranch is back and it’s still incredible,” Masterson said on Instagram. “Please support this great show we spent years putting together. The cast is beyond incredible. The writers were given the ultimate worse case scenario and instead of throwing in the towel, they worked longer hours to create new, heartbreaking and hysterical storylines… Support them. Support comedy. Support art. Support the Iron River Ranch and the Bennett family.” (Elisha Cuthbert, who plays Abby on The Ranch, was among those to “like” Masterson’s post.)

In the wake of his firing, Masterson put out a statement, which in part read, “I am obviously very disappointed in Netflix’s decision to write my character off of The Ranch. From Day 1, I have denied the outrageous allegations against me. Law enforcement investigated these claims more than 15 years ago and determined them to be without merit.  I have never been charged with a crime, let alone convicted of one. In this country, you are presumed innocent until proven guilty. However, in the current climate, it seems as if you are presumed guilty the moment you are accused.”

The investigation into Masterson’s alleged crimes was reopened in March 2017. The case was said to be ongoing as of July 2018, according to a report by The Daily Beast.

Only one other act on the opening night of Atlas Electronic 2018 elicited such avid attention from the crowd: Ninos Du Brasil, who performed live. They could hardly have looked more different from the gnawa group: two Italian men standing behind drum kits, their faces painted white and their heads wrapped clumsily in red tinsel. Over a furious onslaught of percussion, they screamed and crowd-surfed, at one point even handing out drumsticks for audience members to join the cacophony. At the set's peak, one of the pair mentioned a common confusion about the band—they're Italian, but play Brazilian rhythms. Just before launching into another riotous drum solo, he screamed out: "Well who gives a fuck where we're from?"

Diverse programming and a nuanced approach to cultural exchange are quickly becoming calling cards of Atlas Electronic. Audience members who heard gnawa next to techno could hardly fail to notice the shared DNA between the genres, in their hypnotic rhythms, wandering basslines and spare melodies. As the Tunisian artist Deena Abdelwahed, who was dancing next to me, said: "It's all body music."

Electronic music has been popular in Morocco since the early '00s, though, until recently, it's largely been the domain of psytrance festivals in the Sahara and VIP clubs with bottle service. While a few local collectives have sprung up of late, such as Plug-In Souls, V.I.V. and Casa Voyager, most quality electronic music in the country is heard at its three major festivals: Atlas, Oasis and Moga. "Having big names every weekend in a club is not something we're used to here," Casablancan DJ Yasmean told me. "Festivals replace the empty feeling we have of not enjoying the artists we love enough through the year."

Atlas has stayed in the same location since its first edition, and it's easy to see why. Villa Janna is an oasis of green in the dusty outskirts of Marrakech, with four distinct stages that each serve a different mood. It's small enough to feel familiar after ten minutes, but there are plenty of nooks and rooftops to explore. I especially appreciated the fact that at every stage there are spaces to sit and watch the music, which felt necessary over four days of dancing.

There were too many musical highlights to name. While the Hessle Audio trio held down the main stage with a solid six-hour back-to-back on Friday, there were many surprises elsewhere, from Mad Miran's furious drum & bass set on the Red Light Radio rooftop to Yasmean's slick set of UK-leaning cuts and Deena Abdelwahed's remorseless assault of futuristic rhythms. I couldn't tear myself away from RAMZi, who played live and then DJ'd by the pool, her aerated selections bristling with environmental details despite some choppy mixing.

Saturday was so humid that rain felt inevitable. As the storm broke, it whipped up tornados of sand in the amphitheatre, forcing many to take cover and batten down the billowing tarps and tents. But 15-odd dancers remained splashing barefoot in the mud as the French DJ Cheb Gero leaned into a celebratory selection of Arabic music. That night, while Jamie xx and John Talabot headlined the amphitheatre, the Lyon crew Brothers From Different Mothers took over Pool Stage with huge energy. Especially impressive was OKO DJ, who took the crowd from Italo to ragga to curdled techno in one dizzying sequence, and Simo Cell's back-to-back with Judaah. The pair pushed each other harder and harder, faster and faster, until the tension broke with a raucous response to Craig David's "Rewind."

On Sunday evening, a small crowd gathered on the Red Light Radio rooftop to see the desert blues band Génération Taragalte. They performed as the pale gold disk of the sun slipped behind palms and pylons on the horizon. Later, Driss Bennis, head of the local label Casa Voyager, received a hero's welcome, playing a sleek selection of pumping electro and ghetto tech to an electrified crowd. Lena Willikens played two excellent sets: atmospheric downtempo on the rooftop and a masterclass of ravey techno at Pool Stage, displaying her rare grasp on pacing and dynamics. That said, while the music quality was high throughout the weekend, the festival sometimes suffered from what felt like a short attention span: genre and mood would change so fast that it could be hard to settle into a groove, both in terms of the individual sets and the wider programming.

All three of Morocco's major electronic festivals involve Western organisers, which means a sensitive approach is required when considering how local culture is presented. The Atlas team clearly think very hard about this, introducing a programme of talks, visual art, local handicrafts and a drum tent where festivalgoers can learn gnawa rhythms. Several Moroccan DJs told me that the set they played was one of their favourites ever. "They really give you the opportunity to be yourself behind the decks," said Yasmean. "I've never felt so free to be who I really am when it comes to music."

The question remains of whether these festivals can help Morocco's homegrown scene take off. Several local DJs I spoke to suggested that the club scene hasn't changed much since dance festivals began. "Throughout the year, the scene is kind of timid," said Yasmean. While locals gain valuable experience from the festivals, the Moroccan scene will only solidify when locals begin taking their own risks. "At the end of the day," she said, "this scene is born because of its local heroes. We need a community who is willing to lose sleep, money and sweat to keep making history."

Yet no one should burden Atlas with the expectation of midwifing a local scene single-handedly. As a festival with a world-class music programme and an obvious love for Moroccan culture, it barely put a foot wrong. Putting on an event of this kind in a place like Morocco is a balancing act. It's about helping punters feel safe but also free. About introducing foreigners to local culture without sacrificing authenticity. And about hosting international stars while providing a platform for local talent—showcasing the best parts of this rich country while also nurturing it and giving back. It's a huge amount to juggle, but Atlas nailed it.

Photo credit /
Tim Buiting - All except Dancing girl
Laisa Maria - Dancing girl

Being an inlander, everything I know about surfing comes from William Finnegan's award-winning (but overly detailed) surfing memoir, "Barbarian Days," and a hiking buddy who grew up on a California surfboard. I have picked up that when two big waves come together, they can create a double-up wave; physics means that an extra potent wave is created by the combination of the two.

Similarly, national Democrats who are focused on retaking control of the U.S. House of Representatives are banking on not one, but two gender gaps to propel them to control of that body. If both happen at rates suggested by much of the recent "generic ballot" polling, it could produce a win of fairly unprecedent size for Democrats; if either gap fails to fully emerge, Democrats could be sitting on a surfboard without a wave to ride.

Until the 1980 elections, male and female voters tended to vote similarly in national races in the U.S. In that year — Ronald Reagan's entrance onto the national political scene — a significant gender gap emerged, creating a flurry of political science research trying to explain the phenomenon. The 1996 Clinton/Dole race saw a jolt upward in the gender gap and it has consistently been in double digits since in presidential elections, with 2016 matching the record gap from 20 years previous. While present, the partisan gap in voting tends to shrink somewhat in nonpresidential election cycles. All signs are, however, that this is about to change in 2018. The most recent Quinnipiac Poll, for instance, showed a 14-point overall margin for Democrats in the so-called generic ballot: Although Democrats were only marginally ahead among men, they led this ballot by 20 points (55 percent to 35 percent) among women respondents. While it takes both men and women to create a gender gap, most of the divergence is created by the thoroughly negative reactions by women to President Trump and his political party. A distinctive driver of the gender gap is the degree to which Trump's brand of governing is repelling independent women. While we are just getting our first surveys taken after the culmination of the thoroughly gendered battle over the confirmation of Supreme Court Justice Brett Kavanaugh, all signs are that the gap has only grown as a result of those events.

There is a second gender gap in voting, however. During the past generation, women have also turned out at slightly higher rates than their male peers. In nonpresidential years, this turnout gap has been consistently around 2 percent. (In presidential years, the turnout gap tends to be a little higher, peaking at just over 4 percent in 2008.) While less consistent than the partisan gender gap, polling has generally shown women among the groups most fully engaged in the news of the election cycle and the possibility of voting next month. The key to this second gender gap is likely the degree to which women under 30, one of the groups most deeply antagonistic to President Trump, turn out to vote.

Around the country, we see candidates working to take advantage of a doubled-up gender gap through gendering of their campaigns. In some cases, of course, these are some of the record number of female candidates, driven by their distinctive perspectives as women. Indeed, many of the most powerful ads of the season (such as Texas congressional candidate M.J. Heger's "Doors" ad) emanate from these campaigns. But we see other campaigns across the nation gendering their campaigns to take advantage of these electoral dynamics.

A particularly good example can be seen on the airwaves in the Little Rock media market where 2nd District Democratic candidate and state Rep. Clarke Tucker (D-Little Rock) has gone all in on a distinctly woman-centered campaign. While Tucker's commitment to protect health care has been the substantive lead of his messaging, the messengers have been women in his lives discussing Tucker's dedication on issues (some of which that do have a gendered element). Increasingly the star of the show as a messenger is Tucker's 97-year-old grandmother Kathryn Bost. They are strong, positive ads, but they are also ads with an identifiable audience: women of all ages. It's a smart strategy for Tucker. The odds remain against him, but if the double-up arrives, it may be just enough to get him over the tipping point in the purplish-red 2nd District.

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Netflix has gotten its hooks into Colin O’Donoghue.

In his first on-camera TV role since wrapping his seven- six-season run as Once Upon a Time’s Killian Jones aka Captain Hook, O’Donoghue will headline an episode of the streamer’s forthcoming Dolly Parton-themed anthology series, Heartstrings, which dramatizes the stories behind some of the music icon’s most memorable songs.

Specifically, the Irishman will appear in the “JJ Sneed”-inspired episode, playing the titular outlaw.

Ready for more of today’s newsy nuggets? Well….

* Evan Roderick (Curtis’ detective beau on Arrow) has joined the cast of Netflix’s Spinning Out as Justin, Kat’s (Kaya Scodelario) new figure-skating partner whose wild party-boy antics have long been overlooked due to his Olympic-level skating abilities.

* Veep‘s Reid Scott will do an arc on NBC’s Will & Grace as Marcus, a revered chef who in the midst of embarking on a sabbatical from his high-stress career runs into Grace at the airport — and tempts her to join in on his lark, EW.com reports.

* This spring’s L.A.-based PaleyFest event will host a 10-year reunion of the Parks and Recreation cast, as well as offer panels for FX’s Pose and NBC’s This Is Us. More panels will be announced at a later date.

* Comedy Central has released a trailer for Drunk History Season 6 (premiering Tuesday, Jan. 15 at 10 pm). The first episode back is a parody of Are You Afraid of the Dark, starring Evan Rachel Wood as Mary Shelley, Elijah Wood as Percy Shelley, Seth Rogen as Dr. Frankenstein, Will Ferrell as Frankenstein’s Monster and Jack McBrayer as Lord Byron.