Angel Olsen released her stunning record All Mirrors as a culmination of a full decade in the music industry. While the record boasts an expansive production that diverts from Olsen’s former catalog, the singer still occasionally busts out her acoustic guitar to perform soulful covers on social media. Olsen recently put her own spin on the 1929 track “More Than You Know.” Now, Olsen has shared a soaring cover of Roxy Music’s “More Than This” from their 1982 debut record.
Roxy Music’s original version possesses brights synths and driving percussion. But Angel Olsen’s version only needs her impressive vocal range and an acoustic guitar. Sitting down in her living room, Olsen gently plucks the strings of her guitar while her voice smoothly climbs each octave. “It was fun for a while / There was no way of knowing / Like a dream in the night / Who can say where we’re going,” she belts.
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Ahead of her cover, the singer discussed her plans to release an alternate version of All Mirrors. Expected to arrive this fall, Olsen plans to record each of her All Mirrors songs as an acoustic solo version. “[I] needed to separate these two records and release All Mirrors in its heaviest form,” she said. “It was impossible for me to deny how powerful and surprising the songs had become. The truth is that I may have never allowed this much sonic change in the first place had I not already made an account of the same songs in their purest form.”
Watch Olsen’s cover of Roxy Music’s “More Than This” above.
All Mirrors is out now via Jagjaguwar. Get it here.
When Snoop Dogg challenged Rhythm + Flow contestant (and eventual champion) D Smoke during the show’s first episode, the moment elicited chuckles from many of the live audience members, but may have confused viewers at home. At the conclusion of the three main judges’ comments about Smoke’s performance, Snoop coolly asked, “Where you from, homie?” When Smoke responded simply, “Inglewood,” Snoop repeated the question, weighting the words. Smoke’s response, though, remained unchanged and after a terse moment, Snoop broke out in a sly grin, prompting cheers from the crowd.
But, as D Smoke tells Talib Kweli on this week’s episode of People’s Party With Talib Kweli, he believes that there was more behind the moment than even those-in-know realized, breaking it down on multiple levels “for the cameras.” As Kweli jokes, it’s a very “LA” moment that shows how the city’s natives communicate in a way almost no one else does.
“I think before I said I was from Inglewood, I think he already wanted to ask,” Smoke explains. “And I think that speaks to the energy and the authenticity behind what I presented in my art, in my performance. Snoop didn’t ask anybody else that, which means he was moved in a different way. In his world, he’s familiar with that energy coming from that place.” He expands by saying that he’s such a combination of influences, that it’s easy to mistake him for being one thing or another, rather than all of them.
He does, however, have one further theory for why Snoop may have singled him out. “I think it was a line — I didn’t mean to look at Snoop — I think I looked at him when I was like, ‘If you don’t like it, then fight me / You gon’ meet the heel of my Nikes.’” Of course, Snoop showed love and the moment eventually became part of D-Smoke’s greatest hits on his way to winning the competition. Since then, D Smoke has released two projects, Inglewood High and Black Habits. Check out the full People’s Party interview above and D-Smoke’s greatest moments from Rhythm + Flow below.
People’s Partyis a weekly interview show hosted by Talib Kweli with big-name guests exploring hip-hop, culture, and politics. Subscribe via Apple, Spotify, or YouTube.
Netflix’s Tiger King couldn’t possibly have landed at a time when people needed to watch Joe Exotic’s shenanigans more. We won’t talk about that very serious matter here — because let’s face it, it’s everywhere — but attempted murder-for-hire felon Joseph Maldonado-Passage has captured a ton of attention, years after freaking out John Oliver. Two weeks after the series’ release, Tiger King is Netflix’s most-watched title, and people want to know when there will be more Joe Exotic-related content.
The good news (?) is that there will be more Tiger King on the small screen. Kate McKinnon already signed on to portray Carole Baskins in a scripted series. However, there’s always room for more. Maybe something based upon the memoir that Joe Exotic is most certainly penning (or will enlist a ghostwriter for) in prison. Yes, a biopic. And actors are already lining up on Twitter to nominate themselves for the gig.
The first thespian in line? Dax Shepard, who believes that “[i]f I don’t get cast as Joe Exotic in the eventual biopic, Hollywood is broken.”
If I don’t get cast as Joe Exotic in the eventual biopic, Hollywood is broken.
An unlikely rival soon stepped up. Edward Norton is totally ready to Hulk out over this one. “Um, step aside, pal,” the American History X star wrote. “You’re way too young and buff and you know it. You could probably pull off Maldonado still, actually. Wouldn’t that be fun?” Fun? That’s one word for it.
Um, step aside, pal. You’re way too young and buff and you know it. You could probably pull off Maldonado still, actually. Wouldn’t that be fun?
Soon enough, Twitter users began tossing out nominations. Nic Cage may have been preparing for this role with his whole wild career, but there’s also David Spade, Tom Lennon, and Danny McBride. Lots of qualified candidates.
May the strangest man win because, well, Joe Exotic himself definitely did not win. Barring a release on good behavior (or a pardon), he’ll remain behind bars for two more decades. And yes, Tiger King is currently streaming on Netflix.
It’s been a little over two months since Edge made a truly shocking unannounced return at the 2020 Royal Rumble, shocking the tens of thousands of fans in attendance and the millions watching at home. Since then, he’s been booked into a blood feud against Randy Orton that will culminate this weekend at WrestleMania 36. A return this surprising and a feud this hot deserves to peak at the Show Of Shows in front of 70,000 people, but unfortunately, that won’t happen: Due to COVID-19, WrestleMania was moved into the empty WWE Performance Center.
Edge recently spoke with ESPN to discuss his comeback, and when the topic of a crowd-free WrestleMania came up, he didn’t beat around the bush:
“For so long, I never thought this would happen again, right? What that taught me is to appreciate it all. And no matter what it is, you pull the positives. That’s all you can do. The positives are always there. … And it’s a strange time, but it’s also a time where we can hopefully help people for a few hours enjoy themselves. And for me, as a performer, that’s an honor and a privilege, and that’s not lost on me after not being able to do this particular form of entertainment for nine years.
“Is it disappointing that it’s not in front of an audience? Of course it is. I’m not going to lie. But at the same time, I look at the challenge, and I go, ‘OK, how do you tell a compelling story?’ And in my mind, I picture everyone at home and how they’re going to react and how they’re going to come out of their chairs and how they’re going to get angry and just get lost in it. And if we can do that, then that’s all we set out to do.”
All WrestleMania matches have been pre-taped already, with numerous matches on the card being shot on location in a more cinematic style. Will Edge/Orton be one of them? And more importantly, will it main event either night of WrestleMania? If you ask Drew McIntyre, it should.
Apple TV+ may only have a handful of original series right now, but the rookie streaming platform knows it’s quality, not quantity, that really matters. That’s why Apple’s invested in some big-name stars headlining some award-worthy dramas, sci-fi series, and feel-good anthologies. From names like Witherspoon, Aniston, Carell, and Momoa to boundary-pushing storytelling centering on sci-fi dystopias, a #MeToo workplace fallout, and a modern re-telling of a historical icon, there’s something for everyone on Apple TV+ if you know where to look. And we’re here to help with that last part.
Here are the best shows streaming on Apple TV+ right now, ranked.
Perhaps the most-talked-about show on Apple’s original slate is this comedy series starring Reese Witherspoon, Steve Carell, and Jennifer Aniston that’s already racked in a ton of awards. Aniston plays Alex Levy, a veteran co-anchor of a popular morning show whose partner of 15-years, Mitch Kessler (Carell) is fired amidst sexual harassment accusations. Witherspoon’s younger, plucky field reporter is quickly picked to take Mitch’s place and Alex is forced to defend her job and find her new place ion the show.
Jason Momoa has built a resume playing the strong, rugged, silent types, and he’s channeling that Khal Drogo energy for this dystopian series that imagines what the world would look like if people couldn’t, well, see. Momoa plays a blind tribal leader who raises two able-sighted children. They’re hunted by a fanatical queen who sends an army to rid the world of sightseers, leading Momoa’s Baba Voss to venture beyond his borders and find a new promised land.
M. Night Shyamalan is the brains behind this psychological thriller, so… yeah, it’s total nightmare fuel. The show follows a young family who experiences an unimaginable loss. Lauren Ambrose plays Dorothy Turner, a TV news reporter whose newborn dies suddenly, leaving herself and her husband Sean (Toby Kebbell) devastated. To help cope with their grief, they adopt a creepily realistic reborn doll named Jericho and hire a mysterious young girl named Leanne to be his “nanny.” Hey, we warned you it was weird.
It’s Always Sunny star Rob McElhenney headlines this comedy series that’s basically The Office, but if Dunder Mifflin were a video game creator, not a paper company. McElhenney plays Ian, the creative director of the biggest MMORPG Mythic Quest, which is prepping to launch a new expansion pack, but some technical glitches and creative differences threaten to ruin the game’s debut.
Hailee Steinfeld plays the infamous authoress in this historical comedy series that reimagines Emily Dickinson as a rule-breaking feminist icon. She has lesbian love affairs and imagined meetings with Wiz Khalifa and hosts opium parties. It’s wild and bizarre and addicting to watch, especially because Steinfeld is just so damn good in it.
This drama starring Octavia Spencer and Aaron Paul capitalizes on the universal obsession with true crime podcasts, tapping Spencer to play a dogged reporter named Poppy Parnell who, years earlier, helped paint Paul’s Warren Cave as a cold-blooded murderer. When Poppy uncovers new information about the case, she reconnects with Cave, who claims he was framed for the crime, forcing Poppy to reevaluate what she believed to be true, and how she used her platform to seek “justice.”
Ronald D. Moore knows how to craft a good sci-fi series — he’s been helming Starz’s breakout Outlander for years — but his latest Apple TV+ project takes the genre to new heights. As in, space. Suicide Squad star Joel Kinnaman leads this drama that reimagines the space race, playing a rebellious flight commander who leads the charge as America tries to stay one step ahead of the Soviets on the new frontier.
This docuseries taps some prominent queer creatives to narrate the long, hard-fought journey for inclusivity onscreen. Everyone from Margaret Cho to Lena Waithe and Neil Patrick Harris pops up to narrate and comment on TV’s LGBTQ revolution, chronicling Hollywood’s darker beginnings and the recent progress some shows and studios have been able to make.
Kumail Nanjiani and wife Emily Gordon proved they’re pretty good at blending their personal and professional lives when they brought us The Big Sick, and they’re working together again for this anthology series that brings us the heartfelt, inspiring stories of immigrant and minority characters that better reflect our society. It’s the best kind of inclusive storytelling, and it perfectly pairs meaningful drama with much-needed laughs.
This sci-fi horror series produced by Steven Spielberg looks to be Apple’s answer to Netflix’s Stranger Things. The show, like Spielberg’s ’80s original, features a different story and cast of characters in each episode, and it’s got a more family-friendly-tone than its streaming counterpart.
Hey everyone! Another week into the Coronavirus quarantine and your boys Matt and Vince have nothing but time to Zoom chat about TheSopranos with all of their friends. Lucky you! This week our guest is comedian Brandie Posey of the podcast Lady 2 Lady. This is the first time she has ever watched an episode of the Sopranos to completion and boy did Matt and Vince pick a perfect one. From season 2, episode 7, it’s “D-Girl,” guest starring Alicia Witt as Amy Safir, which originally premiered February 27th, 2000.
This episode isn’t just one of the funniest episodes of The Sopranos so far, it’s incredibly relevant to both Brandie and Matt’s life, mired in the drab realities of Hollywood and the entertainment industry. Whom amongst us hasn’t had the fate of our careers decided by a 20-something executive with no creative bone in their body and who name drops constantly? Very relatable.
SYNOPSIS:
With Anthony Jr.’s confirmation approaching, Tony and Carmela find their son’s growing apathy a cause for concern. Meanwhile, Christopher’s interest in show biz is reignited when he meets a well-known filmmaker through his cousin’s girlfriend.
BADA B STORIES
-Chris meets Amy Safir, his cousin Gregory’s fiancee
-AJ’s existential buffoonery
-Chris meets Jon Favraeu and llearns what it means to be used by Hollywood
-Big Pussy is forced to wear a wire to AJ’s confirmation
Hope this makes your quarantine a little bit more tolerable. Enjoy! Don’t forget to leave us a review on Apple Podcasts and subscribe to bonus content at Patreon.
The coronavirus has caused changes in lifestyles around the world in a way that few historical events in recent memory have. Almost everybody’s schedules have radically changed from what they were a month or two ago, so some folks are using their time in differently productive ways. Such is true of Migos, as the group is apparently not doing much beyond working on their upcoming album, Culture III.
In a new interview with Billboard, Quavo said that he and his fellow Migos members are keeping their lifestyles simple for the time being, as pretty much all they do is go to the studio to work on Culture III and then head back to their homes. He says ultimately, though, Migos’ operations have been hampered, saying, “Of course, the business has slowed down because we perform in front of masses of people. Dropping music and all that, it’s at a standstill right now with us because we need to go out there and touch the people to push our albums to make our music work.”
He also spoke of working with Justin Bieber on “Intentions” and their friendship, saying, “We come from two different backgrounds, but when we get in the studio, we got a lot of similarities. We’ve been friends for probably like five years now. […] We got some more records in the vault. We both respect each other and that’s my guy.”
For many folks, R&B music is about emotions: love and heartbreak are often the primary focuses of the genre. But for Toronto crooner PartyNextDoor, it’s always been an outlet for him to address his lack of attachments, which can read at times like a stubborn refusal to allow himself to become attached. When he first emerged on the scene in the early 2010s which his unromantic version of anti-R&B, he helped spark a revolution (along with his countryman The Weeknd, who also recently released a coldhearted project earlier this year, albeit one with more polished pop leanings) in the sound. He and his fellows redefined the genre for a generation who suddenly had access to Tinder and a whole new vocabulary for relationships, including FWB, situationships, and ghosting.
With his long-awaited new project, PartyMobile, PND doesn’t exactly reinvent the wheel. He instead makes tweaks to the formula that has long served him as one of the frontrunners of this newer form of anti-R&B: Ambivalent, arms-distance ballads, dancehall-inflected ruminations on his inability (or his refusal) to form emotional bonds, and filtered-vocals on fractious f*ckboy anthems warning potential paramours of the dangers of getting too attached to him. Its mileage may vary based on how well you relate, but ironically, he may have crafted the perfect project for our socially-distant times — whether mandatory or voluntary.
Take “Savage Anthem,” the divisive album closer. “Don’t hold your breath,” he croaks over downtempo production by fellow OVO Sound OG, 40, “Don’t wait on my love.” It’s sort of thing his boss Drake sings or says all the time. But where Drake usually offers at least a halfhearted justification for why you should not wait on his love — he’s busy, he’s out of town, he’s working, he can’t trust you because of his stardom — Party’s thought process is much more cutthroat: “I put the dirt into dirtbag,” he either boasts or laments (or maybe it’s both), “Gave me your heart, watch me break that.” For Party, heartbreak is just part of the game — a part he has no intention of playing himself.
Speaking of Drake, the original sadboi crooner shows up on “Loyal,” which does double duty as the album’s lead single and its thesis statement, if there is such a thing. “We get it on and then you go” is tucked into the bridge in an otherwise sappy come-on. “I just don’t wanna let go.” PND is lonely (as is Drake), but while he fully expects availability, he doesn’t want anyone to expect reciprocity. Remember when Lauryn Hill sang about that on “The Ex-Factor” 20 years ago? It’s easy to imagine she was singing it to PartyNextDoor — or at least to a man who similarly subscribes to PND’s half-in, half-out philosophy of love in the 21st century.
“Trauma” is as good of an explanation for this behavior as any. Over a deceptively upbeat, almost tropical backdrop, Party speaks to the “trauma” of losing out after investing heavily in a lover who winds up leaving. “Traumatized, I can’t sleep at night,” he worries, “Traumatized, I need you by my side… I’ll never meet a girl like you again.” Isn’t that why we all spend our nights swiping until the wee hours? We all just want some company, but the risk of being hurt always feels way too great — especially when there are so many options out there and so many apps designed to feed our appetites for something quick, something easy, something that feels like something, but won’t feel like losing everything when it turns out to be nothing. We’re all just picking through the wreckage of our most devastating breakups and hoping we never have to go through them again.
Which is why Party makes the perfect music for the moment. It’s upbeat and it’s catchy, with the dancehall influences at its foundation giving a veneer of fun and frolic. It’s never enough to cover up the melancholy at each song’s center. The party next door is just a smokescreen for the loneliness of the neighbor throwing it. Party’s relative lack of evolution in this regard belies his institutional role in the music of today — does he sound like Gunna and Young Thug in the moments when he switches from crooning to rapping, or do they sound like him because of his early genre pioneering for hip-hop and R&B? While it’s easy to wish he’d switched up a little, picking livelier production or pushing his topical boundaries just a little — it’s nearly impossible to deny that this is the world we live in now. Everybody’s afraid to commit, everybody’s afraid to evolve, and we’re all just a little both lonely, hoping to connect with someone but always with one foot out the door.
PartyMobile is out now on OVO Sound/Warner Records. Get it here.
PartyNextDoor is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Of the many “huh?” moments in Batman v Superman: Dawn of Justice, the biggest “what is happening?” sequence might be Bruce Wayne’s nightmare (or “Knightmare,” as it’s been dubbed online). In it, Earth is now a desolate wasteland, Lois Lane is dead, and after becoming susceptible to Darkseid’s Anti-Life equation, Superman has turned into a violent, tyrannical leader. “She was my world and you took her from me,” Superman tells an unmasked, beat-down Bruce Wayne before gripping his heart, presumably to kill him. That’s when Bruce wakes up, startled by the arrival of a time-traveling Flash.
It’s… a lot, so much so that even director Zack Snyder isn’t entirely sure what’s going on. During a commentary live-stream on Vero for Batman v Superman: Dawn of Justice, Snyder recalled, “I guess it’s boring for him waiting for it to decrypt so he fell asleep. Maybe. I’m not sure. Maybe it’s a by-product of Flash cracking on the cosmic treadmill or whether it creates some sort of rift where it allows Batman to see into the future. It could be a combo of those things.” It’s not the most help explanation, but at least he’s honest?
Elsewhere in the live-stream, Snyder, of #ReleaseTheSnyderCut fame, joked about Batman shooting hired goons with the Batmobile (“I’m sure these guys are fine. They’re going to be 100 percent okay, they’re not going to be dead. Those guys in the car there, they’re 100 percent fine”) and explained the notorious Martha scene. “That’s what the thesis of this thing is, that we’re all humans and that we all connect on a level,” he said. “Our mothers have the same name… That is really sort of this fundamental, ‘We both have a mother, so we are both human.’ Even though Superman is from another planet, his connection to humanity is so clean that Batman is able to re-energize himself.” If only everyone’s mother was named Martha, the world would be less of a “Knightmare.”
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