A little under two months ago, Justin Bieber started his “new era” with the release of “Holy,” an uplifting collaboration with his longtime friend Chance The Rapper. Since then, the two stars used proceeds of the song to help fans affected by the pandemic and performed the song together on Saturday Night Live. Now, they’re giving it a little more life with a comforting acoustic remix. The video accompanying the remix strips away the elaborate storyline of the original, leaving Justin and Chance to perform directly to the camera in a space overlooking a gloomy city skyline.
After the initial release of “Holy,” Beiber followed up with the Benny Blanco-produced single “Lonely,” which detailed his turbulent teen years when he was driven by “ego and power,” according to a recent interview. Justin’s developed a bit of a sense of humor about his early career, making light of himself in the video for Drake and DJ Khaled’s “Popstar” while standing in for Drake.
Meanwhile, Chance popped up a few times to collaborate with friends and family this year, despite being otherwise quiet on the musical front. On MadeInTYO’s “BET Uncut,” he reunited with both TYO and Smino, he offered a suitably spiritual verse to Spillage Village’s Spilligion, and shared his spotlight with burgeoning fellow Chicago rapper Baha Banks on “Shake Dat Ass.”
Watch the acoustic remix performance of “Holy” above.
Chicago rapper King Von is reportedly dead at the age of 26 after being shot at an Atlanta nightclub, according to sources close to the emerging star. The Atlanta Journal-Constitution reports that five people were shot at Monaco Hookah Lounge, with three killed and two injured. According to witnesses, two groups of people got into an argument in the parking lot which became physical. The altercation escalated to shooting, drawing the attention of two police officers working near the lounge. Gunfire was exchanged with the officers, leaving three people injured and one in critical condition.
Rumors flew online in the aftermath saying that the two crews involved in the altercation were those of King Von and local rapper Quando Rondo. Those reports have thus far been unconfirmed. The officers were not injured and police didn’t know whether the officers actually shot anyone. Meanwhile, Fox 5 Atlanta reports a sixth person injured by a fleeing vehicle; police are searching for the driver. Von’s death was confirmed by a number of sources close to the rapper, including Shade 45 producer Justin Hunte and producer ChopsquadDJ, who produced Von’s hit “Take Her To The O.”
Before the incident, Von was rapidly rising through rap’s ranks to become a hot commodity over the past year. As a member of Lil Durk’s Only The Family label, he was co-signed by one of the Windy City’s most prominent hip-hop stars and released two projects in 2020, the Levon James mixtape released in March and his debut album Welcome To O-Block, which released just a week ago.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
A synth’s sinister arpeggio sculpts an eerie background for Dorian Electra’s breathy, autotuned vocals as they sing of (both literally and figuratively) f*cking the world on their My Agenda album opener “F The World.” Jarring and adrenaline-inducing, the song is written from the perspective of an incel and offers a brief introduction into the eccentric world carefully constructed by Electra on their sophomore album.
Not everyone can effectively pen a concept album inspired by the alt-right and incel communities that is simultaneously endearing, hilarious, and thought-provoking. But then again, there’s no artist quite like Electra, who dons a penciled-on mustache as their signature look. And it’s this commitment to pushing boundaries leads them to masterfully explore the darkest corners of the internet through a queer lens on My Agenda.
The album has been described as both futurist and hyperpop, two genre labels which have recently been popularized by Charli XCX and the rise of 100 Gecs in the mainstream. Electra has collaborated with both artists, even accrediting Charli to helping jumpstart their career after joining the singer for her 2018 Pop 2 tour. “The biggest takeaway from being in close situations with Charli is that it’s important to really love the people that you work with on a daily basis — those people should be your friends,” Electra told me over the phone in the days following My Agenda’s release.
Collaborating with their musician friends and staying true to their artistic vision opened the door for other exciting opportunities. The cult following Electra has garnered since their debut LP Flamboyant earned them a chance to participate in Red Bull Radio’s Fireside Chat series (which you can check out below) and secured them album features by some of the biggest queer icons in left-of-center pop.
Unpacking their aesthetic influences and inspiration on My Agenda, Electra talks researching the incel community, subverting harmful internet culture, and collaborating with the likes of the Village People, Pussy Riot, and Rebecca Black.
It seems like a lot of your driving force as a musician is taking norms in pop music and subverting them — whether it’s the heteronormative aspect of pop or the bubble-gummy, accessible sound. In your opinion, what’s one trend in pop music right now that you wish to see changed?
I think it’d be interesting to hear more unique and diverse perspectives in terms of the narrative and story told in pop music. Usually, it’s something really basic like a hetero love story. Even artists that I know who have more diverse experiences than that tend to do the stuff they think will be the most relatable or most universal. But I think it can end up just perpetuating the same old, tired tropes. And I think that some of my favorite artists are the people that I’m seeing talk about really unique and interesting things that are very specific but that also end up being very relatable — they can find a balance of both.
Speaking about your aesthetic and about Dorian Electra as a persona, where do you draw some of your stylistic and aesthetic influences from?
I love the history of fashion — 1600s, 1700, 1800s-era fashion with some punk mixed in. Also, TikTok e-girl and e-boy vibes. I used to love mod and goth fashion. A lot of different things — neckbeard fashion, like the dragon shirts trench coats, that stuff, and nerd culture and rave culture, too.
It’s sort of like an amalgamation of all these different influences. Speaking of neckbeard culture, throughout your record My Agenda you deal a lot with and incels and that whole community online. But rather than overtly condemning it, which is really easy to do nowadays, it seems you’re seeking to understand it. Can you speak about that a little bit?
I feel like we have a very interesting situation on our hands culturally right now, where we have a lot of people that are millennial, or younger or older, white, hetero cis men that feel for some reason very alienated. They feel out of place in society, feel like they can’t have a financial, romantic, or sexual life, and that somehow they feel disenfranchised. It’s causing a new surge in misogyny. In the more extreme realms of that, you see racism and xenophobia. That always happens when people are feeling economically not taken care of. And the scapegoat happens on other groups like, ‘Oh, immigrants take jobs.’ You can look throughout history and just see the trend that there’s always a correspondence between those things.
From a sociological perspective, we really need to look at what is the root cause of this new version of the right and the alt-right. Why has this come about and how do we combat this and how do we try to communicate to these people that there are more positive solutions to their problems than some of the ideology that is found on these corners of the internet? I’m a very pragmatic person, so when I find solutions, I want to look for things that work and ask how we heal the cultural divide that we have going right now — the growing division between the left and the right and culture wars that we’re in the middle of experiencing right now. To me, it starts with just learning, researching, and understanding. The best way to communicate with someone on “the other side” is to first understand them and know where they’re coming from to be able to better communicate with them as opposed to just shutting them out, shutting them down, preventing communication, preventing basically any possibility for change, learning, growth, or development on their part. I think that we need a renewed sense of openness and duty to have civil discourse because online it can just get so [complex] so quickly.
It definitely sounds like you did a lot of research. Is there anything that you learned throughout this research that surprised you?
One thing that I learned that was surprising to me was reading some people’s individual experiences being queer or trans and having found a sense of community in the incel community before they were out. I found a lot of overlap in certain ways between people that were feeling outcast by the rest of the world — feeling like they were never going to find a romantic or sexual partner — and feeling a big sense of self-loathing. There was a sense of being angry with the world.
But the more I started thinking about it, it really made sense to me why that there would be an overlap [between incels and queer people who are closeted]. When people are not happy with themselves, they turn to these online communities that can be both supportive but also destructive and self-destructive to your psyche. […] I can maybe reach some of the people that are in those darker corners of the internet and those communities because they feel out of place, gender nonconforming, or that their sexual orientation is different. And if somehow they come across my stuff and it could reach them, that would be amazing and beautiful. So I think that surprised me the most, but also energized me because some people are reachable and teachable.
That is really interesting. It’s definitely all about creating that underground community and seeking to have other people who understand you be a part of your world. But let’s go into specific tracks more. When you released your title track “My Agenda,” you talked about getting the Village People on the song and how you were inspired by them as queer people because they dominate very heteronormative spaces like sports games. Can you talk about how they as a group, and Pussy Riot as well, fit into your sound?
With the track “My Agenda,” before we even considered having those people on it, it was always this military-sounding song. I always imagined it as a military boy band vibes. I thought it was kind of like ‘NSYNC with the orchestra hits and the lyrics. We have actual marching sounds in the song and it’s a parody of how the conservatives can sometimes portray the “gay agenda” like it’s a gay militia or something. I run with that in a self-aware, sort of self-mocking but also critical way. Yes, we are the “gay agenda.”
But then to have Pussy Riot on the track was so meaningful. I think we kind of take it for granted in the US, but in Russia they have these laws called gay propaganda laws that make it illegal to promote or teach about anything that goes against traditional family heterosexual values. Access to information about sex education is limited, counseling and therapy is limited. It’s really, really detrimental to LGBT youth and just the culture and society as a whole. It’s censorship and it’s still going on. It’s illegal to fly a pride flag. In the US I think we take our freedom of speech for granted a lot of times. And so to have Nadezha [Tolokonnikova, the lead singer of Pussy Riot] be able to sing about that. And for Putin’s birthday, they were putting all these pride flags up around important government buildings in Russia. One of the members was arrested and is in jail for 30 days.
On the other hand, Village People, their songs like “Macho Man” and “YMCA” are simultaneously being played at Trump rallies over the past month. I think that’s amazing in the sense that they’re able to exist in this super mainstream context. Imagine people going on Spotify after the Trump rally, getting all fired up like, “I’m going to listen to some Village People to keep the patriotism going.” And then the next song that comes on is “My Agenda” and they’re encountering that. Just the fact that there could be this crossover or this accidental discovery is remarkable. That’s part of the process. You have the people that are radically upfront about their queer agenda and politics like Pussy Riot, but then you have [a group] that is more covert with a message of love and acceptance that is appealing to the mainstream. To have those two together, to me, it’s just a perfect marriage and I’m just so happy with how that track turned out.
Talking about another collab on the album, your song with Rebecca Black “Edgelord,” you said wanted her on the track because she was also the subject of the “dark side” of the internet. She’s basically the poster child for cyberbullying. It seems to me that a lot of your music on this album is sort of a study in semiotics as well because you take the word edgelord, which obviously has this meaning that comes out of the incel community, but you also break it down to have a lot of different meanings. You talk about an edgelord literally meaning somebody standing on the edge or pushing you to the edge. But talking about the collaboration, can you tell me how it came about and what it was like working with her?
I totally agree with everything that you just said about it. I always find the most inspiration in words to become titles of songs that have three or more meanings. But working with Rebecca was so amazing because I had been learning that she was a fan of my music and 100 Gecs and Charli. It was really cool because she’s somebody who’s totally reclaimed her own narrative and her own story and has reshaped her own career when people probably thought she would never make music professionally. She proved everybody wrong. Also, she’s come out as queer recently, too. We’ve just become friends since working together and it’s been amazing to learn about her and her story. She’s a really inspiring, kind, and compassionate person.
I like that you guys are friends now, that’s really wholesome. Talking about some of the different sounds you have on this record, it seems like you are mixing a lot of these sonic influences — sort of like your style as well. You have some screamo metal influences on “F The World” and then that Halo Gregorian chant on “Monk Mode.” Can you talk about how you come up with some of these sounds?
I figure out what would be the most unexpected combo or the most dramatic, jarring combo. I’m very desensitized to a lot of that. So I have to figure out how to switch it up even more for my next step, but I always love something unexpected. I love things that reclaim sounds that have been considered uncool. Also, things that reclaim genres of music that have become super masculine, like dubstep becoming “brostep” or being associated with frat bros and becoming uncool. But it’s actually a really cool sound of music. Then something like black metal, which is a really amazing and cool genre of music, that’s unfortunately been co-opted by a lot of people on the far right that are white nationalists and white supremacists. Seeing a black metal artist like Gaylord taking that back and make queer and anti-fascist black metal is so powerful to me. So I think that’s what a lot of it is, taking all these genres and reclaiming them.
The last thing that I will ask you is, especially with the uncertainty of the live music industry right now, can you tell me what’s next for Dorian Electra?
I’m definitely going to be working on a lot more new music because that is what people are sitting at home and consuming. I want to be able to provide that for people. And also more videos, I just love doing videos. It’s just so easy for me. And I love to bring these concepts to life. I also want to do something that is beyond just an album or an EP. I want to figure out something that is a different form that I can experiment with too. And more collaborations, I’m very excited to do more collaborations.
My Agenda is out now via Dorian Electra. Get it here.
Charli XCX is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Alex Cora, the former Houston Astros bench coach who was found to be the mastermind behind the Astros’ sign-stealing efforts during their 2017 World Series run, has been rehired as the manager of the Boston Red Sox after serving a season-long suspension for his involvement in the scandal.
The news was first reported Friday morning by Jon Heyman of MLB Network, who added that even amid the pandemic, Red Sox executives including general manager Chaim Bloom flew to Puerto Rico to interview Cora.
Red Sox people flew down to Puerto Rico to interview Cora late last week. Apparently, he answered all their questions satisfactorily.
While the news is a bit shocking considering Cora was originally fired by the team in January after an MLB investigation found him to have spearheaded the Astros’ sign-stealing back in 2017, the Red Sox pulled off an all-time news dump by dropping the news just moments after Joe Biden took the lead in Pennsylvania and took a major step towards becoming the next president of the United States.
Many Americans woke up to news of Biden inching closer to the presidency, followed shortly by the relatively insignificant news of who the next Red Sox manager would be. Later in the morning, Heyman added that the decision was met with support throughout the organization, including from “key players.”
Boston Nation is already cheering the decision to bring back Cora. Ownership and key players supported a return of Cora but it was GM Chaim Bloom’s call in the end.
Back in January, the Red Sox parted ways with Cora when the initial details of his leadership in the Astros’ sign-stealing scandal came to light. An investigation from MLB pinned similar efforts in Boston on an advance scout rather than Cora, though Cora still had to serve a suspension for his rule-breaking in Houston.
That meant that after playing out the 2020 season with manager Ron Roenicke leading the team to a 24-36 record, Boston was able to rehire Cora, who led the franchise to a World Series title in 2018 and had always tended to earn praise across baseball before the Astros scandal.
Even with Cora back in tow, the Red Sox are in a bit of a rebuild, but this whole situation seems to have wrapped itself into a bow now that Cora is back in Boston.
All the ingredients are present in David Fincher’s Mank. It’s an extremely well-crafted film, with beautiful acting performances, directed by one of the best directors working today in an almost orgasmic retro style that will have film nerds pointing at the screen just like that Leonardo DiCaprio meme. Yet (no movie review starts like that without a “yet” or a “however”), the movie still feels distant. It’s a movie I desperately want to love, yet no matter how hard I try, in the end I just wind up admiring it instead. Even now, as I have the movie in my head, attempting to write about it, I love so many aspects of it that it’s really puzzling why I don’t feel as fond toward the sum of its parts.
Mank is the movie David Fincher’s been wanting to make for decades. Originally written by his father, Jack Fincher (who died in 2003), it seems to both serve as David Fincher’s love letter to his father and Jack Fincher’s love letter to screenwriters. And obviously, most notably, Herman Mankiewicz (aka “Mank”). Oh Mank (Gary Oldman, who does seem a bit too old for the role, but, whatever, he’s great), what a scamp! Always getting into some sort of trouble or adventure. And, see, that a thing you should probably know about Mank, it’s much less about Mank attempting to get credit for co-writing Citizen Kane (it’s for sure a part of the film, but not near as much as advertised) and more about Mank just being a drunk guy, wandering from scene to scene, expressing his boisterous opinions. In all honestly, I now know more about Mank’s opinions of the 1934 California gubernatorial election than I do his opinions on Orson Welles.
Look, let’s not beat around the bush: this is a gorgeous movie, especially for film nerds. (Have you ever written a clichéd phrase and thought, “Wait, what does that even mean?” I just looked up where “beat around the bush” came from and apparently its origins were from hunters beating bushes so birds would fly out. Anyway.) And I’d recommend watching (rewatching) Citizen Kane before you watch Mank because a lot of the same filmmaking techniques are at work here and it’s a fun thing to compare. Well, at least at first. Because there’s only so long into a movie a person can continue to go, “Wow, another fadeout?” Or, “Oh, look, another cigarette burn!” (It’s almost as if David Fincher taught the moviegoing public what cigarette burns were in Fight Club so that they’d be appreciated in Mank. Also, Trent Reznor and Atticus Ross’ score, as usual, is dynamite. (Fun fact: Trent Reznor also wrote the score for Citizen Kane.)
So, look, I’m not about to wade into the whole “who wrote Citizen Kane” debate, but Mank does take the road that Mank had much more to do with it than Welles. After a serious car accident that leaves Mank in a leg cast, Welles (Tom Burke) hires Mank to write him a new movie and Mank uses this opportunity to settle a grievance with William Randolph Hurst (Charles Dance). The rest of the film is told in flashbacks (hey, just like Citizen Kane) and, boy, we get a lot of these flashes back to Mank’s adventures in Hollywood. He’s kind of the Forrest Gump of ’30s and ‘40s, having a hand in a whole host of situations. The film also explores Mank’s relationship with Marion Davies (played with heavenly gusto by Amanda Seyfried), and her alleged inspiration for the character of Susan Alexander Kane.
We get to hear a lot of Mank’s opinions, often delivered with a bit of an enraged drunken slur. And there’s no doubt he’s an interesting fellow, but, again, I felt a distance from Mank’s day to day adventures. After a while, he starts to feel like the office blowhard – in a, “Look, I kind of agree with this guy, but maybe give it a rest,” kind of way. When I felt the most engaged was when the film directly acknowledges Citizen Kane. The film feels electric anytime Mank and Welles are on screen together (which, again, isn’t much). Which all leads to a climatic confrontation between the two that is … well, short and underwhelming. (So, spoiler alert, I guess? If you’ve seen Citizen Kane, you already know if Mank got his credit or not.) The film builds us up for this final argument between Mank and Welles and it pretty much amounts to Mank saying, “Hey, I want credit.” And Welles responding, “Well, Mank, you’ll get your credit … but I’m going to be mad about it.”
Again, all the ingredients are here. First, it’s Fincher, a director I admire greatly. But it’s a different Fincher at work here. With Fincher, we kind of expect a sense of urgency in every scene. Mank is a bit more lackadaisical in its storytelling, taking a more Benjamin Button approach, only without the whole aging backwards thing to move the story along. And the acting and cinematography and score are all fantastic. But the story on its whole is hard to embrace. It’s an admirable effort. It’s just a beautiful thing to look at. And the whole endeavor is such a touching tribute from Fincher to his father. But, in the end, I found myself more interested in the behind the scenes shenanigans that led to the creation of, perhaps, the greatest movie of all time, as opposed to Mank the human being. And Mank focuses much more on the latter.
Ariana Grande has released a new album in each of the past three years, with her latest, Positions, arriving last week. It it still very much a new album, but some fans are already wondering when Grande’s next one will arrive. There is a rumor floating around that Grande’s next one will be arriving soon, a rumor that Grande has succinctly shot down.
A fan Twitter account claimed, “Positions was just for the fans , Expect a heavy commercial album for AG7 early 2021**.” Grande kept her response short, sweet, and without room for interpretation, tweeting, “no.”
.@ArianaGrande responds to a stan leak account claiming #AG7 is coming early 2021:
That said, it wouldn’t be unprecedented to see a new Grande album at some point in 2021, given her recent history. Positions dropped over a year-and-a-half after Thank U, Next, while Thank U, Next was a quick follow-up to Sweetener, arriving about half a year after the 2018 album. So, if the wait for Grande’s next album is somewhere in that range, then it would drop at some point between mid-2021 and mid-2022.
Mike Will Made-It and Nicki Minaj rarely miss and once again, they’ve reunited for “What That Speed Bout?!” the electric lead single to the Atlanta producer’s next album. Mike WIll released the track alongside the announcement of his new label deal with Atlantic Records and upcoming album Michael, due in 2021. The track features a typically high-energy beat with rapid-fire verses from Nicki Minaj and guest rapper Youngboy Never Broke Again. In the accompanying sci-fi video, the trio takes over a futuristic factory manufacturing androids with machines that 3D print Nicki’s head.
Mike Will Made-It’s last collab with Nicki was 2019’s “Runnin’” from the Creed II soundtrack, which also featured ASAP Mob members Ferg and Rocky. Mike also released the single “Kill ‘Em With Success” from that project, featuring Schoolboy Q, 2 Chainz, and Eearz. More recently, Mike’s been working with Swae Lee on the Tupelo rap-crooner’s next solo album, fielding over 733 demos from the high energy Rae Sremmurd member.
Being on Jeopardy! was a dream come true for Burt Thakur. After being crowned the champion of Thursday’s episode, and earning $20,400 in the process, the contestant told host Alex Trebek, “I learned English because of you. And so my grandfather, who raised me, I’m gonna get tears right now… I used to sit on his lap and watch you every day. So, it’s a pretty special moment for me, man.” Then came the tears.
Trebek has been hosting Jeopardy! since the 1980s. Maybe conversing with contestants was fun for him then (probably not). But now, after decades of boring human-interest stories about librarians going ice skating in their free time or whatever, Trebek is usually either dunking on folks or sharing Krusty the Clown’s thoughts on talking to the audience (“Oh god, this is always death”). But he looked genuinely touched by Thakur’s story.
“As you heard a little bit, I’m an immigrant and I learned English by watching Jeopardy!, and my oldest memories are with my grandfather watching the show,” he said on the post-show recap. “So, to have it come full circle the way it did, especially during this time of pandemic and everything, to have this opportunity and this gift is, I mean, it’s so emotional and incredible.” You can watch the clip below.
The second season premiere of The Mandalorian dropped a bombshell in the final moments of the episode as Boba Fett was revealed to be alive and fully aware that Pedro Pascal’s Mando is now carting around his iconic armor. While this reveal could have exciting implications for the rest of The Mandalorian‘s second season, the revival of the classic Star Wars bounty hunter may go even further than that. According to Deadline, a Boba Fett spinoff is reportedly in the works, and it could shoot as early as next week. Unlike The Mandalorian, the project will only be a miniseries, but it tracks with Disney’s stated intention to use the second season of its hit bounty hunting series to launch more content for its burgeoning streaming service. However, details are murky, and confusion around a recent casting for The Mandalorian season isn’t helping, but it does seem to suggest that Disney+ has something in the mix. Via Deadline:
Sophie Thatcher (When the Street Lights Go On, Chicago Med) is being rumored to be joining The Mandalorian franchise. Nobody is commenting, and there is conflicting information whether she will be part of The Mandalorian‘s upcoming third season or an offshoot series (or both).
While Deadline doesn’t have solid confirmation on the Boba Fett spinoff, it did shoot down recent online rumors about a spinoff series centered on a team-up between Gina Carano‘s Kara Dune and Katee Sackhoff‘s The Clone Wars character Bo-Katan Kryze, who will reportedly appear in the second season of The Mandalorian. “Such a project does not appear to be real, at least for now,” the report said.
At the start of 2020, James Blake kicked off what has turned into a regular flow of cover songs with a rendition of Frank Ocean’s “Godspeed,” a song on which he is credited as a producer and arranger. He wrote at the time, “New decades resolution was to spend more time at my instrument than at a laptop. So here’s a cover I play of a song I helped write – Godspeed by Frank Ocean. I think I messed up a lyric near the beginning but hey, none of these are gonna be perfect.” Now he has brought the journey full-circle with his visit to The Tonight Show yesterday, when he again performed the song.
His original performance of the song was a simple home recording, but he upped the production value for his new Jimmy Fallon rendition. This time, he took to a piano in a lush, naturally lit outdoor space.
Aside from all the covers, Blake is fresh off the release of an unexpected new EP, Before, which he announced in October and released the next day. Ty Dolla Sign also recently revealed that he and Blake have an unreleased project.
Watch Blake perform “Godspeed” on Fallon above.
Ty Dolla Sign is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
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