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P’ierre Bourne And Lil Uzi Vert Reunite On The Hypnotic ‘Sossboy 2’

Hitmaking producer Pi’erre Bourne reunites with Lil Uzi Vert on “Sossboy 2,” the final single from his upcoming mixtape, The Life of Pi’erre 5, which is due this Friday, June 11. The track was accompanied by an animated visualizer depicting the two artists as Dragon Ball-inspired cartoon avatars as they both rap over the hypnotic, synthesizer-heavy beat.

“Sossboy 2” is one of three tracks featuring guest artists on the 16-song project, including, of course, Playboi Carti and newcomer Sharc, who is signed to Pi’erre’s label SossHouse. Although Pi’erre is focusing on highlighting his solo talents, the three features all make sense; it was Carti and Pi’erre’s collaboration “Magnolia” that launched both to stardom in 2017, while Pi’erre produced a number of tracks for both Carti and Uzi on their most recent outings, Eternal Atake and Whole Lotta Red.

Pi’erre also produced the majority of Carti’s prior album Die Lit. Most recently, Pi’erre has promoted his SossHouse signees, producing three projects in 2020 for Chavo, Jelly, and Frazier Trill, as well as releasing a deluxe version of the last The Life Of Pi’erre tape, which included 15 new tracks.

Listen to “Sossboy 2” above.

The Life of Pi’erre 5 is due on 6/11 via Interscope Records. Pre-save it here.

Lil Uzi Vert is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Jaden Springer’s Age And Athleticism Make Him A Worthy Lottery Pick In The 2021 NBA Draft

Let’s talk about athleticism in basketball. Too often, we just think of athleticism as jumping really high and dunking a lot. That’s certainly part of it, but plenty of players have 40-inch verts at the combine and aren’t effective functional athletes in the NBA.

On the other hand, there are plenty of players who couldn’t jump over a phone book who dominate this league. Athleticism is a spectrum, and being all the way on one side or the other doesn’t necessarily determine what kind of player you will be. Strength, balance, and coordination are the only three physical attributes that all stars seem to have in common.

While talking about this through the lens of the 2021 NBA Draft, the clear-cut No. 1 dude is Cade Cunningham, both in general and in terms of blending that trio of attributes. As for the guy who does that best in this class outside of Cunningham, my money’s on Jaden Springer, the freshman guard from Tennessee who has one of the widest variances among scout opinions in this class. Some places have him in the 20s or even 30s while others have him in the top-5. This is a pretty wide distribution, even in a relatively deep and diverse class.

The argument for Springer starts with his almost unprecedented level of production for his age range.

I know threshold queries have their detractors, and oftentimes people (i.e. me) use them to prove a point, which is always a bad way to approach statistical analysis. But bear in mind when looking at this that Springer did this while being more than a year younger than most of his peers. He put up 17.4 points, 4.9 rebounds, 4.1 assists, and 2.3 stocks (steals + blocks) in the SEC while playing a physically dominant, powerful defensive style and shooting 46.7 percent from the field, 43.5 percent from three, and 81 percent on free throws less than three months after turning 18. Even when judged by this less restrictive threshold barrier, Springer’s youth still stands out.

Of this group, Simmons, Cunningham, Anderson, and Richmond were 19 years old for the entirety of their freshman seasons, Caruso and Smart turned 19 during the season, and only Harden and Melton joined Springer in being 18 for their entire freshman campaigns. Neither of those players were drafted immediately after season — Harden famously stayed two years, for some mysterious reason, while Melton was one of the players caught up in the FBI scandal and was suspended for his entire sophomore year, finally joining the 2018 Draft class and sliding all the way into the late-second round.

Melton is one of the players who most clearly parallels Springer statistically, though Melton is the significantly more explosive player vertically. Still, the role Springer is likely to play, at least for his first contract, is likely similar to the one Melton plays in Memphis: A secondary guard who brings above-average playmaking, rebounding, and physical strength to go along with terrific defense against both guard spots. Springer is taller and larger, and so likely has more room to grow. But even being a carbon copy of Melton, one of the NBA’s most effective bench players this year, would merit a Lottery pick in almost any conceivable Draft.

There is, of course, another somewhat floorbound, large-bodied guard Springer reminds some of: Kyle Lowry.

While I sincerely doubt Springer will ever be the level of shooter off the dribble that Lowry is (though Lowry only shot 22 percent from three and 65 percent from the line as a freshman), the stylistic similarities are there to be found if you look hard enough.

The difference between these two is that while Springer is taller, he’s likely less flexible and explosive in space. Importantly, Springer is strictly a two-footed leaper, which gives him less explosiveness in the paint. The basic idea: If it takes you longer to jump, you’re less likely to create space with said jump. There have been players who overcome this mild hinderance, but already being slightly heavy-footed has really restricted Springer’s ability to create for himself thus far. He shot 8-for-35 in combined screen and iso possessions at Tennessee, and while Rick Barnes’ offense is hardly the friendliest in the country, Springer is a selective scorer and shooter, only taking 46 threes on the year.

These are reasons to doubt Springer as a no-doubt, top-5, superstar type of pick. These are not reasons to leave him out of the top-20 entirely. His poise, touch, body control, and defensive skill make him, at worst, a super backup guard right out of the gate, one of the “safest” picks in the Draft (if such a thing actually exists). At the same time, his age and physical strength make him an upside swing.

NBA teams, particularly those picking outside the top-5 or 6, are infatuated with the idea of hitting huge on a potential superstar in the Draft, but the methodologies they use are often so restrictive and not based on measurable skills or statistical production, and usually are just based on how great a player looks in workouts. Like Tyrese Haliburton or Melton before him, that’s not Springer, but when the lights are on and games are real, he’s ready for the NBA right now. And in five years, he’ll still only be 23.

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Poppy Teamed Up With WWE To Surprise-Release Her New EP ‘Eat (NXT Soundtrack)’

YouTuber-turned-pop star Poppy has been teasing her pivot to metal music, which she teased with a raucous performance of her track “Eat” at the 2021 Grammy Awards. Now, the singer has teamed up with WWE to usher in her new era of hardcore music with her surprise released EP Eat (NXT Soundtrack).

After appearing on WWE’s NXT for several performances since 2020, the singer used the platform to announce Eat (NXT Soundtrack) on Tuesday night with wrestlers Triple H and William Regal. The new five-track effort features her song “Dark Dark World,” which will be the official theme song for NXT TakeOver: In Your House airing Sunday.

In a statement about her WWE partnership, her label Sumerian Record’s Founder/CEO Ash Avildsen noted the historical nature of the endeavor. “Not since Cyndi Lauper and the birth of Wrestlemania have we seen an iconic female rock star and pro wrestling collide in such a culturally fascinating way,” Avildsen said. “This is a historical moment for Sumerian, an inspiring story for the new generation of WWE fans and a glimpse into the future of what’s to come from the brilliant mind and vision of Poppy.”

Watch Poppy announce the release of her album on WWE NXT above and check out her Eat (NXT Soundtrack) cover art and tracklist below.

Sumerian Records

1. “Eat”
2. “Say Cheese”
3. “Cue”
4. “Breeders”
5. “Dark Dark World”

Eat (NXT Soundtrack) is out now via Sumerian Records. Get it here.

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Lil Baby And Lil Durk’s ‘Voice Of The Heroes’ Is A Palatable Display Of The Rappers’ Unified Vision

Lil Baby stole the show in 2020 and his sophomore album, My Turn is complete proof of that. The project grew to be the best-selling album of the year thanks to efforts like “We Paid” with 42 Dugg and “Sum 2 Prove,” and helped push the Atlanta rapper into a new tier among hip-hop acts. However, the pandemic-riddled year wasn’t a bright spot for Baby only. Nearly a thousand miles northwest, Chicago native Lil Durk also elevated his artistry. Throughout 2020, he dropped two projects, Just Cause Y’all Waited 2 and The Voice, with both debuting at No. 2 on the album charts, a career-high for him.

With the rappers’ respective success came a new height of popularity and more eyes on them. While some prefer to take advantage of the new attention for their benefit, Baby and Durk — who hatched some chemistry of their own through frequent collaborations — decided to make the most of their increased status for their newly-released album, Voice Of The Heroes. Just like the last however many collaborative hip-hop albums we’ve received over the past decade, the project looked to answer one question: Was it worth the hype?

Yes, but not by a significant margin. The thing with hip-hop joint albums over the past decade is most of them are either underwhelming or age poorly. Huncho Jack is an example of the former while Drake and Future’s What A Time To Be Alive — minus a few highlight tracks — fits the shoe of the latter. Voice Of The Heroes sits in the middle of these. It wasn’t a disappointment nor will it age poorly. The project did what it needed to in highlighting the rappers’ best talents while inviting each other to their respective worlds to experience it and try a hand at thriving in it.

Examples of this arrive fairly often throughout Voice Of The Heroes. “Who I Want” sees both rappers tell their side of a “hustle and love” story with production that allows Durk’s laxed and woozy bars to be palatable with Baby’s grittier approach to the subject. The same occurs on the project’s title track, which doubles as the intro to the album. “Voice Of The Heroes” creates a space for both Durk and Baby that allows them to deliver a melodic sermon about life’s past and current struggles, the things they’ve overcome along the way, and their legacy that takes shape through each release. While there are songs that certainly complement both rappers, there are others that see one of them at an advantage.

“Medical” carries a piano melody that would’ve made the song ideal for placement on Just Cause Y’all Waited 2 and Durk shines because of it. Elsewhere, “Man Of My Word” and “How It Feels” sound like they were cut from the cloth of Baby’s My Turn fabric and released with slight alterations. “That’s Facts” is by far the best song on Voice Of The Heroes and it’s a jacket that fits Baby extremely well, but let it be known that Durk slides with ease on the track as well. Lastly, Durk treats his supporters to a pair of “No Auto Durk” offerings — which finds him rapping without his trademark autotune filter — through his verses on “Still Runnin” and “Lying.”

Lil Baby and Lil Durk’s project could have been a slimmer release. Outside of their excellent collaboration with Rod Wave on “Rich Off Pain,” the last third of the album is a bit of a drag that makes the energetic and diverse offerings that arrive before it feels like a distant memory. While today’s streaming world welcomes lengthy projects for the sake of a boost in sales, this writer will rarely be fond of projects that push past the 40-45 minute duration mark. This isn’t to say that the music in that section is bad, but in almost all cases, even the best things in life get tiring after a while.

Voice Of The Heroes is not the career-altering release that Baby and Durk’s respective 2020 projects put forth, but that wasn’t the expectation set by the rappers or their fans before it was released. The project delivers a satisfactory showcase in collaboration between two of this generation’s best rappers. Just like Future and Young Thug did when they shared Super Slimey in 2017, Lil Baby and Lil Durk recognized the potential in joining forces at the relative heights of their careers. Unlike the Atlanta rappers’ effort, Voice Of The Heroes is much closer in proximity to Baby and Durk’s best work. While this project isn’t heroic in any sense, Voice Of The Heroes is certainly better suited to save the day than most of the joint hip-hop albums we’ve received in recent years.

Voice Of The Heroes is out now via Quality Control/Alamo/Motown. Get it here.

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‘Battlefield 2042’ Will Release In October With 128 Player Matches

In the world of console shooters, there are two giants: Call of Duty and Battlefield. While Call of Duty is more well-known for its yearly releases, Battlefield has always followed a more traditional development cycle between games. We haven’t seen a Battlefield game since 2018 and we’re all starved for a new one, especially on modern consoles.

The wait is finally over. We have an official name, trailer, and release date for the upcoming Battlefield game, Battlefield 2042. Reaching this point wasn’t easy for DICE, and some of the excitement was subdued due to a handful of leaks and rumors coming out early, but the game itself looks exciting and we’re going to see some gameplay of it around June. More importantly, we have an October release date and pre-order info.

The announcement came alongside an absurd trailer to reveal the game. We all expect game trailers to go a little over the top, but this is one of the craziest we’ve ever seen. It’s all cinematic, so unfortunately, there’s no gameplay to really glean from, but if the game is half as ridiculous as this trailer, then Battlefield 2042 is going to have some of the most memorable setpieces we’ve ever seen in a video game.

Of course, what we all really want to know about Battlefield is the details of the gameplay. What DICE is teasing so far sounds really promising — 128 players per match on next-gen consoles and dynamic weather that can be used against your opponent. Ever wanted to fight someone in a tornado? Well now you can!

Battlefield V was a great game, but at the end of the day, it felt like more Battlefield and not much else. Battlefield 2042‘s new features early on sound like the type of stuff that can only be done on next-gen consoles, which is exactly what fans of the series want to see after waiting this long. With a gameplay teaser coming in June, it will be exciting to see what this all looks like in action.

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Report: The NBA Told The Nets To Stop Making Fun Of How Long It Takes Giannis Antetokounmpo To Shoot Free Throws

Giannis Antetokounmpo’s free throw shooting has come under the microscope during the NBA playoffs. This is for a few reasons, with the most prominent one being he just hasn’t been particularly good at it. The two-time league MVP is at 53.5 percent from the charity stripe this postseason, and while he’s never been lights out from the line, this is still the worst he’s shot on free throws in his postseason career.

The other big reason: It takes Antetokounmpo a lot of time to get a free throw off, something that led to him getting hit for a 10-second violation during a crucial trip to the line against the Miami Heat.

It’s very rare that these get called, but Antetokounmpo does take his time getting free throws up, so this is, by the letter of the law, the correct call. It also led to opposing fans having some fun at his expense, something that was especially true during Game 1 against the Brooklyn Nets. The team put up a clock on the video board to keep track of how long it took him to get free throws off, and according to Peter Botte of the New York Post, the NBA didn’t particularly like this.

An NBA source said the league ordered the Nets to cut out the gamesmanship tactic of a timer shown on the overhead scoreboard at Barclays Center during Game 1 of their playoff series against the Bucks whenever the two-time MVP was at the line. The league doesn’t advocate teams inciting the taunting of other players, the source added.

Instead, the Nets showed an inset video of longtime fan Mr. Whammy extending his arms forward and shaking his fingers at the Bucks star during his free-throw attempts during Monday’s blowout Game 2 victory.

While it is very understandable that the NBA does not want teams openly prodding opposing players, credit where it’s due: this is a good bit of banter by the Nets. Then again, they won Game 1 by eight points and Game 2 by 39, so maybe they should keep rolling with Mr. Whammy.

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Bleachers Dream Big On Their Saxophone-Spiked New Single ‘How Dare You Want More’

Bleachers are back in a big way. In one of the best bits of news so far this year, Jack Antonoff announced the return of his band with a third full-length album, Take The Sadness Out Of Saturday Night, coming this July. Along with another new single, “Stop Making This Hurt” — which follows up earlier tracks “Chinatown” and “45” released back in 2020 — the band recently performed another new track on The Tonight Show Starring Jimmy Fallon, “How Dare You Want More.”

Today they’re officially sharing the song, along with a live video of Jack that was filmed while the song was being recording, including some of the live takes that made it into the final version. Like “Stop Making This Hurt,” the newer single gets a huge dose of saxophone for a jazzy, Springsteen-ian feel, even if the lyrics themselves are a bit more morose. Typical Bleachers winning formula right there.

Check out that video above, and also keep an eye on the developing story that is Jack requesting Stubhub disallow price-gouging on tickets for their upcoming tour. His suggestion? If the platform can’t enforce that, then at least donate some of the markup to Ally Coalition. Honestly it’s a little strange more artists aren’t speaking up about the state of ticket resell scam…. kudos to Antonoff for saying something.

Take The Sadness Out Of Saturday Night is out 7/30 via RCA. Pre-order it here.

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Morgan Wallen Fans Bought Billboards Asking For His Racial Slur To Be Forgiven By The Music Industry

It’s been a few months since a video was released of Morgan Wallen using a racial slur around his friends. Following the controversy, the singer was briefly removed from radio airplay and disqualified from the receiving the top CMA Awards. But there are still a number of fans who have been fervent supporters throughout his racial slur controversy, and they want to be heard.

A group of fans got together to purchase seven massive billboards across Nashville. The signs protest Wallen’s disqualification from the CMT Awards, which air Wednesday night, and beg for his forgiveness by mentioning the Bible verse Mark 11:25. They feature an image of Wallen’s recognizable mullet with text reading, “The fans speaking, enough is enough,” and, “Music industry we want to be heard!”

Wallen was at first fairly vocal about the situation. Immediately following the video’s publication, the singer made a vague promise to “do better” and has said he won’t tour again this summer. But despite his promises, the singer reportedly ghosted the Nashville NAACP, who sought to educate Wallen on racial justice issues, after he set up a meeting with them. Before that, the singer made his first public appearance following the incident at Kid Rock’s Nashville bar, where he played several of his songs on stage.

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LeBron James Assembles A ‘Dream Team’ Of Looney Tunes In The ‘Space Jam: A New Legacy’ Trailer

Space Jam: A New Legacy, an inexplicably controversial movie, is the first Looney Tunes film to receive a theatrical release since 2003’s Looney Tunes: Back in Action. The HBO Max series is great, but this is unacceptable. The world would be a better place with more Looney Tunes in it, even in a sequel to an $80 million Nike commercial.

A New Legacy swaps Michael Jordan for LeBron James, who gathers the Toon Squad, including Bugs, Daffy, and Lola, to defeat the evil Goon Squad. Also, Don Cheadle plays a computer algorithm named Al-G Rhythm and Mad Max is involved somehow.

Enough talk about Pepe Le Pew. Let’s focus on how weird Space Jam 2 sounds.

Here’s the official plot synopsis:

When LeBron James and his young son Dom are trapped in a digital space by a rogue A.I., LeBron must get them home safe by leading Bugs, Lola Bunny and the whole gang of notoriously undisciplined Looney Tunes to victory over a powered-up roster of professional basketball stars as you’ve never seen them before. It’s Tunes versus Goons in the highest-stakes challenge of his life, that will redefine LeBron’s bond with his son and shine a light on the power of being yourself.

Space Jam: A New Legacy hits theaters and HBO Max on July 16.

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GoldLink Shares The Triumphant ‘White Walls’ From His Upcoming Album ‘Haram’

DMV rapper GoldLink returns this week with the lead single from his newly announced album Haram!, which is set for a June 18 release on Squaaash Club/RCA Records. The genre-mixing artist said of the new single “White Walls,” “It’s destructive, it’s ‘wrong,’ it sounds crazy + it’s a pop song. PLAY IT LOUD!” The visualizer for the song features drone shots of GoldLink in an abandoned-looking city, cut with infrared shots that look just like the Predator’s heat vision. This time around, GoldLink goes for a more bass-heavy sound, with a menacing 808 loop backing distorted vocals spitting boastful rhymes.

Haram! will be GoldLink’s first release since the acclaimed Diaspora, which came out in June 2019. It’s a 15-track album with features from Bibi Bourelly, Flo Milli, NLE Choppa, Rich The Kid, and Santigold, and was created as GoldLink lived in Amsterdam and London during the pandemic and its resulting rounds of quarantine. “White Walls” also contains a shot at Sheck Wes, who GoldLink previously called out on “Justine’s Interlude” after singer Justine Skye accused the “Mo Bamba” rapper of abuse.

GoldLink had a relatively quiet 2020 while creating this album, only poking his head out to share the funky “Sorrow, Tears, And Blood” with Dreamville singer Ari Lennox.

Listen to “White Walls” above. Haram! is due 6/18. Pre-save it here.