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Olivia Rodrigo Had The Best Response To Courtney Love’s Plagiarism Accusations

Now that she’s a certified pop star, Olivia Rodrigo is getting used to being famous. That includes having people tell her they have sex to her break-up songs and, like many other artists, having accusations of plagiarism being hurled her. Courtney Love recently went on a rant about the similarities between a promotional photo for Rodrigo’s Sour prom concert film and Hole’s Live Through This album. Rodrigo has stayed level-headed about the whole ordeal and now has the best response.

Love first called attention to her frustrations in a since-deleted Instagram post. She shared Rodrigo’s photo and tagged her with the caption, “Spot the difference! #twinning!”

Rodrigo thought it was a genuine compliment and commented under Love’s post to express her admiration for the singer. But Love’s words were clearly sarcastic as the 57-year-old musician replied saying she expected to be sent flowers. Love later went off on Facebook, writing, “Stealing an original idea and not asking permission is rude.”

It’s not clear if Rodrigo ever ended up sending Love a bouquet, but she’s now addressed the internet drama in a recent profile by GQ. When asked about it, Rodrigo delivered an extremely mature response. “To be honest, I’m just flattered that Courtney Love knows that I exist,” she said.

Read Rodrigo’s full GQ profile here.

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The ‘South Park’ Creators’ Quest To Buy The Beloved Casa Bonita Has Hit A Road Block

Last week, South Park creators Matt Stone and Trey Parker made it clear that they’re interested in buying Casa Bonita. The Colorado-located Mexican “eatertainment” restaurant beloved to the showrunners was actually featured on the Comedy Central show, but the COVID-19 pandemic and other factors seems to have waylaid the waterfall-filled establishment that Cartman once showed to the world.

Parker told a reporter last week that he wanted to buy the closed restaurant and spruce the place up, and the news has sparked a petition signed by a number of fans who are asking to make the sale happen. According to KDVR, a few thousand people have signed on telling the current owners that “we want Matt and Trey.” It’s a fairly inflammatory petition, all things considered:

Decades have passed, and you still haven’t changed. There’s no shame in serving horrible food to paying customers. Your prizes are lame and your games are broken. My last visit to your gift shop had embarrassingly few items. You got rid of Mariachi bands and balloons that inflated in front of you. The treasure room had rock hard tootsie rolls that were possibly years old. The hideous pink pony that played blaring music was not fun or cool! You need to admit you’ve failed, and let Denver see what our South Park friends can do to improve the current mess you’ve created.

There’s just one problem: according to TMZ, the still-closed establishment isn’t actually for sale despite its closure and some organizational restructuring at its parent company. And despite a report about their interest, the two South Park creators haven’t actually reached out about buying the place:

Since the bankruptcy filing, we’re told tons of people have reached out to Summit about purchasing Casa Bonita — but Trey and Matt weren’t among them.

We’re told the decision-makers at Summit plan to reopen Casa Bonita ASAP once the current bankruptcy process wraps, with the goal being to get folks back to work in the next month. Summit’s owned Casa Bonita for 25 years.

All things are possible with a lot of money, of course, so perhaps this is more of a negotiating tactic than a dismissal of the offer made through the press. But it sounds like right now that statement of intent was more bluster than actual business while the current owners of the treasure room and its rock-hard Tootsie Rolls are figuring out restaurant life amid a still-ongoing pandemic. Hopefully the waterfall starts flowing in there soon, no matter who’s in charge.

(Via TMZ, KDVR & Change.org)

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Aaron Carter Will Perform Fully Nude In The Musical ‘Naked Boys Singing’

Aaron Carter has kept busy lately, whether he’s boxing Lamar Odom or maintaining his OnlyFans account. His next endeavor is more closely related to the latter: Variety reports the singer is set to join a Las Vegas production of Naked Boys Singing!, which they describe as “a campy 60-minute gay musical revue in which the all-male cast perform in their birthday suits.”

Carter says, “I think the naked body is a beautiful thing. We were all born naked. I love doing OnlyFans. I’ve been an OnlyFans model for over a year now, and people are very uplifting. They make you feel attractive and good about yourself. I love that social media platform more than any other platform. It’s not about the money. It’s about the fans.”

In 2017, Carter came out as bisexual, writing at the time, “There’s something I’d like to say that I feel is important for myself and my identity that has been weighing on my chest for nearly half of my life. This doesn’t bring me shame, just a weight and burden I have held onto for a long time that I would like lifted off me. […] I grew up in this entertainment industry at a very young age and when I was around 13 years old, I started to find boys and girls attractive. There were years that went by that I thought about, but it wasn’t until I was 17 years old, after a few relationships with girls, I had an experience with a male that I had an attraction to who I also worked with and grew up with.”

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Quavo Bragged On Instagram That He Pays His Assistant $5,000 A Day

How in the world would fans find out the rate that Migos star Quavo pays his assistant you might ask? Well, the rapper himself bragged about the number on Instagram, of course. In a recent post, Quavo shared a photo of himself checking his phone outside while said assistant, one Joshua Washington, held an umbrella over his head to shield the sun and pointed a portable fan his way. Quavo tagged his assistant in the pic, and let fans know, his actions don’t go unappreciated.

Captioning the pic: “5k a Day My Asst. A Millionaire!” Quavo set off a whole conversation among Migos fans about the seemingly exorbitant rate. Then again, given how many stories we’ve heard about extremely wealthy celebrities treating their employees very poorly, this overpayment is a welcome rebuttal. Doing some quick calculations here about Mr. Washington’s total take home pay… if he makes $5,000 a day that’s $35,000 a week and $120,000 a month.

$120,000 annually is considered to be a pretty hefty salary in America, so multiply that 12 for each month and his total annual pay is $1,440,000. In which case, Quavo’s post is right, his assistant is most certainly a millionaire as he makes over a million in a year. Then again, maybe the daily rate is a sporadic one, and he’s not really working 365 like that. Let it be known, I too am available for assistant work if anyone in Migos is in LA for a few days without help and needs a hand.

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Jeff Tweedy Is Launching His ‘Starship Casual’ Substack Newsletter To Better Connect With Fans

When the pandemic canceled touring plans for musicians, Wilco’s Jeff Tweedy began writing music at an even more prolific rate. He penned one song a day, which he shared with friends and family. But the musician began missing the connections forged from performing live music for fans. To suffice, Tweedy announced Wednesday that he’s officially launching a Substack newsletter to better connect with his listeners.

Titled Starship Casual, Tweedy’s newsletter will allow his fans to get to know him on a more intimate level. Through his writing, Tweedy plans on sharing memories, cultivating a community of fans, and even opening an advice column. The first newsletter arrives on August 5, the same day Tweedy is hitting the road for his fall tour.

In a statement shared about Starship Casual, Tweedy explains why he wanted to pivot away from social media in favor of a regular newsletter:

“I know I’ve shared a lot — been pretty prolific for a scary long time now. But a couple of things happened this past year (which I’ll get to in a sec) that have me craving a bit more of a direct experience with my collaborators (you). Social media has never quite met these needs for me. Occasionally I’ve dabbled with tweets and whatnot, but I’ve never been able to quite put my finger on the reason for the emptiness I feel trying to engage with all of you while using those formats.

I really want this newsletter to be an extension of that experience, and to put into practice some of the insight I’ve gained about my past attempts to make social media feel worthwhile and honest to me. It’s the community I’ve always missed. Blue checks or not I’m not sure anyone is really themself — really who they say they are in that climate over there. I’m going to settle in here and share all kinds of things with an added emphasis on a feeling of direct interaction. Mostly, I just want to be here where you can find me. If you need me. Because I like you. Let’s spend some time together.”

Subscribe to Tweedy’s newsletter here.

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2KBaby Returns To ‘UPROXX Sessions’ For A Smooth Performance Of ‘Zack & Cody’

Just a few weeks after sharing his new single “Zack & Cody” with DDG, 2KBaby returned to Uproxx Studios to perform the single without his XXL Freshman partner-in-rhyme, crooning his way through the ode to the millennial Disney Channel classic.

2KBaby, who is just a year removed from his debut EP Pregame Rituals, has been building his buzz ever since via a string of single releases including “Like This,” “Ohio River,” and “Great White.” His connection with DDG for “Zack & Cody” was fortuitous, as the single was released just around the time DDG was announced as a 2021 XXL Freshman, bringing additional attention to 2KBaby.

Also contributing to that increased attention, 2KBaby partnered with Uproxx for a rapid-fire trivia game about SpongeBob SquarePants and appears on our React Like You Know panel offering his thoughts on classic videos from the likes of Trick Daddy and Trina, Busta Rhymes, and more.

Watch 2KBaby perform “Zack & Cody” above and check out his previous UPROXX Sessions performance of “Mad” here.

2KBaby is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

UPROXX Sessions is Uproxx’s performance show featuring the hottest up-and-coming acts you should keep an eye on. Featuring creative direction from LA promotion collective, Ham On Everything, and taking place on our “bathroom” set designed and painted by Julian Gross, UPROXX Sessions is a showcase of some of our favorite performers, who just might soon be yours, too.

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Justin Bieber Shows Love To Morgan Wallen Before Quickly Deleting His Post And Apologizing

Morgan Wallen’s use of a racial slur and subsequent fall from grace was one of the biggest music stories of the past few months, but it seems Justin Bieber didn’t hear about it: Today, he gave Wallen’s music a co-sign before deleting his post and apologizing.

Bieber shared a screenshot of Wallen’s “Sand In My Boots” from Dangerous: The Double Album playing on a music app and wrote, “Love this album.” Not long after that, presumably upon learning about what Wallen’s been up to lately, he deleted the Instagram Story. Then, in response to a comment about Bieber sharing the song, he wrote, “honestly i had no idea he was saying those racist things, i deleted it, I’m sorry :(.”

It seems completely possible that Bieber missed the whole Wallen controversy, considering he said back in March that he doesn’t own a phone and instead uses an iPad for some tasks. Indeed, based on the layout of the music app in Bieber’s screenshot, it looks like he was listening on a tablet. Bieber previously said of his lack of phone, “I definitely learned how to have boundaries, and I just don’t feel like I owe anybody anything. That has helped me to be able to just say no and just be firm in it and know that my heart [wants] to help people, but I can’t do everything. I want to sometimes, but it’s just not sustainable.”

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How The Magic Can Put Jalen Suggs In A Position To Thrive From Day One

Over the span of about eight months, the Orlando Magic went from a dearth of young perimeter talent to an abundance of it. Approaching the 2020 NBA Draft, Markelle Fultz was the lone guard who potentially factored into the franchise’s long-term plans. Following the 2021 Draft, which bore Jalen Suggs at fifth overall to join Fultz, Cole Anthony, and R.J. Hampton, the Magic could field an entire guard rotation composed of 23-and-under ball-handlers come October’s opening night.

None of these four resemble a future primary initiator. A collection of secondary creators can be akin to a football team having two “starting-caliber” quarterbacks — as the old adage goes, when you have two signal callers, you don’t have any. Secondary creators require a nucleus to tie all the loose ends together for optimization. Somebody has to reliably tilt a defense and assume the ire of the most daunting perimeter defenders to ease everyone else’s burden.

Suggs is unlikely to be an offensive hub. There are some pretty compelling avenues toward a high-end outcome offensively for him, it just demands creativity that ascends above a flood of pick-and-rolls accompanied by shooting and decision-making development.

The presence of Fultz, Anthony, and Hampton, all of whom the Magic have shown some level of investment in, should protect Suggs from being overstimulated as a lead guard. Each member of this quartet will likely see on-ball reps as the franchise aims for a hierarchy to organically arrange itself. Even Chuma Okeke organized some pick-and-rolls as a handler last season and could stand to see them again next year.

However, flawed initiators splitting time commandeering offense is a delicate line as it pertains to Suggs. He won’t have to pursue creation pathways every possession, but he might not be enabled to attack off an advantage with the frequency that suits him; on-ball touches might flow his way out of happenstance and reveal his limitations. As is the case with any complementary player, the early returns of his performance are linked to the success of whoever’s piloting the offense.

Accentuating Suggs offensively means understanding his bright spots and warts. His creation peak is severely hampered by a destabilizing handle. High and loose, it’s easily disrupted by pestering perimeter defenders and fervent stunts from helpers on the wing. When working downhill, he has to keep the ball near his body, which curbs how efficiently he covers ground as a driver and how he navigates in narrow quarters. Often, the order of operations are just slower for him and that widens the margin of error among defenders to contain him.

Countering this, both schematically and individually, means leaning into a strength-based creation usage. At 6’4 and 205 pounds, Suggs is a rather functionally strong guard, especially for a 20-year-old. He’s not going to gain the desired edge with explosiveness or his handle. His trustiest means of producing advantages is strength, overwhelming assignments in early offense, exploiting mismatches on the block, and using his frame to shield the ball from defenders as a mask for his insufficient handle.

Guard-guard actions where he acts as a screener to spur small advantages before multiplying them with strength, sets guiding him downhill into space, and an emphasis to push the tempo will amplify the utility of his strength offensively. It would behoove him to expand the flashes of a post-up game to bully mismatches, a la Jrue Holiday, into a bankable tool.

Dribble handoffs featuring Wendell Carter Jr. — someone who, with revised aggression, could be a steady release valve for Orlando’s youthful guards — should be a mainstay of Suggs’ on-ball diet. Getting him moving East-West with his defender a step behind and flowing into a DHO to send him downhill was a tactic that proved resourceful during his one season at Gonzaga. Bigs who play alongside him should make it a point to lean the Gortat seal.

Carter’s status as the trigger man might pull a rim protector out of the paint. At the very least, he’s a big body for defenders to maneuver around and possibly provide Suggs the separation he struggles to accomplish individually. While atypical, this is still creation, just through the lens of some added creativity. It’s not really an indictment of Suggs beyond the concept that team-building with him in mind is more challenging than if he were supplemented by, or could serve as, a viable primary initiator.

Yet whoever Orlando chose — and more salient, most fifth overall picks since the dawn of time — would likely necessitate schematic ingenuity to offer creation equity. There’s a baseline present with Suggs that merely demands broadened horizons beyond spread pick-and-rolls and isolations to funnel possessions through him.

While everyone benefits from aid in advantage creation and the removal of a defensive anchor in the paint, it’s more pressing for Suggs than many. He is not a bouncy one-foot leaper and requires load time to explode off of two, his preferred method. This considerably hamstrings his finishing and a lack of flexibility breeds uneconomical driving angles.

Rim protectors are afforded a longer buffer time to rotate or recover. Right now, Suggs largely incapable of directing his body movements in conflicting paths, which allows his man to stay attached easier and contest his shots near the rim, where he fails to extend over or around most guys because of inflexibility and those aforementioned leaping limitations. Getting his shoulder past a defender to solidify an advantage is laborious, and when he does, his vertical constraints are there to possibly curtail said advantage.

As Orlando clarifies its ecosystem of ball-handlers, I’d imagine there are quite a few three-guard lineups incorporating some combination of Suggs, Fultz, Hampton, and Anthony to gauge the synergy and overlap of their skill-sets. Building upon that, Okeke, Carter, and new draftee Franz Wagner are all front-court options with advanced feel and plus passing at their position.

Facilitating some possessions through them — whether it’s pick-and-rolls, DHOs, high-post touches, or motion-heavy alignments stationing them at the elbows — to assuage the creation responsibilities of the young guards is prudent. The idea of various Horns-based actions involving Carter and Okeke or Wagner is enticing. Specifically for Suggs, the passing acumen of these bigs will help unlock one of his best traits: He’s masterful setting up and timing cuts. They help him generate rim pressure in spite of self-imposed constraints. They’re more likely to catch paint enforcers by surprise, which lessens the chance for a risky in-traffic finish.

It may behoove the Magic to steal some philosophies from Gonzaga’s 2020-21 offense. The Bulldogs did not lean on a singular perimeter creator and played many three-guard lineups with Suggs, Andrew Nembhard, and Joel Ayayi. Of course, guys of Drew Timme (elite post fulcrum) and Corey Kispert’s (elite shooting gravity and off-ball mover) stature are not flanking them. Compared to their respective leagues, Orlando does not have the relative talent of that Gonzaga squad.

A scheme with three ball-handlers, though, none of whom were premier half-court initiators, regularly punctured the defense. Gonzaga parlayed horizontal movement of ball and player and decoy motion on weak-side into fruitful hand-offs and side pick-and-rolls. The Xs-and-Os helped forge advantages rather than personnel outright. The Magic will need that wrinkle in order to maximize their offense. It’s particularly relevant for Suggs as a half-court passer.

His processing speed is snappy and he’s a virtuoso functioning in pockets of space; his Elite Eight outing against USC’s zone defense testifies to that. Comparisons that popped up to Jason Kidd in the pre-Draft process were off-base due to Kidd’s edge as an explosive and vertical athlete with more refined passing ability, but a better comp might be players like Lonzo Ball or Tyrese Haliburton. Similar to that pair — both of whom are rightly considered archetypal play-linkers — he’s adept at delivering on previously established openings in the defense as a connective passer.

What distinguishes Suggs from Ball as a play-linker and helps heighten his scoring ceiling is a budding intermediate game to compensate for his problems as a finisher and vertical athlete. As the 2020-21 collegiate season wore on, he grew increasingly comfortable operating in the midrange, lofting in floaters or wielding space-creating craft for short pull-ups and open rim finishes. According to Bart Torvik, he shot 44 percent (22-for-50) on two-pointers away from the rim and only 4.5 percent of those were assisted. It’s still early in his development, but you can see the self-creation potential in Suggs’ game.

Compound that with his passing prowess to rollers out of ball-screens and there’s absolutely some on-ball equity in a fairly traditional manner, just not to the magnitude a team would forecast of its primary creator. Moving forward, during pick-and-roll reps, nailing down the nuances of snaking ball screens should be a priority given his handling concerns and exceptional functional strength.

A swing skill almost entirely within Suggs’ own domain is the evolution of his pull-up three. He shot 33.7 percent (35-for-104) from deep at Gonzaga, with 54.3 percent of his makes coming on assists. He had opportunities to flash some special shot-making off the bounce for a 19-year-old and certainly followed through, lending credence to further maturation in the coming years.

Conversely, he had a number of brutal off-target misfires. The variance of his shooting outcome feels quite large, and while we can offer up theories as to why this is the case (if I had to put money on it, it’s a matter of inconsistent lower body mechanics), nothing appears to be so broken that his jumper is unsalvageable or anything like that. But if he reaches the high-end, it gives him on-ball scoring equity significantly less contingent on his handle, explosion, flexibility, and knack for capably weaving through congestion.

Imperative for the Magic is to grant Suggs the freedom as an open-court spark plug. According to Synergy, he logged the third-most transition possessions in men’s college basketball last season and finished in the 60th percentile of points per possession in transition. He’s a physical, aggressive defensive rebounder to start the break, pushes the tempo to pursue seamless paint touches, and controls the pace. His vision and execution as a transition playmaker are brilliant.

Orlando’s coaching staff should live with any early turnovers. Trust in the tape and accept his risks, confident the long-term outcomes will be worthwhile. All turnovers are not created equal, nor are they inherently bad, especially when the inverse result is a bucket that would not otherwise exist.

Missed shots can have a similar effect as turnovers — an empty possession and potential fast break for the opposition — but only one is chastised statistically to outlandish lengths. With a bevy of young guards still figuring out what they are as professional basketball players, such a sentiment should reverberate across Orlando’s bench. Suggs’ fast-break distribution is remarkable. Empowering it is a vital component of his offensive maximization.

Conceptualizing Suggs’ ideal offensive usage and role is a meticulous experiment. He has glaring shortcomings that are antithetical to the silhouette of a lead guard. He’s also equipped with some high-end skills as a secondary creator who moonlights on the ball and thrives alongside an offensive engine.

Orlando, right now, is not the perfect template for him. But there is, perhaps, enough infrastructure to commission his novel deployment to reach the tantalizing outcomes available to a strong, 6’4 guard who maps the court distinctly well with or without the ball and has the makings of a potentially good pull-up shooter.

Achieving that warrants innovation and development from himself and surrounding core players. Even so, there is much to appreciate about the depths of Jalen Suggs’ skill package. How the Magic go about unboxing and nurturing that will be a fascinating study.

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Amazon’s ‘New World’ MMO Has Been Delayed Until Late September

When Amazon decided it wanted to start developing video games there was a little bit of concern from more traditional development companies out there. A company the size of Amazon should theoretically be able to make video games bigger than anyone else could even attempt thanks to the sheer amount of money they can put into their properties.

So far, however, Amazon has struggled to break into the gaming space the way it had hoped. With multiple cancellations, a release that was then pulled from sale, and a handful of mobile games, we have yet to see a breakout hit from Amazon. Despite these struggles, Amazon has been pushing forward with development and is finally close to having its first big AAA release

New World is an MMO that Amazon has had in development for quite some time and 2021 is when we should finally see all that work come to fruition. In July they hosted a first look at an Alpha and a closed Beta so players could get a look at it. And while there were some complaints about the game requiring really powerful hardware to run, there weren’t too many viral outcries about what players found. The problem is that not too many people raved about it either. It was just a beta so that doesn’t really mean much, but if they had the next Final Fantasy XIV on their hands we likely would have heard some more hype about it.

The game was let to officially launch on August 31, but Amazon announced with less than a month to go they’re pushing that to September 28.

The statement the New World team put out claimed that the delay was in response to feedback they received about the Beta. Considering the complaints about hardware and lack of buzz around the game, that might be why Amazon has decided to delay New World to a late September release date. It will give them time to polish up those issues and make the game the best it can be.

While nobody wants to see a game get delayed, allowing for an extra month of work will be worth it for the development team if it means that New World can have a stronger launch. Putting out an MMO is never easy, because if it doesn’t launch well then there will be no player base to build the game on. MMOs are a social experience above all else, and those kinds of games need a strong and dedicated player base to keep them going. Without that, New World will have no chance at launch.

There’s also a ton of pressure on Amazon Games to launch New World as ready as possible. Amazon’s last big release, Crucible, initially did make its way to stores. The game was extremely middling, however, and lacked a clear sense of direction. Eventually, it was pulled back into Beta before it was cancelled entirely. Reports from Bloomberg early in 2021 showed a development studio that was struggling to get any of its ideas to stick. It did not paint a pretty picture for New World, or really any title coming from an Amazon studio, but if that team can manage to make this a success then it might be the moment that Amazon finally breaks into video games for real.

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Someone Is Making A ‘Legend Of Zelda: Breath Of The Wild’ Google Street View Site And It’s Cool As Hell

Just in case you forgot how breathtakingly beautiful The Legend of Zelda: Breath of the Wild is, a project all about showing off every last peak and valley of the land of Hyrule is currently in the works. As first reported by IGN, a computer science student and software developer named Nassim (or @LabNassim over on Twitter) has been working on their own version of Google Maps dedicated to Breath of the Wild‘s Hyrule — and it’s honestly, rad as hell.

The entire project is uploaded on a website that features a large image of the game’s map with Google Maps-style pins on select locations, such as Hyrule Field, Eldin’s Great Skeleton, Lurelin Village, and Kara Kara Bazaar. Upon selecting a pin, you can load a panoramic map reminiscent of Google Map’s “Street View” feature and explore all 360 degrees of the image, soaking in all the details you might have missed with avoiding those pesky Guardians.

As of right now, only a couple dozen locations are available to view with the map’s Eastern regions a bit more explored than its West. In order to expedite the process, Nassim has created a link on the site where players can submit their own screenshots and, pending approval, help them flesh out the game’s iconic (and massive) map. If like me you’re still wondering just how all this is even possible, rest assured that Nassim has also created a YouTube video explaining the whole process that you can watch below:

https://www.youtube.com/channel/UCO_O0pw4GNZr6rs8JVKJ_hg