It’s been several months since the first photos from the upcoming film House Of Gucciturned Adam Driver and Lady Gaga into an instant meme. Since then, we’ve gotten many more previews of the project, including an official trailer that shows Driver and Gaga trying out their best Italian accents. It’s an accent that Gaga now says took her months to perfect — nine month to be exact.
The singer sat down for a cover interview with British Vogue to discuss her role in the film, which is set to premiere in theaters on November 26. During their conversation, Gaga reveals she tried her hand at method acting, striving to completely embody her leading role as Patrizia Reggiani. That included dying her hair brown, taking up photography, and strictly speaking in an Italian accent for nine months both on and off camera.
“It is three years since I started working on it,” Gaga said about the film, “and I will be fully honest and transparent: I lived as [Reggiani] for a year and a half. And I spoke with an accent for nine months of that. Off camera, I never broke. I stayed with her.”
Elsewhere in the discussion, Gaga talked about her co-star Salma Hayek’s response to her method acting. “We were in between takes and Salma was like, ‘Oh, this f*cking method actor is over here. You know, she’s not talking to me right now.’ Because I was doing sense memory work next to her, and she was making fun of me while I was sitting there doing it. And I didn’t even laugh. When the scene was over, I flipped at her and I said, ‘You’re ridiculous!’ and I started laughing and I kissed her. It was a wonderful set, but I’m very serious when I work.”
Ready Gaga’s full interview with British Voguehere.
Tomorrow, Netflix Games will start rolling out on the Netflix mobile app. First on Android, with iOS on the way.
It’s early days, but we’re excited to start bringing you exclusive games, with no ads, no additional fees and no in-app purchases. pic.twitter.com/ofNGF4b8At
Announced by Netflix earlier today, Netflix Gaming is a mobile gaming service being tacked on to pre-existing Netflix memberships at no additional cost. Even better, Netflix has explicitly promised the service will also feature “no ads, no additional fees, and no in-app purchases,” playfully adding “don’t let the Demogorgon tell you otherwise” in their blog post.
As of today, the service is available through the Netflix app on all Android devices with the iOS upgrade reportedly on the way. Netflix members can access the gaming service by logging into the Netflix app, accessing Netflix Games from the homepage or “games” tab, selecting the game they wish to play, and downloading it through their phone’s app store. There are currently five games available through the streaming service, with “a whole lot more” on the way, according to the company. Until then, however, subscribers are encouraged to download and play the Netflix original-inspired titles Stranger Things: 1984 and Stranger Things 3: The Game, as well as the more simplistic Shooting Hoops, Card Blast, and Teeter Up.
Seeing as the project is still in its early stages, we’re still unsure of Netflix’s intended timeline for iOS and various other details, such as will players be able to stream the games they play. However, Netflix has confirmed the games will be available in “many of the languages [they] offer on service” and members will be able to play games on multiple mobile devices on the same account — as long as they stay under their pre-existing device limit. Netflix Games will also be restricted solely to adult profiles in order to prevent kids from playing any games that could potentially have mature themes. Lastly, while some games will require an internet connection, others will be available to play offline in an effort for Netflix to “make those long trips and areas with bad Wi-Fi a lot more tolerable.”
As for what’s next for Netflix Gaming, it certainly looks like the powerhouse streamer might just be working on building up a library of games exclusive for Netflix subscribers, perhaps with the intention to monetize the gaming subscription service later on down the road. Earlier this year, the company purchased indie game studio Night School Studios — the creators behind narrative-driven titles such as Oxenfree and Afterparty — with the intention of having the team work with them to create more games based on Netflix original titles. With any luck, we might see some pretty cool announcements come out of the partnership in the near future.
Either way, Netflix seems to be entering the project with a lot of zeal and appreciation for gaming, which comes as no surprise considering just much of Netflix’s programming is based off of video games. According to Netflix, they “love games,” and are “excited” to take their first step into the world of game development:
“We love games, whether it’s physical games (Floor Is Lava), mind games (The Circle) or Squid Game. And we love entertaining our members. That’s why we’re excited to take our first step in launching Netflix games on mobile to the world.”
Hazmat whiskeys occupy a pretty small niche in the whiskey world. There are only a few bourbons that hit ABVs over 120. Even then, most bottles tap out at around 130-136 proof (or 65 to 68 percent). And, generally speaking, those whiskeys are heat bombs first and foremost with the nose and palate often getting lost in the shuffle.
Jack Daniel’s Master Distiller Chris Fletcher and Assistant Distiller Lexie Phillips wanted to break that pattern. So they went a different route with their latest high-proof release. And what a fascinating route it is.
The latest Jack Daniel’s 2021 Single Barrel Special Release Coy Hill High Proof was picked based on its flavor profile alone. When it comes to finding these single barrel releases, Fletcher and Phillips are in a truly unique position. They have millions of barrels to choose from with so many variables of taste, texture, and proof that it’d make your head spin. That gives the duo the chance to take their time to really seek out what they’re looking for, beyond just “really, really potent whiskey.” Essentially, they don’t see any point in chasing the high-proof trend if what’s in the bottle isn’t drinkable.
To that end, Jack Daniel’s ended up bottling what might be the highest proof American whiskey ever widely produced. The bottle has a hefty 148.3 proof (Bruichladdich X4 Quadrupled at 184 proof/92 percent ABV is above that, but that was an unaged expression). It’s so high that it’s officially a Hazmat bourbon (140 proof and above) that cannot be taken on flights due to volatility. The bottle also has to be stored upright. If it’s stored on its side, too much pressure will build in the bottle and the cork will pop or crack the glass. This isn’t whiskey for the light-hearted, folks.
I was lucky enough to get the first taste of this with Fletcher and Phillips last week (pictured far left below). Let’s dig into what’s in the bottle!
The whiskey in the bottle is the classic Jack Daniel’s mash of 80 percent corn, 12 percent malted barley, and eight percent rye. The Tennessee whiskey was filtered through Jack’s drip-drop sugar maple charcoal system before barreling and aging at the very top — where the air is dry and warm — of rickhouses number eight and number 13. The whiskey is bottled straight from the barrel with no other fussing.
Tasting Notes:
The nose on this one is … soft. There’s a whiff of classic Jack Daniel’s dark fruit that feels very much like a deep and dark cherry cordial with a dry, woody cinnamon stick dipped inside — then you licked the cherry cordial off the stick and put it under your nose. A touch of worn library leather is also lurking on the nose, with a hint towards dry pecan shells and rich, almost smoked butterfat. The taste embraces the sweetness with a wet brown sugar vibe that’s married to a touch of dried apple cores next to a holiday cake full of dark spices, brandied fruits, and fat nuts that’s all then soaked with fiery whiskey. That butter returns as the mid-palate sweetness ebbs and turns more towards almost burnt toffee touched with a flake of salt as a soft but old leather pouch full of sticky tobacco arrives to round everything out. The last feeling you get is this slow step upwards towards an embracing warmth in your neck and chest as those ABVs finally make themselves known.
The Bottle:
This is bottled in Jack’s now kind of iconic single barrel barrels. They’re a little stouter and feel like you’re drinking back in the art-deco era. The label is mostly embossed, allowing you to see the dark and syrupy liquid inside.
Bottom Line:
It’s very clear that this was picked for the flavor profile with the ABVs being secondary at best. Sure, you feel the warmth on the end, but it’s really the beauty of the whiskey on the nose and palate that makes this a winner and all-around easy sipper (with a little water or a rock).
Ranking:
95/100 — We live in a world where whiskeys are bottled just to have a huge ABV or proof on the label with less regard for the actual taste. Jack Daniel’s has seemingly flipped the script. It’s very clear this was picked for taste first and foremost and it’s pretty damn delicious while delivering the highest ABVs on the shelf today.
In the early hours on Tuesday, a two car crash in Las Vegas involving Raiders wide receiver Henry Ruggs III resulted in the death of another driver. At 3:39 a.m. on Rainbow Boulevard between Tropicana Avenue and Flamingo Road, the crash took place involving a Toyota Rav4 and Ruggs’ Corvette, leading to the Rav4 catching on fire, with reporters arriving on the scene later in the morning to see the result of the horrific crash.
The road was closed for hours as investigators surveyed the scene, with Ruggs staying at the scene where police say he showed signs of impairment before being taken to a local hospital for treatment from non-life threatening injuries. Ruggs will be charged with DUI resulting in death for his role in the crash, per an official statement from the Las Vegas Metro Police, which says the Corvette hit the rear of the Rav4 and the investigation is ongoing.
Metro police confirms Henry Ruggs was involved in crash. Says he stayed on the scene and had non-life threatening injuries. Will be charged with DUI resulting in death. #vegas#raiderspic.twitter.com/zmbkYi5SoL
On behalf of our client Henry Ruggs III, we are conducting our own investigation as of this writing and ask everyone to reserve judgement until all the facts are gathered.
The Raiders also released a statement, offering condolences to the family of the person killed in the crash and noting they are likewise gathering information.
Newsmax White House Correspondent Emerald Robinson ran a foul of Twitter on Monday after the right-wing reporter falsely claimed that the Moderna COVID-19 vaccine contains an enzyme known as “luciferase,” which it does not. On top of incorrectly claiming luciferase is in the Moderna vaccine, Robinson also suggested the element is Satanic in nature due to its name.
“Dear Christians: the vaccines contain a bioluminescent marker called LUCIFERASE so that you can be tracked,” Robinson tweeted, according to a screengrab from Mediaite. “Read the last book of the New Testament to see how this ends.”
As of this writing, the tweet is no longer present on Robinson’s Twitter account, and her timeline now contains a missing tweet with a label from the social media company that reads, “This Tweet is no longer available because it violated the Twitter Rules.” Naturally, Twitter will be accused of censoring conservatives, but the company does have science on its side.
The luciferase/luciferin conspiracy theory has been bouncing around for a while now, and it was thoroughly debunked by Reuters who performed a fact check on the dubious claim that was easy to sell thanks to the enzyme’s Devil-related name:
The novel coronavirus vaccine manufactured by Moderna does not contain luciferin, an organic compound involved in bioluminescence, or the enzyme luciferase, contrary to claims on social media. While luciferase was involved in some COVID-19 research in the summer of 2020, none of the available vaccines contain either ingredient.
So just for the record, no, there is not a Satanic compound in the Moderna vaccine that lets the government or Hillary Clinton track you. Nor does it exist in a “66.6 solution” as some Looney Tunes were claiming on Facebook earlier in the year.
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.
There are only so many people in the world that deal with pressure as Maxo Kream does. Through projects like 2018’s Punken, 2019’s Brandon Banks, and now Weight Of The World, the rapper reveals the causes o these pressures as well as what often pushes him through them. In an interview with Complex’s Andre Gee, he explained how the three albums relate to each other and further his goal of helping fans understand what goes on in his world. “I feel like Brandon Banks coming after Punken allowed my fans to understand Punken more,” he said. “So now, with this one, you’ll understand what’s going on from Brandon Banks, like where I left off.”
Throughout Weight Of The World, Maxo delivers clarity for his previous work, as well as clarity towards his current position and his hopeful future. The album presents a man who must balance the multiple worlds he’s immersed in as a family man, supportive friend, experienced gang member, and rapper, as well as the responsibility that arrives when these worlds collide — intentionally or not. He details the collision of the streets and family through the tragic death of his brother Mmadu, which he details on “Trips,” and his success as a rapper providing a better lifestyle for his family and friends, allowing them to live a life away from danger. His hopeful future is captured on “Mama’s Purse” when he raps, “I was tryna buy her love, but I really made it worse / Put a price tag on her love but can’t afford how much it’s worth.” Behind the tough persona lives a man who yearns to provide greener pastures filled with “greener knots” to his inner circle, even if the cost is more than he ever imagined.
While Brandon Banks covered Maxo’s childhood, growth, and his clashes with both loved ones (his father specifically) and the streets, on Weight Of The World, he’s a well-established man with a family of his own in the making. However, now his conflicts are with those who doubt his legitimacy and commitment to the lifestyle he often raps about. On “They Say,” just three songs into the album, he rhymes, “And they say Maxo a b*tch, they say Maxo a h*e / He got rich and he dipped, don’t come around no more / They say he switched on his clique, yeah, he turned on his bros / And he ain’t pimpin’ a b*tch, he out here trickin’ on h*es.” In response, Maxo sets the record straight with a menacing display of his receipts. “Like we ain’t slang that rock for paper, totin’ scissors,” he quips. “Told you worked n****s ass off so how I owe you n****? / ‘Cross the globe, took you to my shows, done bought poles for n****s.” In Maxo’s eyes, there’s more than enough proof that he’s carried the weight of the world for people, making his doubters’ attempts to rewrite history a sure failure.
To a certain extent, Maxo insists on facing the world’s pressures rather than finding a way to diminish them. It could be because this path, as dangerous and as ruthless as it’s been, has given him everything he wanted in life and more. It’s what allows him to rap this on “Big Persona” with Tyler The Creator: “Eight figure n****, no more section 8 / Moved momma out the hood / We ain’t doin good, b*tch, we doin great.” Even when people in his inner circle beg for him to detach himself from the risks, as his mom and preacher do on “Streets Alone,” Maxo’s only response is to double down.
Maxo Kream is more than deserving of a moment to breathe freely in a world without danger. Unfortunately, it appears that Maxo was born into a world where peril lurks around the corner. For Maxo, acquiescing to these dangers is a lot like running away from your own shadow, and that’s something he will never do. “Never ran from a n****, don’t ask if my legs work,” he says on “11:59.” For more than a half-decade, Maxo Kream has explained the many responsibilities, pains, and traumas that rest on his shoulders; on Weight Of The World, the rapper insists on carrying this weight. The ups and downs of the past years gave him the strength to do so, and hasn’t buckled under this weight before, he certainly won’t now.
Weight Of The World is out now via RCA. Get it here.
Indie music has grown to include so much. It’s not just music that is released on independent labels, but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.
While we’re at it, sign up for our newsletter to get the best new indie music delivered directly to your inbox, every Monday.
The War On Drugs – I Don’t Live Here Anymore
The first new album from The War On Drugs in four years has finally arrived. Musically, I Don’t Live Here Anymore is a refinement of the craft the band explored on 2017’s A Deeper Understanding, which itself was a refinement of 2014’s Lost In The Dream. It’s without a doubt the band’s most accessible material to date, boasting dramatic guitar solos and cathartic instrumentation.
Save Face – Another Kill For The Highlight Reel
It’s always fun to see a band wear their My Chemical Romance inspiration on their sleeve. For Save Face’s new record, the New Jersey outfit attempt to build a musical world that exists as a culmination of emo icons like MCR and Thursday, but also their unabashed love for Broadway musicals like Sweeney Todd and Rocky Horror Picture Show. The resulting effort is big, bold, and impressively constructed.
Japanese Breakfast – Live At Electric Lady EP
Japanese Breakfast’s new Spotify-produced Live At Electric Lady EP features live renditions of tracks from Jubilee, as well as a cover of Weezer’s “Say It Ain’t So.” It’s not exactly a faithful cover, as Michelle Zauner calls upon the the Quartet 121 string section to give the track a true makeover and build what Caitlin White called for Uproxx “a whole new layer into the song.”
Orson Wilds – What Is It That You Won’t Let Go EP
Canadian outfit Orson Wilds write big, anthemic choruses that feel like a callback to the aughts. Their debut EP, What Is It That You Can’t Let Go, was recorded with producer extraordinaire Will Yip (Bartees Strange, Turnstile) and features three previously-released tracks that have been staples of all my playlists since they were unveiled.
Boston Manor – Desperate Times Desperate Pleasures EP
Boston Manor’s 2020 LP Glue was an impressive step forward for the pop-punk outfit, balancing more melodic vocals with heavy, groovy instrumentation. The new EP Desperate Times Desperate Measures continues building upon that momentum, driving into a new era for Boston Manor as they emerge back onto the road.
Spoon – “The Hardest Cut”
One of the most consistent indie bands of all time is officially back with a brand new album that already sounds… pretty good! Alongside the album’s announcement, the band shared “The Hardest Cut,” which Derrick Rossignol calls for Uproxx “a pure rocker driven by a forward-moving and upbeat riff.”
Snail Mail – “Madonna”
With the new Snail Mail album Valentine set to drop this week, Lindsey Jordan has shared its final preview in the form of “Madonna.” The polished, driving rocker is all about “why love can’t exist between a person and a concept of a person,” Jordan explained in a statement. “Remove the pedestal and you might realize there was never anything there at all.”
Beach Bunny – “Oxygen”
Beach Bunny can’t be stopped. One of the first indie rock bands to rocket to stardom from a TikTok smash, the Chicago quartet is set to embark on 32 sold out headline shows later this month and is celebrating with a brand new track. “Oxygen” features what Adrian Spinelli calls for Uproxx “yet another sing-a-long hook for a band who just can’t seem to stop to keep producing them.”
Michelle – “Mess U Made”
I’ve been digging New York City collective Michelle for a while and truly can’t wait for their forthcoming debut album After Dinner We Talk Dreams. We’ve already heard a few tracks from the LP, and album opener “Mess U Made” is a contemplative slow burning track that continues to build as the group’s four vocalists trade verses before finding gorgeous joint harmonies on the chorus.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The Game of Thrones cast has been outspoken about the show’s plentiful sex scenes. Emilia Clarke (Daenerys) thanked showrunners David Benioff and Dan Weiss for the episode where the Mother of Dragons instructs Daario Naharis to take his clothes off (“That’s a scene I’ve been waiting for!”), while Sophie Turner (Sansa) made a dirty joke about Arya losing her virginity. On the flip side, Nikolaj Coster-Waldau (Jaime) has criticized the show for making the performers do “degrading” things, and now Gemma Whalen (Arya) has opened up about how the sex scenes were a “frenzied mess.”
The Killing Eve actress told the Guardian, “They used to just say, ‘When we shout action, go for it!’, and it could be a sort of frenzied mess. But between the actors there was always an instinct to check in with each other.” Whelan brought up a specific example.
“There was a scene in a brothel with a woman and she was so exposed that we talked together about where the camera would be and what she was happy with. A director might say, ‘Bit of boob biting, then slap her bum and go!’, but I’d always talk it through with the other actor.”
Whelan also praised her on-screen brother, Alfie Allen (Theon), for a, um, memorable encounter in season two. “Alfie was very much, ‘Is this OK? How are we going to make this work?’ With intimacy directors, it’s choreography – you move there, I move there, and permission and consent is given before you start. It is a step in the right direction,” she said.
Whelan can be seen in the ITV series, The Tower, which premieres next week.
Although Terrace Martin’s last solo full-length collection came out four years ago (2017’s criminally overlooked Sounds Of Crenshaw Vol. 1 with The Pollyseeds), the Los Angeles producer has nevertheless remained busy throughout the past year, co-producing a number of EPs including They Call Me Disco with Ric Wilson and joining the jazz supergroup Dinner Party with 9th Wonder, Kamasi Washington, and Robert Glasper. However, today he announced his solo return with Drones, a new album coming out this Friday, November 5.
Included on the album’s 13 tracks are appearances from a veritable who’s-who of hip-hop luminaries including Cordae, D Smoke, Kendrick Lamar, Smino, Snoop Dogg, Ty Dolla Sign, and YG. Martin’s Dinner Party bandmates Kamasi Washington and Robert Glasper are also set to appear, along with a genre-hopping collection of rising stars and well-known hitmakers including Arin Ray, Celeste, Channel Tres, Hit-Boy, James Fauntleroy, Kim Burrell, and Kim Burrell.
In his press release for the new album, Martin teases the eclectic mix of sounds he intends to display throughout: “There are touches of R&B, touches of jazz, touches of hip-hop, touches of classical, Cuban music, West African music, house music,” he says. “You’re going to hear all elements of Black music within this record. It’s not one element I can leave out if I call myself a true Black artist.”
Drones is due 11/5 via Sounds of Crenshaw / BMG. You can pre-order here and check out the lead single, “Leave Us Be,” above.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
2018’s And Nothing Hurt was Spiritualized’s first album in six years. Their next full-length won’t take that long to arrive, as they announced today that their ninth album, Everything Was Beautiful, is coming out on February 25, 2022. They also shared the record’s lead single, “Always Together With You,” an epic tune that gradually blooms over the course of nearly seven minutes.
J Spaceman (aka Jason Pierce) says of the album, “There was so much information on it that the slightest move would unbalance it, but going around in circles is important to me. Not like you’re spiraling out of control but you’re going around and around and on each revolution you hold onto the good each time. Sure, you get mistakes as well, but you hold on to some of those too and that’s how you kind of… achieve. Well, you get there.”
He also noted of making it, “There’s a line from Jonathan Meades that’s about having all the attributes to being an artist. ‘Paranoia, vanity, selfishness, egotism, sycophancy, resentment, moral nullity and more idiot than idiot savant.’ And that’s what it feels like, this kind of thing. You’re your own worst enemy and biggest supporter. “There’s a ‘Of course this is worth it. It’s me,’ and then this kind of deep doubt of ‘What the f*ck is this all about?’ And then ‘Why is it important?’ and then knowing there’s no easy answer. But it’s there. I know it’s there.”
Watch the “Always Together With You” video above and find the Everything Was Beautiful art and tracklist below. The band also announced a run of North American tour dates, so find those below as well.
Fat Possum
1. “Always Together With You”
2. “Best Thing You Never Had (The D Song)”
3. “Let It Bleed (For Iggy)”
4. “Crazy”
5. “The Mainline Song”
6. “The A Song (Laid In Your Arms)”
7. “I’m Coming Home Again”
03/31/2022 — Dallas, TX @ Granada Theater
04/01/2022 — Austin, TX @ Scoot Inn
04/03/2022 — Santa Fe, NM @ Meow Wolf
04/04/2022 — Denver, CO @ Ogden Theatre
04/05/2022 — Salt Lake City, UT @ The Commonwealth Room
04/07/2022 — Seattle, WA @ Neptune
04/08/2022 — Portland, OR @ Revolution Hall
04/09/2022 — Vancouver, BC @ Commodore Ballroom
Everything Was Beautiful is out 2/25/2022 via Fat Possum. Pre-order it here.
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Let the Games Begin
