Month: March 2022

Did you know that artists who perform the Super Bowl halftime show do so basically for free? While the NFL covers the production costs for the performance, it does not pay the artists directly for agreeing to perform on the most-watched event of the year. However, that doesn’t mean artists don’t get anything out of the arrangement. The visibility that the performers receive often results in increased catalog sales in the … ahem … aftermath of the show, with a ton of future opportunities waiting as brands scramble to work with them and take advantage of the publicity.

Case in point, after performing this year’s halftime show, Dr. Dre and Snoop Dogg’s “Still D.R.E.” video became their first to reach a billion views on YouTube, while all of Dre’s co-stars — Kendrick Lamar, Mary J. Blige, and Snoop — all saw an increase in streams overall. However, it turns out the biggest beneficiary — at least in terms of accolades — might well be Eminem, who saw his catalog spawn 73.5 million new units, making him The Recording Industry Association of America’s most-certified singles artist in history. The RIAA tweeted about the achievement today, congratulating Eminem on the awards, which include “Lose Yourself” (naturally), “Love The Way You Lie” featuring Rihanna, “Not Afraid,” and nearly 50 other Platinum records, as well over 30 Gold ones.

Even before performing at the Super Bowl, Eminem reached streaming distinctions that almost no other artist can boast. In December, every Eminem album crossed the one billion streams threshold on Spotify,
lending weight to his comment earlier this year that “no one ever really gets canceled.” Eminem is living proof after spending his whole career setting people off — even doing so by kneeling during the halftime show (at least this time it was the right people getting rankled) — and if nothing else, you can say it paid off big for him.

Renée Zellweger dropped by The Tonight Show on Monday night to talk about her dramatic transformation for her upcoming NBC series, The Thing About Pam. In the true crime series, Zellweger is virtually unrecognizable in the role of Pam Hupp due to a serious amount of prosthetics that took up to four hours to apply. Prosthetics that Zellweger unfortunately learned she’s highly allergic to.

“By the time you get it on, you’re so excited, and you stand there and then you go ‘Oh wait. I think I’m allergic to this,’” she told Jimmy Fallon (via The Wrap). “I was so allergic to the adhesive, it was hilarious. Y’all, lots of Benadryl. Lots of Benadryl.”

However, Zellweger powered through even as she learned that acting with prosthetics was not as easy she thought it would be. “Well, I didn’t know that it’s a whole different skill that I didn’t know I didn’t have,” she said. “And I really didn’t have it. I really didn’t.”

You can see Zellweger’s transformation into Pam Hupp below:

Here’s the official synopsis:

NBC’s “The Thing About Pam” is based on the 2011 murder of Betsy Faria that resulted in her husband Russ’ conviction, although he insisted he didn’t kill her. He was later exonerated. This brutal crime set off a chain of events that would expose a diabolical scheme deeply involving Pam Hupp. A thorough examination of the scheme was featured on several episodes of “Dateline NBC,” becoming one of the most popular topics to ever air on the hit franchise. It also became the subject of a popular 2019 podcast, “The Thing About Pam,” which remains one of the most downloaded podcasts on Apple Podcasts.

The Thing About Pam premieres March 8 on NBC.

(Via The Wrap)

Last offseason was filled with the “will he, won’t he” drama of Aaron Rodgers threatening to retire (and try to host Jeopardy!) due to his frustrations with the Green Bay Packers front office. Rodgers ultimately showed up to camp on a restructured deal that would allow him to walk after the 2021 season if he wanted, but another MVP campaign (and a season off the field in which Rodgers made himself a polarizing figure, to say the least) apparently brought the two sides much closer together.

Instead of moving on for greener pastures, Rodgers is going to stay with the Packers and try to win some more MVPs and maybe another championship in Green Bay, and the Packers are going to make him the NFL’s highest paid player on a per-year basis to do so. On Tuesday, Ian Rapoport of NFL Network announced Rodgers and the Packers have agreed to a monstrous 4-year, $200 million deal with $153 million guaranteed to play through his age 42 season in Wisconsin.

It is a wild contract and the guarantee and annual salary are more than Patrick Mahomes got in his 10-year, $450+ million monster deal two years ago. Rodgers has certainly shown that he’s still at the top of his game at age 38, and the Packers are banking on him having a Tom Brady-like run into his 40s with this deal. As for the rest of the league, those wanting veteran QB help immediately due to a weak QB class in the Draft now will shift their attention to other disgruntled QBs (Russell Wilson, despite the Seahawks insisting they won’t trade him) and teams tired of their veteran signal-callers (like the Colts with Carson Wentz and Niners with Jimmy Garoppolo). They also could call Green Bay about former first-round pick Jordan Love, who one would think is very available. now.

Matt Hutchins, the husband of Rust cinematographer Halyna Hutchins (who was killed by a gun held by Alec Baldwin, although he insists that he didn’t fire the weapon) recently expressed anger towards the film’s star. Baldwin’s also a producer, so he’s potentially liable in lawsuits filed against the film, and the Hutchins family (among other plaintiffs) has sued the production along with Baldwin. Matt Hutchins also accused Baldwin of offloading blame to other parties, and he told ABC News (of Baldwin) that he was “just so angry to see him talk about her death so publicly in such a detailed way and then to not accept any responsibility after having just described killing her.”

In Matt Hutchins’ eyes, Baldwin was acting “like he was the victim,” and Baldwin also had a few things to say about Rust lawsuit plaintiffs while speaking at the Boulder International Film Festival. According to The Hollywood Reporter, Baldwin did articulate that there were only “two victims” during the incident (the second being director Joel Souza, who was shot but not fatally so). Yet Baldwin went on to suggest that “certain” plaintiffs in Rust lawsuits are going after “deep-pocket litigants.” He continued:

“From the beginning, from the moment this happened, everybody has put out — besides all the anguish and the suffering, horrible feelings we have and, of course, there are two victims and nobody else is a victim, so to speak — we have dealt with a situation where specific people are not as interested in finding out what really happened.

“What you have is a certain group of litigants on whatever side, who their attitude is, well, the people who likely seem negligent have enough money. And the people who have money are not negligent, but we’re not gonna let that stop us from doing what we need to do in terms of litigation. Why sue people if you’re not going to get money? That’s what you’re doing.”

This is probably not the best tactic for Baldwin to take during ongoing litigation (for which Baldwin is named, in addition to “others responsible for the safety on set and whose reckless behavior”) for a tragic incident that only occurred in October 2021. During the process of (as THR describes them) Baldwin’s seemingly disjointed remarks, he also called out how film-set deaths are comparatively low when compared against other industries, including “the airline industry, the automobile industry, the gun industry itself.” He wasn’t done yet. “Four people have died,” he said out of “all the billions of rounds of ammunition that were fired on movie and TV sets in the last 75 years.”

The 63-year-old Hollywood vet added that he’d “been without incidents” for the duration of his career, and you can watch video footage of his remarks over at CNN with more litigation developments surely to come.

(Via Hollywood Reporter & CNN)

With St. Patrick’s Day rapidly approaching (March 17th), it’s definitely time to dig into some Irish whiskey. I already grabbed a dozen Irish whiskeys off my shelf and blind tasted them to find the best out there. But that was a little slanted. Can you really blindly taste cheap whiskey against limited edition and very expensive whiskeys and expect the more aged expressions not to dominate? Sadly, no. Craft and time in the barrel are sure to win the day.

This time around, I’m tasting eight affordable Irish whiskeys. I’m also doing it double-blind so I don’t know what’s in play. I simply asked my wife to pick out eight bottles that all cost less than $40 — it’s easy to spot the cheaper stuff thanks to metal twist tops and nothing fancy on the label (like “single barrel” or “limited edition”). She then poured all eight and put the bottles back. I came in a started tasting and taking notes.

The results were actually pretty surprising. Here’s how it shook out.

Part 1: The Taste

Taste 1

Tasting Notes:

There’s a light grain note with a hint of leather jacket, orchard fruit, and “spice” on the nose. The palate is pretty light and touches on orange zest, a hint of vanilla beans, and a sugar cookie sweetness. Beyond that, the sip just kind of disappears on the finish.

Taste 2

Tasting Notes:

There’s a thin maltiness on the nose with a touch of vanilla that’s all dominated by rum-raisin. Old cellar beams with plenty of black mold lead towards a very mild dry tobacco with a hint of “fruit.” The end is short and warm with a hint of dark soil on the finish.

Taste 3

Tasting Notes:

This is warm and malty and bursts with apple Jolly Ranchers on the nose. The palate holds onto that apple candy and adds vanilla and spiced malts with a hint of red berries, sweet caramel, and Honey Nut Cheerios with a line of mineral water.

Taste 4

Tasting Notes:

Lemon citrus, wildflowers, and sweet grains lead towards a dark fruit leather that draws you in (Jameson?). There’s a vanilla and holiday spice mix on the palate with roasted almonds and a touch of wet sweet oak. The finish has this creamy texture that’s damn near chewy (Jameson.) with a final hint of mineral water and grains.

Taste 5

Tasting Notes:

This opens with a chocolate-caramel candy nose that’s touched with old leather and dry straw. The palate is all creamy milk chocolate with a mild mid-palate of dark fruits and light spice. The finish leans into roasted almonds with a grainy spice and a hint more of that chocolate.

Taste 6

Tasting Notes:

The nose opens with pears and vanilla next to new leather and an echo of “oak.” The palate is “woody” in a sense that it’s not distinctly any particular wood while notes of neutral grain spirit mingle with raisins and the plastic bottle that held vanilla extract.

Taste 7

Tasting Notes:

The nose mixes leather and grains with orchard fruits and winter spices. The palate leans into the spicy malts as old pub furniture dominates the palate in a very nostalgia-inducing way. The finish is warm and leans into a vanilla-laced candy bar with mild chocolate and nuts.

Taste 8

Tasting Notes:

A light touch of caramel, vanilla, and almond are dominated by pear on the nose with a hint of oak. The palate has an orange/honey vibe that leads to Almond Joy wrappers and a nutty cinnamon roll.

Part 2: The Ranking

8. Tullamore D.E.W. — Taste 1

ABV: 40%

Average Price: $28

The Whisky:

Tullamore’s entry-point whiskey is a blend of triple distilled grain, malt, and single pot (malt and unmalted barley mash) whiskeys. Those spirits are then aged in a combination of ex-bourbon and ex-sherry casks before blending.

Bottom Line:

I’m shocked this came in last. I generally love Tullamore D.E.W. as a table whiskey, especially with some soda water or ginger ale. Alas, here we are. It wasn’t so much as this was thin, there just wasn’t a lot going on to keep my attention or make it memorable.

7. Bushmills The Original — Taste 3

ABV: 40%

Average Price: $27

The Whisky:

This is Bushmill’s classic and original recipe (so to speak). The grain and malt juices are rested in ex-bourbon and ex-sherry casks before they’re married, proofed, and bottled.

Bottom Line:

Besides the apple candy, there wasn’t a whole lot going on. This really felt like a whiskey and Coke or whiskey and ginger pour than anything else.

6. Proclamation Blended Irish Whiskey — Taste 6

ABV: 40.7%

Average Price: $36

The Whiskey:

This whiskey is a blend of Irish whiskeys sourced from distilleries all around Ireland. The whiskeys in the mix are mostly aged in ex-bourbon casks with a few barrels of sherry cask-aged whiskey thrown in there too.

Bottom Line:

This faired far better against whiskeys in its price range than against rare bottles of Irish whiskey, which is no surprise. In the end, this felt like a perfectly suitable mixing whiskey.

5. Teeling Small Batch — Taste 2

ABV: 46%

Average Price: $40

The Whiskey:

Teeling was the first distillery to reopen in Dublin after nearly a century of tough times for Irish whiskey. The craft distillery ages its juice in bourbon barrels before transferring that whiskey to Central American rum casks. Those barrels are then batched, proofed, and bottled in Teeling’s big, dark bottle.

Bottom Line:

I kind of had an inkling this was Teeling. I’m not a huge fan of their Small Batch but adore their older and more bespoke releases. I guess that’s why this fell very middle of the road for me today too.

4. Jameson — Taste 4

ABV: 40%

Average Price: $30

The Whiskey:

Jameson is the classic tripled distilled Irish blend. The juice is a blend of single pot and grain whiskey. Those age in oak — primarily ex-bourbon barrels with ex-sherry thrown in too — until they hit that classic sweet spot.

Bottom Line:

That creamy finish really saves this sip. And, yes, I knew it was Jameson. Still, this had a little more depth overall and felt like it could work on the rocks as easily as with some ginger, Sprite, or Coke.

3. Busker Single Grain — Taste 7

ABV: 44.3%

Average Price: $33

The Whiskey:

This grain whiskey is a blend of two casks. The majority of the whiskey was aged in ex-bourbon barrels with a small contingent coming from whiskey aged in Marsala casks from Sicily. Those barrels are blended and then proofed down before bottling.

Bottom Line:

This was pretty damn nice for what it is. There was some depth and it felt like it could be a nice on the rocks sipper but was a little non-specific too. Regardless, this felt like it’s worth the money for something slightly different that’s also perfectly fine.

2. Grace O’Malley — Taste 8

ABV: 46%

Average Price: $38

The Whiskey:

This whiskey begins as barrels of three to 10-year-old whiskeys. Those whiskeys are then aged in a range of barrels from French oak wine casks to ex-bourbon to rum casks. The blend is built from those barrels and then proofed down to a very accessible 92 proof.

Bottom Line:

This also faired far better against Irish whiskeys in its price range. There was a good flavor profile that feels like it’d stand up in a highball with fizzy water or a cocktail. I don’t think I’d pour one on the rocks but I wouldn’t turn one down either. It’s was very solid in the end.

1. Kilbeggan Traditional Irish Whiskey — Taste 5

ABV: 40%

Average Price: $27

The Whiskey:

Kilbeggan is an outlier Irish blend. The whiskey is only distilled twice, instead of the usual three distillations most Irish whiskey goes through. That juice is then aged for over four years in ex-bourbon casks before it’s blended, proofed, and bottled.

Bottom Line:

I honestly don’t know if I’ve ever had this particular expression from Kilbeggan before — I know I had their rye last year. Anyway, it was so unique on the nose and palate thanks to that choco-caramel vibe that it stood out and rose above the rest. That chocolate depth really felt like it’d shine well in a cocktail or maybe as a shot with a Guinness back.

Part 3: Final Thoughts

Kilbeggan came out of nowhere on this tasting. With so many whiskeys carrying a very non-descript “grain,” “fruit,” and “wood” note, it stood out for having truly unique flavor notes. But let’s not go crazy, it was still obviously a very inexpensive whiskey that’s mostly made for mixing and on the rocks pours in a pinch. It’s not life-changing.

Overall, I expected Bushmills, Tullamore, and Jameson to dominate and they… just didn’t. They were fine but really felt like mixers all around. I’d say the Grace O’Mally and Busker were big surprises too. They’re fairly new to me (in the grand scheme of things) and are perfectly suitable for mixing and shooting your way through another Saint Patrick’s Day.

Drake is unloading some of his property and looks to make a tidy sum, according to a new report from TMZ. He recently listed his Hidden Hills mansion — which he affectionately calls the “YOLO Estate” — for $14.8 million. For that amount, the buyer will be getting full-sized basketball and tennis courts, a swimming pool (complete with a spa grotto and water slide), a theater that seats 25, a horse stable, and 12,500 square feet of space. He’s also selling two adjacent properties for a grand total of $22.2 million.

Complex notes that the impetus for Drake’s home sale is likely his recent purchase of a new home in Los Angeles’ Beverly Crest neighborhood, which was reported in Architectural Digest. Apparently, Drake is buying English singer Robbie Williams’ home, which despite going unlisted is estimated at $50 million. It’s a good 7,000 square feet larger than the YOLO Estate, although according to Complex, it’s still much smaller than his mansion in Toronto, which is a whopping 50,000 square feet.

Although it wasn’t reported as an official reason for his move, it’ll likely also be nice to possibly throw off Drake’s stalker, who showed up at the Hidden Hills house multiple times looking for him, even going so far as to sneak in and steal some of his drinks. He’s since filed a restraining order — after she tried to have one filed against him first — but perhaps moving house will provide an added layer of security along with all that extra space.

When Dawn Staley signed a historic seven-year, $22.4 million contract last fall to stay on as the head women’s basketball coach at South Carolina, to many in women’s sports, it was a sign of hope in an industry where there isn’t always a lot of it. Not only because it was a massive reward for what has been massive success in the program, but because it drew Staley’s salary even with the men’s head coach at the university.

During negotiations, Staley had to make the case to South Carolina leadership that she had achieved enough to deserve the deal. The accolades speak for themselves — a National Championship in 2017 and three Final Fours — but Staley struggled to find comparisons for her performance in the modern game.

“What is my market value?” she asked herself and the university. “I’m a Black woman, highly successful in my profession. There aren’t many Black women who are as successful as I am in this profession. There are only either white women or white men who have had the type of success or better. So what is my fair value? What is it? Where is it?”

While Staley stands impressively atop her sport today, nearly 30 years ago, another pioneer asked herself similar questions in a similar situation. A young coach named C. Vivian Stringer, on the heels of a 1993 Final Four appearance at the University of Iowa, agreed to an extension that pulled her equal to the men’s basketball coach at the time, Tom Davis.

“I’m so grateful of my brother, Tim, who was my representative at the time, who told me I had matched the same amount of money as (Davis),” says Stringer now. “It bothers me now to (think), have we gone backward?”

Telling the story this way, pay equity among women’s basketball coaches does seem to have lost its momentum. But the same can be said of the fight for equity in sport for women across time. Billie Jean King and the Original Nine took a stand for equal tournament payouts — then Venus Williams did the same. And just as Stringer and Staley sought salaries equal to their counterparts in the men’s game, Becky Hammon left the NBA last year to reset the market for WNBA head coach salaries. The U.S. Women’s National Team soccer stars have been fighting for equal pay for so long they may as well have their own chapter in this history.

Staley didn’t negotiate this new deal just for her bank account. She did it to “strike when the iron was hot” and take a leap forward in this fight rather than baby steps.

“It’s a long, drawn-out fight that will continue, but I hope that I lend a ray of hope to continue to fight and be able to risk it all,” she says. “That’s what it takes in order for you to have a groundbreaking headline. Because everybody puts the money up there. I want to put the fight (in the headline). It was a fight. That should be the headline.”

The USWNT settled last month for $24 million, but the deal does not include back pay for past players. We are approaching the anniversary of the TikTok from Oregon star Sedona Prince that blew open the economic disparity between the men’s and women’s NCAA Tournaments. A WNBA team last fall was reportedly fined half a million dollars for chartering flights for its players. The fight continues.

That’s why Staley, Stringer and a roster of women’s hoops stars that spans generations, are coming together for a new “Retire Inequality” campaign through TIAA that takes aim directly at one key ramification of the gendered disparities in sports and across American society.

The campaign includes the launch of a new, more stable and simple TIAA retirement account, a renewed emphasis on retirement in TIAA’s lobbying efforts, and keynote sponsorship by TIAA of the Women’s Sports Foundation Equity Project.

“We now know that women have 30 percent less money in retirement, and that will continue to lag and women can’t retire in the same way that men have been able to,” Stringer says.

Aside from this partnership, both Staley and Stringer, who is away from her job as head coach at Rutgers for the second straight season for personal reasons, say the best thing they can do is keep excelling and speaking out. As perhaps the most recognizable women’s basketball coach today, Staley is the leader that Stringer and others look to.

“I’m proud of Dawn. She’s making that and has made the case for herself,” Stringer says. “That will allow any female and any Black female to show the need to have equality in their pay. With that said, Dawn is the first person that steps up on this side of it, and it began some time ago. It sets the stage for us to close the gender gap, and I’m hoping that everybody that’s in control of women’s pay will realize that.”

With partners in this campaign like Prince and Dallas Wings star Arike Ogunbowale, TIAA is using a multi-generational outreach campaign and the 50th anniversary of Title IX to show how much work there is still to be done. Staley sits on Stringer’s shoulders; Ogunbowale sits on Staley’s. As has long been the case in women’s sports, even the most assertive advocates for equity in pay, working conditions, and respect know strength is in numbers.

Staley hopes her new contract can set a baseline for how excellence in coaching should be rewarded in women’s basketball, and become another domino toward true financial equity for women, from entry level to retirement.

Aaron Dessner has earned himself some clout in the pop sphere in recent years thanks to his work on Taylor Swift’s new albums; He’s collaborated with her on Folklore, Evermore, Fearless (Taylor’s Version), and Red (Taylor’s Version). He’s earned the favor of at least one Swift-adjacent music superstar, too, as Ed Sheeran says he and Dessner have been working together.

Sheeran is in the midst of a legal copyright battle over “Shape Of You,” and during the trial, Sheeran noted (according to BBC News reporter Mark Savage) that he and Dessner recently wrote 25 songs together in the span of a week.

BBC reports songwriters Sami Chokri and Ross O’Donoghue say the hook of Sheeran’s “Shape Of You” is strikingly similar to part of “Oh Why,” which Chokri released as Sami Switch in 2015. The pair’s lawyer claimed Sheeran “borrows ideas and throws them into his songs, sometimes he will acknowledge it but sometimes he won’t.”

For his part, Sheeran denied he’s a “magpie” who incorporates the work of others without acknowledgement. He pointed out that he regularly shares credit with lesser-known artists, like he did on recent tunes “Shivers” and “Visiting Hours.”

Ed Sheeran is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Whether he’s being generous to his co-workers, supporting Tibet, or acting respectful around his fans, Keanu Reeves seems like a certified Good Dude. Here’s another We Should All Be More Like Keanu story for the collection. A recent Ask Reddit prompt wondered, “What’s something a famous person has done that just completely changed how you viewed them?” The whole thread is worth a read — some replies are positive, like Danny Devito and Rhea Pearlman taking care of Mara Wilson while her mother was battling breast cancer during the filming of Matilda, while others are negative, like the comment that simply reads, “Tom Cruise – Scientology.” But my favorite (and the one that went viral thanks to Goodable) has to do with The Matrix star.

“My grandmother had a crush on Keanu Reeves because he reminded her of my grandfather when he was young. Saw all his stuff, from Bill and Ted to the Matrix,” afdc92 wrote. “She had a stroke in her early 70s and was pretty much housebound for the last 10 years of her life, so watching movies was her main hobby, and became almost like friends to her because she so rarely got to see any of her own.”

They continued:

Not too long after the Matrix came out my uncle was in LA for business and was eating at a really swanky restaurant when Keanu came in with a woman. When he finished his meal my uncle came up to their table and said “I don’t usually do this, but I just wanted you to know that my 80-year-old mother loves you and has seen all of your movies. You remind her of my dad.” He said Keanu asked if he had a cell phone on him and when he confirmed that he did, he said “Give her a call, I want to talk to her.” He spoke with my grandmother for several minutes and it absolutely made her year. She was so isolated and his genuine kindness to her and interest in her showed what a truly amazing man he is.

Could the story be fake, considering it’s from some random person on Reddit? Of course. But I believe it to be true, because it’s absolutely something Keanu Reeves would do. Or as another Redditor put it, “There is virtually no positive story I would not instantly believe about Keanu Reeves.”

(Via Reddit)

When we asked Prince Daddy And The Hyena vocalist/guitarist Kory Gregory to describe his music in four words, he answered, “Loud, quiet, fast, slow.” In a similarly nonsensical fashion, the press release for their new song “A Random Exercise In Impermanence (The Collector)” says it is recommended if you like “bootleg Coldplay” or “if Alex G covered Green Day songs.” This is all to say that the Albany, NY-based four-piece has a sound that cannot be summed up in a normal way.

This new relentlessly exhilarating track, “A Random Exercise in Impermanence (The Collector),” comes from their just-announced forthcoming self-titled album, out this spring. It focuses on Gregory’s fear of death, which was worsened by a van accident that happened in 2018.

“I think the record as a whole, as a journey, feels bittersweet and hopeful in a way,” Gregory stated, and this single vividly showcases this tension of darkness and light. While his panicked yells are communicating stories of anxiety and cynicism, the instruments build an enveloping, optimistic landscape that’s as entertaining as a roller coaster.

Watch the video for “A Random Exercise in Impermanence (The Collector)” above, and check out the album art and tracklist for Prince Daddy And The Hyena below.

1. “Adore The Sun”
2. “A Random Exercise In Impermanence (The Collector)”
3. “Jesus F*cking Christ”
4. “Something Special”
5. “El Dorado”
6. “Hollow, As You Figured”
7. “Curly Q”
8. “Keep Up That Talk”
9. “Shoelaces”
10. “In Just One Piece”
11. “Discount Assisted Living”
12. “Black Mold”
13. “Baby Blue”

Prince Daddy And The Hyena is out 4/15 via Pure Noise Records. Pre-order it here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.