Earlier this month, Foo Fighters revealed a song called “March Of The Insane” from Studio 666‘s soundtrack, recorded under the alias Dream Widow. The song contains elements of death metal, with Grohl screaming much of the vocals. Corden then asked Grohl how he manages to scream on those kinds of tracks without destroying his vocal cords.
“I am seriously genetically predisposed to just scream my balls of for three hours a night,” Grohl said, before knocking on the wooden table and proceeding to describe his warm-up routine:
“My warm-up starts one hour before the show. I open a beer, and then within 10 to 15 minutes, I do a shot of whiskey. At that point, the beer is probably gone. So I grab another beer and then have one more shot. Now it’s 15 minutes before I go on, so I finish the beer, because I want to make sure I get on stage with a cold one. Then I take one more shot of whiskey, and then I go scream for three hours, and then I order pizza.”
Grohl says he wouldn’t recommend this pre-show ritual to other musicians, “but f*ck it, it works for me.”
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish shows available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
Jack Reacher is back once again, this time not on the page or in a feature film starring Tom Cruise (yes, it was weird that Jack Reacher, a character whose defining characteristic is his massive size, was played by… Tom Cruise), but on the small screen. Or your laptop. Or your phone. This time the role is filled by Alan Ritchson, who takes the character to hell and back trying to clear his name after a wrongful murder accusation. Does he break some limbs and smash some heads in the process? Well, let’s just say that is a pretty safe assumption. Watch it on Amazon.
Amber Ruffin is here, once again, thank God, to make the news and the rest of the world a little more palatable. The Late Night With Seth Meyers all-star brings her unique brand of silliness to Peacock for a second season. Will there be jokes? Of course. Will there be goofy faces? You know it. Will there be smart critiques of world leaders and world events that are occasionally punctuated by ridiculous guest appearances and/or catchy songs? Buddy, let’s hope so. We need it. Amber Ruffin is the best. Watch it on Peacock.
One of The Suicide Squad‘s characters who seemed least likely (well, there actually were a lot of them, including poor Boomerang) to make it out alive has his own spinoff series. That would be John Cena’s horribly patriotic bro, and it’s still hellaciously funny that this is happening because James Gunn got bored during quarantine and decided to write this TV show. Never fear, though. He Of the Butthole Jokes is still as worthy of contempt as always. There’s no telling whether we’ll see another Squad movie, so soak up as much of this end of the DCEU while it’s hot. Watch it on HBO Max.
“Am I livestock?” Who among us hasn’t asked ourselves that question while grazing amongst the cubicles at work? But the workplace in Severance (a new Adam Scott starring and Ben Stiller produced Apple TV+ series) is a little different, running workers through a process that effectively breaks people in two with zero crossovers between their work life and non-work life. Sound ideal in a world where work stresses bleed into home life and Sunday scarys seem to always kneecap your weekend? Perhaps in some respects. Susan from HR probably LOVES the idea, seeing it as the ultimate NDA, but as the show is set to explore, it’s a less tidy experience that raises all kinds of questions about what happens when people are severed from the awful things they might be asked to do at work. Watch it on Apple TV Plus.
Following the semi-triumphant return of Elliot Stabler to the Law & Order universe, Dick Wolf and the other Powers That Be decided there was no time like the present for a revival of the franchise’s flagship series. Expect to see the return of Sam Waterston and Anthony Anderson and the addition of Hugh Dancy as the O.G. show continues to live in syndication while SVU continues to go strong. The real question here is this: will we see Ice-T make a cameo? C’mon. Watch it on Peacock.
Look at this. We’ve got a murder mystery from a genius (Christopher Miller of Lord and Miller) that stars all your favorite comedic scene stealers (Sam Richardson, Ben Schwartz, Tiffany Haddish, Ilana Glazer, John Early, Ike Barinholz, Dave Franco, and more) as suspects/victims/detectives, with each episode told from a different characters’ perspective in a different film style (rom-com, action, musical, psychological thriller, etc.). It is… really good. It’s really good. And really fun. You are probably going to love it. Get in there and check it out. Watch it on Apple TV Plus.
What starts as a weirdly quirky caper story mixed with the reckless abandon of Pam Anderson and Tommy Lee’s courtship soon transforms into a needed indictment on the wild west nature of the internet and the way Anderson was packaged, sold, and diminished regardless of her feelings on the matter. But with the actress not signing off on this very intimate look at a painful period of her life, is she still being turned into a product and where is the line when it comes to a public figure and events that largely happened in front our eyes… because we couldn’t help but invade her privacy in the first place? Entertaining, shocking, thought-provoking — there is more to meets the eye in this show that is about a lot more than a stolen sex tape. Watch it on Hulu.
As you are probably aware, Kanye West’s personal life has overshadowed his professional life lately, and much of this is his own doing, but he’s also got this documentary on Netflix that promises to chart his formative days as an artist and ascension to being a brand. The name of the project, of course, is a play on words on how he considers himself a “genius.” One thing is certain: this won’t be boring. Watch it on Netflix.
As if Julia Garner didn’t already rule the small screen in Ozark, we’re getting another heaping helping of her. This time, though, the tight corkscrew curls are hidden while Garner portrays Anna Delvey, a real-life Instagram “legend” and fake German heiress. In reality, Delvey was a master con artist who captivated New York’s social elite and ended up dragging the hell out of the American dream in the process. This Shondaland limited series follows the investigation into Anna’s misdeeds, along with how she stares down trial and keeps those lies alive, all as inspired by Jessica Pressler’s New York Magazine article that will get you primed. Watch it on Netflix.
It’s boom times for selling stories about the pirates of tech and Super Pumped sells it well, illuminating the rise and relative fall (he’s doing alright for money, don’t worry) of Uber’s brash former CEO Travis Kalanick. At the center of that ride (sorry) is a strained mentor/mentee relationship between Kalanick (played by Joseph Gordon-Levitt) and Bill Gurley, a more cautious and weathered money man played by Kyle Chandler. Led by David Levian, Brian Koppelman, and Beth Schacter, the minds behind Billions (another show featuring a high powered and twisty battle between two titans), Super Pumped offers a lot of commentary on the culture of win and the fallacy of rules as a shield against bad behavior while leaning into the dangerous magnetism of Kalanick across the first season of a new anthology series that’s already been renewed for a second go. Watch it on Showtime.
Last season ended with winners and losers aplenty. And c’mon, you didn’t think that Villanelle and Eve would be able to get along in the long term, right? Imagine what domestic life would be like for these two. A former MI6 officer and an assassin who can’t give up the life (or the luxury trappings) are as ill-equipped for reality as Westley and Buttercup in The Princess Bride. Yet there’s no reason why they’ll be able to resist each other forever, but Eve is hellbent upon revenge this season while Villanelle desperately wants to prove that she’s not a “monster.” Good luck to both of them. Watch it on AMC Plus.
Righteous Gemstones is back, building on its God-squaded Succession vibes with more in-fighting, corruption, and largesse. Simply put, the Gemstones are in the dynasty business, looking to upsize, let loose, and steer clear of the claw of consequences that keeps grabbing at them. As hilarious as it is compelling, the show has somehow found a way to bring the thunder yet again with its stand-out cast, adding Eric Andre, Jason Schwartzman, and a spectacular Eric Roberts to the mix beside Danny McBride, John Goodman, Walton Goggins, Edi Patterson, and company. Dream Team ’92 level comedy casting, folks. Watch it on HBO.
Euphoria’s first season was a glitter bomb of teenage angst, drug-fueled spirals, and social media-splattered heartbreak. It’s been two years since Jules left Rue on that train platform and the show’s return promises some kind of resolution to their romance, the return of some familiar faces, and new additions that pressure the group to get their sh*t figured out. They won’t, of course, but the mayhem, bathroom fights, drug busts, and masterclass in acting Zendaya will surely give us will still be worth it. Watch it on HBO.
In early January, Third Man Records announced a pressing of a 1973 Carole King concert, recorded live in New York City’s Central Park. If that wasn’t enticing enough, the package also contains singer-songwriter Lucy Dacus recording two King classics, “Home Again” and “It’s Too Late.” Dacus is no stranger to covers: In 2019, she commemorated various holidays with standalone singles, including a hushed version of Phil Collins‘ “In the Air Tonight,” an urgent take on Bruce Springsteen’s “Dancing In The Dark” and a rocked-up spin on Wham!’s “Last Christmas.”
These covers illustrate the Virginia native’s acumen as an interpreter; she’s never afraid of bold reinventions. But much like King, Dacus is also a singular songwriter — a once-in-a-generation talent who crafts nuanced songs driven by thoughtful, observational lyrics. Across her three studio albums are songs about yearning to shed old perceptions (“I Don’t Wanna Be Funny Anymore”), navigating through a rough breakup (“Night Shift”), or trying desperately to let someone see their self-worth (“Please Stay”). These are common themes, to be sure — but Dacus’ approach to lyrics makes even familiar ground seem fresh.
First off, Dacus has an incisive eye for detail — unsurprising, given that she studied film in college before deciding to leave. This means a song like “Night Shift” feels more like the setup for a rich rom-com more than anything. “The first time I tasted somebody else’s spit / I had a coughing fit” is a vivid enough image to start a song just on its own. But then the embarrassing situation is complicated by the next lines: “I mistakenly called them by your name / I was let down, it wasn’t the same.” This is the reality of trying to move on from a relationship: Things feel awkward and uncomfortable, deeply imperfect, and you likely are going to have missteps.
Yet the quiet brilliance of “Night Shift” is its subtle shift to optimism. Later in the song, Dacus sings: “In five years, I hope the songs feel like covers / Dedicated to new lovers.” Even though things seem messy and wrong now, she can see a future where things are better. In a 2018 Fader interview, Dacus spoke about the song and noted the way it helped her move on. “It feels so good to sing that song because I honestly am not entirely past that relationship. It was really toxic, but singing the song was such a step towards waking up from many years of being blind to my own needs.”
Songs aren’t always autobiographical, of course. But Dacus excels at making her personal songs feel universal. And not only is she willing to be vulnerable, but she’s thought very deeply about how to best present this vulnerability onstage, which makes her shows a riveting communal experience. This open presence stems from the time Dacus spent acting in theater productions growing up. “It took it some time to separate music from theater for me, to realize music is a different type of sharing,” she told The Fader in 2016. “But it is so much different because you make it yourself, and you’re talking to the audience as yourself. You’re not pretending to be a character.”
Dacus is in tune with her stage self no doubt due to her love of journaling, a habit she’s done since she was a kid. When she had some of her more recent journals stolen in 2016, she noted it shifted the way she chronicled her own life. “Now journaling is different because I feel like I have to go back, and have those memories come back to me,” Dacus told The Fader. “I have to quickly put them down, and try to be as true to what happened as I can. I don’t know why I do that, it’s an impulse that I just follow.”
It’s easy to see how many of her songs are informed by a need to document things that happen around her. The song “Historians,” the de facto title track to her 2018 album Historian, speaks to a desire to document a romance: “You said, ‘Don’t go changing / I’ll rearrange to let you in / And I’ll be your historian / And you’ll be mine / And I’ll fill pages of scribbled ink / Hoping the words carry meaning.” It’s as if a relationship doesn’t exist if it’s not written down — and the only way to make sense of things is viewing it through a filtered lens. Yet Dacus also realizes the perils of over-documentation. Historian‘s “The Shell” wrestles with the idea of trying to force inspiration (“You don’t wanna be a creator / Doesn’t mean you’ve got nothing to say”) while lamenting songwriting pigeonholes (“You don’t have to be sad to make something worth hearing”).
Of course, emotional clarity can sometimes be hard to achieve. By nature, memory and identity are slippery things, and just because a story exists doesn’t mean it’s the whole truth. That thought was clearly on Dacus’ mind as she discussed the songs on her newest album, 2021’s stunning Home Video. Her source material ended up being the journals she kept during childhood and adolescence — the ones that weren’t stolen, but ones that documented a far different time in her life.
“It was intentional that I talk plainly on this album about things that actually happened because I hadn’t done that yet,” she told The New York Times. Surveying her private writings as an adult was an illuminating experience. “Almost reliably the perspective is true, and the entry is not, and I’m pissed about that because I would really like to know what I thought in the moment,” she added. “Who’s to know which one I should trust more?” To NPR, she explained, “It really shows you how memory is just like a fiction that you come up with. I’d like, write what I wanted to remember and leave out the details that I wouldn’t.”
The fact that Dacus had space to fill in details goes a long way to explaining why Home Video is even more detailed than her previous albums. “Thumbs” details how she and a friend met the latter’s absent father in a bar. He hasn’t been in her life for years, and the meeting is excruciating (“Your nails are digging into my knee / I don’t know how you keep smiling”). An angry Dacus longs to tell her friend she doesn’t need to indulge her father, but the complex nature of familial relationships is painfully on the surface throughout.
“VBS,” meanwhile, is a true story about her first boyfriend, a church camp bad boy who snorted nutmeg and loved Slayer. This simple story is complicated by what’s not mentioned: On the periphery of the song are references to secrets (“Your dad keeps his sleeves down through the summer for a reason / Your mother wears her makeup extra thick for a reason”) and how heavy these can be — they’re “sedentary secrets like peach pits in your gut.”
The album is about learning to be comfortable with ambiguity, while realizing the truth is blurry. On “Hot & Heavy,” she says, “You used to be so sweet / Now you’re a firecracker on a crowded street / Couldn’t look away even if I wanted.” Depending on perspective, a firecracker is welcome or a nuisance — and that perspective. And as she told Genius about the song’s meaning: “I realized along the way that it was just about me outgrowing past versions of myself.”
Above all, Dacus’ songs are about searching for your true self, and trying to pinpoint the molding moments along the way. In early 2022, she released “Kissing Lessons,” a song dating from 2017 that resurfaced during the Home Video sessions. The song details dalliances with a best friend. “Kissing Lessons” is a remembrance of childhood innocence and the way intense friendships ebb and flow — but also foreshadows (and legitimizes) future queer awakenings. “But I still wear a letter R charm on my bracelet / And wonder if she thinks of me as her first kiss.” With the benefit of time, Dacus can see things more clearly — although the pieces of the puzzle aren’t quite yet in place.
Everything’s coming up Pete Davidson. Alright, that’s an exaggeration, but the King Of Staten Island star (and The Suicide Squad ensemble cast member) ends up being a topic of conversation (generally regarding his romantic life) when his pals (and even mere observers) hit the talk shows. Not too long ago, Emily Ratajkowski offered up her reasoning on why “only other men” find Pete attractive, which made sense.
For sure, the list of other men who understand Davidson’s allure does not include Kanye West, but Ben Stiller gets it. While speaking with Howard Stern, the Severance director fielded a question on Pete’s fame, which Stern believes is largely due to “dating!” Stiller knows that this is a thing and called Pete “incredibly sweet” and the possessor of “such a charisma.” He did, however, want to add that a lot of Pete’s appeal is down to how true-to-real-life he is on SNL:
“Like, to be able to go on Weekend Update and do what he does, he’s doing him, right? It’s not that easy to just be that funny and interesting and likeable. Come on, do a character, do a thing, but he’s really taking his life and he’s turning it into material. People were attracted to watching him on the show and he just has a real charm about him.”
Stiller also believes that Pete’s got “a lot of great work ahead of him,” likely both on the comedy and drama end of things. And the Zoolander star likely has a point. People saw aspects of Pete’s life (including his father’s tragic 9/11 fate) in The King Of Staten Island story, and they’ve seen him doing the “mom’s basement” thing, and he’s always able to laugh at himself, which likely makes people feel like they know him and feel at ease with him. And that’s probably a lot of what’s led to his string of high-profile girlfriends, including Ariana Grande, Kate Beckinsale, Margaret Qualley, Cazzie David, Phoebe Dynevor, and (of course) Kim Kardashian. And yeah, that’s also led to this being a huge topic of discussion, even on Howard Stern’s show. Good on ya, Pete.
Billie Eilish — who, along with Finneas, is behind the No Time To Die theme song — stopped by Late Night yesterday, and naturally, the conversation found its way to the movie, and from there, about how Daniel Craig is a “DILF” (Eilish’s words). The term, in case you’re unaware, is an abbreviation of “dad I’d like to f*ck” and is defined by Dictionary.com as “an attractive older man, usually a father, who is regarded as a sexual object.”
On the show, Meyers asked if Eilish was nervous to meet Craig, to which she replied, “Yeah. He’s James Bond! He’s a DILF!” That led to a good minute-long conversation between Eilish and Meyers about Craig’s attractiveness. They quickly honed in on his eyes, with Meyers saying to Eilish, “Let me tell you something: You have beautiful blue eyes. I have beautiful blue eyes. But we can’t even be in the same room as that man’s eyes. These look like pinkeye compared to him.”
Holding her hands about a foot or so in front of her face, Eilish said, “It feels like they’re here on him. This is his face and these are his eyes.” Meyers added, “If you weren’t psyched about it, you’d say, ‘Your eyes are in my personal space.’”
They also talked about fan signs at Eilish’s concerts, Saturday Night Live, and more, so check out the full conversation above and below.
If your defense for someone is “he doesn’t eat dogs,” something’s up. And there’s certainly something fishy about Tucker Carlson‘s defense of Vladimir Putin, who launched an invasion of Russian forces into Ukraine on Thursday. It’s being called the “darkest hours of Europe since the Second World War,” but Carlson doesn’t see it this way. “Hating Putin has become the central purpose of America’s foreign policy, it’s the main thing that we talk about. Entire cable channels are now devoted to it,” he said, as if he, a Fox News host, hasn’t devoted himself to slobbering praise for Putin.
“Very soon, that hatred of Vladimir Putin could bring the United States into a conflict in Eastern Europe. Before that happens, it might be worth asking yourselves since it is getting really serious, what is this really about? Why do I hate Putin so much?
Has Putin ever called me a racist? Has he threatened to get me fired for disagreeing with him? Has he shipped every middle-class job in my town to Russia? Did he manufacture a worldwide pandemic that wrecked my business and kept me indoors for two years? Is he teaching my children to embrace racial discrimination? Is he making fentanyl? Is he trying to snuff out Christianity? Does he eat dogs? These are fair questions, and the answer to all of them is ‘no.’ Vladimir Putin didn’t do any of that.”
On Thursday’s episode of Jimmy Kimmel Live!, host Jimmy Kimmel questioned Carlson’s defense. “So, in order for you to despise a man who murders his rivals, who murders and poisons people, and is actively trying to destabilize our country, he has to do something to you personally. He has to eat your dog,” he said. “Thanks, Tuck, thanks for asking all those very dumb questions and then answering them for us. I wanna see the tape Putin has of him because it has to be something special.”
You can watch Kimmel’s monologue above (the Tucker stuff begins at 2:55).
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.
The life of Teleso “Tattersall” Le’aupepe was a grand odyssey. Born in Samoa in 1938, he eventually left for New Zealand as part of an exploitive post-war migrant workers program. He started a family there, and then moved to Australia to start another family. Years later, one of his sons started a band.
That band, Gang Of Youths, has long been invested in grand odysseys of their own. While they remain largely unknown in the U.S., they have made a name elsewhere in the world as one of rock’s most aspirational and big-sounding young bands. (When I saw them play live for the first time in 2017, it was like seeing Bruce Springsteen and the E Street Band on the Born In The U.S.A. tour in a 150-person capacity club.) Now comes the astonishing Angel In Real Time, their most majestic LP yet, due Friday.
For frontman and singer-songwriter Dave Le’aupepe, Angel In Real Time is nothing less than an act of transfiguration, an attempt to bring back his father — who passed in 2018 at the age of 80 — in the form of impossibly monumental tunes that integrate a kitchen’s sink worth of sounds: chamber pop, U.K. garage, Britpop, hip-hop, and indigenous music native to his family’s Samoan and Māori cultures. Over that music, Le’aupepe opens up the innermost sanctum of his life via lyrics that spin a dense web of autobiography, cultural criticism, self-laceration, and sports references. At times, he adopts his father’s perspective; in other moments, he wonders how he’ll move on without him. It’s so personal that as a listener you feel as though you’re eavesdropping on something you shouldn’t. But then the insistent, driving music inevitably pulls you back into the fray.
If Angel In Real Time is not ultimately remembered as the best album of 2022 — though it is certainly in the running for that distinction for what is already stacking up to be a year loaded with potential all-timers — it might very well end up being the most album. There is a lot to chew on here. First, there’s the narrative: Coming after 2017’s Go Farther In Lightness put them on the map in America (and in stateside arenas as an opener for the Foo Fighters), Le’aupepe retreated to grieve his father and also wrap his head around the bombshell that his dad had another family in a different country that he never knew about, including two half-brothers.
Then there’s the meta-narrative: Gang Of Youths’ founding guitarist, Joji Malani, departed in 2018, a potentially devastating blow that eventually presented an opportunity to remake their sound. An unabashed student of seemingly every heart-on-your-sleeve arena act of the last 40 years, Le’aupepe imagined a transformation akin to what U2 pulled off in the early ’90s. If Go Farther In Lightness was their Joshua Tree — the fearlessly earnest collection of guitar-based spirituals rooted in an unending desire for transcendence — then perhaps the followup could be their Achtung Baby. An album in which beat-heavy, danceable, and often ecstatic music acts as a shield for blood-and-guts, dark-night-of-the-soul introspection. An intimate confession made to sound loud enough to engulf the entire world.
This was a considerable risk given what was at stake: Gang Of Youths signed a worldwide record deal with Warner Records in 2019, their best shot yet at establishing a real beachhead here in the States. But is there a slot in the marketplace for a record that aims for the grandiosity of “Bitter Sweet Symphony” on nearly every track, while also drawing on stirring samples of Pacific music collected by composer David Fanshawe in the 1970s? Will an album this inventive and rich and huge — it was made in as many as seven different countries over the course of several years as Le’aupepe started and scrapped three versions of the record — be properly received by an American music press still inclined to view them as a “cult” concern? Can an LP sound like it was made by the biggest band in the world when the band in question, well, actually isn’t?
The only honest answer to all of these questions is “I have no idea.” So let’s focus on what’s clear at the moment: Angel In Real Time is a real achievement. Musically, the depth and breadth of sounds outstrip what is normally heard in the indie-rock sphere. A relatively low-key cut like “Forbearance” might nod to The National’s recent electro-folk experiments, but so much of the album aims beyond that and straight for the moon. “The Man Himself” is especially rousing in this regard — the moment when spine-tingling choral vocals recorded in the Cook Islands are seamlessly infused with breakbeats and a surging 42-piece orchestra ranks with the most emotionally overpowering moments on any recent rock record. And then there’s “The Kingdom Is Within You,” a skittering pocket symphony that manages to absolutely earn a title like “The Kingdom Is Within You.” There’s just so much here, but the impeccable craftsmanship of intricately layering the sounds ensures that each element has its own space. Which means on a song like “Unison,” you can appreciate the audacity of slipping in a banjo lick as the strings swell and the beats slap.
As a lyricist, Le’aupepe establishes a conversational style spiked with literary wit, in which a self-effacing joke lands only after a Google search to help decipher a critical word. (Thanks to this album I now know what “tenterhook” means.) But this is only a disarming gesture preluding a series of incoming gut-punches, in which Le’aupepe unsparingly addresses grief over his dad, plumbs mixed feelings about his dad’s deception, and expresses love for the older brothers he’s gotten to know after his dad died.
Given the inspiration, Angel In Real Time might appear to be a downer. But even at its bleakest — the part in “Spirit Boy” when Le’aupepe sings, “God died today / and left me in the cold” qualifies as the single saddest moment — the constant uplift of the music successfully buoys the record. On “Tend The Garden,” over a propulsive “Mysterious Ways”-like electro-rock purr, Le’aupepe adopts his father’s voice: “Lord knows if they would ever forgive me I don’t forgive myself at least / there are strange forces in the air only time can release in a way I still believe.” Is this a son’s wishful thinking for what he hopes his dad might say? Angel In Real Time somehow manages to not feel quite so self-indulgent. Rather, it registers as a gift to a man who never had one last opportunity to speak for himself.
All of this leads to the album’s heart, which also happens to be the most stripped-down track on Angel In Real Time. This pertains to the music on “Brothers,” composed only of Le’aupepe’s hushed voice and sparse piano, as well as the lyric, which unfolds like a more-or-less straightforward account of how he met the rest of his family. This verse hits hardest:
I know our father had his reasons but that Can never make it right or fair I hate myself for stealing all his love when My brothers thought that he was dead So as I dig through the collateral The secrets kept throughout the years I know I’ll hardly ever answer them But it’s a way to keep him near
The music on Angel In Real Time forms an enormous shell in which to fit lyrics so specific you feel as though Le’aupepe has mistakenly leaked his innermost thoughts. This is the dichotomy of Angel In Real Time — it is a roar that articulates what under normal circumstances would only be whispered, if spoken at all.
Gang Of Youths is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
The conflict between Ukraine and Russia finally escalated tonight. Reports that Russia has launched a “full-scale invasion” of Ukraine broke, and American celebrities are already being confronted with the need to speak out about the political event. Yesterday, Cardi B noted that she sides with the “citizens” who are impacted by the violence, but also understands how the sanctions that Biden has imposed, and the ramifications of the conflict, are going to further fracture the already damaged global economy.
The breaking news has also had an impact on another artist’s plans. After celebrating his birthday just a few days ago, The Weeknd has been teasing a big new announcement that was slated to come tomorrow, but after seeing the reports he’s decided to postpone on sharing his own news while the world focuses on something slightly more serious. “Unfortunately I’m just now seeing what’s happening with the conflict and will pause on tomorrow’s announcement,” he wrote on Twitter tonight. “I pray for everyone’s safety.”
unfortunately i’m just now seeing what’s happening with the conflict and will pause on tomorrow’s announcement. i pray for everyone’s safety.
Though fans don’t know what Abel had in store for them, speculation was rampant about either a tour, or a final third album for this new “trilogy” of releases. But postponing while such a tragic circumstance is unfolding feels like the right move, so we’ll just have to wait and see what Abel has up his sleeve.
However, it seems there are more aspects of the acquisition that still need to be finalized. According to Billboard, it appears that albums by Tupac and Dr. Dre won’t be included in the deal. A pair of Tupac’s Death Row albums, All Eyez On Me and The Don Killuminati: The 7 Day Theory, are “no longer on the label,” which means Snoop does not have access to them. Additionally, Dre’s 1992 debut album The Chronic, which was also released on Death Row, would not be returned to him until 2023. According to the report from Billboard, the specifics of the deal are still under negotiation, so until things are finalized, Death Row’s previous owners (MNRK Music Group and investment firm Blackstone) still have the rights to the label’s catalog entries.
“It feels good to have ownership of the label I was part of at the beginning of my career and as one of the founding members,” Snoop said after acquiring the label. “This is an extremely meaningful moment for me.”
Late last month, Slim Jxmmi, who with Swae Lee makes up the rap duo Rae Sremmurd, was arrested for battery after a fight with his girlfriend in Miami. According to TMZ, the rapper allegedly attacked his girlfriend, with whom he has a child, and pulled out her hair extensions. The incident began after Slim Jxmmi, born Aaquil Brown, was confronted by his girlfriend about a woman he was following on Instagram. Brown is also accused of throwing his girlfriend’s phone over a balcony. Now, almost a month after he was arrested for battery, the charges against him have been dropped.
According to Billboard, Miami prosecutors will not pursue charges against Brown. Court proceedings in the case were closed on Tuesday due to an order from Judge Betsy Alvarez-Zane. While a spokeswoman for the Miami-Dade County Attorney’s Office did not return Billboard’s request for comment, Brown’s attorney Bradley Horenstein said prosecutors told the judge on Tuesday that the charges were dropped due to a lack of evidence. Prosecutors reportedly said that the rapper’s girlfriend recanted her initial police statement and that she also refused to cooperate with them.
Slim Jxmmi’s focus will likely return to music and his Rae Sremmurd duo has not dropped an album since 2018’s SR3MM. The duo teased the release of SremmLife 4 back in 2020, but nothing from that project has yet been released. They also made an appearance in season two of Lil Dicky’s FX show Dave.
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Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
