Health is wealth, and former One Direction singer Liam Payne wants to build up his physical piggy bank. After overcoming depression as well as substance abuse following the group’s split, Payne is focused on strengthening his body from the inside out. Now, the recording artist has taken to social media to share the alarming news that he had recently been hospitalized.
In a video uploaded to his official Instagram page mere hours ago, Payne explained the cause of his hospitalization. Although in the recording, Payne appears to be getting all the support and recovery to help with his recovery, he was sure to share that his plans to tour in the coming months were put on hold.
He wrote:
“It’s with a heavy heart I have to tell you that we have no other choice but to postpone my upcoming tour of South America. Over the past week I’ve been in hospital with a serious kidney infection, it’s something I wouldn’t wish on anyone, and doctors orders are that I now need to rest and recover.
I was beyond excited to come play for you guys. To all of you who have bought tickets: I’m so sorry. We’re working to re-schedule the tour as soon as we possibly can, but for now we will be refunding the tickets – so please look out for updates from your point of purchase.
Thanks as always for the love and support, and look forward to seeing you soon.”
One of the biggest fans of Donald Trump’s Vigo the Carpathian-looking mugshot is Lauren Boebert. This makes sense: the rootin’ tootin’ Republican Colorado congresswoman has been arrested multiple times, including once for failing to appear in court after she was charged with careless driving and operating an unsafe vehicle after rolling her truck into a ditch. “I didn’t pay the ticket,” she later boasted during a campaign stop. “But I got it paid. One hundred dollars. And I even got a pretty mugshot out of it.”
Boebert thinks Trimp’s mugshot is pretty, too. In response to conspiracy theory-promoting comedian Roseanne Barr tweeting, “Trump’s mugshot is so hot,” she wrote, “You’re my favorite!!” along with the cry-laughing emoji.
Boebart also liked a tweet from far-right favorite Dinesh D’Souza comparing the former president — who was once sued by the U.S. Department of Justice for racial discrimination — to civil rights activist Martin Luther King Jr, as well as Aleksandr Solzhenitsyn, Mahatma Gandhi, and Nelson Mandela.
Somehow, Boebert wasn’t done.
Lauren Boebert, who barely won her re-election campaign by a little over 500 votes, celebrated Trump’s mugshot taken at his arrest during processing at the Fulton Country Jail. Boebert pledged to “stand with President Trump… always.”
Ashnikko‘s album Weedkiller was set to come out in June, until it was delayed “due to reasons beyond my control,” she explained in a statement.
It’s finally out today (August 25), and a standout track is her collaboration with the rising pop star Ethel Cain, whose debut full-length Preacher’s Daughter was a major 2022 release. The two teamed up for the cinematic “Dying Star”: “I died and I land with both of my hands / In the mud, the mud / It felt like a God, how she held me,” they sing in harmony.
“The world I’ve been crafting for the past two and a half years is finally hatching,” Ashnikko said about Weedkiller in a statement. “I felt immense release writing this record. It deepened my sense of selfhood. It sent roots out of my feet and into the earth. I reclaimed my body from the weedkillers who latched onto my skin like ticks. I hope you are able to writhe around and scream in the forest and howl at the moon and scurry around like a rat to this album.”
Listen to “Dying Star” above.
Weedkiller is out now via Parlophone Records. Find more information here.
Ashnikko is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Welcome to SNX DLX, your weekly roundup of the best sneakers to hit the internet. Last week I bemoaned the fact that Nike made its weakest offering of the year when it came to new noteworthy designs. It wasn’t that big of an issue however, because the rest of the brands stepped up, but it was notable considering the brand tends to dominate our roundups. This week Nike is back, with a strong showing that almost snagged all ten spots in our roundup.
I actually ended up cutting a few noteworthy Nike releases that I would’ve liked to talk about in an effort to streamline the list and make room for other brands. So if you’re a fan of Dunks and or the Air Max silhouette, be sure to look into the Air Max 1 Bronze or the Midnight Navy and White low-top Dunk, both are great designs but a bit throwaway in comparison with everything else dropping this week.
There are a lot of great shoes dropping and only so much closet space in the world. Let’s dive in.
Released to coincide with what would’ve been Kobe Bryant’s 44th birthday, the Kobe 8 Protro Halo sports a super clean triple-white colorway embroidered details over a low-cut design riding on a Nike React Foam insert. It’s been a minute since Nike has dropped any new Protro color ways so this is notable not just because it’s a dope design, but because it signals that Nike is gearing up to launch more Kobes.
The Nike Kobe 8 Protro Halo is out now for a retail price of $180. Pick up a pair via the Nike SNKRS app or your favorite aftermarket site.
A Jordan designed for skating, the AJKO 1 Bred borrows a legendary colorway and dresses up an altered Jordan 1 silhouette in it. The upper is a mix of canvas and synthetic leather with crimson red branding and a white midsole. With its tough outer shell, this sneaker is designed to take a beating, allowing you to rock that classic Jordan style without fear that you’re messing up a coveted piece of footwear.
The Nike AJKO 1 Low Bred is out now for a retail price of $120. Pick up a pair via the Nike SNKRS app.
I love that Nike has brought back this mid-80s silhouette this year and this Dark Obsidian and Granite colorway is one of the best to drop so far. Inspired by one of the original colorways from the sneaker’s Be True To Your School ad campaign, this low top Terminator sports a crisp leather upper with large Nike branding at the heel.
The Nike Terminator Low Dark Obsidian and Granite is set to drop on August 24th at 7:00 AM PST for a retail price of $120. Pick up a pair via the Nike SNKRS app.
Cutting two Dunks from this list was just something we could not abide by, especially when you have a pair as dope as the Orange and Emerald Rise. Featuring a full fuzzy suede upper swapped in for the usual leather, this SB Dunk low refuses to let the summer season die with this vibrant and bright colorway that draws eyes and demands attention.
Featuring a mix of orange and emerald colors, the design is rounded out by a Lemon Chiffon outsole that looks a bit retro and aged.
The Nike SB Dunk Low Orange and Emerald Rise is set to drop on August 25th at 7:00 AM PST for a retail price of $110. Pick up a pair via the Nike SNKRS app.
Moody and ultra clean, this Air Jordan 1 in Atmosphere Grey is a near-perfect design. The sneaker features a slightly aged aesthetic (check out that yellowed midsole) for vintage appeal and sports a premium leather build with luxurious suede accents. It feels like a minor release considering how many great shoes are dropping this week but we think this one will join the ranks as one of the best Jordan 1 colorways of all time.
The Nike Air Jordan 1 Atmosphere Grey is set to drop on August 25th at 7:00 AM PST for a retail price of $140. Pick up a pair via the Nike SNKRS app.
How do you elevate one of the greatest sneaker designs of all time? It’s simple, outfit it with some metallic detailing and call it a day. The Jordan 4 Frozen Moments features a premium semi-gloss leather and suede build with metallic silver elements on the wings, eyelets, and Jumpman logo.
The sneaker’s lining is a plus Snow White, which elements compliment the nearly monochromatic colorway.
The Nike Women’s Air Jordan 4 Frozen Moments is set to drop on August 26th at 7:00 AM PST for a retail price of $210. Pick up a pair via the Nike SNKRS app.
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Nike Women’s Air Jordan 1 Elevate High x Bephies Beauty Supply x UNION Summer ‘96
A cross collaboration between Nike, UNION, and Bephies Beauty Supply, this Jordan 1 features a highly detailed woven design with aged accents, and colored stitching overall a beige and off-white colorway with orange accents, UNION tag branding, and Bephies branding at the heel with a dusty green wrap around swoosh.
The design rides on an elevated midsole for a bit more height and a chunky sole aesthetic.
The Nike Women’s Air Jordan 1 Elevate High x Bephies Beauty Supply x UNION Summer ’96 is set to drop on August 26th at 7:00 Am PST for a retail price of $200. Pick up a pair via the Nike SNKRS app.
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Nike Air Jordan 1 x Bephie’s Beauty Supply x UNION Summer ‘96
I have to say I’m pretty impressed that UNION produced two different designs for men and women’s sizes, rather than take the easy route and drop this sneaker in a full size run. This sneaker has the same design ethos as the women’s exclusive pair with aged accents, colored stitched, and a woven together design. I like it but I have to hand it to the women’s exclusive design, that would has a better colorway.
This is still without a doubt a very dope shoe though, but that’s what is expected out of UNION.
The Nike Air Jordan 1 x UNION x Bephie’s Beauty Supply is set to drop on August 26th at 7:00 Am PST for a retail price of $200. Pick up a pair via the Nike SNKRS app.
In his debut New Balance collaboration, Portland rapper Aminé looks to the 610 silhouette for a sneaker that captures some of that chill outdoorsy PNW vibe. Featuring mesh underlays with patent leather overlays and a mesh collar, this trail-ready sneaker sports rope lacing, ripstop accents, and banana graphics at the tongue with a banana-inspired colorway.
The shoe sports iridescent details for enhanced visibility, a co-branded tongue label, and a speckle midsole. Not a bad first sneaker from Aminé and further proof that New Balance is making a serious play for rappers with a distinct sense of style (see Action Bronson’s NBs).
The Aminé x New Balance 610 T is set to drop on August 25th at 7:00 a.m. PST for a retail price of $159.99. Pick up a pair via the New Balance webstore.
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Adidas Blonde Pro Model ADV Cloud White/Core Black/ Off White
Without a doubt Adidas owns the signature skatewear market and the brand’s greatest collaborator is Blondey McCoy who has his very own sneaker model with the three-stripes brand dubbed the ‘Blondey Pro.’
Featuring a translucent TPU upper with synthetic three-stripes, textile lining, and a rubber outsole and toe box, the latest Blondey Pro rocks a Cloud White, Core Black and Off White colorway with a custom Blondey sock liner and enhanced durability designed to hold up no matter how rough your street skate game is.
The Adidas Blondey Pro Model ADV Cloud White/Core Black/Off White are set to drop on Friday August 25th at 7:00 AM PDT for a retail price of $130. Pick up a pair at the Adidas website.
Greene, who’s been practically begging to be Trump’s VP pick should he avoid jail time and make another run in 2024, took to Twitter yesterday to share a #MAGAMugshot of her own. The pic uses the same background as Trump’s own booking photo, complete with a Fulton County Sheriff’s label though, it must be said, MTG’s headshot sports better lighting. The Georgia Republican capped off her cringe attempt at comedy by licking the boots of her *checks notes “six-foot-three, 215 lb strawberry-blonde” overlord by claiming a government conspiracy is to blame for the latest round of felony charges.
I stand with President Trump against the commie DA Fani Willis who is nothing more than a political hitman tasked with taking out Biden’s top political opponent. “Persecution, not prosecution.” #MAGAMugshotpic.twitter.com/BLAJ16g6Je
Sycophantic grandstanding aside, what makes MTG’s post even more embarrassing is that she didn’t even start this weird fake mugshot trend — she just jumped on the bandwagon in the hopes that the bucket of spoiled lard she worships as her political diety might see it and look upon her fondly come next year’s election. The real credit for this absurd, desperate grab at relevancy goes to another unhinged white woman, Amy Kremer, the Women For America First Chair who plugged herself into the mugshot lineup alongside Trump cronies like Rudy Giuliani and Jenna Ellis despite never working for or (likely) meeting the man.
I stand with my colleagues fighting for election integrity.
Zach Bryan’s self-titled album is here. On the 16-track project, the country star invited a host of special guests to contribute to one of his most personal works to date, including War And Treaty, Sierra Ferrell, The Lumineers, and Kacey Musgraves. Of the offerings, Bryan and Musgraves’s song “I Remember Everything” is a painstaking tale of two lovers at the end of their romantic road.
From Bryan’s narration, the fictional love between him and Musgraves is perfectly flawed. “Rotgut whiskey’s gonna ease my mind / Beach towel rests on the dryin’ line / Do I remind you of your daddy in his ’88 Ford? / Labrador hangin’ out the passenger door / The sand from your hair is blowin’ in my eyes / Blame it on the beach, grown men don’t cry / Do you remember that beat down basement couch? / I’d sing you my love songs, and you’d tell me about / How your mama ran off and pawned her ring / I remember, I remember everything.”
However, Musgraves begs to differ, singing, “You’re drinkin’ everything to ease your mind / But when the hell are you gonna ease mine? / You’re like concrete feet in the summer heat / It burns like hell when two souls meet / No, you’ll never be the man that you always swore / But I’ll remember you singin’ in that ’88 Ford.”
The record, solely produced by Bryan, shows why country music has stood the test of time. Listen to the track above.
Zach Bryan is out now via Warner Records. Find more information here.
Zach Bryan is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Two weeks after the release of his new album, Porches, Reason appeared on The Breakfast Club to clarify one of the high-profile snafus that happened during the album’s rollout. A few days before the album’s release, Reason appeared on a livestream of the BACKONFIGG podcast, where he seemingly vented his frustrations about his label, TDE, prompting the label’s president, Moosa Tiffith, to call on and get into a heated back-and-forth with his artist.
In the course of the discussion, Moosa revealed that Reason was initially not a priority for his predecessor Dave Free, and joked that even the hosts on the podcast didn’t know any Reason songs. And while fans took the discourse as evidence of a rift between the artist and business partner, during his Breakfast Club interview, Reason asserted that while “it definitely shouldn’t” have happened in public, the discussion was just one of many and there’s no bad blood between them.
Asked if there was a problem between him and TDE, Reason said, “That entire situation, that was a conversation that me and Moo have had behind closed doors a lot…. it definitely shouldn’t have been out in the public. It’s a lot of misconceptions about that… Moosa loves this album. He helped me pick some of the records… It was just one of those things that got so nasty and ugly publicly that now, everything is ‘A Thing.’”
He elaborated that other comments he’d made accidentally fed into the narrative. For example, he’d said no one from the label came to his release party, but explained that the statement was taken out of context; he had previously had a label-led listening, but the release party was more private for family and friends. He also stood behind his statement about J. Cole and Kendrick Lamar, clarifying that he didn’t think J. Cole would be bigger than his former labelmate, just bigger in general.
He also said he had more than 1,300 songs recorded… and reiterated that he wanted to put more out. You can see the full interview above.
Is Portland’s iconic Voodoo Doughnuts the most overrated tourist attraction in the world? According to a study by USA Today — and by “study” we mean they scanned 23.2 million Google Reviews of popular tourist attractions looking for the words ‘tourist trap,’ ‘overrated’ and ‘expensive,’ so it’s… not exactly scientific — it is, alongside the Four Corners (the biggest US tourist trap), and the California Academy of Sciences (the most overpriced attraction). We’re not quite convinced, not because we have love for Voodoo Doughnuts (mom-and-pop doughnut shops for the win!), but because we’re not entirely sure you can call a f*cking doughnut shop a tourist attraction at all. [Also, because Four Corners is amazing — go to Canyon De Chelley and tell me otherwise. -ed]
Who are you that you’re traveling far and wide for doughnuts? If you’re coming to Portland and visiting Voodoo Doughnuts is at the top of your list of things to do, you’re probably missing out on a lot of things. That’s our take, but the internet at large had a different take.
While many people agreed, several X users — aka the app formally known as Twitter — were happy to name tourist attractions that are an even bigger waste of time with some even declaring that Portland itself was overrated.
Covent Garden, Distillery District, Hollywood Walk of Fame, Byward Market, Times Square, Pike Place and yes, even voodoo Donuts all fall under The Little Mermaid statute… if you don’t like them, they’re free and a 10 minute walk from something cool, and that’s not nothing!
Where do you stand? Is Voodoo Doughnuts overrated, underrated, accurately rated? Is Uproxx Life editor (and Portland boy) Steve Bramucci wrong? (Absolutely).
You may have noticed, over the past several months, that more of your favorite standup comics are dipping their toes into music. Jaboukie Young-White certainly has, and he’s got a great explanation for it: “I also think that the very stringent, ‘Oh, you do this one thing, you can’t do this other thing’ — that just doesn’t feel like a Black thing to me,” he tells me during an enlightening (and yes, hilarious) Zoom call. We are discussing — what else? — Jaboukie’s new album, All Who Can’t Hear Must Feel, which is out today via Interscope.
The eclectic project takes inspiration from the experimental, avant-garde rap of acts like 454, Azealia Banks, and Jpegmafia, as well as electronic dance music influences. Jaboukie started putting it together during the live entertainment shutdown of 2020, and its title comes from a proverb often uttered by Jamaican parents as a warning. If you can’t learn from instruction, you’ll learn from bitter experience; as a stand-up, artist, and activist, Jaboukie’s experience is extensive.
The comedian, who often challenges and interrogates ideas of identity, masculinity, and sexuality in his standup, leans into the subjects here, but don’t get it twisted; this is not “conscious rap” or rap with an overt message. Over the course of the album’s 13 tracks, Jaboukie explores these themes in depth, but he also gets loose, indulging his inner hip-hop head and encouraging listeners to shake off their blues, as early house raves once did.
Over the course of our conversation, we touch on these subjects and more as we collaborate to unearth the truths behind its creation, the hope for its impact, and the correlation between being funny and having bars. While subjects like his role in the HBO hip-hop dramedy Rap Sh!t were off-limits due to the ongoing WGA and SAG strikes against the AMPTP, church plays, politicians, and even a passing familial resemblance were all on the table.
I gotta say: Normally I do not really like avant-garde, stream-of-consciousness hip-hop albums. But this one, it grabbed me by the neck. There was a bar on there that cracked me up, and I highlighted it. When you were like, “They say Bouks, he be snapping in the booth / I say, ‘True. What’s another enclosed room?’” And I’m mad at you. That was a good-ass line.
Thank you, man. I’m glad that you pointed out that one. There’s some in there where the real hip-hop head came out in me, where I’m like, people who are casually listening are not going to be getting this, but the people who will read lyrics, this is for those kinds of people. So, I’m happy that you liked it. I appreciate that.
You’d been working on some demos in your spare time. How exactly did those get into the hands of (Interscope CEO) John Janick?
I was working on a Juice WRLD film. It wasn’t his biography, but it was going to be based on his music. So I’m working on that, and it would’ve been potentially the first animated feature that I would direct, and I didn’t have a studded-out resume. And it wouldn’t just be me. It would’ve been me and other co-directors. But then they’re like, “Okay, well, do you have music experience? That would be a selling point for you as a potential director.” And I was like, “Yeah, I got a little something.”
Then I sent along a SoundCloud link with a few songs on there. I think it was “26,” “Incel,” an early version of “Hit Clips,” and maybe an earlier cut of “BBC.” And I sent those out, didn’t hear anything. A week goes by, still don’t hear anything. Maybe two weeks go by and I’m like, okay, I’m just going to close that and I’m just going to pretend like that never happened. I was like ‘Alright, that’s in the past. We’re moving on. New thing, new me. Forget about it.’
And then maybe a few more weeks go by, or at least what felt like a few more weeks. It could have been days. I don’t know. That was my first time sharing music with literally anyone other than my brothers and maybe a few close friends. So I’d never done that before. And then I get a frantic call sometime later and someone’s like, “Open the link, open the SoundCloud link, open the SoundCloud link.”
And then I hear from the guy that they passed it to, John Janick. He liked it and then wanted to meet with me. So I met with him and then they were like, “Yeah, do you want to do this for real?” And I was like, “Yes.” And I really forced my way into it. That’s what I’ve been saying. But it really did feel like I kind of just happily stumbled into a great opportunity.
It feels like that’s how all the best stories go, right? It’s just “something happens and then something else happens and then the next thing you know, there you are.”
Right. I just was lucky enough to, when that question was asked, be able to say, “Yeah, I got something,” and was able to share it. I feel like that’s how every single lick that I’ve hit has always been luck. It wasn’t a lick. It was luck. It wasn’t a finesse. It was like fortune came and then I just so happened to be ready when it happened.
That’s the title of the memoir. It Wasn’t a Lick, It Was Luck.
It wasn’t a lick. It was luck. Yes.
When and how did you get started? Because obviously, we all downloaded a DAW at some point in our lives. I had an early, early version of Fruity Loops I stole online. Where did you get started? How did you get started? Who helped you? What were your early experiments like?
In fourth grade, I played the trumpet for a few months, but it was way too loud, so I couldn’t really practice. Then I asked my dad for a guitar when I was in seventh grade because I was really into Arctic Monkeys and Fall Out Boy. He got me this busted-ass ukulele from the flea market and was like, “If you could learn to play on this, then you could learn to play a guitar.” And I was like, “Okay. No.” So, my thing was: I was always obsessed with lyrics. That was a part of the reason why I love Fall Out Boy so much. There’s so many bars in Fall Out Boy songs. Shout out my Jamaican cousin, Pete Wentz.
Listen! Black people, we out here, the real light skins, we out here, we got bars.
Right, exactly. So there’s that. And then also [Lil] Wayne’s run from 2005 to 2012 was…
Legendary.
Yes. He was saying things that no one had said before in the history of the English language, just combining words in a way that was so novel, so crazy, so genius. So I was writing stuff from that time, and I think that was my engagement with music in a capacity where I felt like I was actually going somewhere.
When it came to production, in college, I got my first Mac product and immediately was on GarageBand doing that. And I was going to school for film, and I took a film scoring class that basically taught you Logic. “This is what compression does, this is what distortion does, this is what blah, blah, blah does.” And I had a base-level understanding. So from that point, I was making experimental… It pretty much always was industrial, either house or hip-hop music. So I remember there was one song where I peeled an orange and I just was trying to make…
Make that into the beat.
Right. And it wasn’t even from an avant-garde kind of place, it’s that I literally was just like, “What is a synth?”
So, it wasn’t like a daily, everyday thing, but I was keeping up with it. And when I first moved to New York, the music scene here was great. The comedy scene here is great. I can do both. And the first few months I was doing that. And then at a certain point, I was like, okay, I am too unemployed right now. One of these things is already an egregious assault to the pockets of any individual. Both of these things, I’m making negative money right now.
Then fast forward to 2020. I was really gearing up with standup at that time. So I was doing a lot of live shows and live event stuff. And when that was gone, I was like, okay, I have time to really buckle down and focus on making songs. I had for the longest time, been a writer and been writing things. And then I added on the experimental sound, like playing with sound and stuff. I was like, okay, what would it be like if I just genuinely tried to make some stuff? So at first, they were mostly jokes. I had one song that went platinum on my alt Twitter account that was about me being in a love triangle with Mitch McConnell and Madea.
A lot of your brethren in the comedy realm, your boy Hannibal (Buress, who raps under the nom de guerre Eshu Tune), your boy Zack (Fox, who recently released his single “Dummy”), they’re coming over on our side.
Jay Versace making beats.
What do you make of that? And why do you think the bars have stepped up so much? Because they’re all so good at it, I think is the thing that’s really stood out for me.
It’s funny, I was just thinking about this the other day, specifically thinking of Jay Versace, Zack Fox, Hannibal, people who are known to be funny, and then they go into music and it’s like, wait, okay, you’re kind of like… You’re hitting.
And even vice versa, in the other direction. I feel like it comes from the fact that even in the beginning stages of hip-hop, it wasn’t necessarily just music. There was just so much else built out around it. And it was an all-encompassing… Literally go way back, that one Hannibal joke where he is like, “Hip-hop. It started in the park.” That old school, that era, there was DJing, there was toasting, there was break dancing. There was rap. There were all these different components that were under the umbrella of the same culture. And I think that it never fully lost that, at least from how I’ve seen it.
There are Lil Wayne bars that are so funny. I look at someone like Vince Staples, he is a situational comedian on some of those songs.
He’s so funny.
Yeah, so funny. And the turns of phrase, the wordplay, there’s so many things that are foundational to standup, or to sitcoms, or to comedy in general. That I think there’s so much cross-pollination, it would just make sense at a certain point. I also think that the very stringent, “Oh, you do this one thing, you can’t do this other thing” — that just doesn’t feel like a Black thing to me.
I don’t know anybody that only does one thing.
Yeah. I didn’t grow up like that. Going to church, they were going to make you get up there and sing. They were going to make you get up there and dance.
You had to do the Christmas program. You had to learn sign language.
Exactly. I remember signing songs and shit. There was just a sense of art being something used to express an idea or yourself or this thing. Not necessarily it being something that is behind a closed door that only select chosen people can access. It’s more so these things are just an extension of what it means to be human. I feel like once you tap into that, it’s hard to listen to people being like, “You can’t do that. You only do this.”
Respect. So if there was one song out of the whole project that someone could listen to and get what you’re going for, which one is it going to be?
Impossible to answer. I think a part of why I made this project and sequenced it and why it came together the way that it did, was because of the fact that I felt like in everything else I was doing, I had to distill and boil down essentially myself into an easily understood, digestible, bite-sized little capsule. And with this project, it’s like I can’t pick exactly one thing. I would say though, if I had to tell someone to listen to one song, I would say “26.” Short and sweet.
Coming up on the close of the interview, I know you do a lot of interviews. I have to do a lot of interviews. You hear all the same questions, I have to ask all the same questions. What’s something that you’ve always wanted to talk about and you go into interviews, you’re like, I wish they would ask me about blank. And they never do.
I feel like it’s a question that I was kind of asking myself going into this project, or going into the release of this project and putting it together. Why? What was my reasoning for this project?
I think on a level, the answer is simply because I could. There’s definitely that. But then moreover, I think this project kind of felt like a record in the sense that it was really recording a period of time in my life and how I felt about music in general. The music that I listened to, where music was going, the internet, how the internet plays into music, how the internet has played into my life. How these technologies shape how we experience art, and whatever content it is that we’re consuming through the technology. And how that by extension affects our life. Even with the cover, there’s these memory sticks, that I’m holding this hand and there’s this hand holding me.
And with the sequencing and everything, I kind of wanted to replicate right now what the experience of listening to music for me at least, was like. It’s constant genre-changing, flipping through things, listening to a song for this amount of time, and then going and listening to the rest of a song. And that experience was really what I was trying to capture and replicate. I think the act of trying to honestly sum up what you’re feeling right now, what you’re seeing in the world right now, I respond to that in a work regardless of when it’s made. Seeing someone’s honest take on something is one of the most valuable things that you can offer up as someone creating something. And I like to think that’s what I was trying to do here.
So let’s say next year I’m walking around on Sunset, I bump into Jaboukie on Sunset, I say, “Jaboukie, what’s up man? How you doing?” And you’re like, “Aaron, what’s going on, bro? How you feel?” And then I say, “What have you been up to this last year?” What do you want to be able to tell me about the year intervening?
Whoa. I want to be able to say that SAG and WGA met all of their demands and more, and we vanquished the AI overlords who were coming to end our professions. And since then I’ve done a bunch of acting shit, toured, and have worked on some of my own shit.
Definitely when you come to LA, I will come see you, man. I will definitely come to see you.
Yeah, yeah, that might be pretty soon.
Tell them to let me know so I can go. And if you guys need me on the picket line, I will take some time off next week. [Editor’s Note: Aaron does not have permission to skip work to picket LOL]
All right. I will never forget. It’s not a lick, it’s luck.
It’s not a lick. It’s luck.
Yeah. I’m never going to forget that. So thank you. Thank you for sharing that moment with me.
All Who Can’t Hear Must Feel is out now via Interscope Records. Get it here.
SZA has been teasing her video for the SOS track “Snooze.” The anticipation is high considering her epic video for her hit “Kill Bill,” packed with action and melodrama. It even had a cameo from Vivica A. Fox, who appeared in the iconic film of the same title.
The “Snooze” video does not disappoint. It flashes through different scenes of her with an array of lovers, one of them being Justin Bieber. There’s also Woody McClain, Young Mazino, and Benny Blanco. There’s a lot of cuddling, and one lover even eats french fries off of her bottom. There are some fights, and Bieber smokes a lot of weed. At one point, she seduces a robot, which was previously teased in a clip.
About appearing in the “Kill Bill” video, Fox said, “When I got it, I was surprised, to be honest with you. Cause they called… [It] took them five days to finally decide that they were going to hire me, ’cause I think they wanted Uma Thurman.”
“But when you think about it, it’s a little bit more fitting for SZA and Vivica to be together because we’re both African American women, and when it came out, people just ran with it,” she continued. “They were like, ‘They’re going to make Kill Bill 3, finally.’ Because people have been waiting for Kill Bill 3 for such a long time and see my daughter get revenge on Uma.”
Watch the video for “Snooze” above.
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