She may be President Barbie, but Issa Rae is not very confident in her dancing abilities. But to be fair, dancing is not a requirement for running for political office, though maybe it should be! Dancing is fun. But not for Rae.
The actress starred as President Barbie in Great Gerwig’s cinematic masterpiece Barbie, though she was not happy about Stereotpyical Barbie’s giant blowout party with all the Barbies with planned choreography and a bespoke song.
“Dancing to it was my worst nightmare. It was the worst day of my life,” she said. “It was the best day of my life being on that set. It was exciting, and then literally the first day, I had to learn the choreography to shoot the [following] day. And it was terrible,” she explained.
One of the reasons it was terrible? Lipa and her team hadn’t written the lyrics yet, so it was all a fun guessing game. “We also didn’t have the lyrics to the song. Greta was like, ‘Oh, it’s going to be a Dua Lipa song.’ But all we had was the instrumental, so I was just like, “What the f*** is this? What am I dancing to?’” She added.
As for which track deserves the Grammy? Rae has a quick answer. “I want ‘Barbie World’ to win because I didn’t have to dance to that,” she added. After all Issa Rae did, quite literally, Dance The Night Away. She should rest now.
Tool is continuing their 2024 tour, as the band is currently making stops across North America until February. Then, in May, they will kick off a European leg that will run through the summer.
For those who are going to an upcoming show in the US, here’s what to expect in terms of the songs on the setlist. According to setlist.fm, Tool recently did two nights at Madison Square Garden, where they played the most songs from their Fear Inoculum album.
The setlist also shifted a bit between the two nights as they played “The Pot,” “Intolerance,” “Flood,” and “Schism” on opening day, but shifted the songs out for “Jambi,” “Sweat,” “Descending,” and more on night two. The second night also saw a birthday tribute to Adam Jones and Joe Paul Slaby.
Tool is set to head to Hollywood, Florida for two performances at Hard Rock Live. If you want more information on tickets and a complete list of dates for Tool’s 2024 shows, visit their official website.
Continue scrolling to view the full setlist, as of their second MSG show.
Did you enjoy speculating on glass beach’s artistic direction based on the prog/jazz fusion of “the CIA”? What about the In Rainbows-goes-gang vocal eruption of “rare animal”? Hell, are you pumped for glass beach to run through an exhaustive Q&A about the second glass beach album, which isn’t actually called the second glass beach album this time around? If so, would you have traded all of those things for a surprise drop of plastic death that could have happened eight months ago?
When I talk to the newly Tacoma-based quartet a few weeks before the actual release date of plastic death, the excitement and pride glass beach feel towards their highly anticipated sophomore LP is nearly matched by the novel frustration of having to carry out the campaign of a highly anticipated album. “If the record could have come out in 2023, there wouldn’t have been singles. I firmly believe that,” drummer William White states. “This is the last time we’re going to do an album rollout like this.”
Whether it arrived four or five years after the first glass beach album, plastic death justifies both the hype and the wait. It might seem like faint praise to call it one of the most adventurous, thrilling albums of 2024 when January is barely half over, but I’ll be damned if it doesn’t hold true by the time we get to December. Though compositionally sophisticated as any record that falls within the scope of art-rock or post-punk, plastic death is mischievous and melodic in a way that escapes other artists who namecheck Philip Glass and black midi as primary influences, as glass beach do on the opening “coelacanth” (it was originally titled “Philip Beach”). Or, take the very next song; the lyrics of “motions” were inspired by Layne Smith’s more demoralizing, mercenary experiences as a sound engineer, and to make a joke about the monotony and interchangeability of creating art under capitalism, they pull a “same note, every string” trick shot from Guitar World icon Paul Gilbert of Mr. Big.
The result of lengthy jam sessions, painstaking editing, and passionate arguments about sequencing and the most minute sonic details, plastic death is a rare instance of an art-rock opus that’s as fun as it is challenging, playing out more like Tears Of The Kingdom or Super Mario Bros. Wonder than homework. But it’s also somewhat misleading to say it took five years to create. Though long opposed to releasing anything from plastic death in advance, frontperson J. McClendon found two reasons to settle on “the CIA” as the lead single; for one thing, they saw it as one of the least representative songs on the record and thus the most likely to confound listeners. They also claim that it dates back to before even the first glass beach album, originally a “Thundercat/disco” sketch that has undergone a Ship of Theseus transformation in the time since, retaining none of its original lyrics or instrumentation. Likewise, “Slip Under the Door” was literally raised from the dead multiple times before reaching its final state as a vampiric nü-metal suite and McClendon threatened to leave “Puppy,” the album’s catchiest pop song, off plastic death solely because it was catchy enough to be a standalone single.
With all the effort they put into the actual creation of plastic death, it’s understandable that they longed to repeat the release strategy of their debut. the first glass beach album was uploaded to Bandcamp in May 2019 with no fanfare, even amongst the people who made it. “J. was wrapping up production and all of sudden, we get a message saying, ‘Yeah I think we’re gonna release it next week,’” White recalled in a 2019 interview. This is the way J. had always done things. “I’ve been making music for exactly a full decade before glass beach and it was always, ‘I just want to make the music,’” they say. “I’ll put it up online, it’s pay what you want, and if people want to send me money, that’s cool. If not, that’s cool.”
In retrospect, it’s hard to believe that the first glass beach album could’ve gotten lost amidst the countless Alex G and Prince Daddy ripoffs sharing the “emo” tag in Bandcamp throughout 2019. Toggling between ambient interludes and maximalist arrangements that threatened to crash McClendon’s Logic X software, it sounded like a lot of different things at various points – no other album had ever been accurately likened to Boards Of Canada, seapunk, Saves The Day, and musical theater before. For reasons that still escape them, glass beach somehow found its way to perpetually keyed-in advocates like Skylar Spence and Los Campesinos!, which sparked a word-of-mouth buzz that led to their signing with Run For Cover and assembling the kind of team who’d ultimately convince them to take a more traditional path towards the release of plastic death.
In the ensuing years, tfgba would retroactively be deemed a formative document of “fifth wave emo,” a movement defined by wild stylistic leaps and an often queer and highly online lyrical perspective. But after the passage of a half decade, bassist Jonas Newhouse reflects that “we’re all orbiting around the 30s threshold and had a lot of enforced personal growth through the pandemic.”
“There were a good six-ish months where we literally hadn’t seen each other,” White recalls and while remotely-composed, one-off singles “1015” and “Running” were well-received, each felt like placeholders until glass beach could return to their previous, communal creative process. But even as they generated momentum on plastic death in their NoHo home studio, the band questioned their willingness to ever tour again after contracting COVID in 2022, despite taking the utmost safety precautions. They’ve donated their time and air purifiers to kickstart a Seattle-area chapter of the Clean Air Club to ensure COVID-safe events at a time when new strains keep emerging despite assurances that the pandemic is long over.
Still, even with this ongoing risk, glass beach are far more stoked to finally tour and perform plastic death than promote it. “I don’t give a shit about advertising, honestly. I have faith that the people who would like it will find it from word-of-mouth at this point,” J. flatly states. “I guess that’s a very funny thing to say in an interview.”
Before we talk about plastic death, I wanted to get into what happened with “Running” – it’s now official “glass beach lore” that the song was submitted for Bill & Ted Face The Music, but ultimately rejected. How did they let you know it was a pass?
Jonas Newhouse: Hold on, let me find the email [checks phone].
J. McClendon: From what I understand, the music supervisor really liked it. They requested a couple of changes that we made, but the version we released was the unmodified one. I think it was ultimately the director that vetoed it.
William White: There were a couple of others that were still…I was going to say “in the running,” on accident. And we were definitely the music supervisor’s maybe-favorite. I hesitate to say that only because you could probably look up who the music supervisor is and I don’t want to put words in their mouth.
Jonas: All I know is the music supervisor didn’t decide we weren’t in it. They made that clear.
J.: And there were definitely discussions we weren’t privy to.
William: They also said that they liked the song but they wanted a different vocalist and they were gonna redo the instrumentation.
Jonas: I swear there’s a version where Rivers [Cuomo] did a test track.
J.: I think the Weezer song ended up taking the spot, but yeah I still haven’t seen that movie.
William: I’ve only seen the scene with the Weezer song.
J.: I think I would have seen it if our song was in it, but I don’t know that I ever believed that the movie was gonna be good.
I didn’t think it was going to be very good and it was not very good, but I remember seeing it because we were just so desperate for a traditional movie experience during the early pandemic. I’m dying to know what changes they recommended, did they want you to write lyrics that summarize the plot…
J.: Totally, like Space Jam. William, you wrote a lot of the lyrics, because straight up, that was so out of my ballpark. I can’t write something positive.
William: I wrote the chorus, which is funny because that kind of just proves that it’s not really a glass beach song. No offense to the glass beach fans that really like it. Because there were people who said, “if this is the direction glass beach is going, I’m so excited!” And I was like, oh no!
J.: It was us doing a Queen impression or “God Gave Rock and Roll To You” by KISS, they wanted something like that. And Layne did such a good solo for that song, it does rip.
What struck me about the first time we talked was how much glass beach, the band, was a byproduct of friendship, that the four of you would likely still be hanging out together if you weren’t making music. In the time since, there’s been touring and signing to a label and all of these other things that test relationships in a way you can’t anticipate. How have these things impacted the way you collaborate as both friends and musicians?
William: I think my friendship with the people in the band wanes as it becomes more like a business. Being in a band is not hard for a friendship, it introduces a heightened version of what friendship is, it forces a greater form of communication. And then having a business based around that band based on this friendship, it starts getting into a zone where you need to bring people in to save your friendship, basically.
J.: I don’t know if I’m speaking for everybody here, but I feel like if it didn’t have to be a business, then we wouldn’t care about trying to sell the music. You know, if this weren’t the best career prospect we all have right now. We’re kind of in this position where treating it as a commercial enterprise is kind of the best way forward for us, for the sake of enabling us to continue doing this, you know?
Jonas: Which also is rough because when we’re done with the music, we’re kind of done thinking about it outside of listening to it and reflecting on it. We don’t want to be thinking about the fucking publishing and all the production stuff.
J.: We were asked to do a thing for Spotify where it’s like, “Hey, to all our Spotify fans, thank you for listening. Make sure to stream our new album in the next year!,” and all that kind of shit. It just feels so deeply fake to me and I feel like anybody else would be able to see through that too.
Layne Smith: Make sure to smash that “like!”
J.: People going on TikTok and being like, “Oh, did I just make the song of the summer?” I would rather die.
I’ve talked to a lot of bands in the indie/punk/emo/etc. sphere about their experience during the pandemic and whether they felt like it represented a missed opportunity to finally do things differently in the music industry, rather than just continuing the same old three-year, “release an album, tour, tour again, release the next album” cycle. Were there any conversations like that within the band?
Layne: We all shared the sentiment of doing things in a better way and at almost every turn, William for sure has been like, “Why do we have to do that?” And then we talk about it for a little bit, and it’s like, “Oh, well, because it’s expected of us.” Okay, well, can we just not do that?
Jonas: We ended up doing two singles which is fairly normal for an album cycle. But that was after hours and hours of deliberating on it because we didn’t want to do it just because.
J.: What it came down to is that I would like people to hear some of the music before 2023 is over. Or, at the very least, know that we’ve done something because we finished the album so long before the release date. That was the whole other thing too – we want it out now. Next time, we’re just going to try to have it drop with no singles or anything because we really never thought of it as an album to be picked apart into pieces like that. The album is the work that we’re making.
Layne: Whenever we have these industry-talk conversations like, “This is how things are done,” there’s part of my brain that always asks that question, “Do we have to do that?” But there’s also a part of my brain that’s like, “I’ve never made it this far.”
J.: There’s people that we trust to defer to about certain things. I think there’s also a lot of bullshit because – I’m not going to say success is totally random – there is a big part of success that is random. I think a lot of people find some kind of success and then just tell everybody to do things exactly how they did. Which is from a completely different time, different context, maybe even different genre. I look at how our first album took off and I would never tell anybody [to do it like us]. I think any older people established in the industry would not have told us to do things the way we do. I guess if there’s any point to be made here, don’t take advice from anybody you wouldn’t trade places with. And nobody knows how to succeed in the music industry. Even people who have done it don’t know how they did it.
Layne: It’s a lot like when YouTubers get asked “How do we make it?” and say, “I got popular like seven years ago, you think that you think things are the same as they were seven years ago?” Anybody who has ever had any success bases everything off of the moment where things change for them, rather than accepting the idea that the music industry is constantly changing.
J.: Yeah, people say singles are better than albums. First of all, that’s not true. And second of all, if it was, then focusing on an album instead would be the way to stand out. Do what nobody else would do.
William: Not even yourself. And then if it’s good and the right people find it, then something might happen. But then there’ll be a risk scenario that you made something awesome that people didn’t find.
J.: And then maybe like 30 years down the line, people are like, “How did this get forgotten?” It’s like, well, I was poor when I put it out.
William: Yeah, I was poor and alive when I put it out, so nobody paid attention.
In 2019, you suggested that the first glass beach album would be a good way for people in the future to remember what being online was like at that time. Do you feel like that prediction has held up?
William: I mean, it’s only gotten more like that. A core idea of [the first glass beach album] was the idea of seeing something horrifying and then something beautiful and something hilarious and then something tragic. That’s the space that we all live in now and it’s worse, because TikTok wasn’t really a thing back then? You swipe up and you see like, “Oh, someone’s singing a pretty song and here’s something about the Palestinian genocide” that’s so much more inescapable.
J.: I mean, it’s been said to death, but with the pandemic, everybody’s lives kind of got transplanted to almost exclusively being online, you know? And I think just I was so much more online than a lot of people for most of my life.
So you’re not less online these days, it’s just that the rest of the world caught up?
J.: I would say I’m less online now than I was then. I think all of us are less online, it feels so cynical and so bleak to me these days. The pandemic really accelerated this for me because in the first couple months of it, I was on Twitter nonstop and it just kind of fucking destroyed me. So I just had to go fully in the opposite direction and I was completely offline for a while. I’ve been trying to find the balance, you spend too much time online and you get worms in your brain, and you spend too much time offline and you don’t have anybody to talk to.
Layne: I think the record is still relevant now in its theme, because there’s a lot of people who may have had that balance at one time. I think that I had a pretty good balance in terms of using Twitter, for example, because I heavily handled my timeline. The things that would pop up were all news that I could find from individual journalists that were accredited. But with the way that Twitter has now gone – I’m never gonna call it the other name – you can’t escape that feeling, you can’t be there longer than 20 minutes and not have it just completely be, “Oh my god this sucks.” It feels like grinding on like an old, thousand-hour JRPG now just to get your timeline reasonable.
It did seem like most of the lyrics on the first album were very online, or at least about the experience of being very online. With plastic death, there seems to be a more surreal, less literal bent to the songwriting.
J.: With the first one, I felt like I had gotten so specific with my songwriting that I was putting details and the literal recounting of events and stuff over the emotionality of it. This was much more about trying to get straight at the emotion. And there is a lot that works on that level. You take a song like “Cul de Sac,” I think that’s a very direct song for me. And I think it’s a very online song too. Because that song, to me, was so much about the culture of nostalgia and how insidious that can be. And then also this idea of Silicon Valley tech people coming from this new age-y mentality of like, oh, “the internet will connect everybody” and then selling out that dream. There’s stuff in there that is very specific, but with this album, I’m trying to write more from the subconscious. That’s where the whole metaphor of the abyss, the deep sea comes from – the Jungian idea of the anima, the repressed part of the self and how there are beautiful things in there, even if there are things in there that are terrifying too.
Do you consider this album to be more hopeful in its view of the future?
J.: I think this album is more a rejection of a lot of the issues with the internet that we’ve talked about before. With the first album there was a sense of it being anti- to this whole mindset of “people are on their phones all the time, they don’t even talk to each other.” Well, people are talking to each other, but it’s on their phones. There was almost this defense of the internet along with the criticism, and a lot more irony in it. I think of this new album as significantly less ironic.
Jonas: If anything, I feel like the irony comes from musical jokes we make.
J.: Irony as a tool in the toolbox rather than as a sensibility.
I think of that aspect in light of a song like “The Killer,” which is the kind of spare, “serious,” mostly acoustic song that glass beach has never done before. Was that the point of making plastic death where you thought, “I’m really out of my comfort zone here”?
J.: I think that’s certainly a song that goes to kind of an uncomfortable place for me. There’s stuff where it was sort of difficult style-wise, like “Slip Under The Door.” There was the whole period of me learning how to scream and everything — not that I didn’t know how to scream before, but learning how to do it more safely and having more control over it. There’s a good bit of stuff that’s emotionally uncomfortable for me, but any time I record something that makes me kind of cringe a little bit, I’m like — okay, that’s right, that’s how it should be. Like the first part of “Abyss Angel,” I use so much restraint, no reverb, we’re not going to double anything, we’re not going to dress it up at all, just have it be as naked as possible. And it makes me uncomfortable to listen. That’s why I know it’s good.
I think we really tried hard to lean into the stuff that is uncomfortable for us because I think that trying to get too comfortable as an artist is dangerous. Like, I think that’s how bands become parodies of themselves. As poppy as we can get, I really try to take an avant-garde mindset to our art of just like, let’s try to do what we’ve never done before. Let’s try something that might fall flat on its face, you know, and whatever album we do next is probably going to sound nothing like this one.
Lil Yachty’s association with Michigan’s underground rap scene has been a gift to his rap reputation, but lately, it seems like it’s starting to become a curse. The penchant of rappers like BabyTron and Sada Baby to spit completely unhinged, utterly reckless punchlines has beld into Yachty’s own approach to rap, but thanks to his higher profile, it’s gotten him into hot water.
In a new song called “Sydney,” Yachty teams up with a burgeoning Brooklyn rapper named DONTKALLMELUXXY to flex raps over a sped-up version of Beanie Sigel’s 2005 single “Feel It In The Air.” The newer rapper courts controversy with his verse, threatening, “Better watch where you step or get treated like Megan Thee Stallion,” a clear reference to the July 2020 shooting of the Houston rapper by Toronto rapper Tory Lanez, who opened fire at Meg’s feet after an argument, leaving bullet fragments in her heels and leading to three long years of legal entanglements and harrassment for the “Savage” rapper.
Lil Yachty Samples “Feel It In The Air” by Beanie Sigel:
“Better watch where you step Get treated like Megan Thee Stallion”
Megan Thee Stallion gon always keep it real and that’s why we respect her these cornballs need to keep her name out they trash songs!! pic.twitter.com/esn02gYXLS
— theequeenstallion1Fan Account (@queen_stallion1) January 18, 2024
Megan’s fans similarly came to her defense when Drake similarly referenced the shooting for a groaner of a punchline on his own For All The Dogs cut, “Circo Loco.” The line drew the ire of Megan herself, who at first defended the star, then snapped upon realizing just what the line said. “Stop using my shooting for clout b*tch ass N****s!” she wrote. “Since when tf is it cool to joke abt women getting shot ! You n****s especially RAP N****S ARE LAME! Ready to boycott bout shoes and clothes but dog pile on a black woman when she say one of y’all homeboys abused her.”
In any case, considering DONTKALLMELUXXY only has 539 subcribers on YouTube and less than 4,000 on Spotify, we can probably just assume that all this was just a bid for attention. Therefore, the best response is to probably ignore him and let him remain obscure. As for Yachty, let’s hope he’s a bit more judicious with his cosign in the future, because this wasn’t worth it.
What do the words “self-care” and “wellness” conjure for you? If it’s the image of a person sitting cross-legged on a yoga mat meditating and that’s just not your vibe, just know — it doesn’t have to be that way. Developing a wellness practice doesn’t have to be something that pushes you out of your comfort zone. It’s all about doing what makes sense for you.
In our latest episode of Wellness Your Way, Q — a dancer, musician, choreographer, and vocalist — shares how their wellness routine is less about some perfect vision of self-care, and more about connecting to their inner child, finding joyful moments in life, and letting those moments uplift them.
Due to Q’s busy schedule and the discipline that comes with being a performer, they make sure to find moments in the day to disconnect from their responsibilities and connect to a playful spirit that isn’t bogged down by technique and performance anxiety. For Q that means grabbing a coffee, strapping on some blades, and dancing on a court. Here’s what following that path could mean for you:
Uproxx
Be sure to check in on Wellness Your Way to learn more about Q and help develop your best self-care strategies.
Jagged Edge productions has confirmed to Bloody Disgusting (which has also revealed a preview image) that Pinocchio: Uprising will join the upcoming films Bambi: The Reckoning and Peter Pan’s Neverland Nightmare. The studio also announced a sequel to Blood and Honey, which will bring Pooh’s old pal Tigger into the fold. Not only that, but the end credits will reportedly reveal more beloved characters that are on their way to becoming very stabby.
“Unannounced characters from the universe will be revealed in sketch drawings in the closing credits of Pooh 2 so keep an eye out!” Jagged Edge said in a statement.
While this trend of turning storybook characters into frightening monsters has found a niche with horror fans, it has also led to some unfortunate moments. Namely, a Florida teacher accidentally showing the film to a class full of fourth graders. According to Variety, a substitute allowed the students to pick a movie, but no one checked the content rating or description until it was far too late. Needless to say, the kids saw a very different side of Pooh that day.
“Due to unforeseen circumstances, Paramore can no longer attend and perform at Vive Latino in Mexico City, Festival Estéreo Picnic in Bogotá, and Lollapalooza Brazil in São Paulo,” Paramore (or, more likely, someone on their team) posted to their Instagram Story this morning, January 18. “In their place, Kings Of Leon have been confirmed. Paramore thanks them and apologizes for any inconvenience. They will see you in the next era.”
“paramore you need to say something at this point,” a user named Mar wrote on X (formerly Twittter). Another person, Apollo, wrote, “okay paramore what’s the deal? like what’s going on? y’all did a collab with a24 and are clearly not disbanding, but also why are y’all pulling out of shows while giving vague ass statements? and why won’t y’all even say anything about all that?”
okay paramore what’s the deal? like what’s going on?
y’all did a collab with a24 and are clearly not disbanding, but also why are y’all pulling out of shows while giving vague ass statements? and why won’t y’all even say anything about all that?pic.twitter.com/am0gOVnohK
And to close the loop, read the below excerpted paragraph from Paramore’s Uproxx cover story that initiated the full-blown panic (even though they pretty plainly stated they plan to keep building Paramore).
“Now that Paramore has spent the year touring behind This Is Why (and making sure to take better care of themselves while they’re at it), a chapter of the band’s career has come to a close. They’ve now fulfilled all label obligations and are effectively free agents. As for the future of Paramore, all three members agreed that there’s a level of uncertainty. But one thing’s for sure — they’re still going to be together, and they’re still going to keep having fun. ‘The only thing that matters is we will still get to be each other’s community,’ [Hayley] Williams says. [Zac] Farro agrees: ‘I just hope we can keep building the Paramore empire and then rule the world.’ And wherever they end up, the massive community of fans Paramore has cultivated will be here for them, too.”
Lana Del Rey is shocking fans with her latest business partnership, as the singer appears in a new campaign for Kim Kardashian’s Skims line.
In one of the photos, Del Rey dresses up in a light-blue lingerie set, complete with opera gloves and bows in her hair. She poses in a heart-shaped box of a similar color, putting her spin on the Valentine’s vibes.
Another photo found her posing with two cats, leaning more into the holiday’s color palette. She also embraces a gothic angel side, in a black slip and matching veil, as she gets struck by an arrow.
“I’ve been a big fan of Skims since the beginning, so being featured in their Valentine’s campaign is so exciting,” Del Rey shared in a statement. “Their collection is so pretty and dreamy, which made collaborating with Nadia Lee Cohen on the creative so fun.”
Fans were instantly obsessed with Del Rey’s shoot. “Omg this is so Born to Die vibes I’m shaking!” one user wrote, pointing out Del Rey’s debut album.
Others, while they loved it, weren’t totally down with the Kardashian factor. “photoshoot ate but I need kim kardashian to stay away from her,” someone responded.
Another pointed out that the move was interesting, considering she collaborated with Taylor Swift, and the two have been close. (Swift and Kardashian, well, they have a not-so-pleasant past that involved a phone call, among other things.)
Del Rey appears to be taking over 2024, as she is set to headline Coachella in April. She also teased part of a new song on Instagram, with many fans wondering whether she would drop a country-inspired album this year.
Check out some more photos from Del Rey’s Skims photoshoot below.
The thing is, anime loves her back. In addition to getting shout-outs from the people who make, translate, and perform in anime over the years, she’s recently been granted the honor of presenting at this year’s Crunchyroll Anime Awards. (As a second-gen weeb, I am astronished that I did not know such a thing has existed for the past seven years, and kind of proud that it does.)
Meg was announced as a presenter along with Japanese pop star LiSA (not to be confused with the K-pop star of the same name), Ms. Marvel herself, Iman Vellani, drag entertainer Aquaria, and popular TikTok star Lena Lemon, among others. The show will be held on March 2 at the Grand Prince Hotel Shin Takanawa in Tokyo. In the press release, Megan gushed, “Watching anime is one of my favorite things to do! I love cosplaying all of my favorite characters, I love the storytelling, and I love getting inspiration from the different anime art styles! I’m really excited for the opportunity to attend and present an award at this year’s Crunchyroll Anime Awards. I’m looking forward to traveling to Tokyo and joining my fellow anime lovers as we celebrate and honor the best anime creators and shows in the world.”
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Milojevic was a highly regarded figure in the NBA and international basketball communities and coached a number of future NBA players while the head coach of Mega Basket in Serbia, including Nikola Jokic, prior to joining Steve Kerr’s staff in 2021. While the Warriors game against the Jazz was postponed to allow the team to grieve — Golden State’s game Friday against the Mavs was likewise postponed — the rest of the league played on with many doing so in honor of Milojevic.
Among those closest to Milojevic in the NBA is Raptors head coach Darko Rajakovic, and after Toronto’s win over the Heat on Wednesday night, he dedicated the win to Milojevic and said the first play the Raptors ran in the game was one he stole from Dejan.
“I told my guys I loved them.”
An emotional Darko Rajaković on his pre-game message to the Raptors.
That play has Scottie Barnes dart up the floor into the post on the empty side, before two Raptors on the other side run simultaneous cuts with the guys in the corner and the wing lifting to the wing and top of the key, respectively. Barnes passes to Jontay Porter on one of the cuts, who pivots and finds Gary Trent Jr. for a three on the wing to open the game with a bucket.
After the game in the locker room, the Raptors gave Rajakovic the chain and he simply told his guys he loved them, before getting some embraces from his players on what had to have been an emotional and difficult night.
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