Have you ever wanted revenge? I’m not talking about hardcore John Wick-style you-killed-my-puppy-revenge, I’m talking about the petty kind. The sort of situation that sounds like a plot point from a Curb Your Enthusiasm episode. Maybe someone stretched out your favorite sweater, maybe they borrowed something and didn’t return it, or hell, maybe you just don’t like them but can’t seem to get away from them.
In these situations, you have to ask yourself, “What would Larry do?”
From what we can tell the thread first started one week ago on r/newhampshire posted by u/Environmental3rdEye (though an earlier version with slightly different wording was posted to r/LosAngeles two years ago). The post has been replicated in various cities’ Reddit pages like r/Seattle, r/Kansascity, r/Minneapolis, and more and has even jumped across the pond to r/Sheffield and r/Glasgow.
The suggestions are wonderfully petty, r/OrangeCounty’s top recommendation reads “Javier’s at Irvine Spectrum. Uninspiring food, expensive as all out, and cherry on top is the long wait times. Bon appetit!” As a Southern California native I can confirm that this poster is spot on [it’s is a perfectly inspired choice! — ed]
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If you’re visiting Cincinnati and someone suggests you visit the rooftop restaurant Eighteen, they just might be your enemy. This reasoning from one user sounds downright diabolical.
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Bad food, bad service, audible terror, and roaches? Say less.
If your enemy is rolling through New Mexico it looks like the consensus bad pick on r/albuquerque is the Mexican restaurant El Pinto.
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At Washington DC’s Urban Roast, not only will your frenemy encounter big crowds and mediocre food, but they won’t be able to get a decent Instagram photo out of the experience.
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Has this viral thread brought out the worst in people? Maybe, but it’s a lot of fun reading through the suggestions, especially if you have a connection to the city in question or have first-hand experience with its dining scene.
But you’ve been warned, tread lightly if you suddenly get unsolicited restaurant suggestions from someone you thought was your friend.
André 3000 may not be rapping much anymore, but as a member of the pioneering Atlanta hip-hop duo Outkast, his legacy — and that of his partner-in-rhyme, Big Boi — is secure. That legacy is being celebrated in new ways all the time — and the latest will give fans a chance to play out their Outkast reunion fantasies, at least in miniature. Super 7, the collectibles company that has been commemorating pop culture since 2001, announced a new set of Outkast action figures capturing their likenesses from the cover of the duo’s 1996 album ATLiens.
The 3.7″ scale figures come with microphone accessories, while Big Boi’s features a removable chain. The cardback package also features a reproduction of the iconic album cover by illustrator DL Warfield, which imagines the duo as comic book superheroes — fitting for the translation to action figures. You can find more about the figures on Super 7’s website.
The group previously revisited ATLiens in 2021, with an animated video for the standout single “Two Dope Boyz (In A Cadillac).” While the duo hasn’t announced any plans to reunite for the foreseeable future, the roots of their Dungeon Family tree run strong. Killer Mike, their frequent collaborator, swept the Rap Grammys categories this year for his album Michael, which features one of André’s first verses in years on “Scientists & Engineers.”
Finally, a reason to watch the Oscars: Variety has confirmed that Ryan Gosling will sing Barbie power ballad “I’m Just Ken” at the 96th Academy Awards.
There was a question about whether he would as recently as earlier this month, when Gosling revealed that he hadn’t been asked yet. “It might be too much of a risk to have me do it,” he said. “I don’t know how that would work. But I’m open to it.”
“I’m Just Ken” is one of two songs from Barbie nominated for Best Original Song, with “What Was I Made For?” by Billie Eilish and Finneas O’Connell as the other. That song is nice and all, but does it have one of the stars from The Nice Guys having an existential crisis about his “blonde fragility”? Exactly. Give it to Gosling. The other songs in the category are “It Never Went Away” from American Symphony, “The Fire Inside” from Flamin’ Hot, and “Wahzhazhe (A Song for My People)” from Killers of the Flower Moon.
Gosling is also up for an Oscar for Best Supporting Actors alongside Sterling K. Brown (American Fiction), Robert De Niro (Killers of the Flower Moon), Robert Downey Jr. (Oppenheimer), and Mark Ruffalo (Poor Things).
Look up the term “genre” in regards to music, and you’re likely to land on a straightforward definition. Merriam-Webster refers to it as a category of artistic musical or literary composition characterized by a particular style, form, or content — a description that leaves little to the imagination. When it comes to the reality of genre in the overall music landscape, however, the connotation is a bit more complicated.
Back when popular music first hit radio airwaves, “genre” quickly became more than just a simple characteristic of sound. Instead, it became a way to determine what listeners of certain frequencies might want to listen to, often based on which personal characteristics of the musicians programmers thought they’d relate to. That marketing of music placed artists into neat little boxes, some based on racist categorization of artists, with little thought to the style, form, or content of their music. One example of these musical microaggressions was Tina Turner’s 1966 song, “River Deep — Mountain High.” The seismic pop number was pushed out of radio play because — as her ex-partner and producer Ike Turner revealed in the HBO documentary Tina — it was “too white for Black jockeys and too Black for white jockeys.”
Unfortunately, five decades later, as seen in the 2024 Grammys ceremony, that problem reared its head again. This time. SZA, an artist whose sound falls into alternative, pop, and R&B categories depending on the track, scooped up multiple wins in the R&B category, snagging Best R&B Song for “Snooze” and Best R&B Album for SOS. The same juxtaposition of hip-hop-inspired lyrical delivery with melodic harmonies is present in another album track, “Ghost In The Machine” featuring indie genius Phoebe Bridgers, but that song was relocated to a “pop” category and picked up the Grammy Award Best Pop Duo/Group Performance. Does one alternative rock artist plus one R&B artist equal a pop duo? What was it about that song in comparison to every other song on SZA’s SOS that relegated it to pop?
The categorization confusion hasn’t been lost on SZA, who told Alternative Press last year that the lack of R&B sounds on her latest album initially confused fans. “I definitely felt like half of the people [were] like, ‘I wish this was R&B, and it’s not, and I hate it.’ And I was like, ‘Aww, I’m sorry, but also I don’t know…’ It is what it is,” she said, adding, “Sometimes you can’t fault people for putting you in a box if you don’t at least show them, and I definitely had to take responsibility for showing people who I was.”
She also told Consequence in 2022, that she was “so tired of being pegged as [an] R&B artist.” “I feel like that’s super disrespectful because people are just like, ‘Oh, ’cause you’re Black, this is what you have to be’ — like, put in a box. And I hate that,” she added. She went on to say that she found the label “lazy” and that although she loved making “Black music, period,” that didn’t mean that Black music unequivocally meant R&B. “We started rock ‘n’ roll,” she said. “Why can’t we just be expansive and not reductive?” SOS debuted at No. 1 on the Billboard 200, proving that fans, even the ones who may have been surprised by her direction, could handle an album that traveled into gospel, grunge, pop-punk, and rap soundscapes fearlessly.
There’s an energy in the industry that does seem to be moving in diverse, expansive, and less reductive directions. Take, for instance, women sweeping most wins in major categories at the Grammys this year or Paramore becoming the first female-fronted band to win the award for Best Rock Album. There were also the predictions of SZA making history with SOS and hopes that she’d pick up the Best Album of The Year award, making her the first Black woman in 25 years to do so. All the signs were there: a record-breaking, 10-week No. 1 spot on the Billboard 200 (marking the longest-running No. 1 album released by a woman in nearly seven years), 11 billion streams (and counting), and groundbreaking moments like her No. 1 hit “Kill Bill.” Fellow record-breaker Taylor Swift took home the ultimate win that night with her album Midnights, which also nabbed her the win for Best Pop Vocal Album. Despite Swift getting her start in country music, she’s had little issue shifting her category of genre, and with it, the associated radio stations and Grammy categorizations. Is this something allotted to all artists? What is it about SZA’s sound that doesn’t allow the same level of sonic shapeshifting?
Speaking of country and sonic shapeshifting, Beyoncé is currently ramping up to release an album filled with so much twang, so much aesthetically oversized cowboy paraphernalia, that it’s hard to keep a straight face while saying the album will be pop and not country. In fact, many fans, catching wind of the R&B, hip-hop, and definitely pop superstar being pushed off of country radio play called into stations, asking why the star’s two tracks “Texas Hold ‘Em’” and “16 Carriages” weren’t hitting the airwaves. When Oklahoma’s country music station KYKC decided not to play Beyoncé’s new songs, one fan who reached out received the response that the station wouldn’t be playing the track because “we are a country music station.” But when the Beyhive reached out to the station, they added it to the rotation. Now, both tracks are dominating the Hot Country Songs chart with “Texas Hold ‘Em” at No. 1 and “16 Carriages” at No. 9.
The idea of genre as an appropriate categorization of music is being challenged with each passing release week. Still, non-Black artists can move into new sonic territory with an ease not given to their Black counterparts. It’s an unfair limitation that impacts sales, accolades, and promotions, barring these artists from access to larger, more diverse audiences. It also denies those fans the opportunity to be exposed to groundbreaking artists.
So maybe the issue of genre categorization based on race could be solved by an outpouring of disgruntled fans like the Beyhive calling it out or an artist like SZA blatantly stating the obvious when it comes to the alternative leanings of their sound. Perhaps it’s something that can be dismantled as we shine a light on the issue itself, and demand better fitting alternatives.
Or maybe genre itself has become an archaic way of describing music, limiting multi-faceted artists who’ve already pushed past the limitations forced on them from marketing and categorization, because much like SZA recently said herself via X, “I’m complicated and aware it can be annoying. So grateful for those that take time to learn me love me and accept me.” Maybe we all just have more learning to do.
In early 2023, after discontinuing its partnership with Kanye West and his Yeezy brand, Adidas announced that it had reached an agreement to continue selling YZY-branded shoes without West’s involvement. The deal was intended to help Adidas liquidate nearly $1 billion in unsold merchandise as an alternative to destroying it. In August, it was reported that the first batch of YZYs sold turned around nearly $500 million in sales for a quarter of the warehoused goods, donating a portion of the profit to the Anti-Defamation League and the Philonise & Keeta Floyd Institute for Social Change.
With Adidas announcing its next run of releases, though, it looks like Mr. West is very upset about his lack of involvement. Commenting on an Instagram fan page’s post about the announcement, Kanye absolutely unloaded on Adidas’ leadership, complaining about his public treatment over the last year and a half (which was entirely self-induced, it must be noted).
“Anybody who loves Ye would not buy these fake Yeezys,” he wrote. “I never made these colorways. I’m not getting paid off of them and adidas is suing me. All these celebrities and the public will stand against a T-shirt or the color of my hat but when yall see me have my children hidden from me or see an actual Fortune 500 company rape one of your heroes in real life don’t nobody say nothing or do nothing. As far as the system goes What yall gone do now? Take my album down again? Freeze my accounts again? Threaten people to not work with me again? All the new non approved 350’s are cooorny.”
According to sources with knowledge of the deal, though, West rarely attended meetings to give approvals, so… again… maybe don’t throw rocks and complain about all the glass. The lawsuit he refers to here was over $100 million the company delivered to him for marketing purposes which he secreted away into other accounts for other Yeezy projects and has yet to return. Adidas, meanwhile, is being sued by its own shareholders over his actions.
Mark Ronson shared a hilarious story about the power of Billie Eilish. During a new interview with People Magazine, Ronson revealed that his one-year-old daughter absolutely loved Eilish’s song “What Was I Made For?.”
“My mom has a record player in the house, and we were listening to the [Barbie] vinyl,” Ronson shared. “‘What Was I Made For?’ came on, and you could tell — something about Billie’s voice and how bewitching that song is, she kind of went into a bit of a trance.”
Considering how striking the moment was, Ronson then eventually showed Eilish how his daughter was so taken with the song. And it makes sense, it is a soft ballad — almost like a lullaby to a child.
“I sent Billie a video, like, ‘Look what you’re out here doing to these kids,’” he added.
Ronson worked on the song with Eilish, as he was the producer for a few songs on the Barbie soundtrack, served as the executive music producer overall, along with more related duties.
Every week, Billboard unveils the top 10 songs on the latest Hot 100 chart. The most recent rankings, for the chart dated March 2, are out now, so let’s run down who had this week’s biggest hits.
10. Doja Cat — “Agora Hills”
Doja Cat made a return to the top 10 this week, with “Agora Hills” (which previously peaked at No. 7) rising two spots from No. 12 last week.
Despite falling down a spot this week, “I Remember Everything” is still No. 1 on the Hot Rock & Alternative Songs and Hot Rock Songs charts, for a 26th total week each.
8. Tate McRae — “Greedy”
“Greedy” swapped spots with Bryan and Musgraves’ hit, rising a spot to take over the No. 8 position.
7. Taylor Swift — “Cruel Summer”
Swift’s 2019 song serves as proof of Swift’s power, as it’s still in the top 10 even though last summer is well behind us. Heck, it might stick around until this upcoming summer.
6. SZA — “Snooze”
“Snooze” is No. 1 on the Hot R&B Songs chart for a 30th week, which is tied for the longest No. 1 run for a song by a woman. What song is it tied with? SZA’s own “Kill Bill.”
5. Benson Boone — “Beautiful Things”
After previously reaching a peak at No. 2, Boone is still hanging around the top 5 this week.
4. Kanye West and Ty Dolla Sign — “Carnival” Feat. Rich The Kid and Playboi Carti
The Vultures 1 song debuted at No. 3 last week, but it’s already losing momentum as it slips down to No. 4 in its second week on the Hot 100.
3. Teddy Swims — “Lose Control”
Big week for Swims’ breakout hit: After landing at No. 5 last week, it rises a couple spots this time around to No. 3.
2. Jack Harlow — “Lovin On Me”
Kanye and Beyoncé’s new songs were the biggest debuts of last week, and while Harlow’s hit successfully held both of them off to maintain its No. 1 spot, it was unable to repeat that feat this time around.
1. Beyoncé — “Texas Hold ‘Em”
Beyoncé has had two major weeks in a row with “Texas Hold ‘Em.” Last week, it debuted at No. 2 on the Hot 100 and at No. 1 on Hot Country Songs, making it the first track by a Black woman to top the latter rank. Now, it’s No. 1 on the Hot 100, too. It’s Beyoncé’s ninth leader of her career, and just the 26th song ever to have topped both the Hot 100 and Hot Country Songs charts.
This week’s #Hot100 top 10 (chart dated March 2, 2024)
Even though Dune Part 2(or, to those of us with a keen eye for humor, TWOne) is not yet consumable by the public, it’s not that absurd to already think about the next movie in the series, right? Who cares if you even like the sequel? This stuff needs to be figured out now.
The Dune sequel will hit theaters next week, and while there has not yet been any official word from Warner Bros about a third installment, that hasn’t stopped director Denis Villeneuve from “unofficially” moving forward with his ideas. “Dune Messiah – which, Dune 3, the title would be Dune Messiah – we’ll see the day when the screenplay will be ready and I want to make sure that there will be no compromise,” he told Comic Book. “It has to be tremendous. All is there to make the fantastic film, and I don’t want to mess it up.”
Even though he is on board for another film, Villeneuve told Uproxx that he is ready for a nice little break. “For now, I’ve had my share of sand and I would love to take a little break from Arrakis before going back, if ever I go back. I will go back if there’s a strong screenplay on the table. It’s a work in progress right now. So, I have nothing to say about Dune Messiah, other than it could be interesting to finish. Totally finalize the poetry, this arc. But I will say that, for me, I tried to complete the story in the two first movies. And to see that, if it stopped there, there was a part of me that I knew I will have spent enough time in Arrakis.”
What would the third film entail? There’s a lot of material for Villeneuve to use considering there are six textbook-length books filled to the brim with dramatic sand dunes. Dune Messiah is the second book in the series and follows Paul as he takes on the role of a messiah to the fremen. It’s expected that Timothee Chalamet will reprise his role as Paul, assuming he isn’t called back to Loompa Land.
If you don’t feel like waiting (who does!) then here’s a real treat: you can see Dune Messiah play out in a 2003 made-for-tv miniseries Children of Dune starring James McAvoy. You can also read the book, or experience a similar sensation by just laying down in a pile of sand for three hours.
Texas R&B star Khalidpromised his long-awaited return earlier this month, and today, he delivered, sharing a snippet of a new single, “Please Don’t Fall In Love With Me.” Over a filtered sample of Alicia Keys’ 2009 single “Un-Thinkable (I’m Ready),” Khalid pleads with a future flame, warning her that he’s no good for her. In the snippet video, Khalid and his mic setup appear in different locations around the city, with smooth cuts making a moving collage of a mellow performance.
Khalid hadn’t released a solo single since March 2023’s “https://uproxx.com/music/khalid-softest-touch-new-single/Softest Touch,” although he also appeared on songs from the likes of Toosii and Kiana Ledé. He also dropped off a handful of shows for Ed Sheeran’s Mathematics Tour due to a car accident, although it seems he’s since recovered and is in a good place to begin rolling out new music.
That may come in the form of Everything Is Changing, which would be Khalid’s third studio album after his 2017 debut American Teen and its 2019 follow-up Free Spirit. Still, he wasn’t completely silent in the years since Free Spirit‘s release; In December 2021, he released a mixtape, Scenic Drive, which featured appearances from 6lack, Alicia Keys, Ari Lennox, JID, Kiana Ledé, Lucky Daye, Majid Jordan, and Smino.
A few days ago, Jelly Roll announced the Beautifully Broken Tour, his biggest tour to date. If that sounds good to you, here’s what to know about how much tickets cost.
How Much Are Tickets For Jelly Roll’s Beautifully Broken Tour?
On February 24, before tickets went on sale, Jelly Roll took to Facebook to explain, “Ticket prices start at $39.50 I want to keep prices affordable and I want y’all to come enjoy a Jelly Roll show, whether it’s your first time or 100th time— thank y’all! I know what you go through to get the tickets, a baby sitter, a ride to the venue, pay for parking, get a hotel room, buy merch— it all ads up and it’s not always easy. I see you and appreciate y’all, I will always keep tickets affordable for my fans. These tickets will sell very quickly, sign up for the presale and be ready on Tuesday!”
He also noted, “I want y’all to know I’m not charging $3,500 per ticket for floor seats. It’s the scalpers and 3rd party resellers. The only way to truly stop this is to not buy the tickets from those websites!”
Jelly Roll 2024 Tour Dates: Beautifully Broken Tour
08/27 — Salt Lake City, UT @ Delta Center
08/28 — Nampa, ID @ Ford Idaho Center
08/30 — Spokane, WA @ Spokane Arena
08/31 — Seattle, WA @ Climate Pledge Arena
09/01 — Portland, OR @ Moda Center
09/03 — San Jose, CA @ SAP Center
09/04 — Sacramento, CA @ Golden 1 Center
09/06 — Los Angeles, CA @ Crypto.com Arena
09/07 — Anaheim, CA @ Honda Center
09/09 — El Paso, TX @ Don Haskins Center
09/11 — San Antonio, TX @ Frost Bank Center
09/13 — Lafayette, LA @ CAJUNDOME
09/14 — New Orleans, LA @ Smoothie King Center
09/17 — Orlando, FL @ Kia Center
09/19 — Charleston, SC @ North Charleston Coliseum
09/20 — Raleigh, NC @ PNC Arena
09/21 — Washington, DC @ Capital One Arena
09/24 — Albany, NY @ MVP Arena
09/26 — Boston, MA @ TD Garden
09/27 — New York, NY @ Madison Square Garden
09/28 — Belmont Park, NY @ UBS Arena
09/29 — Newark, NJ @ Prudential Center
10/01 — State College, PA @ Bryce Jordan Center
10/02 — Philadelphia, PA @ Wells Fargo Center
10/05 — Pittsburgh, PA @ PPG Paints Arena
10/06 — Buffalo, NY @ KeyBank Center
10/09 — Columbus, OH @ Nationwide Arena
10/11 — Chicago, IL @ United Center
10/12 — Louisville, KY @ KFC Yum! Center
10/15 — Wichita, KS @ INTRUST Bank Arena
10/18 — Tulsa, OK @ BOK Center
10/20 — Bossier City, LA @ Brookshire Grocery Arena
10/22 — Little Rock, AR @ Simmons Bank Arena
10/23 — St Louis, MO @ Enterprise Center
10/25 — Knoxville, TN @ Thompson-Boling Arena at Food City Center
10/26 — Atlanta, GA @ State Farm Arena
10/27 — Charlotte, NC @ Spectrum Center
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