When Is Future On Stage At Rolling Loud California 2024?
According to the festival’s app and a press release, Future and Metro Boomin are scheduled to perform from 8:30 p.m. PST until 9:45 p.m. PST on the Ethika Stage. Before their headlining set, the Ethika Stage will also welcome performances from DrownMili, Cash Cobain, Kxllswxtch, BashfortheWorld, NLE Choppa, Chief Keef, Ski Mask The Slump God, and Don Toliver. See all of the Rolling Loud California 2024 set times here.
Rolling Loud California 2024 will take place from Thursday, March 14, to Sunday, March 17, at the Hollywood Park Grounds near SoFi Stadium in Inglewood, California. See the full schedule below:
Rolling Loud California has announced its 2024 set schedule, with performances from Nicki Minaj, Future and Metro Boomin, and late lineup addition Kanye West. If you’re looking to find out when your favorites go on stage, you can find out more info below.
What Time Does Kanye West Go Onstage At Rolling Loud California 2024?
Kanye West is scheduled to perform on Thursday, March 14 (today) at 8:00 pm with Ty Dolla Sign. Obviously, take this time as more of a suggestion than a hard-and-fast rule, because Kanye himself almost certainly will, judging from past performances like his and Drake’s Free Larry Hoover show in 2022.
Anyone who has ever worked a job knows that not every day will be great. Sometimes you have a great time with your coworkers and make lifelong memories! Other times you are tormented by your fellow workers and have to live in fear for the rest of your life. It can go either way, especially in Hollywood.
But still, a job is a job! That’s why Sydney Sweeney doesn’t seem too bothered by the lukewarm response to Madame Web, the meme of a movie that bombed at the box office last month.
Sweeney told The Los Angeles Times that for her, it was just another job. “I was just hired as an actress in it, so I was just along for the ride for whatever was going to happen,” she explained. This is her calmly reminding us normal people that even though the movie was a wash, she probably still made more than most people who are clocking into work every day.
It doesn’t seem like the rest of the cast cares either. Dakota Johnson claims she wasn’t surprised by the backlash surrounding the film, though she also wanted to shine a light on just how hard it is to get movies made these days. “I probably will never do anything like it again because I don’t make sense in that world. And I know that now,” she said. “But sometimes in this industry, you sign on to something, and it’s one thing and then as you’re making it, it becomes a completely different thing, and you’re like, Wait, what? But it was a real learning experience, and of course it’s not nice to be a part of something that’s ripped to shreds, but I can’t say that I don’t understand.”
Sweeney seems to be shaking off this loss pretty quickly, as her horror film Immaculate is getting rave reviews. Sometimes jobs are good!
The first reviews for Girls5eva Season 3 are piling in, and right away, it looks like the Tina Fey series is right at home on Netflix.
After initially starting on Peacock, Girls5eva dropped two seasons before facing cancellation. Fortunately, Netflix swooped in and saved the show that centers around an early aughts girl band consisting of Wickie (Renée Elise Goldberry), Dawn (Sara Bareilles), Summer (Busy Philipps), and Gloria (Paula Pell). Now, in the later years of their life, Girls5eva the band is struggling to make a comeback, but Girls5eva the show is not having the same problem.
The early reviews for Season 3 are overwhelmingly positive as critics openly hope this is the start of a new chapter for Girls5eva on Netflix.
The move is a major win for Netflix: Girls5eva’s third season, which drops on the platform March 14, is the show’s best yet. This time around, the series, about an aughts-era girl group trying to restart their career 20 years after their popularity faded, goes completely off the wall. For anyone craving more 30 Rock, this is officially the true successor. Girls5eva Season 3 is the most consistently funny the show has ever been.
“Girls5eva” itself was far from exhausting its potential, either as a joke-dense satire of cultural misogyny or a resonant tale of later-in-life reinvention. Condensed to just six episodes from the first two seasons’ eight apiece, Season 3 acts more like a bite-sized preview of what “Girls5eva” could still become than a full delivery on its unrealized promise. It’s nonetheless in all our interests for this transplant to take. There simply aren’t enough shows where one could encounter a fake commercial for “Spaghetti for Her.” Losing the one we have — again! — would be a tragedy.
The beauty of Girls5eva lies in how it embraces absurdity. Here’s a TV show that confidently knows its voice and therefore doesn’t struggle to sustain it. In fact, the dialogue, characterizations, soundtrack, and sets only get better and more eccentric here. There’s a constant barrage of one-liners that don’t overpower the storytelling like they often did in season one, when Girls5eva relied a bit too much on its jokes. And if season two nailed a sweet spot between being snappy, stupid, and somewhat sentimental, the six new episodes continue to perfect that rhythm.
On the road, the writing staff never fails to come up with fresh, hilarious gags, continuing the upbeat, silly, and sometimes cleverly satirical “Josie and the Pussycats” meets “Popstar: Never Stop Never Stopping” elements that made me fall in love with it in the first place. It deviates from inside-baseball industry jokes and leans more into the different venues, cities, and traits of people they come across, delivered with a charming buoyancy. One standout episode features Catherine Cohen as a nostalgia-heavy millennial billionaire throwing a party, who hires Girls5Eva to perform one of their most provocative songs from their past that puts Dawn on edge. There, the girls go off on their subplots, all equally funny.
Girls5Eva remains one of the densest laughs-per-minute comedies with relentless cutaway gags that cram an hour’s worth of silliness into half hour episodes. There’s a Wikipedia entry’s worth of knowledge on Fort Worth, Texas, an extended never-ending bit about Marriott Divorced Dad Suitelets, and what The Crown devolves into after all the royal drama is finished. There are so many time-based gags that jump through different decades of the group’s lengthy history with pitch-perfect costume and set design that beautifully reflects the minutiae of each era that the series jumps into. Girls5Eva is deeply funny, but the art design and music is frequently its secret weapon and what sets it apart from other comedies.
With Girls5eva now landing on a new platform — even considering the shorter season length this time around — there’s a sense of renewal that surrounds the show. Like many new shows, there’s a point to prove in the beginning; with so much competition from other streaming services and within a streamer’s own selection of available content, there’s an even higher bar to reach. But now, the numbers might be a bit more in Girls5eva’s favor — Peacock only just cracked 30 million subscribers, while Netflix has over 260 million. Between the much larger potential audience and a pre-established foothold for other Fey/Carlock-produced series like Unbreakable Kimmy Schmidt and Good News, the potential for a real explosion in popularity is real.
At this point, Netflix has probably heard the Loudermilk audience loudly and clearly. The misanthropic comedy show hasn’t reached Suits-level streaming numbers, but it’s fair to say that the Ron Livingston-starring series (which quickly climbed the Nielsen streaming list in recent months) has already found a much larger audience than it did on Audience Network for three seasons.
Naturally, Netflix’s reputation for resurrecting cancelled or otherwise abandoned shows precedes itself here, and viewers have been wondering if there will be a fourth season on the streaming service. Co-creator Peter Farrelly has already voiced his willingness and even described the story that a fourth season could take, but while promoting Amazon’s Ricky Stanicky (starring John Cena and Zac Efron), Farrelly went much further. He told ComingSoon that there is “absolutely” hope for more, and in fact, he is determined to make two more seasons, somewhere:
Absolutely. Guaranteed. A hundred percent. I’m going to do two more seasons. I don’t know where yet, but we’re going to do it. The show’s too good. I have it mapped out for seven seasons. We always did. And we know where we want to go with it. The three-year break that we just got from the last one works right into it. Because the last episode, he sold his book, and now we cut to three years later — the book blew up. It’s a huge hit.
Farrelly then elaborated upon how Loudermilk will grow tight with Neil Young and attempt to juggle inner workings of his recovery group, which will make it “sort of a cross between Loudermilk and a Larry Sanders show.” Farrelly did add, though, that he doesn’t believe that the show could have existed in its current state outside of the Audience Network because they told him, “[G]o do whatever you want to do.” And we shall see if Loudermilk lives to grump again, although surely Netflix knows about all the fourth-season chatter going down and will likely respond in due time.
Rapsody fans have a lot to look forward to this year, as she recently announced her fourth studio album. Titled Please Don’t Cry, the record will arrive in May and will include collaborations with Erykah Badu, Lil Wayne, and more.
This marks her first new studio album in five years, and people are pretty excited to hear what she has in store. According to BET, she has also self-executive produced and found her taking inspiration from Terrace Martin, 9th Wonder, and more.
“It was a little nerve-wracking for me because it was like, Can I do this? Am I gonna make the right decisions for myself?” she shared. “But I learned that that was a little bit of me worrying about the wrong things, about the fans and what they’ll think when instead of just doing what I felt was good and telling the story that I wanted to tell, and that’s what art is.”
Last October, Rapsody released her “Asteroids” collaboration with Hit-Boy, which served as the album’s first single.
Continue scrolling to view Rapsody’s cover art and tracklist for Please Don’t Cry.
Rapsody’s Please Don’t Cry Album Art
We Each Other/Jamia Records
Rapsody’s Please Don’t Cry Tracklist
1. “She’s Expecting You” (feat. Phylicia Rashad)
2. “Marlanna”
3. “Asteroids” (feat. Hit-Boy)
4. “Look What You’ve Done”
5. “DND (It’s Not Personal)” (feat. Bee-B)
6. “Black Popstar” (feat. DIXSON)
7. “Stand Tall”
8. “That One Time”
9. “3:AM” (feat. Erykah Badu)
10. “Loose Rocks” (feat. Alex Isley)
11. “Diary Of A Mad B*tch” (feat. Bibi Bourelly)
12. “Never Enough” (feat. Keznamdi)
13. “He Shot Me”
14. “God’s Light”
15. “Back In My Bag”
16. “Niko’s Interlude” (feat. Niko Brim)
17. “Raw” (feat. Lil Wayne)
18. “Lonely Women”
19. “A Ballad For Homegirls” (feat. Baby Tate)
20. “Please Don’t Cry Interlude” (feat. Phylicia Rashad)
21. “Faith”
22. “Forget Me Not” (feat. Amber Navran & Phylicia Rashad)
Please Don’t Cry is out 5/17 via We Each Other/Jamia Records. Find more information here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Metro Boomin, who was nominated for Producer Of The Year, Non-Classical at the 2024 Grammys and has promised to drop three albums in 2024 “at the very least,” first posted another trailer across his socials alongside the message, “Revenge season starts in 9 days #WeDontTrustYou.” Then, on X (formerly Twitter), Metro posted a few cryptic teasers regarding the We Don’t Trust You tracklist.
Are There Features On Metro Boomin & Future’s We Don’t Trust You Album?
There is not a clear-cut answer to this — yet. It’s up for interpretation, which is probably just as Future and Metro Boomin want it. The first of Metro’s X posts showed him and Future in what appears to be the same desert from the initial We Don’t Trust You trailer. “#nofeatures #wedonttrustyou,” Metro wrote.
So, no features, right? Well, an hour-ish later, Metro posted again: “#TYPESH*T @1future @trvisXX @playboicarti #wedonttrustyou.” That seems to indicate that there will be a single called “Type Sh*t” featuring Playboi Carti and Travis Scott. Carti confirmed his feature on Instagram, as captured by Complex. Carti also posted a video to his Instagram Story showing him (or someone) driving around blasting a snippet of what we can only assume is “Type Sh*t” because Carti wrote atop the video, “@metroboomin @travisscott @future TYPE SH*T.”
Sorry, but Glen Powell and Sydney Sweeney aren’t dating in real life. They have great on-screen chemistry in Anyone But You, the modestly budgeted romantic-comedy that became a surprise box office hit with a $200 million-plus worldwide gross, but she’s engaged to Jonathan Davino and he’s been spotted with a former Miss World Israel.
The Daily Mail reports that Powell was seen with Noa Kochba “at Largo at the Coronet, a nightclub in Los Angeles. Following their fun-filled night out, alongside a group of stunning women, the 35-year-old actor and beauty queen, 25, were seen making their way to her car through a mass of fans crowded outside the building waiting for his autograph.” Hopefully at least one person asked him to sign their copy of Everybody Wants Some!!, where Powell plays everyone’s cool best friend.
The performer most recently dated model Gigi Paris for three years, before calling it quits in April 2023 while filming his latest movie Anyone But You. In December, Powell credited Sweeney as the mastermind behind playing up the dating rumors between them to promote their film. When asked about their decision to lean into their characters, Ben and Bea, the actor star, 35, opened up about utilizing their “authentic chemistry” to entice viewers to watch their rom-com.
Look for Powell next in Richard Linklater’s Hitman.
It’s that time of year again. Do I mean Daylight Savings Time? Not exactly. The start of spring? Not quite. The time when votes are cast for the Rock & Roll Of Fame? Absolutely.
I started voting for the Rock Hall in 2021. Before that, I spent a lot of time online complaining about the Rock Hall. I still complain about the Rock Hall online. Therefore, I feel like it is only fair to make my ballot public, so that people can complain about me if they want. (Don’t worry, I won’t hear it, you will be muted.)
Before I share my ballot, here are seven pieces of essential information.
1) There are 15 nominees this year. I did not pick the nominees. I do not know how the nominees are picked. Do not blame me for the nominees. Do not say, “Why didn’t you vote for Warren Zevon?” as that is not an option this year. (I wish it were, but it is not.)
2) “But why are there non-rock acts nominated for the Rock Hall?” Sir, this question has been asked and answered one billion times. I will not waste time addressing it here.
3) You are allowed to vote for seven acts. That is two more than last year. There are no write-ins. (Please see my Warren Zevon note above.) Ballots are due on April 15, and the inductees will be announced (I think) sometime in May.
4) I have no idea how much weight the fan vote is given but my guess is “not much.”
5) This is a “fairly qualified” class. In 2023, it was “extremely qualified.” Last year, I could have made a case for voting for any candidate. That is not true this year. There are at least two acts that I feel don’t merit serious consideration. (I’ll make it clear which ones I mean below.)
6) In some cases, I didn’t vote for a particular artist I feel is deserving because I am confident that many other voters will go for them. Likewise, I felt compelled to support certain acts because they might potentially be overlooked.
7) I understand that the Rock Hall “does not really matter” and that you might “not give a rat’s ass about who is voted in.” That is all well and good. Nobody is forcing you to care. You may exit the conversation now.
Okay, let’s vote.
Mary J. Blige
Her case is strong, and it goes like this: The most dominant form of pop music in the past 30 years is an amalgam of R&B and hip-hop. And Mary J.’s nickname is The Queen Of Hip-Hop Soul. She rules the music that has ruled pop music. Her first eight albums, released between 1992 and 2007, went at least platinum, which indicates that she was a central figure on the charts for most of the ’90s and aughts. If the idea of the Rock Hall is to tell the story of popular music, you can’t talk about R&B and hip-hop during the decades when that music reigned supreme without including Mary J.
Her case is solid. I think she will get in. And I don’t think she needs my vote to get there.
My vote: No.
Mariah Carey
The most famous and commercially successful nominee this year. Twenty years ago, her stock was at rock bottom in the wake of the Glitter debacle. But now, she is pretty much universally beloved. She has sold 220 million records worldwide, she has the record for most No. 1 singles by a solo act (19), she owns the most popular Christmas song of all-time, and even Glitter is now considered a cult classic. She is this year’s Dolly Parton/Tina Turner-style slam-dunk choice. There is a next-to-zero chance that she doesn’t get in.
Therefore, she does not need my vote.
My vote: No.
Cher
Her case is related to her longevity. She was a pop star in the ’60s, she was a TV star in the ’70s, she was a pop star and a movie star in the ’80s, she made Autotune cool in the ’90s, she mounted some wildly successful retirement tours in the aughts, and she made a Mamma Mia! movie in the 2010s. Cher is an incredible star and character. But is she a great musical artist? I like “I Got You Babe.” I like “Gypsies, Tramps, And Thieves.” I like “If I Could Turn Back Time.” I like “Believe.” Cher has bangers. I just wish I could also factor in her work in Moonstruck and Silkwood. But I can’t.
My vote: No.
Dave Matthews Band
Anyone who has paid attention to anything I have written about the Rock Hall knows that I have a vested interest in rock bands from the ’80s and ’90s getting in, as this remains a weirdly overlooked body of potential nominees. DMB obviously falls in this camp. In the late ’90s, they were one of the biggest bands in America. They eventually became a stadium act, and unlike most groups from the jam-band scene, they also managed to score pop hits. Today, they remain a popular touring attraction, and critical revisionists have also reassessed the artistic value of their output. In 2020, they easily won the fan vote, and I wouldn’t be surprised if they did it again this year.
I appreciate all of this. Their support is broad, deep, and genuine. However, despite several attempts, I personally can’t stand DMB’s music. And there are other acts from this era nominated this year that I love.
My vote: No.
Eric B. & Rakim
One of the foundational acts of ’80s hip-hop. In their time they were known as rap music for the rap music aficionado. Their 1987 album Paid In Full is one of the best debuts of all-time — not just for hip-hop but for any genre. And it holds up well today as a signifier of old-school rap’s timeless pleasures. While their other records aren’t as accomplished, Eric B. & Rakim helped to integrate jazz into rap and set a new standard for lyrical sophistication, which influenced the course of the music well into the next decade. There is no good reason not to vote for them. But there is a reason nonetheless: I have seven votes and not eight.
My vote: No.
Foreigner
Mark Ronson has been busy campaigning lately for these stalwart corporate rockers who peaked in the late ’70s and early ’80s. But this is one of the two acts I feel don’t belong here. Foreigner’s inclusion once again exposes the willingness of the nominating committee to dredge up every quasi-significant boomer-era band at the expense of countless deserving alt-rock and indie acts with far better pedigrees. I admit to enjoying some of their power ballads from the Reagan era — “I Want To Know What Love Is” being a prime example — but overall this is a workmanlike band whose unexceptional, by-the-numbers boogie-gruel has been played way too much on classic-rock radio.
My vote: No.
Peter Frampton
A fine guitarist, both with Humble Pie (not in the Rock Hall) and on his own. I appreciate the hits from Frampton Comes Alive!, including the 15-minute one with all the Talkbox emoting. Peter Frampton is totally, solidly, aggressively okay. But, like Foreigner, Frampton’s nomination is yet another indicator that the current powers-that-be at the Rock Hall would rather put C-tier classic-rockers up for consideration than, say, Sonic Youth or The Replacements. No offense, but I do not feel like they do.
My vote: No.
Jane’s Addiction
I suspect that many voters will overlook them because (1) the aforementioned bias against alt-rock bands (2) their relative lack of big-time pop success and (3) the relative shortness of their career, which — if we’re talking about when they were truly great — only lasted a few years. But the albums they put out during this brief golden era, 1988’s Nothing’s Shocking and 1990’s Ritual de lo Habitual, are both masterpieces. And in terms of influence, those records helped to invent the sound of ’90s alternative rock, particularly grunge. I think Jane’s Addiction is not only legitimately great, but also legitimately important.
My vote: Yes.
Kool & The Gang
The most underrated of this year’s nominees. Kool & The Gang had an Aerosmith-like duality in the ’80s. I discovered them as a young kid when they were making yacht rock-y R&B custom-fit for roller rinks and episodes of Soul Train airing on WGN. This was the era of irresistible hits like “Celebration,” “Too Hot,” “Joanna,” and “Cherish.” It wasn’t until I was in my teens (via the Pulp Fiction soundtrack) that I learned about their hard-funk “Jungle Boogie” phase in the ’70s. In either guise, they were one of the best and most resilient bands of their ilk during those decades. I loved them then, and I love them now.
My vote: Yes.
Lenny Kravitz
Back in 2018 I wrote a column called “Why Lenny Kravitz Is Good In Spite Of Being Mostly Bad.” I posited my theory that Lenny Kravitz has three great songs and 80 bad ones, but that’s okay because those three songs (“Always On The Run,” “It Ain’t Over ‘Til It’s Over,” and “Are You Gonna Go My Way”) are so good that it makes me overlook the many, many Lenny Kravitz tunes that are awful. (Even his cover of “American Woman,” which is just abysmally stinky.) I still agree with the premise of the article, though I admit that the Rock Hall ballot truly puts it to the test. I love those three songs, but are they enough to make me overlook the fact that Lenny also put out “Fly Away,” one of the dumbest rock songs of the ’90s?
I’m going to flip a coin.
My vote: No.
Oasis
I’ll be brief. I have already publicly stated my love for this band on many occasions. And I already wrote a bunch of words about why I think they will be voted in. My stance here is already perfectly clear. Explaining any further would be like listening to Sean Hannity explain who he is voting for president this year. Nobody cares because everybody already knows.
My vote: Yes.
Sinéad O’Connor
The Rock Hall tends to be coldly unsentimental about inducting artists that have died. Soundgarden was nominated right after Chris Cornell’s death, and it wasn’t enough to overcome the institution’s entrenched alt-rock bias. There was a public push to induct Warren Zevon last year upon the 20th anniversary of his passing and the Rock Hall instead left his spirit sitting alone at the Hollywood Hawaiian Hotel. But I think things will be different for Sinéad O’Connor. There’s a general feeling that she was treated poorly during her life, as well as an acknowledgement that her activism (to say nothing of her music, particularly the records she put out in the ’80s and early ’90s) was ahead of its time. Putting Sinéad O’Connor in the Rock Hall — even though the woman herself would have likely scoffed at the honor — seems like the least we can do.
My vote: Yes.
Ozzy Osbourne
He’s already in as a member of Black Sabbath. But his solo career is also hugely important to the history of metal. Records like Blizzard Of Ozz and Diary Of A Madman helped to set the template for rock music that was edgy and subversive while simultaneously appealing to millions upon millions of stoned teenagers. And that music continues to find new audiences. Last weekend, I took my kids to the movies and I heard “Crazy Train” in the trailer for Inside Out 2 and then again during Kung Fu Panda 4. Ozzy is still being subliminally slipped into young, impressionable minds. Which I will absolutely support until my kids start biting the heads off of bats.
My vote: Yes.
Sade
For years Kate Bush was the “slightly left-of-center but still hugely popular star that has remained cool for younger generations” nominee that struggled to get in the Rock Hall. I wonder if that torch has now been passed to Sade. A popular hitmaker going back to the ’80s, Sade continues to grow in popular and critical esteem even as the Nigerian-born singer-songwriter (like Bush) has mostly stayed out of the spotlight. Her last album came out in 2010, but Sade’s sultry, low-key R&B feels as influential as ever on a generation of artists dedicated to making vibes-heavy jams for streaming platforms. This is her first nomination and I think she should get in, but I wouldn’t be surprised if it takes her a couple of nominations to finally clear the threshold.
My vote: Yes.
A Tribe Called Quest
This their third nomination. I voted for them the first two times. I will keep voting for them until they make it.
My vote: Yes.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Zack Snyder recently stopped by The Joe Rogan Experience where he defended his ultra-aggressive version of Batman that had no qualms killing people. (Snyder also argued that more people saw Rebel Moon than Barbie, so it was a busy day for Zack.) However, comic book legend Grant Morrison caught wind of Snyder’s remarks and has now fired back with a response on why killing goes against the Dark Knight’s character.
“If Batman killed his enemies, he’d be the Joker, and Commissioner Gordon would have to lock him up!” Morrison argued in the latest issue of their newsletter before going even deeper into the psychology of the classic hero.
“That Batman puts himself in danger every night but steadfastly refuses to murder is an essential element of the character’s magnificent, horrendous, childlike psychosis,” Morrison writes, speaking to the hero’s code of honor that was locked in from the time he was a small child. In a way, Bruce Wayne never really grew out of that “childlike” state, stuck forever as the little boy who lost his parents in Crime Alley. Morrison describes this as “fundamental to (Batman’s) grandeur as a fictional adventure hero! Is this not obvious?”
Morrison has been a prolific writer for DC Comics for decades, so he’s intimately versed in all things Batman. Not only that, but his takes on both the Dark Knight and Superman are currently guiding James Gunn‘s new DC Universe that is paving over the “SnyderVerse” that failed to connect with audiences. Snyder’s live-action universe was a failure, but that hasn’t stopped him from saying he was right to make Batman a killer.
“You’re protecting your god in a weird way, right?” Snyder told Rogan. “You’re making your god irrelevant if he can’t be in that situation. He has to now deal with that. If he does do that what does that mean? What does it tell you, does he stand up to it? Does he survive that as a god? As your god, can Batman survive that?”
Snyder ended his remarks by saying it’s “ridiculous” that Batman wouldn’t kill somebody “given the circumstances in which he operates.”
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