In a move that’s equal parts hilarious and outrageous, the Las Vegas Sphere has banned a man from the venue after he posted of video of himself doing a bong rip at a Phish show that went viral online (no, it wasn’t Uproxx’s Steven Hyden, although you gotta admit, that’d be even funnier). While t’s absolutely ludicrous to book Phish to perform anywhere in the world and expect their fans to not show up and get baked, the venue does have a pretty strict policy, and as it turns out, he did kind of bait the operators into a response.
According to Rolling Stone, the fan, who refused to give his real name, posted the video to his Instagram account, @acid_farts, ahead of a 4/20 Phish concert at the Sphere. In the caption, he wrote, “First bong hit to ever be ripped in the @spherevegas @phish Somebody call @guinessworldrecords 4/20/24.” He declared himself the first to take a bong rip at the venue — which probably isn’t true, all things considered.
While his fellow fans and followers were clearly delighted by his rebellious display, apparently, the Sphere’s management was not. Mr. Farts made plans to see another stoner favorite band, Dead & Company, at their ongoing residency at the Sphere, but after he attempted to purchase the tickets online, he says he was sent a legal notice by FedEx a few days before the show notifying him of his ban.
“I opened it up, and there was this letter saying you’re banned from going to the Sphere,” Mr. Farts told Rolling Stone. “I was like, I’m literally leaving for the Sphere right now.”
In addition to the Sphere, Mr. Farts is also banned from several other venues operated by the Sphere’s ownership group, including Madison Square Garden, Radio City Music Hall, the Beacon Theatre, the Chicago Theatre. He appears to be taking the ban in stride, although he seems down about never getting to see The Rockettes. With that said, there’s something a little tragic about what this says about the corporatization of art (seriously, if you’re booking Phish and Dead & Co., this sort of thing kinda comes with the territory) and about the degradation of privacy thanks to technology.
And yes, there is already a “free @acid_farts” comment campaign.
Chance Perdomo tragically passed away earlier this year in a motorcycle accident while en route to Gen V‘s second-season production. The 27-year-old rising Chilling Adventures of Sabrina actor portrayed Andre Anderson, a popular Godolkin University student who was clumsy with his developing powers but figured prominently into the overall story. Following Perdomo’s death, the show put the brakes on production while producers revealed that Chance’s role wouldn’t be recast, and The Boys showrunner (and Gen V executive producer) Eric Kripke is now revealing how plans are proceeding to continue without Perdomo.
That could prove to be tricky, given that Chance’s character was present in the season’s final moments with his fellow Supes as they found themselves confined to a hospital-like setting that could be The Woods. Yet although the character was alive and well, Kripke and the other producers decided to write the death of Andre Anderson into the second season’s beginnings. How that will be folded into the existing story remains to be seen, but Kripke believes that this was the appropriate line of action, as he told TV Line while also addressing the sadness of the situation:
“First, it’s just so unbelievably tragic, and my heart goes out to his family. We’re not trying to replace him because we can’t. We’re playing the character’s death on the show. So it’s very heavy and it’s really emotionally difficult for the cast. And we’re just trying to honor Chance as best we can.”
Gen V did proceed with filming a few weeks ago in Toronto with a likely 2025 release window. Meanwhile, The Boys‘ fourth season will premiere on Prime Video (Amazon) beginning on July 16.
In Hit Man, Powell portrays Gary Johnson, a part-time police staffer who begins to work undercover to catch the real criminals. The film is very loosely based on Skip Hollandsworth’s 2001 Texas Monthly article of the same name in which the real life Gary Johnson worked undercover as a hitman in Houston.
While the story is inspired by Johnson, Linklater told Netflix that much of the plot is a fictional, exaggerated version of the story. The director said, “The real Gary did slight disguises, but not to the extent that we see in the film. I was like, ‘Should we really do a Russian accent?’ But Glen just pushed all of that to the max, and I love how it came out.”
When it comes to the real Gary, Linklater managed to meet with him a few times while writing the film. “He was just the most nonplussed guy,” Linklater told Vanity Fair. “We would talk about baseball or something, but he was a man of few words actually.” In 2022, when the film was nearing the end of production, Linklatter reached out to Johnson again, before learning that he had died.
Linklater also wants it to be known that unlike the Powell’s character, the real Gary did not actually kill anyone. Let’s keep his legacy clean.
BIA clearly has a pretty good rapport with the Dreamville Records team. Back in 2022, she and J. Cole teamed up on her song “London,” with both rappers coming out of the collab with complimentary comments about each other. Now, she’s linked up with Atlanta-bred Dreamville standout JID fo the pulsating, inspirational track “Lights Out.”
The overall vibe of the track is very 2007, with an anthemic beat/chorus structure that finds BIA extolling her perseverance. “When the light’s out / Still can see me shining, I’m a lighthouse,” she croons. Meanwhile, in her verse, she cites her prior collab with Jermaine, boasting, “First rap bitch you know that went back and forth with Cole.” On the second verse, JID comes in hot — as usual — opening with a callback to an ATL classic from T.I. and quickly launches into his signature tongue-twister flow.
The song appears on the Bad Boys: Ride Or Die soundtrack (one of two from BIA) alongside tracks from 21 Lil Harold, Becky G, Black Eyed Peas, Flo Milli, ScarLip, Sean Paul, and of course, Will Smith. The soundtrack is out now via Epic Records, and Bad Boys: Ride Or Die is out now in theaters.
Summer’s here, which means a whole slew of summer tours from your favorite artists. From Childish Gambino to That Mexican OT, there’s a tour for practically any hip-hop fan’s taste. There’s even a little old-school flavor, courtesy of Missy Elliott (sorry, guys, but it’s true — Missy’s old school now).
Here are the most anticipated hip-hop tours of summer 2024.
Childish Gambino — The New World Tour
Donald Glover’s most recent work as Childish Gambino hasn’t fallen under the umbrella of hip-hop in the strictest sense, but considering the bulk of his early work consisted of beats and rhymes, there’s a pretty strong chance that he’ll dip into those catalog hits. Not to mention, he has a string of featured artists he can call on such as Chance The Rapper and Young Nudy.
Fresh off the release of his new mixtape, Mac & Cheese 5, the Bronx rapper has tapped fellow New Yorkers Fabolous and Fivio Foreign for his Gotta See It To Believe It Tour. Kicking off in August and running through the month, it’s a short tour that will stick mainly to the regions closest to his home base.
Their albums We Don’t Trust You and We Still Don’t Trust You may have turned the hip-hop world on its ears, but it seems they aren’t finished just yet. Although the tour is promoting their new albums, they have enough collaborations to make it worth the price of admission even without them.
Playboi Carti fans took a blow earlier this year with the cancelation of his Antagonist Tour. But fans of his label, Opium, still get the chance to catch at least one of the artists billed to open on that tour in Ken Carson’s Chaos World Tour. And hey, maybe Carti himself will put in an appearance.
Yes, I know. Megan’s tour has been in full swing for the past two weeks. But the bulk of the tour is set for the month of June… and hey, hey, look around. Dates coming up include her hometown show in Houston, Los Angeles, and Las Vegas. Turn up with Meg and her opener GloRilla before she heads to the UK and Europe in July.
My personal most-anticipated tour of the summer is Missy Elliott’s Out Of This World Tour with Busta Rhymes. The Rock And Roll Hall of Famer hasn’t played shows for a few years (which is an understatement), but she’s proven that she’s a consummate performer who doesn’t have a speck of rust on her.
Nicki Minaj just announced the second North American leg of the ongoing tour for her new album, which picks up in September — still technically summer — and runs well into the fall after she returns from Europe.
Rob49 was on last year’s XXL Freshman cover, and Skilla Baby is more or less a shoo-in for this year’s list (if XXL doesn’t drop the ball in a truly epic way). That makes their joint tour this summer (which technically kicked off over the weekend) the best chance to see them early.
June and July give breakout star That Mexican OT — and his openers Maxo Kream and Drodi — his second headlining tour since his breakout in 2023. With a new album, Texas Technician, he’ll have plenty of new material despite the relatively tight turnaround since his last spin around the block
Denzel Curry’s aggressive new single “Hot One” gets a suitably gritty video today, as he, ASAP Ferg (who recently dropped the ASAP), and TiaCorine (fresh off her first-ever headlining tour) take over the block with their crew. Shot in the sort of grainy, lo-fi style of an early Memphis trap video or a mid-90s skate video, the visuals end up perfectly matching the tone of the song itself, which borrows and updates the sounds of early Three 6 Mafia classics. It even samples some old school Memphis rap from Gimisum Family, interpolating their 1993 track “Fear No Evil.”
“Hot One” will appear on Denzel’s upcoming album, King Of The Mischievous South Vol. 2, which is slated for release on July 19 with features from 2 Chainz, Armani White, ASAP Rocky, Juicy J, Kenny Mason, Kingpin Skinny Pimp of Gimisum Family, Maxo Kream, Mike Dimes, Project Pat, That Mexican OT, and more. King Of The Mischievous South Vol. 2 will drop two years after Curry’s last full-length release, Melt My Eyez See Your Future, and apparently find him returning to the combative aesthetics of his early music after the more introspective material on its predecessor.
King Of The Mischievous South Vol. 2 is out 7/19 via Loma Vista. Find more information here.
When Tyler Jordan was young, he was told that playing an instrument went against God’s word. The son of a preacher growing up in Lake Jackson, Texas — a town located about an hour south of Houston known for being the corporate hub of Dow Chemical — he was raised in a “cult-like” Christian sect that subscribed to Biblical literalism. In church, only a cappella singing was allowed. The Devil couldn’t abide a piano or guitar, but the unaccompanied voice, apparently, was copacetic. “Their whole thing is that the commandment is to sing and it doesn’t say anything about playing instruments,” Jordan tells me during a Zoom call last month. “The idea is just that to do only what he asks and no extra.” He smiles and then adds, “They’re weird in a lot of ways.”
As Jordan entered his teen years, he naturally rebelled. He turned 13 in 2000, the year when Napster was at its cultural zenith. He spent his days downloading indie-rock albums and scouring reviews on All Music. This coincided with his parents pulling him out of school and educating him at home. The weirdness surrounded him like a wall. Music was his only escape.
A few years later, “my life really changed” when Jordan saw Spoon play live twice in the same week on television, on The Late Show With David Letterman and Austin City Limits. “I was like, ‘Man, if these guys are from Austin, this is the coolest thing I’ve ever seen. That’s where I need to go,’” he recalled. Several years later, at age 19, Austin is where he went.
This is how Jordan, 37, recounted the origin story for his tangled path in music, which culminates this week with the release of Lived Here For A While, the excellent new album by his four-piece band, Good Looks. Over 10 songs, Jordan writes candidly (and often bruisingly) about his strict religious upbringing, the traumatic abuse doled out by his father, and the indifference in the face of that abuse exhibited by his mother. Sometimes, he does this with devastating directness, like the album-closing “Why Don’t You Believe Me.” But more often, Jordan leavens the lyrics with surging, fist-pumping music that make his autobiographical lyrics feel more universal. On the single “If It’s Gone,” for instance, Jordan references his ongoing familial estrangement (“I already lost my mother / Left my family far behind / And I don’t believe in Jesus / God, or Buddha, or beyond”) in a manner that somehow manages to register like a feel-good Tom Petty road-trip anthem.
The key musical partnership in Good Looks is between Jordan and guitarist Jake Ames, his best friend who suffered near-devastating injuries after being hit by a car at the hometown album release for 2022’s winning Bummer Year. (Ames, thankfully, recovered.) Jordan — who lists Steve Earle as his favorite all-time songwriter — admits that Good Looks would likely hew closer to a more conventional Americana sound if not for Ames, an inventive and largely improvisational player whose soaring leads pull the band toward a more widescreen, War On Drugs-type sound. This is the case even when Jordan, an avowed socialist, takes Lived Here For A While in an explicitly political direction on songs like “Whiteout” (which addresses gentrification in Austin) and “Vultures” (which deals with income inequality). No matter the subject matter, Lived Here For A While strikes an effective balance between lyrical weightiness and musical breeziness, resulting in one of 2024’s most satisfying and well-rounded rock records.
Good Looks has been commonly described as a heartland rock band. Was Springsteen or Petty an actual influence on your songwriting?
I didn’t listen to any Springsteen or any kind of heartland rock growing up. This last year was the first time I ever listened to a Tom Petty record. I think the most heartland rock I am is in the last five years, I’ve become a huge Steve Earle fan. Just fucking love Steve Earle. He’s probably my favorite songwriter now of all time.
When did you start writing songs? You definitely have that melancholy quality to your songs that a lot of the great singer-songwriters from Texas have.
I played piano for a long time and I never really wrote with that, but within two weeks of picking up a guitar I was writing songs. It just came really naturally. In my hometown, I had a band and I was playing at coffee shops from 16 to 19.
One of the things about my writing is that I was always really afraid of sounding dumb. The way that I would protect against that is just by singing about exactly what I know. All of my writing is very literal. It’s all stuff that happened. I had a pretty hard childhood, and there’s a lot of sadness there, and I’m kind of working through that. Even on this newest record, there’s a lot of Mom songs on there. I was so depressed for so much of my life. I feel like I’m in a pretty good place right now, but sad songs came the easiest for sure.
“Day Of Judgement” is an obvious “Mom” song from the new album.
Yep, it is. It’s weird because there weren’t any on the last one, but there were some on the record before that when it was a different project. I thought maybe I had written all of those songs and then they came back up.
What do you think accounts for that?
It just takes a long time to unravel trauma. I think it takes a long time to unravel your childhood. I mean, I’ve been in therapy for 12 years, every week going to therapy, and it’s a long process. The way that that song came up was literally the way a lot of my writing happens — I come up with one line and then it kind of flows and then I edit it afterwards or maybe change things around. But this is just an example of, yes, I had a dream about my mom where she was talking shit to me, so I just started writing that song.
It’s a dark song, but there’s humor there. You talk about your Mom watching Wheel Of Fortune.
That was my Mom’s favorite show when I was growing up. She would always have it on television.
And you have a conversation with her about Vanna White.
There was so much judgment in my childhood and that sect of Christianity, they think that 99.9 percent of people are going to hell. It’s a really weird thing.
Are your parents aware of what you’re doing now?
I haven’t talked to my parents in 12 years, so I don’t have a relationship with them. I have a couple of relatives, like a cousin or something, that I talk to every now and then, so I would imagine that they know on some level, but I don’t know if they listen to the records.
The core partnership in the band is between you and Jake the guitarist. You’re writing these intense, personal songs, and then he lays these big, soaring guitar parts over them. Without Jake, it seems like Good Looks would fall more into the straightforward Steve Earle-style, singer-songwriter lane.
I agree with that. I’m not going to tell him you said that [laughs]. But no, I think that’s fair. He uses a lot of chorus, but in a really interesting way. Most of the chorus effects you hear in indie rock, it’s all post-Mac DeMarco, without any sort of distortion to it. But he uses chorus in a way that is more post-punk, and so it’s more aggressive but distinctive. It’s what makes it chimey.
How long have you known each other?
Just under 10 years. We met each other in 2015, at the Kerrville Folk Festival. I don’t know if you’re familiar with it, but it’s an 18-day-long folk fest that happens just outside of Austin. It’s been going on since 1972. We got to know each other through that, and then just started hanging out a little bit in Austin. I didn’t want a lead guitar player because they take up a lot of space. I’m a control freak, and giving up that sonic territory was always really scary to me. But then he just kept geting better and better, and I was like, “Okay, this guy should probably be in the band.”
Jake’s such a feel player. He improvises everything, and I’m so buttoned down. That is definitely the balance of the band, and it’s a struggle, because he’s my best friend, and then we’re complete opposites. Like, we could not be more different. But I really do think that is the good stuff of what we’re doing. When Jake had the accident a couple of years back, I wasn’t sure if we were going to be able to continue playing music. I didn’t know what it was going to look like. I was immediately like, “There’s no Good Looks without him. There’s no way.” There’s no way to replace him. It wouldn’t be the same thing.
That’s the thing: It feels like they’re unlucky situations that we were incredibly lucky in. The fact that Jake is still playing guitar and within six months his brain was pretty much back to normal, that’s crazy. As for the crash, it was the first day of a three-week tour, and we were an hour away on an eight-hour drive day from the venue. The fact that nobody died or had a broken bone in that situation is insane. It could have been so much worse, man.
So you’re not at all discouraged about touring?
My life is a long story of taking really bad things that happened to me and turning them into good. So both of those incidents probably helped us more than they hurt us. Obviously I didn’t want Jake to get hit by a car, but that happening right as the album was released, that got us a lot of press. There was a story to tell. It weirdly helped promote the record.
And then we lost all of our shit. The van burned and we watched all of our gear burn up in front of us. But it made room for all this new stuff to come in, just better gear. It felt cleansing in a way.
The story I like to tell is that we were at the hospital, because everybody was having crazy muscle spasms. I don’t know if you’ve ever been in a crazy car wreck, but that’s what happens. As soon as the adrenaline wears off, you start seizing up a little. So we decided to go to the emergency room just to get checked out. And I was already like, “Okay, so we’ve got to rent a van, and we’ve got to…” I’m running through the checklist of things we need to do to get back on the road. And our drummer, Phil, is like, “I don’t have fucking shoes right now,” because he had lost his shoes in the crash. He was just barefoot. And he’s like, “I don’t want to fucking think about going back out there right now.” It’s like, “Oh, yeah, yeah, you’re right. You’re right. This is too soon.”
You identify as a socialist. What was your path to that?
I voted for Obama and I was just a liberal for most of my twenties. I was actually on the phone for Obamacare, and I think it was a radicalizing moment. They put me on hold for two hours trying to sign up that first time. And it just gave me all this time to think. I was like, “OK, so the government is requiring me to get health insurance through a private corporation, which they’re subsidizing with tax dollars. And this is my team? I need a new fucking team.” And then also with the Black Lives Matter movement, I started looking for places to put effort to work on oppressions and socialism just tied all of the oppressions that I care about.
The last record was mostly written between 2015 and 2018. We recorded it in 2018, and it was done by 2019, and then as we were ramping up to put it out with Keeled Scales, the pandemic happened. And so we sat on it for a few years. But basically in that time period, I was in this smaller Trotskyist kind of socialist group. So Bummer Year is directly related to that work in socialism. “21” is about the labor theory of value. And I mention Marx in “First Crossing,” in that section about water rights. It informs a lot of how I think about the world.
In the song “Bummer Year” I was writing about friends from back home and people that I used to know that went the other way. They went libertarian and radical in the other direction, and I was so depressed and just trying to make sense of that. A lot of people mistook that song as a “we should all get along” song, but in my brain, it’s actually like, “No, as a socialist, we need to win these people over.” I always think our job is to organize as many people as possible because there’s so many people in this country that vote against their interests and support Trump when he does nothing but make their lives worse. You don’t win by dunking on those people. You don’t win by shaming those people. You win by meeting them where they’re at. You win by trying to bring them onto your side and show them how the world’s really organized.
To me “Bummer Year” stood out, not as a “we should get along” song, but as a “Trump supporters aren’t necessarily monsters” song. Which seems very unique, and I suspect that perspective comes from living in Texas rather than one of the coasts.
Well, and I just think about my life, too. I went from a really, really conservative background and believing all these really crazy things, and my brain just totally changed. So it’s possible for folks to move and shift. I haven’t always been a socialist. I was much more of a centrist and maybe even on the right. I hate to use the term “cancel culture” because it makes you sound like Joe Rogan. But I do think that there was a lot of really black and white thinking on the internet about a lot of issues when the reality is it’s always gray. There’s so much stuff in the middle, and people are so complex that I think there is comfort and control in being able to put people in their boxes. But the reality is not there.
A strength of the album is that the personal and political content is layered into this feel-good rock sound. How do you strike that balance, between making your point and delivering a really good rock record?
When I write politically, I always try to avoid most buzzwords. I think a lot of what happens is there’s the signaling that goes on where when you say a certain thing that signals to the other side, like, “Oh, he’s on their team. I know what box to put them in.” I try to be sneaky about it because I think that’s how you get to people. You get past the defense. You just tell the human story of it more than you say the buzzword, and then you have an actual chance.
Last week, Eminem released “Houdini,” the first single from his upcoming album The Death Of Slim Shady (Coup de grâce). The track, which revives the trollish persona for comedic effect, wasn’t as well-received by some rap fans online due to its treatment of some of its subjects, but that isn’t stopping the hardcore Eminem faithful from giving it strong streaming numbers. Are those numbers enough to pull it to the top of the Billboard Hot 100 singles chart for the sixth No. 1 hit of his career?
According to Forbes (for some reason), many of the predictors of such things point to at least a top 5 showing for the self-declared Rap God, with social media accounts like Talk Of The Charts billing it for as high as a No. 2 debut. However, even the might of Eminem’s army of loyalists is meager when compared to the onslaught of support from country fans and the pop appeal of Post Malone. His country-leaning new single “I Had Some Help” with resurgent crooner Morgan Wallen is trending toward yet another appearance at No. 1.
It’s kind of ironic, when you consider the accusations of cultural appropriation that have been leveled at both artists, that it’s Post Malone, who upsets Eminem — and with a non-hip-hop song, no less.
You can check out the video for Eminem’s “Houdini” above.
A new era in the life of Ariana Grande’s stellar seventh album Eternal Sunshine is here as the singer returns with a video for “The Boy Is Mine.” The track, which interpolates Brandy and Monica’s 1998 song of the same title, is undoubtedly one of the standout records from the project. The visual features Penn Badgley as Mayor Max who appears early in the video for a news conference promising to cure the city’s severe rat infestation problem. Brandy and Monica also appear in the video and news anchors. All in all, the devious video is straight out of a You scene, capturing Grande’s obsessive crush on Mayor Max and the lengths (injecting him with a love potion) she’s willing to go to make him fall in love with her. In the end, the potion is not needed as the two go on to live happy ever after in a house full of cats.
Grande spoke about Badgley’s contribution to “The Boy Is Mine” music video during a recent appearance on The Tonight Show Starring Jimmy Fallon. “The video stars Penn Badgley, who I’ve been a fan of my entire life,” she said. “It was so amazing to work with him. Super honored to work with him.” Fans first suspected that Badgley would appear in the video after Grande posted a TikTok of the You actor dancing to the song’s chorus.
In addition to speaking about Badgley’s role in the video, Grande also delivered a performance of “The Boy Is Mine” backed by The Roots while on a rooftop set.
You can watch the video for “The Boy Is Mine” as well as her performance of the song on The Tonight Show above.
Eternal Sunshine is out now via Republic Records. Find out more information here.
Truly, the end of an era is upon Wheel of Fortune devotees with the arrival of Friday’s episode, which will be Pat Sajak’s final spin after 40+ years and over 8,000 episodes. The record-busting game-show frontman has already received an emotional farewell from co-host and letter turner extraordinaire Vanna White. In a video message to ABC viewers (you can watch it here), Sajak also expressed his pre-final-show farewell message:
“Well, the time has come to say goodbye. I have a few thanks and acknowledgments before I go, and I want to start with all of you watching out there. It’s been an incredible privilege to be invited into millions of homes night after night, year after year, decade after decade.”
What will Sajak do next? As Variety reports, he will be hitting the stage in a play at Honolulu’s Hawaii Theatre, where he will star in Prescription: Murder alongside KHON-TV Hawai’i news host Joe Moore. If that title sounds familiar to Columbo viewers, there’s a good reason:
The 1962 mystery-thriller “Prescription: Murder” was written by William Link and Richard Levinson, who turned the play into the TV series “Columbo.” The plot to “Prescription: Murder” was adapted for the “Columbo” first episode.
In the Hawaii Theatre version, Sajak will play “brilliant psychiatrist Roy Flemming, who hatches a plot with a perfect alibi to murder his neurotic and possessive wife.” Moore will play Lt. Columbo, “the seemingly bumbling detective who engages the psychiatrist in a cat-and-mouse battle of wits right up to the play’s surprising climax.”
Sajak and Moore have already teamed up for a few handfuls of plays over the decades, so they’ll roll into their next project quite naturally. Before Pat leaves his decades-long day job, however, he’s been getting weird before handing the keys over to Ryan Seacrest, who has been pretty frank about his poor spelling abilities, so it remains to be seen how awkward that will be, but at least it won’t be as awkward as this recent moment. You know it’s true.
Also, here’s the first in a series of Pat interview snippets conducted by his daughter, Maggie Sajak, who is giving quite the sendoff: “You made what could have been just hangman into a cultural phenomenon.”
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: Ken Carson’s Chaos Tour has been upgraded & new dates have been added 
