Category: News

After the federal indictment against Donald Trump was unsealed, legal experts from across the political spectrum referred to the government’s case as “damning” and “overwhelming” thanks to a detailed list of evidence that showed top secret documents being stored in a Mar-a-Lago bathroom as well as audio transcripts of Trump openly showing classified intel to individuals without a security clearance.

According to The New York Times reporter Maggie Haberman, the unsealed indictment is just the tip of the iceberg. While sharing her latest article on Twitter, Haberman revealed that the special counsel is reportedly sitting on a substantial amount of notes from Trump’s former attorney M. Evan Corcoran.

“The indictment, according to multiple people familiar with the case, shows a fraction of the evidence the government has amassed,” Haberman tweeted.

Thanks to special counsel Jack Smith obtaining a crime-fraud exception, Corcoran’s notes have been crucial to indicting Trump, according to Haberman’s article in the Times:

Mr. Corcoran’s notes, first recorded into an iPhone and then transcribed on paper, essentially gave prosecutors a road map to building their case. Mr. Trump, according to the indictment, pressured Mr. Corcoran to thwart investigators from reclaiming reams of classified material and even suggested to him that it might be better to lie to investigators and withhold the documents altogether.

Haberman writes that the notes from Corcoran “were far more extensive, and far more damaging, than previously known,” which is again, pretty amazing considering the indictment against Trump was already filled with enough legal bombshells to make the ladies on The View weak in the knees. They went through some things, let’s just say that.

(Via The New York Times)

Josh Homme has had a lot to deal with over the past year or so. Most notably, Queens Of The Stone Age are returning with their first album and tour in a long time, and there were also the messy legal proceedings involving his ex-wife and children. Now, he has revealed that last year, he was actually diagnosed with cancer. Thankfully, he had a successful surgery to remove it, and now he’s discussed the situation.

In a new interview with Revolver, the publication notes Homme was diagnosed in 2022 and that he “won’t get into details other than to say that surgery to remove it was successful.” They also said Homme is still healing and “gets the occasional twinge of pain” during the interview.

Homme himself said:

“I never say it can’t get any worse. I never say that, and I wouldn’t advise it. But I do say it can get better. Cancer is just the cherry on top of an interesting time period, you know? I’m extremely thankful that I’ll get through this, and I’ll look back at this as something that’s f*cked up, but will have made me better. I’m cool with that. There’s a lot of stuff I want to do. And there’s a lot of people I want to do that with.”

Read the full feature here.

On the latest episode of The Eric Andre Show, host Eric Andre called Jon Hamm the “white Idris Elba” and asked the Mad Men star about what it was like to blow the whistle on that “scenery-chewing motherf*cker” (and Baby Driver co-star) Kevin Spacey. TV will be 20 percent less chaotic — and therefore 20 percent less good — if/when The Eric Andre Show is off the air.

After asking his guest if he’s married to Unbreakable Kimmy Schmidt actress Ellie Kemper (they’re not; he was her drama teacher), Andre brought up Spacey, who… yeah. “Was he elbow deep in teenage boys the whole time you guys were turning around cameras?” he wondered. “I did not witness any impropriety…” Hamm stuttered, ably playing along. The interview ends with Andre chainsawing into his desk — and a woman’s torso.

Here’s how Hamm responded:

You can watch the video above.

Hamm also appeared on Bill Maher’s epic bacon-named podcast, Club Random, where he was asked about working with Tom Cruise on Top Gun: Maverick. “Tom Cruise is not the kind of guy who doesn’t… look after every detail in a movie,” he said. “There is nothing on set that Tom doesn’t want there,” Hamm confirmed. “It is what he does so well. He curates an experience.” So does Eric Andre. Two greats ignored by the Academy.

(Via Adult Swim)

GOP Representative Clay Higgins — who couldn’t even wait for the ink to dry on Donald Trump’s federal indictment last week before tweeting instructions on starting a Civil War in Florida — is now warning potential MAGA terrorists against falling for the “DOJ’s Trap.”

The Louisianna Republican seemingly lost it when Special Counsel Jack Smith handed down the indictments, not even waiting for the specifics such as Trump is facing dozens of counts, including the “willful retention” of some 300 classified documents. In a post shared with his followers on Twitter prior to the indictment being unsealed, Higgins used right-wing militia speech to galvanize Trump’s base.

According to author and professor Jeff Sharlet, whose book The Undertow: Scenes from a Slow Civil War is basically a deep dive into right-wing extremism, Higgins’s knee-jerk tweet was a call to arms. Sharlet identified lingo like “know your bridges” and “perimeter probe” as terms extremists use to signal militant action.

So, to cover his own a** should any MAGA faithful try to blockade a Miami bridge when Trump heads to the courthouse on Tuesday, Higgins’ office released a statement that doesn’t reek of insanity as much as his social media bugle call did. In the press release, Higgins tried to absolve himself of any liability while accusing the Feds of “entrapment.”

“My fellow conservatives, the DOJ/FBI doesn’t expect to imprison Trump, they expect to imprison you. They want J6 again, in Miami and in your city and in mine. We will fight against this oppression. We are indeed, with every ounce of spirit, fighting against the insidious evil that threatens our beloved Republic, but We the People must fight against oppression legally, peacefully, and within the parameters of our Constitution.”

He also posted this to his Twitter account:

You may remember Clay Higgins from his past notable moments of nuttery, like the time he filmed himself inside an Auschwitz gas chamber for social media and the time he claimed his wife — who was recently hospitalized after a “serious neurological episode” — has the “gift of premonition.”

(Via Mediaite)

Daniel Caesar’s got a new album out and he just announced a tour to go with it. Shortly before the release of Never Enough, which landed on Uproxx’s Best R&B Albums Of 2023, the Canadian crooner went on his Almost Enough: The Intimate Sessions mini-tour, promising a “real tour” would arrive imminently. Today, he announced the dates for his Superpowers World Tour, on which he’ll be joined by Omar Apollo, Orion Sun, Montell Fish, Moses Sumney, and Charlotte Day WIlson, who’ll be joined by BADBADNOTGOOD for Caesar’s hometown show in Toronto.

Tickets go on sale Friday, June 16 after a presale beginning Tuesday, June 13. You can get more information here.

08/29 – Indianapolis, IN @ Murat Theatre at Old National Centre^
08/30 – Detroit, MI @ The Fillmore Detroit^
08/31 – Cincinnati, OH @ The Andrew J Brady Music Center^
09/2 – Milwaukee, WI @ The Eagles Ballroom*^
09/3 – Chicago, IL @ The Salt Shed^
09/5 – Columbus, OH @ KEMBA Live!*#
09/7 – Atlanta, GA @ Coca-Cola Roxy#
09/9 – Miami, FL @ FPL Solar Amphitheater#
09/10 – Orlando, FL @ Hard Rock Live#
09/12 – Houston, TX @ 713 Music Hall#
09/13 – Austin, TX @ Moody Amphitheater#
09/14 – Dallas, TX @ South Side Ballroom#
09/16 – Denver, CO @ Fillmore Auditorium#
09/17 – Salt Lake City, UT @ The Complex#
09/20 – San Diego, CA @ Gallagher Square Park at Petco Park#
09/21 – Los Angeles, CA @ Hollywood Bowl!
09/23 – Santa Barbara, CA @ Santa Barbara Bowl*#
09/24 – Phoenix, AZ @ Arizona Financial Theatre#
09/26 – Berkeley, CA @ The Greek Theatre at UC Berkeley*#
09/28 – Portland, OR @ Alaska Airlines’ Theater of the Clouds#
09/29 – Seattle, WA @ WAMU Theater#
09/30 — Vancouver, BC @ Pacific Coliseum%
10/3 — Calgary, AB @ Scotiabank Saddledome%
10/5 — Edmonton, AB @ Rogers Place%
10/6 — Saskatoon, SK @ SaskTel Centre%
10/7 — Winnipeg, MB @ Canada Life Centre%
10/10 — Ottawa, ON @ Canadian Tire Centre%
10/12 — London, ON @ Budweiser Gardens%
10/13 — Toronto, ON @ Scotiabank Arena>
10/15 – Washington, DC @ The Anthem^
10/16 – Boston, MA @ MGM Music Hall at Fenway^
10/17 – New York, NY @ Madison Square Garden+
10/19 – Philadelphia, PA @ The Met Philadelphia^
* Not A Live Nation Date
+ With Omar Apollo with special guest Montell Fish
^ Support from Montell Fish
# Support from Orion Sun
! With special guests Flying Lotus and Orion Sun
% Support from Moses Sumney
> Featuring Charlotte Day Wilson playing with BADBADNOTGOOD, with special guest Moses Sumney

If you were a kid during the early ’90s, just hearing the words Free Willy conjures up an immediate mental picture of the film’s climactic moment. As Jason James Richter‘s character finally fulfills the movie’s title by literally freeing Willy, the orca whale leaps over his human pal in a heartwarming moment for the ages.

As for how director Simon Wincer pulled off the stunt at a time when CGI graphics were in their infancy and crazy expensive, the answer is surprisingly simple: A freaking rocket launcher.

In an effort to make the moment look as realistic as possible while keeping the budget under $20 million, Wincer came up with the clever workaround to literally give Willy an explosive jump before handing things off to the digital VFX team.

Via The Guardian:

I remember saying to my agent: “If I can deliver the finale – where the whale leaps to freedom – we’ve got a movie.” We had so many meetings about how the hell we were going to do it. It was the early days of CGI so we shot at high tide in a small harbour – and literally built a rocket launcher with an animatronic whale on it. It would fly out of the water and come to a stop then CGI would take over. Like any pivotal movie moment, it was sound, emotion and picture coming together to lift you to your feet.

Turns out Wincer was right. Willy’s jump is an iconic piece of ’90s cinema all thanks to strapping a fake whale to a rocket launcher. Movie magic, folks, there’s nothing like it.

You can see the iconic Free Willy scene below:

(Via The Guardian)

With the Denver Nuggets just one win away from the 2022-23 NBA Championship, we are rapidly moving closer to the 2023 NBA offseason taking center stage.

This will be the summer of point guard movement, with a number of high profile names hitting the market like Kyrie Irving, James Harden, and (potentially) Chris Paul. Joining that group will be Raptors guard Fred VanVleet, who officially declined his player option on Monday for next season to become an unrestricted free agent, per ESPN’s Adrian Wojnarowski.

According to Woj, there will be a number of hopeful contenders who will look to work out a sign-and-trade with Toronto for the former All-Star guard, while teams like Houston, Utah, San Antonio, and Detroit will have the cap space to make a run at him without needing to work out a deal with the Raptors to land him. VanVleet saw his efficiency dip a touch this last year but has historically been a quality shooter as well as an on-ball creator who has steadily gotten better at running a team over his career — he posted a career best 28.1 assist percentage this past season.

The Rockets are a known potential suitor for VanVleet, as he’s among the expected backup plans should they not get James Harden to return to Houston, but there figure to be a number of teams interested in the former undrafted guard out of Wichita State, as he is among the best point guards available and likely won’t command a full max deal.

The young rapper-producer charges into corporate headquarters like a revolutionary soldier storming a state armory. This is Dr. Dre, stepping to the notoriously menacing Death Row Records CEO Suge Knight to liquidate their professional relationship. The setting of the duel could scarcely be more intimidating. Walls are painted Grim Reaper black; both the carpet and Suge’s suit match his gang affiliations: blood red.

Dre gives it straight. He wants to escape the empire his beats helped build. “I’m doing my own thing. Starting fresh. Nobody to answer to but myself. It’s time.” Lost income means nothing. As Dre has come to see things, “You can’t put a price on a piece of mind.”

That’s how the finale of the movie Straight Outta Compton tells it anyway. Dre served as a producer on the serviceable Hollywood depiction of the NWA story and scenes like the face-off with Suge call to mind a Chappelle Show joke on how making a movie about your own life brings too great a temptation to embellish. The very final line of Straight Outta Compton sees Suge ask Dre what the name of his new label will be. With dramatic pause, he utters the word “Aftermath.” It wasn’t subtle: the Good Doctor was exiting the bleakness of Death Row towards the light of Aftermath Entertainment and a better future. But in reality, was it all so simple?

As the 20th century began to fade, Dre’s ongoing relevance was not secure. In the three years since leaving Death Row, he had seen his label-launching compilation Dr. Dre Presents: The Aftermath and supergroup project The Firm’s The Album drop with a thud — two of the few obvious failures of the Comptonite’s career. Eminem’s The Slim Shady LP was a commercial success, but whether or not Aftermath’s new star could establish himself as something beyond a flash-in-the-pan gimmick was far from certain.

Needing a hit, Dre put the label on his back. In late 1999, he released “Still D.R.E.,” the lead single from his second solo album, 2001. The song immediately felt like the future. The raw, buzzing grooves of G-funk had been stripped out, replaced by pristine strings, slick drums, and that blinging piano loop. It was the ultimate in neck-snappin’ technology, visionary yet West Coast to its core, and presented with a suitably stylish Hype Williams-directed music video loaded with bouncing lowriders and hard-partying crowds shot in the filmmaker’s distinctive rich color palette. Press play 24 years later and you feel the palm trees looming over your head, the stickiest California weed enters your bloodstream, and the car you may or may not be driving automatically starts to bounce up and down from its front suspension.

“Still D.R.E.” is also the assertion of a legacy in the strongest possible terms. With his most effective cohort Snoop Dogg in the passenger’s seat to provide the hook, Dre raps about his days with the World Class Wreckin’ Cru, through to signing Eminem, his most obvious recent success. It’s one of rap’s most influential figures, 34 years old, saying goodbye to his youth and accepting elder statesman status. This can be when decline sets in, the artist is aged out of relevancy, and their comfortable surroundings cease to reflect the world that inspired their ascent. But unlike Alexander The Great, shedding tears when there were no worlds left to conquer, Dre craved to repeat what he’d done twice before, with NWA and Death Row: reinvent the West.

​​It’s common knowledge that Dre has never viewed himself as primarily a rapper, and so had no qualms about eschewing normal practice by using ghostwriters. For “Still D.R.E.,” a most esteemed emissary was brought in from the East Coast to complete the magic: Jay-Z, who in classic Jigga fashion, cooked up some steady-paced verses full of quotables for Dre’s laconic baritone.

The subject matter is simple: Years go by, but fundamentals are timeless. Dre is still making beats, still smoking chronic, and still feeling the same affinity for the streets that made him. One of the architects of “F*ck Tha Police” will never have time for cops, and perfecting his craft remains the highest priority. “They say rap’s changed,” he spits. “They wanna know how I feel about it.” But Dre doesn’t need to answer the question because “Still D.R.E.” says everything he needs to.

And yet the song almost never came to be. Dre actually thought work on 2001 was complete and “The Next Episode” would be first single until Jimmy Iovine, head of Aftermath’s distributor Interscope, butted in. Iovine dug “The Next Episode,” but insisted it wasn’t a lead cut. “I will lay down on the street in front of these trucks before we let that go first,” Iovine told Dre. History is built on such hunches.

“Still D.R.E.” came together in a flash of inspiration. The piano riff was gifted to Dre by one of his protegés, Scott Storch. The former Roots keyboardist was in the Encore studio in Burbank, vibing to a kick and snare pattern Dre had cooked up, deliberately trying to play something a little bit wonky, when he caught the doctor’s perfect ear. Charging in from a nearby kitchen, Dre shouted, “That’s it!” With Storch’s motif in place, keyboard player Camara Kambon, one of the new people Dre surrounded himself with after the Death Row split, worked on filling the instrumental out. “I came in and kinda ‘laced it,’ is what we would say,” Kambon tells me. “Adding what we would refer to as the ‘ear candy,’ some of the sweeping things, and panning things, or things that add the color that really give the track some presence.” By the end of the day, what they had had been sent to Jay-Z.

This ability to sense the pillar of a classic record before the music disappeared into the ether is part of Dre’s genius. “I was always amazed at how he could pull simple elements together and, bam, a hit,” Brian Gardner, the long-time Dre collaborator who mastered 2001, tells me in an email.

​​A fortnight after “Still D.R.E.” was released as a single, the maestro unleashed the full-length. The promo had not been a red herring. 2001 redefined West Coast rap. Dre’s pocket symphonies were a spotless mix of catchy key riffs, prominent strings and horns, smooth basslines, and a palpable sense of space. The album opens with the audio swell that accompanies the THX logo before movies in cinemas with the deluxe sound systems, asserting the album’s hi-end fidelity (Dre was reportedly sued by Lucasfilm for using the sound). What follows is one of the greatest party records of all time; despite Iovine’s notions, every song sounds like a single. Still not minded to spend too much time on the mic, Dre fills the soirée with talented friends. Established masters such as Nate Dogg, Kurupt, and King T share space with rising artists Xzibit, Knoc-turn’al, and recent Aftermath signee Hittman, who is omnipresent on the album.

2001 has a programmed, electronic quality — the beats feel immaculate and symmetrical. But Dre, as he had on first album The Chronic, deployed live musicians to ratchet up his sound. Tom Gordon worked as an assistant engineer on the album in Sierra Sonics Recording Mansion, Reno, Nevada, one of the studio’s Dre operated from during the period. He remembers guitar, keyboard, and bass players would jam, with Dre orchestrating the musicians like a ballet master. Dre’s team, meanwhile, had multiple outputs of the MPC drum machine going through their console with the live instruments. Once Dre found a groove he liked, six and a half minutes of the music were recorded to two-inch analog tape, which would later be used to create the beats.

“The fact that he could see the big picture on how these pieces could fit and make a cohesive jam was inspiring to watch,” remembers Gordon.

“He’s so precise about everything,” says bass player Preston Crump of how Dre would direct the sessions. “It wasn’t, like, super organic, you know what I mean? It’s more like [Dre would say], ‘We’re going to build this like this with these plans, and I’m going to do my magic on it.” Still, Crump found himself tripping off the sonics. “I was in awe listening to what he had and when he played how the kick drum was jumping out of the speakers. So much so that he blew a couple of sets of NS10.”

Storch’s piano on “Still D.R.E.” had a classical musical bent, evident when you see the various videos out there of classical pianists adopting it. Similarly, songs such as “Forgot About Dre” and “What’s The Difference” featured more orchestral elements than was typical of the G-funk era. In the case of “Forgot About Dre,” it was Kambon, very comfortable in this sphere from his work as an arranger and film composer, who created the strings section on his keyboard. From there, Eminem wrote lyrics intended for Dre and Snoop, but Dre liked Em’s reference track so much he opted to keep it.

“The introduction of the strings, the introduction of orchestral elements, was a very different thing from what Dre had done before,” says Kambon. “If you listen to ‘Forgot About Dre,’ for instance, the driving force of that, and what we did with Mary [J. Blige] and [her Dre-produced 2001 single] ‘Family Affair,’ what we did was this very kind of trance-induced,” he mimics the music of Mary J’s hit down the phone line, “that was consistent through a lot of the records that we did at that time. That’s classical music — that’s what that was.”

Dre’s search for samples was also tireless. Every time he came to Reno, he arrived with two crates of 200 albums and a crew to scour them for loops. Sometimes the chosen samples would be recreated or reinforced by drum machines and live instruments. “They would create this foundation with the samples inside the MPC drum machine, and play with the different elements,” explains Gordon, who confirms Dre’s reputation of being a studio perfectionist. “He would sit there as stuff was coming out of the MPC before going to tape and EQ it, noise gate it, and try to get as good a tone to tape so he didn’t have to fix it later. It was a very smart approach.”

Gordon also noted that Dre was a stickler for double track vocals being right on the money (this was pre-ProTools, so they had to be done organically), and refused to go along with a popular approach by compressing his elements to get his sound louder. “If you listen to the sonic response of that whole record, including ‘Still D.R.E.,’ there’s still a lot of clarity on the snares and the hats and the kicks that still hit you in the chest some compared to some later stuff that is louder,” says Gordon. “The fact they were keeping the levels down a touch and not following the Joneses to be the loudest record out there was admirable, and I think was a real testament to why the sonic quality of that record stood up.”

Gordon’s biggest contribution to 2001 came by accident. The 6-foot 8-inch behemoth — whose shock of dark curly hair inspired Dre and his people to give him the nickname ‘Stern,’ as in Howard — was actually a superfan of the John Carpenter movie Halloween, so much so that he owned a full Michael Myers costume. During one session, he quietly donned the ensemble and proceeded to terrorize the crew. Collaborator Mike Elizondo even threw his bass off in panic and tried to run away. In the wake of the pandemonium, a dozen or so people convened around Dre and his co-producer Mel-Man. Soon after, they’d concocted a beat using Carpenter’s famous piano music from Halloween, which would become the song “Murder Ink.” Gordon’s obsession would not fade: He later auditioned to play Myers in Rob Zombie’s 2007 Halloween reboot.

Crump suggests that Dre decamped to Reno to escape the drama in Los Angeles. He had originally wanted to title his album Chronic 2000, until Death Row opted to beat him to it by calling a compilation Suge Knight Represents: Chronic 2000 (Still Smokin’) suggested lingering bad will. Chronic 2000 became Chronic 2001, until Dre decided to abandon the reference to his first album entirely, so as not to get dragged into a copyright dispute.

2001 hit No. 2 on the U.S. Billboard 200 and has since moved twice as many units as The Chronic. There would be no more incertitude: As the new millennium dawned, Dre could still forge L.A. classics as easily as he once sold tapes out of a trunk. As a teenager, I spun my 2001 CD until it practically dissolved into dust. It was alluring to hear Dre and his crew slip into exaggerated hard-partying characters surrounded by friends, blunts, and women. As time has passed, I’ve come to realize that its misogyny was a corrosive thing to be exposed to. But Dre also maintained “Still D.R.E.”’s themes of looking back over his career with well-earned satisfaction and asserting his position at the top of hip-hop.

“For the last couple of years, there’s been a lot of talk out on the streets about whether or not I can still hold my own, whether or not I’m still good at producing,” Dre told The New York Times in 1999. “That was the ultimate motivation for me. Magazines, word of mouth, and rap tabloids were saying I didn’t have it any more. What more do I need to do? How many platinum records have I made? O.K., here’s the album — now what do you have to say?’”

2001 never received the kind of critical praise of, say, The Chronic or Snoop’s Doggystyle. Regardless, it is one of the most influential rap albums of all time. It ushered Dre into a new creative phase as he drew on the same ultra-high-end form of beatmaking when producing tunes that crushed early 2000s MTV via envoys Eve, Bilal, 50 Cent, The Game, and plenty of others. Dre’s new penchant for elements of classical music can be heard on Xzibit’s song “X.” “What’s the Difference” would become repurposed into Blu Cantrell and Sean Paul’s smash hit “Breathe,” while Erykah Badu flipped the laid back grooves of “Xxplosive” into a version of her single “Bag Lady.” In the era of super-producers like Timbaland, The Neptunes, and Kanye West, Dre was right there, forging the kind of beats you could launch a fashionable headphone brand on, which, of course, he did, with Beats by Dre. 2001 wrote a playbook that beat-making disciples like Eminem, Storch, and Nottz have extensively studied. When the spotless snap ‘n’ pop of DJ Mustard’s ratchet music emerged in the 2010s, reinventing the West once more, it was easy to trace its origins back to 2001.

Dre never needed a solo hit again. His inability to finish hi next album Detox became notorious, until he finally scrapped the record for swansong Compton in 2015. But if the legend struggled to find the same inspiration and motivation, maybe it’s because 2001 and songs like “Still D.R.E.” left no lingering uncertainties. They were large enough to secure a legacy, still and forever.

It feels like this year’s Coachella festival just ended: It’s been less than two months, as the second weekend wrapped up on April 23. The 2023 festival is indeed still fresh in many attendees’ minds, but Goldenvoice is already looking ahead: Today (June 12), they revealed the dates for next year’s festival (April 12 to 14 and 19 to 21) and shared ticketing info.

So, here’s how to buy tickets for Coachella 2023: Starting June 16 (this Friday) at 11 a.m. PT, the 2024 Advance Sale will launch on the Coachella website. Interested parties can register for this sale right now.

While it’ll be a minute before you can secure actual festival passes, there are other logistics to consider that can be taken care of ahead of then. Most notably, hotel packages, shuttle services, and safari camping are currently available to book via Coachella and Valley Music Travel. There are plenty of options: La Quinta Hotel Packages, Indio Hotel Packages, Indian Wells Hotel Packages, Palm Desert Hotel Packages, and Palm Springs/Rancho Mirage Hotel Packages. The bad-but-expected news is that none of them are cheap, with prices ranging from range from $3,099 to $10,999 (and neither of those figures include additional fees).

The good news, at least in terms of festival passes, is that payment plans are available.

Two teenagers madly in love with hopes to marry after high school graduation is a tale that probably goes back to the invention of high school itself. Sometimes high school sweethearts do end up getting married and raising a family together, and other times life gets in the way. Paths diverge, and the once deeply in love couple become strangers.

But first love stories don’t always end there, as life has a way of surprising people when they least expect it. Caroline Reeves and Eddie Lamm dated in 1956 when they were both in high school, falling deeply in love with one another. Lamm was older than Reeves and graduated with plans to join the military while Reeves finished high school.

The two knew their time with each other was coming to an end but had no idea how long they would be apart. There was no letterman’s jacket or class ring given to Reeves to signify commitment. In fact, Lamm didn’t even say goodbye. He couldn’t bring himself to do it. Their last date together ended with a kiss and a broken heart.

“I opened that car door and I got out of that car and ran up the steps and slammed the door and went upstairs and cried all night,” Reeves told CBS. “That was it.”

After spending a lifetime apart, both marrying other people, having children and experiencing the death of their spouses, they never forgot their first love. In April 2022, the remnants of their bond was tested when Lamm, who was living in California at the time, decided to call his long-lost high school sweetheart—nine times. Like most people, she didn’t answer unknown calls.

When Reeves finally answered, it didn’t take too long for her to get comfortable talking to her old beau, and it didn’t take him long to profess his feelings.

“After the second day, it was comfortable. It was natural. By the third day, that third night, he told me he still loved me. And I knew my life had changed. And then the next morning, he calls and he says, ‘I apologize for being so forward last night,'” Reeves told CBS.

At 81 and 84, they wasted no time taking a second chance on their love. Lamm flew to Nashville to see Reeves in person, and within five days, he’d asked her to move to California with him. Three months later, he proposed, and Reeves finally got the class ring she had hoped for more than 60 years ago. Watch their beautiful love story below.