Category: News

It’s been five years since we’ve seen Alden Ehrenreich in a movie. The last one was, believe it or not, Solo: A Star Wars Story. A production that was notoriously fraught, seeing original directors Phil Lord and Christopher Miller leave the project, only to be replaced by Ron Howard. (By the way, rewatching Solo: A Star Wars Story, it’s a lot of fun.)

So, I’ve always wondered how Ehrenreich felt about this. Think about it, it’s like any job really (well, much much more public), but when he signed on he thought he knows who his bosses would be. Then that wasn’t the case. When taking a job it’s normal to say yes to something because you like your boss. At this point, after all that, if they made more Solo stories, would Ehrenreich even be interested? Also, it’s pretty interesting Lord and Miller are producers on Cocaine Bear.

Elizabeth Banks’s Cocaine Bear is gory and funny and, frankly, a blast. When drug smugglers ditch cocaine over Tennessee, the head of the smuggling ring (Ray Liotta) sends his sad sack son (Ehrenreich) and his pal (O’Shea Jackson Jr.) to go find it. But, there’s one problem — a bear is eating the cocaine and the Bear really likes the cocaine.

Ahead, Ehrenreich tells us all about the cocaine bear. Doesn’t tell us much at all about his upcoming role in the MCU’s Ironheart, and tells us if he’d be down for more Han Solo adventures or not.

Alden Ehrenreich: Nice to see you. How are you?

Oh, my team just won the Super Bowl, so I’m in a really good mood.

Oh, nice! Congratulations.

Speaking of Missouri, a good portion of this movie was set in St. Louis circa 1985. You are at a dive bar and I’m thinking, if this is really a St. Louis dive bar in 1985, there would be Falstaff beer signs. I remember this from when I was a kid. A new defunct beer. And we get a wide shot and there it is. Even the small details in this movie are great.

Yeah, yeah! Well, they had to turn an Irish pub into a bar in St. Louis, and they were good. They were good.

So I’m curious, when was the first time you heard the words “cocaine bear”?

I’ve now heard them a lot. The first time was my agent calling me to tell me that this movie already was happening. Already in that first conversation you could feel the absurdity of it and that was part of the conversation. That was part of what was attractive about it, was just how zany and wacky and audacious the whole premise is.

Oh, I just assumed, because we all know that story with Solo, but you worked with Chris Miller and Phil Lord before. I just kind assumed they called you.

No, I knew they were a part of it and then I talked to Liz Banks first. And then Phil and Chris and I got together, just kind of generally, and had dinner and they came to my theater space and we talked about the movie then a little bit. I wasn’t in the movie just yet. But yeah, no, so I talked to Liz first.

I’m curious how it goes with Chris and Phil at the time. They basically hired you on Solo and I assume you wanted to be a part of it because of them. Then they wind up not directing it. I’m curious if their attitude was, “hey let’s finally do this.” Because last time you didn’t.

I mean, I’ve always gotten along so great with them and that was one of the real pleasures of that experience. And so it was really special to be able to go and do that again. We really have a great bond and got pretty close. And I shot my first scene – that bar scene was the first scene in the movie I shot. And I knew they were coming to Ireland, but I didn’t really know when. I walked out, we filmed that scene. It’s kind of a big introductory scene and it’s an emotional scene, whatever. I walked outside, it was raining, and it was this little town pub in the corner in this beautiful little Irish town. And they were standing there in the midst of this big set. And it was such a great moment to be back on set with them in this fun, zany kind of way. It really felt like a homecoming in a way.

And obviously, this is Elizabeth Banks’s movie, but like you said, with that history, now you get to actually do some work together with those guys.

It added a special dimension to it and they were really clear with me about that, which was very nice of them. They were like, it was her idea for you to play this character. That came from her, which was very flattering and made it more of a welcoming thing.

I saw it a couple of weeks ago now. I wasn’t expecting it to be as gory as it is, but it’s like fun gory; horror movie gory. Where you’re kind of cheering the whole time. It’s really a fun time.

Good. I’m so glad to hear that. I think that’s one of the great gifts of this movie is we’ve all had this crazy last few years and we’re all in different, to different extents, out back in the world again. And this feels such a great movie to go gather at a movie theater and have this rip-roaring time at. It’s a great movie for that.

Sadly, Ray Liotta’s not here anymore to experience this. I got to talk to him for Many Saints at Newark and I brought this movie up because it was filming and he seemed very excited.

No, he loved it. I’m very grateful for the opportunity that I got to work with him, and especially now. Liz had such a great set and he came and he really seemed to be having a ball being a part of this. I mean, he really was having, I think, a really good time. And so it was really nice to be able to work with him and see him have so much fun with it.

Why is this your year? You’ve been doing Brave New World, but this is your first movie since Solo. But you had Fair Play at Sundance and Christopher Nolan’s Oppenheimer coming us. And you’re joining the MCU with Ironheart.

Yeah, yeah. I think some of that is just interesting timing. Cocaine Bear was the first thing I filmed post kind of vaccine era. And I had such a good time and it was the first time I’d done a job that was kind of a few months long. And I’ve told her this, it really got me back in the love of going off and feeling like I could just go do a movie here and do a movie there. And so some of it is just timing where I worked for two years straight basically. And just back-to-back stuff I’ve never done before and now it’s all kind of coming out in a row, which is really gratifying.

And then some of it also was on the heels of this experience. I was like, yeah, I guess it had been five or six years since I had done something that wasn’t a year-long, in a way. So it was like, oh right, I can go do this movie for two months and not miss my closest friend’s wedding. Or I can be in things a little more often because I remember now that this is what normal-size movies feel like. And so it just got me excited and I had a good, really good time.

So right on the heels of this, I was in Ireland and we got the thing for Fair Play and had the conversation with Chloe Domont. And at first, I was like, well usually I like to take time off between stuff and whatever. But I was like, No, I really like this story. So kind of went right into that and then right into Oppenheimer. And then the second I finished Oppenheimer, I directed a 15-minute movie that I wrote. And then while I was in prep for that, I gained 20 pounds for it. And then while I was in prep, I got Ironheart, so I had to lose 20 pounds in two weeks. And then I went in and did Ironheart and then I’m back and now it’s time to start releasing these. So it’s very, very, very grateful to the fact that we’re on the other side of this pandemic. We’re back at work and it’s great to be acting again and making things.

My first physical during the pandemic my doctor was like, “lose the pandemic weight you gained.” Which I did, but yeah, no bread.

No, bread is a big thing.

I always knew that, but I didn’t realize really how bad bread is for this kind of stuff.

Yeah, it’s a big part of it for sure. For sure.

Who are you playing in Ironheart?

I can’t say.

Is it a secret?

It’s a secret, yeah.

Okay. Are you excited?

It’s a great character and there’s a fun element to it that I can’t talk about. It was a really, really fun role.

Is it someone we know?

I can’t quite say that, but kind of.

I’m not trying to put you on the spot. I’m just happy you’re going to be in this.

I am, too. Yeah, the show is really cool. It’s really an interesting corner of the MCU. It’s funny, it’s very touching, and emotional in a lot of ways. And it’s basically about this black girl growing up in Chicago and her experience and it’s really, really interesting.

So here’s what I’m wondering. You seem very happy right now and you’re in all this stuff and as you said you don’t have to spend a year on something. So there’s always chatter about more Han Solo adventures. But I’m always wondering, I know the movie wasn’t the easiest thing, would you even want to do that? Or are you like, “You know, I’m good.”

No, I actually don’t feel that way. If it was the right iteration and the right thing, I would love it. Because, for me, in the first movie you watch him become Han. I got to be Han Solo for the last 15 minutes of the movie, maybe. And so being Han Solo is the fun part. And I have no fucking idea if there is ever a world where any of that happens, and if it happens, great, if it doesn’t, whatever. But it was really great to … that’s what’s appealing to me about it because in a way they built this sort of origin story for when he becomes who he is, but then that guy is the guy that’s really fun and it’s a ball to play that character specifically.

I can almost pinpoint for me when that kicks in. When Han’s trying to bluff a whole army is coming. Then the Millennium Falcon just flies away, leaving him.

[Laughs] Exactly. Exactly! So the first movie, you’re watching him turn into that. So getting to be, I think the original vibe of all that stuff was almost more like an Indiana Jones idea where you would get to watch this guy be that guy over the course of a few movies. Anyway, so that’s appealing about it to me is that character and getting to do that. But who knows?

Also, I think people are getting tired sick of lore and what it all means. I think the lack of that hurt it at first because it doesn’t tie into a lot of the other stuff. And I think it’s gained stature a lot since it came out. I don’t know if you’ve noticed that.

I definitely feel that. I’ve always felt like there was this love for it and I definitely feel that now. And yeah, I mean it really all comes down to that character.

Are you still shocked at how the Hail Caesar line has stuck around?

[Laughs] Yeah, it’s so fun. I grew up as such a film lover and a lover of certain lines that stuck around from certain movies. And I just look at my favorite experiences in the world are when I get to work for great filmmakers. And so that experience was so great. My character was so wonderful, and the Cohens are geniuses, so it was great. Yeah, that makes me very happy.

And heaven forbid this happens, but a hundred years from now, when you pass on, that’ll be the headline of the obituary. That line will be the headline.

[Laughs] “Would that it’were so simple.” Yeah, exactly. Right.

You can contact Mike Ryan directly on Twitter.

King Gizzard & The Lizard Wizard have a big year coming up after they announced three new albums in September as well as revealed tour dates for June. But, unfortunately, they’re already had to cancel some of their plans.

The band was supposed to perform at Bluesfest in Australia. However, they shared a statement to social media that they’ll be withdrawing from the lineup due to their inclusion of the band Sticky Fingers, who has been accused of racial abuse, as well as kicked out of a pub for trying to fight a transgender woman.

About their choice, King Gizzard & The Lizard Wizard said they are “willing to make sacrifices to stand up for your values.” Read the group’s full statement below.

“As a band and as human beings, we stand against misogyny, racism, transphobia, and violence. Surprised and saddened to see Bluesfest commit to presenting content that is in complete opposition to these values.

Given this decision by the festival, we have decided to cancel our appearance at Bluesfest. We are deeply disappointed to be in this position, but sometimes you need to be willing to make sacrifices to stand up for your values. This is, unfortunately, one of these moments.”

This article originally appeared on 11.04.15

You’re probably familiar with the literary classic “Moby-Dick.”

But in case you’re not, here’s the gist: Moby Dick is the name of a huge albino sperm whale.

(Get your mind outta the gutter.)

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There’s this dude named Captain Ahab who really really hates the whale, and he goes absolutely bonkers in his quest to hunt and kill it, and then everything is awful and we all die unsatisfied with our shared sad existence and — oops, spoilers!

OK, technically, the narrator Ishmael survives. So it’s actually a happy ending (kind of)!

Basically, it’s a famous book about revenge and obsession that was published back in 1851, and it’s really, really long.

It’s chock-full of beautiful passages and dense symbolism and deep thematic resonance and all those good things that earned it a top spot in the musty canon of important literature.

There’s also a lot of mundane descriptions about the whaling trade as well (like, a lot). That’s because it came out back when commercial whaling was still a thing we did.

In fact, humans used to hunt more than 50,000 whales each year to use for oil, meat, baleen, and oil. (Yes, I wrote oil twice.) Then, in 1946, the International Whaling Commission stepped in and said “Hey, wait a minute, guys. There’s only a few handful of these majestic creatures left in the entire world, so maybe we should try to not kill them anymore?”

And even then, commercial whaling was still legal in some parts of the world until as recently as 1986.

And yet by some miracle, there are whales who were born before “Moby-Dick” was published that are still alive today.

What are the odds of that? Honestly it’s hard to calculate since we can’t exactly swim up to a bowhead and say, “Hey, how old are you?” and expect a response. (Also that’s a rude question — jeez.)

Thanks to some thoughtful collaboration between researchers and traditional Inupiat whalers (who are still allowed to hunt for survival), scientists have used amino acids in the eyes of whales and harpoon fragments lodged in their carcasses to determine the age of these enormous animals — and they found at least three bowhead whales who were living prior to 1850.

Granted those are bowheads, not sperm whales like the fictional Moby Dick, (and none of them are albino, I think), but still. Pretty amazing, huh?

This is a particularly remarkable feat considering that the entire species was dwindling near extinction.

Barring these few centenarian leviathans, most of the whales still kickin’ it today are between 20 and 70 years old. That’s because most whale populations were reduced to 10% or less of their numbers between the 18th and 20th centuries, thanks to a few over-eager hunters (and by a few, I mean all of them).

Today, sperm whales are considered one of the most populous species of massive marine mammals; bowheads, on the other hand, are still in trouble, despite a 20% increase in population since the mid-1980s. Makes those few elderly bowheads that much more impressive, huh?

Unfortunately, just as things are looking up, these wonderful whales are in trouble once again.

We might not need to worry our real-life Captain Ahabs anymore, but our big aquatic buddies are still being threatened by industrialization — namely, from oil drilling in the Arctic and the Great Australian Bight.

In the off-chance that companies like Shell and BP manage not to spill millions of gallons of harmful crude oil into the water, the act of drilling alone is likely to maim or kill millions of animals, and the supposedly-safer sonic blasting will blow out their eardrums or worse.

This influx of industrialization also affects their migratory patterns — threatening not only the humans who depend on them, but also the entire marine ecosystem.

And I mean, c’mon — who would want to hurt this adorable face?

Whales might be large and long-living. But they still need our help to survive.

If you want another whale to make it to his two-hundred-and-eleventy-first birthday (which you should because I hear they throw great parties), then sign this petition to protect the waters from Big Oil and other industrial threats.

I guarantee Moby Dick will appreciate it.

This story originally appeared on 05.20.16

Dr. Frances Oldham Kelsey had only been with the Food and Drug Administration for about a month when she was tasked with reviewing a drug named thalidomide for distribution in America.

Marketed as a sedative for pregnant women, thalidomide was already available in Canada, Germany, and several African countries.

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It could have been a very simple approval. But for Kelsey, something didn’t sit right. There were no tests showing thalidomide was safe for human use, particularly during pregnancy.

When Chemie Grünenthal released thalidomide in West Germany years earlier, they called it a “wonder drug” for pregnant women. They promised it would treat anxiety, insomnia, tension, and morning sickness and help pregnant women sleep.

What they didn’t advertise were its side effects.

Because it crosses the placental barrier between fetus and mother, thalidomide causes devastating — often fatal — physical defects. During the five years it was on the market, an estimated 10,000 babies globally were born with thalidomide-caused defects. Only about 60% lived past their first birthday.

In 1961, the health effects of thalidomide weren’t well-known. Only a few studies in the U.K. and Germany were starting to connect the dots between babies born with physical defects and the medication their mothers had taken while pregnant.

At the outset, that wasn’t what concerned Kelsey. She’d looked at the testimonials in the submission and found them “too glowing for the support in the way of clinical back up.” She pressed the American manufacturer, Cincinnati’s William S. Merrell Company, to share research on how their drug affected human patients. They refused. Instead, they complained to her superiors for holding up the approval. Still, she refused to back down.

A sample pack of thalidomide sent to doctors in the U.K. While more than 10,000 babies worldwide were born with thalidomide-related birth defects, FDA historian John Swann credits Dr. Kelsey with limiting the number of American babies affected to just 17.

Over the next year, the manufacturer would resubmit its application to sell thalidomide six times. Each time, Kelsey asked for more research. Each time, they refused.

By 1961, thousands of mothers were giving birth to babies with shocking and heartbreaking birth defects. Taking thalidomide early in their pregnancy was the one thing connecting them. The drug was quickly pulled from shelves, vanishing mostly by 1962.

Through dogged persistence, Kelsey and her team had prevented a national tragedy.

In 1962, President John F. Kennedy honored Kelsey with the Federal Civilian Service Medal. He thanked her for her exceptional judgment and for preventing a major tragedy of birth deformities in the United States:

“I know that we are all most indebted to Dr. Kelsey. The relationship and the hopes that all of us have for our children, I think, indicate to Dr. Kelsey, I am sure, how important her work is and those who labor with her to protect our families. So, Doctor, I know you know how much the country appreciates what you have done.”

But, she wasn’t done yet. Later that year, the FDA approved new, tougher regulations for companies seeking drug approval, inspired in large part by Kelsey’s work on thalidomide.

Reached via email, FDA historian John Swann said this about Kelsey’s legacy: “[Her] actions also made abundantly clear to the nation the important public health role that drug regulation and FDA itself play in public health. The revelation of the global experience with that drug and America’s close call indeed provided impetus to secure passage of a comprehensive drug regulation bill that had been more or less floundering during the time FDA was considering the application.”

Kelsey continued to work for the FDA until 2005. She died in 2015, aged 101, just days after receiving the Order of Canada for her work on thalidomide.

Bureaucratic approval work is rarely thrilling and not often celebrated. That’s a shame because it’s so critical.

People like Kelsey, who place public health and safety above all else — including their career — deserve every ounce of our collective respect and admiration.

Lady Gaga is the latest artist to have an old song revived, thanks to TikTok. Her 2011 hit “Bloody Mary” is at the center of online dance trends after it was in the viral show Wednesday. It’s likely that this resurgence played a role in this new milestone she just achieved.

Pop Crave shared today that all of Gaga’s solo studio albums have reached one billion streams on Spotify. This includes The Fame, Born This Way, Artpop, Joanne, and Chromatica.

Meanwhile, fans are hoping that Artpop, which is a decade old as of this year, is getting a part two soon. One of the producers of that record, DJ White Shadow, spoke about it in an interview.

“She has feelings (like any other normal person), and this ‘era’ was a hard time for her too,” he said. “I am sure she will be okay with revisiting it one day and building on it when the time is right. I will continue to push for those songs you want so badly that LG and I did, and I hope you will get to hear them. Don’t let them die. Continue to get your message to the people in charge. You have the power, don’t give up.”

Kali Uchis is in full album rollout mode. As the singer prepares for the release of her upcoming album, Red Moon In Venus, next month Kali Uchis isn’t holding anything back. Having already released the lead single from the project “I Wish You Roses” a month ago, Kali took to Instagram to share that a second single will be dropping this Friday, February 24.

With the caption, “Moonlight this Friday, from my third album,” the musician shared a lipstick-stained lyric card along with a images of herself. On the lyric card are three stanzas. The first stanza reads, “Forget the small talk / The surface level ain’t much that I cafe for / Putting on my lipgloss / I saw you stare from my peripheral / Yea baby it’s been a helluva day / But I know a place we can escape / Find out how it feels to let go of everything / Be free / To truly know peace.”

True to the, “Love is the message,” nexus of the album Kali expressed, based on the lyrics shared the upcoming song titled “Moonlight,” will fix perfectly amongst the rest of the album’s tracklist.

Fans will surely eat the track up when Kali Uchis and RAYE hits the road for the Red Moon In Venus Tour beginning in April.

Red Moon In Venus is out 3/3 via Geffen. Pre-save it here.

This article originally appeared on 11.29.17

Think about the illustrations you’ve seen of men and women of the Bronze Age who lived thousands of years ago.

Perhaps there’s one you recall from your elementary school text book — in which men are probably depicted hurling bronze spears and strangling lions with their bare hands, while the women are most likely pictured leading children around, sifting through grapes or weaving tiny reeds into baskets (presumably to hold the fruits of their husbands’ labor).

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It’s an idealized image for some. Men and women, dividing labor according to their relative physical strength. Women did important work, but entirely in the domestic sphere, in part because they were less equipped to handle difficult manual labor. Each gender in their natural place. A comforting image of the way the world is “supposed to be.”

And according to new research, it’s an image that’s totally wrong in a major way.

According to a groundbreaking new study, Bronze Age women were jacked.

Armed with a small CT scanner and a group of student guinea pigs, University of Cambridge researchers discovered that the arm bones of Central European women of the era were roughly 30% stronger than those of modern women — and 11% to 16% stronger than those of modern women on the the world champion Cambridge women’s crew team, who spend multiple hours a day training to rowing a 60-foot boat as fast as humanly possible.

“This is the first study to actually compare prehistoric female bones to those of living women,” explained Alison Macintosh, research fellow at the University of Cambridge and lead author of the study, in a news release.

The paper was published in the open-access journal Science Advances.

Agriculture, it turns out, is hard work. Work that Bronze Age women handled on the reg.

Particularly grinding grain into flour, which requires the use of ludicrously heavy stones.

Based on evidence from societies that still produce bread products this way, the researchers determined the prehistoric women likely spent up to five hours a day pulverizing the edible bits so their villages could actually eat food while the men were derping around trophy hunting hyenas.

“The repetitive arm action of grinding these stones together for hours may have loaded women’s arm bones in a similar way to the laborious back-and-forth motion of rowing,” Macintosh said.

In addition to grinding grain, researchers speculate ancient ladies got up to a range of other muscle mass-building activities…

…including hauling food for livestock, slaughtering and butchering animals for food, scraping the skin off of dead cows and deadlifting it onto hooks to turn it into leather, and planting and harvesting crops entirely by hand.

And, while punching bears and ceremonially tossing boulders at the sun weren’t on the researchers’ specific list, it’s at least possible the women were doing that too.

“We believe it may be the wide variety of women’s work that in part makes it so difficult to identify signatures of any one specific behavior from their bones,” Macintosh said.

Study senior author Jay Stock said the results suggest “the rigorous manual labour of women was a crucial driver of early farming economies.”

“The research demonstrates what we can learn about the human past through better understanding of human variation today,” he added.

If nothing else, the findings should complicate the way we think of “women’s work” going back centuries. Since the dawn of time, mankind has had boulders to grind. Animals to wrangle. Big, heavy things to lift, and arm muscles to build. And some woman had do it.

Due to the tragic disaster created by Cyclone Gabrielle, New Zealand is in the midst of trying to rebuild. Musicians are offering their help with a relief concert called ŌTAUTAHI 4 AOTEAROA this Friday, February 24. The roster includes Lorde, Marlon Williams, L.A.B, Neil Finn, Lee Mvtthews, PRINS, and Supergroove.

Yesterday (February 19), Lorde made an Instagram Story in order to cancel previous shows she had in New Zealand, according to NZ Herald. “Over the past week, I’ve been following the ongoing devastation in Hawke’s Bay. In line with advice from the venue, the police, and our promoter, I think the right thing to do is to postpone our Hawke’s Bay shows,” she wrote. “This is a postponement, not a cancellation at this stage – I’m working on something, and you’ll hear from me soon.”

She continued, “I would love to be there with you right now, but I can also read the room, and taking precious resources away from those who need them right now is not it.”

All proceeds from the event will go to The Red Cross New Zealand Disaster Fund. The show will be taking place on Friday, February 24, at The Christchurch Town Hall. Ticket information can be found here.

Iggy Azalea’s 2014 chart-topping single isn’t the only thing fancy about her. Apparently, the “Dance Like Nobody’s Watching” rapper has a few impressive articles of clothing that she wants others to get a good look at. As the musician continues to receive criticism after she decided to join the subscription-based platform, OnlyFans, which has allegedly been quite lucrative, the Australian recording artist is sharing a message to both her haters and any potential love interests.

While teasing an unreleased track, Iggy uploaded a few risque thirst trap photos that could certainly go against Instagram’s community guidelines. In one image, Iggy is seen boarding a private plane wearing a white long-sleeve crop top shirt, a red thong panty, and the inescapable red AstroBoy-inspired MSCHF boots. Due to the distance between Iggy and the photograph, the lettering on the panty isn’t legible.

To ensure her following receives the message, the rapper uploaded a few close-up images. Iggy’s two-toned drawers reads, “I will not accept a life I do not deserve.” The image is uploaded along with the caption, “only accepting the best for myself .”

Although Iggy didn’t directly specify who the message was directed at, some of the platform’s users have begun to speculate that it could be a sublime message toward her ex-boyfriend, Playboi Carti, who made the news just days earlier after he’d been arrested for allegedly assaulting his pregnant girlfriend.

Either way, one thing’s for certain, Iggy Azalea has set her sights on big and better things. After announcing a new album is on the way and selling her music catalog in an 8-figure deal, Azalea has a lot of reasons to let loose.

Fans of Chlöe x Halle are in for a treat. Chlöe is stepping out on her own for her new album, In Pieces, her debut as a solo artist.

“I have been the rawest, the most vulnerable, and the most open I have been in my entire life with this album,” she said in a statement, adding, “I used to believe the way I love so hard without question, was a curse. Only to find out it’s been my greatest gift all along.”

So far, the record’s rollout has not been without excitement and controversy. Find the details about the album below.

Release Date

In Pieces is out 3/31 via Parkwood/Columbia. Pre-save it here.

Tracklist

The full tracklist has not yet been revealed. However, based on the album’s listing on Apple Music, the album will include a total of 14 tracks. Although previously shared singles “Treat Me” and “Have Mercy” didn’t make the final cut, “Pray It Away” has.

Features

This is where the controversy comes in. The only feature Chlöe has confirmed so far is Chris Brown for the song “How Does It Feel.” His history of harassment, battery, sexual assault, and more prompted fans to take to social media to call out Chlöe. The track arrives on February 24.

Artwork

The album’s cover art features the singer confidently staring directly into the camera dressed in a form-fitting red latex gown.

Singles

The lead single is “Pray It Away,” a powerful song about overcoming a breakup with spirituality: “God knows my heart, I’m wildin’, wildin’ / So close to doin’ somethin’ / Maybe I should go and take it to church / And wash it away,” she sings.

She also revealed that none of her previous singles like “Have Mercy,” “Treat Me,” “Surprise,” or the Latto-assisted “For The Night” will be on the album.