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El-P Explains How EPMD Was A ‘Linchpin’ For His Work From Company Flow To Run The Jewels

In the latest episode of Fresh Pair, Just Blaze and Katty Customs show off a slickly designed pair of Nike Air Force 1s for veteran producer El-P of Company Flow and Run The Jewels. El-P, who was a mainstay of the 1990s New York underground scene and whose career saw a second life when he paired with Killer Mike for an an Adult Swim-sponsored collaboration nearly two decades after his debut with Co. Flow, also broke down one of his biggest musical influences: EPMD, the pioneer early ’90s rap duo comprised of Erick Sermon and Parrish Smith.

“I grew up on them,” he explains. “I grew up on the whole Def Jam era. When I started a record label [Definitive Jux, aka Def Jux], it was an homage to them, which they didn’t that cute at the time. I think a lot of my production style and a lot of my influences came from what they were doing — not only just as rappers, but as a production outfit. If you came up on them, you have a particular sensibility in terms of what funk is and a grimy approach to [making beats].”

Just and El-P go on to reflect on how Erick Sermon’s early production style — sampling upbeat funk records and slowing them down — turned out to have such a lasting impact on hip-hop as a whole, helping to incept the “grimy” style of production that still echoes through rap instrumentals today. “EPMD could be credited [with]… the West Coast evolution, to some degree,” El-P theorized.

Watch the latest episode of Fresh Pair featuring El-P above.

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Joel McHale ‘Cried Like A Baby’ After The First Table Read For The ‘Community’ Movie: ‘I’m Not Joking’

The Community movie just took another step towards becoming a reality. During a recent appearance at the Saturn Awards, Joel McHale revealed that the highly anticipated reunion had its first table read, and the usually sarcastic actor was not afraid to admit that he got emotional. The project will make good on the promise of “Six seasons and a movie” while bringing back (most) of the original cast, which is the part that had McHale getting more than just teary-eyed.

“We did that table read during the pandemic and I cried like a baby afterwards and I’m not joking,” McHale told The Wrap before gushing about seeing the old crew:

“Everyone thinks that what I say is joking, but it is like being with — it really is like a family reunion but without a-holes,” he continued. “Because you know, you go to a family [reunion] and you’re like, ‘Ugh, there’s that one cousin of mine. He smells.’ So anyway, we’re really — I can’t wait. Yeah, that’s all I can say.”

As for which members of the cast won’t be returning for the Community movie, Dan Harmon dropped some surprising news on that front. While joking to a New York Comic Con crowd that he doesn’t even know if it’s “legal” for Chevy Chase to come back — or that Chase even would return after being ousted from the show — Harmon revealed that Donald Glover making an appearance is in the mix despite Glover’s busy schedule.

“It would be difficult to really commit to doing this thing without Donald,” Harmon told the NYCC crowd. “So I believe he is coming back.”

(Via The Wrap)

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Grant Williams Will Be Suspended For The Celtics’ Game Friday Against The Cavs For Making Contact With A Ref

The 3-1 Boston Celtics suffered their first loss of the 2022-23 season on Monday when they relinquished an 18-point first-quarter lead and fell to the Chicago Bulls, 120-102. Head coach Joe Mazzulla was ejected, as was fourth-year big man Grant Williams. Early in the fourth quarter, Williams, with Boston trailing 100-82, was called for a blocking foul against Zach LaVine. LaVine lowered his shoulder into Williams’ chest, while Williams was sliding laterally. His response led him to join Mazzulla in the locker room.

The former Tennessee Volunteer clearly took exception to the foul and animatedly hopped up from the floor to express his dismay. While doing so, he made (presumably) incidental contact with an official. As a result of that, along with allegedly “directing inappropriate language toward a game official,” Williams has been suspended without pay for Boston’s next game, which comes Friday at home against the 2-1 Cleveland Cavaliers.

While an early season, one-game absence is largely inconsequential, Williams being sidelined further compromises an already depleted frontcourt for Boston, who are without Robert Williams III and Danilo Gallinari for the time being, both due to varying knee injuries. The Celtics will look to weather his brief suspension in the meantime before he returns to the lineup Sunday at home against the 3-1 Washington Wizards, who sit atop the Southeastern Division to open 2022-23.

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‘it’s Gonna Happen’: A ‘Good Burger’ Sequel With Kel Mitchell And Kenan Thompson Is (Allegedly) On The Way

Kenan Thompson, the First Man of NBC, has been keeping busy despite the fact that his very wholesome comedy show was canceled earlier this year. Since then, Thompson has landed hosting gigs at the Emmys, the People’s Choice Awards, and he even got his own little star on the Hollywood Walk of Fame. All of that plus he is carrying Saturday Night Live on his back. This man really does it all. And now he is leaning into the nostalgia moment and bringing back one of his most iconic characters.

Before he was the “What Up With That” guy on SNL, Thompson starred in the 1997 cult comedy Good Burger alongside Kel Mitchell while they were at the heyday of their All That fame. It followed the slacker duo getting summer jobs at Good Burger (home of the Good Burger) which was being threatened by a newer, fancier burger joint. So like Dodgeball without the wrenches and stuff.

The movie was lost on adults but a hit with kids who grew up watching the weirdos on All That, where Good Burger got its humble beginnings. Now that those millennials are adults and the movie has re-entered the public consciousness after Mitchell and Thompson’s Emmy Award reunion went viral, the cast has confirmed that a sequel is, in fact coming. This is what the internet is for!

The two have been talking about a sequel for a while, but now it’s actually real. Earlier this week, Thompson told Entertainment Tonight, “We’re getting really close on Good Burger 2. It’s gonna happen, and I think it’s gonna happen soon. We’re gonna figure out when the pocket of time will be to shoot it, but it’s gonna happen.” The co-stars also shared a clip on Instagram that confirmed the script.

While no plot details or release date have been announced, this isn’t the first time a Good Burger project has been considered. Paramount has expressed interest in making the sketch into a TV show, and Thompson and Mitchell have returned for one-off sketches, it seems like it’s actually happening this time. Maybe Lorne Michaels will finally give Kenan that vacation time.

(Via Vibe)

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Tory Lanez Has Been Placed On House Arrest As He Awaits Trial For Allegedly Shooting Megan Thee Stallion

At the moment, Tory Lanez is awaiting trial after he allegedly shot Megan Thee Stallion in the foot. Now, we have a clearer picture of what that waiting will look like: Today (October 26), a judge ordered that Lanez be placed on house arrest and electronic monitoring by Friday, CBS News reports.

This story is being updated.

Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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‘House Of The Dragon’ Fans Have Seemed To Settle On A Favorite Scene From Season One

Matt Smith’s “f*cking genius” idea for the final shot in the first season of House of the Dragon will linger in our memories until season two, but the first 10 episodes of the Game of Thrones prequel series were full of memorable moments. There was the jousting in the pilot; the wedding that, once again, ended in death; and, of course, the foot stuff. You can’t forget the “disgusting” foot stuff, no matter how hard you try.

But none of those topped a Reddit prompt to name the “favorite scene” from season one. There were lots of submissions, but the most popular answer was, far and away, King Viserys’ slow stroll to the Iron Throne in episode eight, “The Lord of the Tides.”

Vizzy T’s final walk to the Iron Throne

This whole scene including Daemon helping him up and putting on his crown.

Oh the look on Alicent and Otto’s faces when the doors open and they start announcing his presence is priceless. Like a total “oh shit” moment. The acting in that scene was phenomenal.

Feel like that whole throne room scene is such an obvious #1 that we should be debating more about our favorite runner up.

100 times yes.

Yeah, that was super badass

I would have gone with the crabs eating that dude, but the miserable zombie king was good, too. You can read more favorite moments here.

(Via Reddit)

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Here Are All The Times That Taylor Swift Removed Something In A Song Or Video

Taylor Swift dropped the music video for “Anti-Hero,” a song from her new album, Midnights, earlier this week. One scene in particular drew criticism online, as Swift — who has had a documented history with body image and disordered eating — stood on a scale bearing the word “fat.” Many pointed out that, despite that being her perception, the usage could be harmful to other viewers. The moment has since been edited out of the video on Apple Music, although it remains unedited on YouTube.

The “Anti-Hero” scene removal isn’t Swift’s first moment of swapping out parts of a song or music video. Continue scrolling to see some of her edited moments across her discography.

On Swift’s 2006 self-titled debut album, two songs received changes. The first, “Teardrops On My Guitar,” got a radio-edited version, which changed “I laugh ’cause it’s so damn funny” to “I laugh ’cause it’s just so funny.” The other, “Picture To Burn,” switched out “I’ll tell mine you’re gay” with “You won’t mind if I say” permanently, for obvious reasons.

The re-recorded version of Swift’s sophomore record, 2021’s Fearless (Taylor’s Version) found her changing three minor lyrics to songs. “You Belong With Me” was changed from “the room” to “my room” in a lyric. “Superstar” saw the change of “keep my eyes” from the original “take my eyes,” but only in the updated song’s first verse. Finally, one of the vault tracks, “Bye Bye Baby,” used to be a demo called “One Thing.” Eagle-eyed Swifties noticed the change from the demo’s “All you have is to walk away from the one thing I thought would never leave me” to “And all I have is your sympathy because you took me home but you just couldn’t keep me” in the final version.

Before “Anti-Hero,” Swift’s most recent change occurred during her Lover album era in 2019. The debut single, “Me!” found the removal of Swift’s enthusiastic “Hey kids! Spelling is fun!” line on both Apple Music and Spotify after many fans online questioned her decision to include it.

Midnights is out now via Republic. Stream it here.

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These Four Things Stood Out From The NBA’s Opening Week

The NBA’s first week has concluded. Everyone, aside from the 2-0 Milwaukee Bucks, has logged at least three games. The 4-0 Portland Trail Blazers are on pace to host the NBA Finals. The 0-4 Orlando Magic are rivaling the 0-3 Sacramento Kings and Los Angeles Lakers in the race for Victor Wembanyama (congrats to the New Orleans Pelicans, who own the right to swap 2023 first-round picks with Los Angeles and also have a 3-1 record). Ja Morant is the league’s leading scorer, trapezing, propelling, and contorting himself to 35.3 points a night on 68.5 percent true shooting.

These are only a slew of the developments from the last eight days of action, though. There’s been plenty of intrigue from players off to encouraging starts, veterans and rookies alike. Let’s dive into some of the fun wrinkles to open 2022-23.

Jaden Ivey’s dynamic driving and finishing

Although the 1-3 Detroit Pistons have floundered out of the gates — the team has been bogged down by a three-game losing streak, including a pair of blowout defeats — their No. 5 overall pick, Jaden Ivey, is fashioning an early case for an First Team All-Rookie nod. Through four games, the 6’4 jet engine in sneakers is averaging 16 points (56.5 percent true shooting), 5.5 assists, 4.3 rebounds, and 1.5 steals.

He’s dazzled with some impressive off-the-bounce shot-making, but most notably, his zippy first step and creative finishing are the leading exploits. His flexibility and ingenuity around the rim are mystifying, which amplifies the fact he’s incredibly arduous to stay in front of, especially once the defense is already tilted. According to Cleaning the Glass, his 51 percent rim frequency ranks in the 100th percentile among combo guards, while his 62 percent conversion rate (15-for-24) is in the 70th percentile.

Continuing a trend from preseason, he’s also been a perceptive cutter, particularly alongside Cade Cunningham. Nightly, it seems he conjures up a bewilderingly joyful drive and finish. There are some eerie similarities between he and Morant’s slashing ethos at times. Ivey’s rarified speed has immediately translated to scoring proficiency and it’s been a delight to witness.

Julius Randle’s rekindled offensive approach

The 2-1 New York Knicks are playing good ball. Julius Randle, after a disappointing encore to his 2020-21 All-NBA breakout, is playing good ball. The veteran forward is averaging 21.3 points (60.2 percent true shooting), 9.7 rebounds, and 3.3 assists a night. His defensive engagement resembles 2020-21 rather than the frustrations of 2021-22. Some of Randle’s efforts against rookie sensation Paolo Banchero in ball-screens and denial opportunities on Monday were tremendous.

The heightened execution defensively is accompanied by a renewed offensive approach, one he operated with throughout 2020-21 and briefly built upon last season before regressing into detrimental habits. He’s applying his smooth ball-handling to fold defenses and often opting out of challenging pull-ups in favor of quality looks for his fellow Knickerbockers. His four assists against the Orlando Magic understate his playmaking impact that day.

He routinely primed open shots and avoided many of the midrange fadeaways complicit in his 2021-22 pitfalls. When he did take those shots, they felt natural and comfortable instead of the resigned decision following a failed creation attempt. Although his 15.9 percent assist rate is his lowest in three seasons, his 9.2 percent turnover rate is the best of his career.

His play-style is that of someone who spearheaded a surprising Knicks run to the playoffs two years ago and not the one whose struggles were a suitable reflection of their underwhelming 2021-22. It’s been tremendous to watch this resurgence, regardless of the small sample. The process is sound and improved, and that’s most salient early in the year.

Josh Hart, the transition dynamo

Damian Lillard affirming his superstar status after an injury-riddled 2021-22 is the headline behind the Blazers’ undefeated start (he’s averaging 33-5-5 on 67 percent true shooting). Versatile wing play from the fellas such as Josh Hart, Jerami Grant, Justise Winslow, and Nassir Little are worthy of recognition, too.

Following his trade from New Orleans to Portland last February, Hart assumed a grand offensive role, where he succeeded admirably: 19.9 points, 62.2 percent true shooting, 24.5 percent usage rate. Yet the slew of absences from the Blazers’ typical rotation (namely, Lillard) prohibited folks from seeing how he’d fit when the club reclaimed the luxury of health.

He’s quickly illuminated that value, dominating on both sides of the glass (10.3 rebounds per game), rotating to muck up drives, and providing Portland with magnitudes of strength and screen navigation on the wing it’s missed for years. For instance, Devin Booker dropped 33 on 11-for-23 shooting Friday, but Hart hounded him around picks and tested the extent of Booker’s star shot-making.

Most notably, the Villanova product has been a freight train in the open court. He finds any possible seam in the defense and slices through it. If there isn’t one to be located, that’s fine, he’ll just rumble his way through contact for buckets or fouls. Fast-break chances do not stumble into his lap. He demands that they occur, independent of whether the circumstances are ripe.

According to Synergy, his 35.7 percent transition frequency is third-highest among 78 eligible players and his 1.333 points per possession ranks in the 73rd percentile. He’s drawing a shooting foul on 33.3 percent of his reps, fourth among the 78-player group. The manner in which he seeks contact is akin to a slalom skier whose intention is to truck through the gates rather than veer around them. Once he dips that shoulder, the opposition’s fate is written.

Jayson Tatum, expanding his shot portfolio

It’s far too early to discuss MVP. I won’t do it. I refuse. I will not succumb to that siren song. Nobody’s even played five games. Hypothetically, though, if I was going to discuss early MVP candidates, Jayson Tatum would factor in prominently at worst and dominate the conversation at best. Fresh off his first NBA Finals appearance, the 24-year-old is 32.5 points (68.7 percent true shooting), 8.3 rebounds, 3.5 assists, and 1.3 blocks, shepherding wins over presumptive fellow Eastern Conference contenders in the Philadelphia 76ers and Miami Heat.

His rim frequency (38 percent) is the second-best of his career. His finishing (76 percent) is at a career-best. He’s netting self-created midrange attempts to unforeseen lengths. He’s built upon last year’s comfort playing through contact to post a career-best .383 free-throw rate. The offensive maximization of his 6’10 frame is finally coming into focus. The defense is multifaceted and exquisite.

Early on in his NBA tenure, Tatum’s finishing and driving existed as glaring weaknesses, which contributed to his inability to crack 50 percent on 2s until 2020-21 (midrange struggles were at play as well). To avoid the sprawling limbs of rim protectors, the counter long appeared to incorporate a floater into his bag of tricks. That, of course, is easier said than done effectively, but it always stood as an avenue for further diversification and development of his scoring.

Over the past couple years, he’s refined his driving and finishing styles, but the floater escaped him last season after experimenting with it to greater degrees following his rookie campaign. In 2022-23, it appears to have resurfaced, a move he’ll discreetly bust out when a layup or dunk isn’t available.

According to Synergy, his frequency on runners has spiked from 4.6 percent last year to 8.8 percent this year, and he’s 5 of 7 to begin the season. With such a small sample, the efficiency itself is trivial, but Tatum bringing this shot back to complement his finishing progression can embed another layer into his potent scoring repertoire.

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Taylor Swift Has Removed The Controversial Scale Reading In Her ‘Anti-Hero’ Video

Taylor Swift‘s 10th studio album, Midnights is proving to be one of the buzziest albums of the year. Many are lauding Swift’s latest effort, but her new era hasn’t arrived without its faults.

In the video for “Anti-Hero,” Swift is seen standing on a scale, which then turns to read “fat” instead of her actual weight. While the video seems to represent how the media has treated Swift, several viewers took issue with this specific part.

In an essay penned for Huffington Post titled “I Love Taylor Swift, But There’s A Big Problem With Her New Video,” writer Juliet James wrote, “Taylor Swift is not, and has never been, even remotely fat. In fact, some of the negative criticism she’s faced related to body image was about being ‘too skinny.’ Swift has admitted this bothers her, but she has also talked about how she’s seen comments speculating about her maybe being pregnant, and how those comments have resulted in her not eating.”

Swift has not directly addressed the matter. However, fans noticed that this part of the video has been updated on Apple Music.

In the updated version, Swift is seen looking at the scale, however, the scale doesn’t show any sort of numbers or messages.

Many fans praised the updated version, with one Twitter user saying, “taylor changed her anti hero music video on apple music and it doesn’t directly show the word on the scale. so glad she listened to criticism.”

Some posit that she should’ve kept the scale in the video, as another Twitter user said, “this is actually so sad because taylor definitely saw all the people not caring about her OWN experience with her OWN body.”

At the time of writing, the video for “Anti-Hero” is still in its original iteration on YouTube.

Representatives for Swift did not immediately reply to our request for comment.

Midnights is out now via Republic. Stream it here.

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Marjorie Taylor Greene Reportedly Fled A Local Talk Show After Getting Grilled By Callers About Her Anti-Abortion Views

Marjorie Taylor Greene presents herself as a gun-toting, Crossfit-loving conservative battle-axe who will never back down from her beliefs. Unless, of course, you ask her to defend those beliefs over the phone. In which case, Greene will absolutely flee the area leaving everybody very confused about where she just went.

That was the scene during Monday’s episode of the northern Georgia talk show, Night Talk. Greene appeared on the episode where she fielded calls from local voters. Unfortunately, the screening process did not stop a few callers from getting through and challenging Greene to defend her stance on banning abortion with zero exceptions. Things got especially heated when Greene was asked if she’d punish a 10-year-old rape victim for having an abortion.

“A child abuser and a rapist should be put to death if they are doing that to a 10-year-old child,” Greene said via Newsweek. “Number one, I think that should be our focus. That is a very rare, rare, rare, rare occasion, so that should not be the entire premise of the argument on abortion.”

However, when the show cut to commercial and returned, Greene was missing. The confused hosts continued to take questions after noting that “she’s gone.”

“We’ll take your calls and comments and whatever you have to say, but she left. She said she’d enjoyed my show and she’s through, and she got up and left,” host Judy O’Neal said. “So, she’s outta here. Nothing I can do about that.”

According to a spokesperson for Greene, the congresswoman left because the show went over an hour, and she was “only scheduled for one.” Tough luck, Georgia voters.

(Via Newsweek)