Category: News

Eddie Murphy brought Prince Akeem Joffer (and Sexual Chocolate singer Randy Watson and barber shop owner Mr. Clarence and barber shop customer Saul) out of retirement in Coming 2 America. He’ll do the same with Axel Foley for one. last. job. in Beverly Hills Cop: Axel Foley, along with some familiar faces from the original films.

It was previously announced that the fourth film in the Beverly Hills Cop franchise — and first since 1994’s Beverly Hills Cop III — would star Murphy as Detroit-turned-California cop Axel Foley. But on Wednesday, Netflix revealed that Judge Reinhold, John Ashton, Paul Reiser, and Bronson Pinchot, all of whom appeared in at least the first two Beverly Hills Cop films (Reinhold is three for three), have also joined the cast. Are we in the middle of the Paul Reiser-aissance, after he was in Stranger Things, Fosse/Verdon, The Boys, and Reboot? We’ll know for sure if James Cameron casts him in Avatar 5.

The franchise moved from Paramount to Netflix in the winter of 2019 and follows the adventures of Detroit cop Foley, who first appeared in the 1984 smash hit that followed him to Beverly Hills to solve the murder of a friend. The film became one of the year’s biggest hits and solidified Murphy’s movie-star status.

Beverly Hills Cop: Axel Foley, which also stars Taylour Paige and Joseph Gordon-Levitt, does not currently have a release date.

Future dropped the new music video for his song “I’m Dat N****” yesterday as the latest single from his 2022 album I Never Liked You. The video follows the rapper on a luxurious Paris vacation, where he rides on a yacht, attends fancy dinners with models, and spends his money at designer stores (specifically, Celine).

The music video also shifts in terms of visual influence, including a grainy film style, before switching the color scheme to black & white towards the end. “I just left, she textin’ me she miss me,” Future notes during the song’s second verse as he stands on what appears to be a hotel balcony. Slow Burnz, Dy Crazy, and Southside produced the single, which also interpolates Young Thug’s 2019 song “Hot.”

As Future’s fifth single, it follows up his earlier I Never Liked You songs, from “Holy Ghost,” “Puffin On Zootiez,” “Love You Better,” and “Wait For U” featuring Drake and Tems. In addition, Future’s album contains several collaborations with notable artists. He teamed up with Kanye West for “Keep It Burnin,” Gunna and Young Thug on “For A Nut,” and even brought Drake back again for another song titled “I’m On One.”

Watch the music video for Future’s “I’m Dat N****” above.

You won’t find a bigger Adam Sandler fan than me, someone who watched That’s My Boy (which he starred in) and Bucky Larson: Born to Be a Star (which he co-wrote and produced) literally last week. But even I, the Sandy Wexler defender, will admit that not all of his movies are… what’s the word I’m looking for? Oh yeah: good. Not all of his movies are good. But for so many of his comedies to be below 15 percent on Rotten Tomatoes? Why you gotta be so mean. Not that Sandler minds — most of the time.

“Sometimes,” Sandler told AARP (!) when asked if the harsh reviews sting. “Mostly because I invite all these amazing people I care about to make movies with me, and I wish they didn’t have to read sh*t about whatever we’ve made. But I don’t get too shook up.” He then shared a story involving his dad.

I always remember something my father said. He was a tough bastard. He went through ups and downs in his life, like not having work for a year or two and not telling us. I recall one time that something didn’t go right for me. I bombed onstage or didn’t get an audition. I was upset and probably embarrassed. And he said, “Adam, you can’t always be happy. People aren’t always going to like you. You’re going to fail.” I said, “But I just want to be happy, man. I don’t want all that other crap.” He said, “You won’t actually know you’re happy if you don’t feel that other stuff.”

In other words, ignore the negative reviews for Jack and Jill and focus on the fact that you got Al Pacino to rap about Dunkin.’ Watch the scene for something like the 67th time? Don’t mind if I DO.

(Via AARP)

Robert Sarver’s time as the owner of the Phoenix Suns and the Phoenix Mercury is on the precipice of coming to an end. According to a statement that the disgraced owner of both teams released on Wednesday afternoon, Sarver has started to look for buyers of both teams in the aftermath of the investigation that has led to him receiving a 1-year suspension and $10 million fine.

Sarver attempted to make himself a victim in his statement, citing his faith as the reason he is a believer “in atonement and the path to forgiveness” and blaming “our current climate” for meaning that “whatever good I have done, or could still do, is outweighed by things I have said in the past.” But after he got that out of the way, he announced his decision to start looking for someone to purchase the teams.

I do not want to be a distraction to these two teams and the fine people who work so hard to bring the joy and excitement of basketball to fans around the world. I want what’s best for these two organizations, the players, the employees, the fans, the community, my fellow owners, the NBA and the WNBA. This is the best course of action for everyone.

Sarver purchased both teams in 2004. The news of his decision to sell came after an independent investigation determined that there were numerous examples of Sarver being racist and sexist in his workplace, which led to the punishment being handed down by the NBA. Numerous players — including LeBron James, Chris Paul, and Draymond Green — spoke out in the aftermath of the NBA’s decision, while NBPA Executive Director Tamika Tremaglio called for Sarver to receive a lifetime ban.

After the Latin Grammy Award nominations were announced yesterday, many artists took to social media last night to share their excitement. Among the nominees that expressed their gratitude were Rosalía, Shakira, Christina Aguilera, and Sebastián Yatra.

With eight nominations (not counting a technical category nomination), Rosalía is tied with her boyfriend Rauw Alejandro as the second most-nominated artists this year. She is also the most-nominated female artist this year. The Spanish pop star is up for Album Of The Year for the critically-acclaimed Motomami. She’s also up for Record Of The Year for “La Fama” with The Weeknd and Song Of The Year for “Hentai.”

While on a break from her Motomami Tour, Rosalía wrote in Spanish, “Today I woke up very happy!!!! Thank you for the 9 Latin Grammy nominations and for the 2 sold-out shows at Radio City Music Hall that I enjoyed so much. NYY the most incredible city in the world. Thank you for so much love.”

Shakira is nominated for Record OF The Year for her kiss-off anthem “Te Felicito” featuring Alejandro. The song has become one of the biggest hits of the year, peaking at No. 67 on Billboard‘s all-genre Hot 100 chart and No. 10 on the Hot Latin Songs chart. The Colombian superstar kept her thanks short and sweet.

With a photo from the “Te Felicito” music video, Shakira wrote in Spanish, “Thanks for the nomination @LatinGrammys. I congratulate you, Rauw!”

It’s been a breakthrough year for Colombian singer-songwriter Sebastián Yatra. He scored one of the biggest hits of his career with “Dos Oruguitas” from Disney’s Encanto soundtrack. In March, he performed the song live in Spanish at the Academy Awards. Yatra received four nominations, including an Album Of The Year nomination for his latest Dharma. His sweet love song “Tacones Rojos” is up for Song Of The Year. John Legend jumped on a remix of the track earlier this year.

On Twitter, Yatra wrote in Spanish, “How crazy are the nominations today!!! Thank you (I hadn’t uploaded anything because I was working). Working gives us [new] inspiration.”

Christina Aguilera received seven nominations this year for her return to the Latin music scene. The pop star with Ecuadorian roots is up for Album Of The Year for her self-titled LP. Her all-women collaboration “Pa Mis Muchachas” alongside Becky G, Nicki Nicole, and Nathy Peluso is up for both Song and Record Of The Year.

On Twitter, Aguilera wrote, “What amazing news to wake up to. So much love to my @SonyMusicLatin fam and to my fighters for your endless support.”

The 2022 Latin Grammy Awards will take place in Las Vegas on Thursday, November 17. The ceremony will be broadcast live on Univision.

Larry June keeps it as cool as the September breeze in his new video for “I’ll Make Time.” The San Francisco native has been promoting his new album, Spaceships On The Blade, with a string of sunny but lo-fi videos perfect for the album’s casual vibe. “I’ll Make Time” is no exception, finding Larry cruising through the California desert with the top down and repeatedly crossing paths with a pretty woman on a drive of her own. They don’t meet until near the end of the video, though, when Larry leaves his wallet in a diner after enjoying a glass of his favorite beverage.

I don’t know if you could call what’s happening with Larry June a “breakout.” He’s been around for quite a while and unlike some rappers who explode into the spotlight seemingly all at once with a viral hit, Larry has been easing his way into it, growing his following slowly but organically as his magnetic personality draws in listeners of fellow low-key luxury rappers like Curren$y, Dom Kennedy, and LE$ (all names he’s collaborated with over the years). Rather than pursuing radio or TikTok, Larry keeps up a steady stream of laid-back bangers like “Private Valet,” “Don’t Check Me,” and “Corte Madera, CA,” sticking to his guns and letting the world catch on.

The strategy appears to be working. Larry has secured a co-headlining spot on the returning Red Bull SoundClash with two events alongside Detroiter Babyface Ray in both rappers’ hometowns next month.

Watch Larry June’s “I’ll Make Time” video above.

In episode five of House of the Dragon, a cloaked Daemon Targaryen (Matt Smith) has an unpleasant reunion of sorts with his frequently mentioned wife, Lady Rhea. Daemon, dressed ominously in a black hooded cloak, stands in the middle of a path in the Vale, seemingly waiting for her. He looks like the Grim Reaper, the lead singer of an early 2000s emo band, or, ironically, Jared Leto in Morbius. Lady Rhea sarcastically asks him if he’s come to finally consummate their marriage and torments him. Tense music plays (thanks closed captioning!) as Lady Rhea’s eyes widened. She reaches for her weapon, but her horse freaks out (the technical terms) and she falls off, cracking her neck. We see Daemon try to tame Lady Rhea’s horse, and he picks up a large rock. Daemon’s actions remain unclear. Before the tense music and the horse freaking out, we didn’t see what Daemon did, if anything, so it’s impossible to know for sure. Did Daemon intend to kill his wife, who was a skilled rider? Did he pick up the rock to show her mercy with a quick death, or was he motivated by hate?

As one of the few main characters on such an intimate show that has mostly consisted of the same three Targaryens talking in various rooms, Daemon Targaryen remains a mystery. The narrative consistently and intentionally hides his motivations and actions from the audience, leaving us to ponder his true nature. Is he a villain or just a weirdo? It’s still too soon to tell, but Matt Smith’s striking performance keeps it interesting rather than frustrating. The events in episode five imply that Daemon is dangerous and guilty of uxoricide, and playing a game (of thrones, perhaps?) with his brother King Viserys and niece Princess Rhaenyera.

But in episode four, Daemon was menacing, outrageously emotional, and disturbingly hot. He turned on the uncle charm when he took Rhaenyra for a night out in King’s Landing, they had a streamy little finger bang, and by the end of the episode, Daemon is writhing on the floor getting a beating from his brother. When confronted about his intimacy with Rhaenerya, Daemon’s emotions feel authentic: he doesn’t feel bad about his actions with Rhaenyra because he has genuine romantic feelings for her. Smith plays Daemon so well that the incest scene, as gross as it was, felt weirdly hot, and so well that by the time King Viserys is pissed and kicking him, you feel kind of bad.

Smith is a master at quiet, rousing menace. His face looks completely different depending on his emotion and the lighting. He can embody charm with his body language while his eyes communicate the opposite, or vice versa. He can also be completely charming or completely terrifying. Although a terrible film (and not even so terrible that it is a pleasure to watch), Smith does this in his entertaining performance in Morbius. His character builds and builds from a seemingly normal person into total chaos and as Prince Philip on Netflix’s The Crown, Smith tapped into his dark side.

Essentially, Matt Smith gives House of the Dragon everything while also giving nothing at all. Smith’s presence changes the gravity of every scene, instantly making the show more interesting and infinitely more dramatic and emotional, despite the unknown. Every scene without him feels like a missed opportunity, but a necessary missed opportunity because you need to miss him. A character without clear motivations should never work, but like Game of Thrones’ Littlefinger played with similar success by Aiden Gillen, Daemon Targaryen works because of Matt Smith.

On an early summer day in 1999, Death Cab for Cutie were gathering for band practice when a sudden jarring explosion in the distance halted them in their tracks. The band was preparing to head out on the road in support of Something About Airplanes when something shifted. “We were playing music in the house and the house just shook,” Ben Gibbard said of the event, which turned out to be a nearby pipe explosion that claimed the lives of three people, two of them children who were swimming at a beloved town park.

“It was this kind of utopian little area in Bellingham where if you knew, you knew,” Gibbard explained. “People would swim there and skinny dip and they’d go there at night. And it was destroyed. So not only was it the loss of life, but because of the need for a f*cking pipeline to go through the middle of this thing, these kids lost their lives, and this beautiful place that we all loved was destroyed.”

To this day, a sign at Whatcom Creek warns visitors that the park is a “sensitive area” due to the destruction caused on that day. Gibbard revisited the event for their 2019 The Blue EP for the introspective “Kids In ‘99.” “I kept thinking about those kids and being like, those kids need a folk song. They need to be remembered. And of course, their family remembers them and of course, people remember that event, remember them. But I just felt that I’d written songs about Bellingham after I’d left it because I wanted to squeeze that version of Bellingham in my mind.”

Gibbard grew up in Bremerton, right across the water from Seattle, where his parents would frequently bring him to Olympia national park as a kid. The backdrop of Washington became a central trope in Death Cab’s essential discography. There are frequent references to the mountainous surroundings, dreary weather, and skyscraping trees that Gibbard felt weren’t present in music from other parts of the country. “You live in Seattle and you go 20 to 40 minutes, and you’re in the mountains. You go over those mountains and it’s a whole other world. It really feels like you’re on the edge of the earth at times.” This sentiment mirrors a chunk of Death Cab’s discography, where high-energy rock songs are immediately followed up by sorrowful introspective tracks.

“I think we’ve always been really interested in our environment and the way that our environment shapes us emotionally and otherwise,” bassist Nick Harmer explains. Harmer and Gibbard met in Bellingham and eventually became college roommates. “There’s a lot of rain and clouds. And I think for me, it can be a brooding place to be, and a real introspective place to be.”

In “Foxglove Through The Clearcut,” the latest single from the band’s 10th studio album Asphalt Meadows, Gibbard abandons his signature crooning vocals for a spoken-word monologue about a man who traveled across the country before reaching the edge with nowhere left to go. The lyrics began as a fictional story, but while writing Gibbard soon realized he was the narrator.

“[Ben] always left himself open to being affected and being impacted by the things that are happening around him in his environment, and channeling that either in a particular instrumentation choice or in a direct lyrical narrative that he’s exploring,” Harmer adds when asked about Gibbard’s lyrical evolution. Throughout the band’s entire discography, the lyrics are sprinkled with location-specific anecdotes: driving down the 405, pining in the city of seven hills, passing by the dusty storefronts of Holly Street.

Gibbard cites Modest Mouse frontman Issac Brock as the driving force behind the evolving sounds that have echoed throughout the Northwest and beyond since the late 90s. “Especially on early Modest Mouse records, he was writing about, quite literally, the loneliness of the West and the gentrification of it. He was just writing these incredible songs about the sense of alienation and just kind of vastness of where we live,” Gibbard remarks that the sound coming out of other music hubs just didn’t resonate with the band.

“It seems like there’s this period in pop music [over] the last 20 years, where every other song seemed to be about how tonight’s going to be the best night ever,” Gibbard explains, “That was just not really a sentiment that felt appropriate coming out of the Northwest. You’re looking out your window, it’s gray, it’s dreary, the sun’s going up and going down before you realize it, and it just lends itself to slow music, perspective music.”

The slow but introspective music is what launched Death Cab to gather recognition across the country, where most Top 40 stations were still thriving on the late-’90s grunge and the early-2000s pop frenzy. Because of the area’s isolation, the subsequent music scene became a small but strong pool of a specific PNW-inspired sound: reverb-heavy guitars sprinkled with melodic riffs paired with often existential lyrics.

Not only is the band heavily inspired by the area’s geography, but also by its welcoming community. The band gushes about employees at local venues, radio stations, and record stores as the main supporters of the flourishing music scene. “There’s Vera Project, there’s Crocodile, Showbox,” Harmer mentions. Not only have these venues supported the band in their early days, but Death Cab also raised funds to help keep them afloat during the early days of the pandemic.

Harmer adds that you can’t go anywhere in the immediate Seattle area without finding someone who wants to sit and chat about music, which is not always the case in other music-centric cities. “I mean, going into a local guitar shop and sometimes you run into somebody there. You’re just always around the music. And I think because we play music, we love music, it’s worked its way into every corner of our lives. We’re connected in a variety of ways to the ongoing community of music making. If you’re paying attention and you’re curious, you will come across all kinds of music. I mean, there’s so much amazing music up here, right?”

Gibbard also mentions Wall Of Sound Records, a local store in Seattle, which is his favorite place to discover new music. “They’re the rare kind of dudes who are into that kind of music and they’re not snobby about it. They really want to share it. And if you go in and you say, yeah, ‘I love Depeche Mode’ or something and [they say] ‘You got to hear this Turkish darkwave band. They’re incredible.’ They’ll just hand me the record. I’ll be like, holy sh*t. This is f*cking great.”

Wall Of Sound is just one of the many local places that take pride in their extension of music knowledge in Seattle and beyond. Jeffrey Taylor and Michael Ohlenroth, the curators at Wall Of Sound, say that the area has always had a healthy music scene stemming from diverse musicians and artists, which began to gain more recognition after the ’90s grunge phase. “It seemed natural that a more introspective, genteel, singer-songwriter approach to music would make inroads with PNW music fans and slowly spread to the rest of the country and the world,” Ohlenroth says. “That said, talents such as Ben Gibbard’s or Elliott Smith’s would have grown in any soil.”

Perhaps that’s why Death Cab has resonated beyond the area, their appeal was just heightened by the Northwest of it all. Gibbard continues, “I really feel that one of the many reasons that Seattle kind of developed the scene that it did, and the kind of aesthetic that it did, was because we were so isolated.” In the isolation, the tight-knit music community flourished.

Though he is now a “proud Cascadian,” Gibbard has lived in and written about other places, too. He sings of frustrations on “Bixby Canyon Bridge,” and talks about California’s blazing heat waves in “Why Would You Want to Live Here.” But he always found himself coming back to Washington. “I lived in LA for a couple of years and I enjoyed it to a certain extent, but when that relationship disintegrated, I told myself I’m never leaving this place again. I needed to leave it to recognize how much I love it. So to me, I’m so proud to be a Seattle artist.”

Death Cab For Cutie is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

YG is just a little over a week away from dropping his sixth studio album, I Got Issues. Per usual, the tracklist to this YG album boasts several hot collaborations.

So far, we’ve heard YG’s solo tracks, “Toxic,” and “Alone,” as well as “Scared Money,” a collaboration with J. Cole and MoneyBagg Yo.

A track called “Sober” contains appearances by Roddy Ricch and Post Malone. “No Weapon,” which features Nas, is a collaboration that comes after years of manifestation, he revealed to TMZ in a recent interview.

“I didn’t rap with him,” he said. “He did his sh*t in his studio, he sent it. It was crazy ’cause I’ve been trying to get Nas on some sh*t for years. I was trying to get him on my second album and sh*t, but it just didn’t happen. But he’s been showing love since day one, he always supported my sh*t and all that. So when I finally got the verse, I was like, ‘Finally.’”

Check out the tracklist below.

1. “Issues”
2. “Baby Momma”
3. “Toxic”
4. “Maniac”
5. “How To Rob A Rapper” Feat. Mozzy and D3szn
6. “I Dance” Feat. Duki and Cuco
7. “Scared Money” Feat. J. Cole and MoneyBagg Yo
8. “Go Dumb” Feat. H.E.R.
9. “No Love”
10. “Sober” Feat. Roddy Ricch and Post Malone
11. “Drink To This”
12. “No Weapon” Feat. Nas
13. “Alone”
14. “Killa Cali”

I Got Issues is out 9/30 via 4hunnid and Def Jam. Pre-save it here.

Some of the artists mentioned are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

The live two-hour premiere episode of the star-studded 31st season of “Dancing With the Stars” was an emotional one, to say the least, as actress Selma Blair took to the stage.

Four years ago, Blair publicly announced her diagnosis of multiple sclerosis—a chronic disease that causes many different symptoms, including vision loss, pain, fatigue and impaired coordination.

It was clear that entering the competition was more than a chance to win a title for Blair. In an interview with ET Canada, the “Cruel Intentions” actress shared that “I hope that by doing this show that I could show people with disabilities the joy that can be found in ways you never expected.”

Blair definitely succeeded with that goal. She and pro dance partner Sasha Farber earned third place and brought the audience to tears with an elegant, moving waltz routine set to David Cook’s “The Time of My Life.”

Blair posted a shorter clip of the dance onto her Instagram, writing in the caption that “This night will go under my pillow of sweet dreams for the rest of my life.”

Blair, who normally walks with a cane, was most concerned with keeping her balance during the performance. But relying on Farber was a welcome relief. “I have been a single mom. I’ve always loved supporting people, and then to have so many people support me, heaven,” she told “Access Hollywood“.

She added that the opportunity to dance came at a time when recovery had stalled. “I just couldn’t get motivated to get stronger. Then this came and for the first time in my life I was like, ‘Yeah, it makes sense…’ I want to start learning how to build myself up again,” she shared. Because of her work with Farber, the “Legally Blonde” actress is getting stronger each day, something that gives her immense pride.

Blair’s comeback is certainly inspiring—it takes immeasurable amounts of grace to move through all of life’s challenges and still remain hopeful. Whether or not she makes it all the way through the competition, she has already won something much more profound by proving what’s possible.