Category: News

The Black Keys‘ tenth studio album Delta Kream may feature the scuzzy electric guitar and bluesy twang heard on their previous releases, but it’s a little different. Delta Kream consists of eleven Mississippi hill country blues songs covered by the band, and they’ve just now shared a video alongside “Poor Boy A Long Way From Home.”

The Black Keys make sure to pay homeage to legendary singer R. L. Burnside in the visual, who is known for his legendary performances of the track. Directed by Ryan Nadzam, the “Poor Boy A Long Way From Home” visual shows the band giving a rendition of the track at Blue Front Café in Bentonia, Mississippi (which is the oldest active juke joint in America, according to Rolling Stone)

Ahead of the visual’s release, the band announced they would be hitting the road for a tour. But it’s not exactly the kind of tour that would be expected for a stadium-selling band like The Black Keys. Their World Tour Of America is just three stops and it goes through American cities that are named after other cities: Athens, GA, St Petersburg, FL, and Oxford, MS. In a statement about the tour, drummer Patrick Carney said: “It feels like now is as good a time as any, and we are excited to play in some places we haven’t played since the early days of the band and for fans that have not had a chance to see us in a while.”

Watch The Black Keys’ “Poor Boy A Long Way From Home” video above.

Delta Kream is out now via Nonesuch Records. Get it here.

The Black Keys are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

While streaming services have done a great job churning out holiday movie after holiday movie and keeping the warm, fuzzy feelings coming throughout the year’s coldest months, nothing really beats a classic, right? Fortunately, one streaming service is reviving one of the biggest holiday classics imaginable: Home Alone.

Following Disney acquisition of 21st Century Fox, the studios gained the rights to the Home Alone series and quickly got to work. Now, we’re merely months away from the series reboot, Home Sweet Home Alone, over on Disney+, and better yet, we finally have a first look at the comedy-star-filled cast. According to The Wrap, Ellie Kemper and Kenan Thompson of Saturday Night Live fame are set to star as the antagonists in the upcoming film, and we can’t imagine a more devious — and hilarious — duo.

Three months until we’re #HomeSweetHomeAlone. The all-new Original Movie starts streaming November 12 on #DisneyPlus and stars Ellie Kemper, Rob Delaney, Archie Yates, Aisling Bea, Kenan Thompson, Tim Simons, Pete Holmes, Devin Ratray, Ally Maki, and Chris Parnell. pic.twitter.com/kXhI7qzAk5

— Disney+ (@disneyplus) August 12, 2021

In addition to Kemper and Thompson, Rob Delaney (Deadpool 2), Archie Yates (Jojo Rabbit), Aisling Bea (This Way Up), Tim Simons (Veep), Pete Holmes (Crashing), Devin Ratray (Home Alone), Ally Maki (Wrecked), and Chris Parnell (Rick and Morty, Archer) are also attached to the film. While this cast is already exciting enough in and of itself, long-time Home Alone fans will be thrilled to know that much of the former cast is rumored to be making appearances in the film as well. However, while outlets have reported on the supposed role reprisals, Disney has yet to formally announce anything.

Home Sweet Home Alone follows the clever and mischievous Max Mercer (Archie Yates) after he’s left, well, home alone. While his entire family is off on vacation in Japan, Max is left to defend the family home from a married couple (Kemper and Thompson) intent on retrieving a priceless heirloom the Mercer family possesses. Of course, chaos and zaniness ensue and Max is forced to think outside of the box in order to keep the invaders out of his home. While this good ol’ fashioned Home Alone romp already sounds like a good time, what I’m most excited for is seeing just how Disney manages to make all this magic happen in a world filled with way more technology than the one we saw in the Macaulay Culkin films.

Dan Mazer, the director behind Dirty Grandpa and I Give It a year, will be directing, while Saturday Night Live star Mikey Day and writer Streeter Seidell have teamed up to write a script based on Hughes’ original screenplay. Home Sweet Home Alone is scheduled to hit Disney+ on November 12.

With events like Rolling Loud, Austin City Limits, and Firefly Festival either on the schedule or just wrapped, it’s starting to look like festival season is officially back in full swing (then again… here comes Delta). In California, it’s been well over a year since festival-goers have been able to enjoy the glass-shattering music, head-turning outfits, and YOLO vibes offered by dancing in a crowd full of people hopped up on life, beats, and perhaps a few substances. So when DAY.MVS (presented by CRSSD Fest) announced their line-up, thousands of SoCal citizens geared up to flood Waterfront Park in San Diego, California with their energy and style.

With warm temperatures and ocean views, the two-day return to live music was like a Cali-cliche fever dream in all the best ways. There was no shortage of out-there ensembles, body glitter, overpriced drinks, and beautifully chaotic energy in evidence. Performers included electronic music gurus like Lane 8, Nora En Pure, Fisher, Yung Bae, and MK, among others.

With a slew of festivals popping up over the next few months, we collected all the best photos from DAY.MVS to get you excited for the music and party-filled weekends to come (again, keep an eye on Delta and get f*cking vaccinated). All photos are provided by the CRSSD team including Quinn Tucker, Miranda McDonald, and Felicia Garcia.

Nick Saban and the Alabama Crimson Tide have experienced overwhelming success in the world of college football, winning myriad championships and generally dominating the sport. Saban is regarded as perhaps the best to ever do it as a head coach in the sport and, when prompted with the opportunity to speak to Alabama’s team, TNT’s Ernie Johnson expressed that the only question is “What time?” rather than a yes or no proposition. Johnson recently delivered an uplifting message to the Crimson Tide that was captured and shared on social media, and it was as poignant as you may expect.

Johnson shared about knowing one’s role, pointing to his own work at Inside The NBA and playfully acknowledging that observers aren’t exactly tuned into that broadcast for his basketball knowledge. Instead, Johnson indicated that he knows his role is to make others shine, and that feeds into the bigger message to attempt to improve the lives of those around you.

“When you step away from your agenda and notice that there are moments that can make somebody’s life better, that’s all that I try to teach my kids,” Johnson said. “When you wake up in the morning, how am I going to make somebody else’s life better today? There’s a team much bigger than this, there’s a team that is trying to make somebody’s day better, that’s all of us.”

From there, Johnson revealed a t-shirt that read “Be A Better Human” and delivered a challenge to the team to follow that ethos. Following the visit, Johnson also re-shared Alabama’s video and poked fun at a graduate of the University of Georgia being able to share a moment with Alabama in this setting.

Johnson is widely seen as a tremendous human being and he has a powerful personal story. It certainly isn’t a surprise that he would be called upon to speak to a team like this, but the messaging holds up and everyone could use a reminder to heed this advice.

Musicians collaborating without meeting in person is pretty business as usual these days, what with the magic of the Internet and last year’s pandemic quarantine. So when Lorde announced that her forthcoming third studio album, Solar Power, would include backing vocals from both Phoebe Bridgers and Clairo (“Solar Power” and “Stoned At The Nail Salon”), it seemed completely possible and unsurprising that each vocal powerhouse could co-exist on one project without ever having to meet. As such, Bridgers recently offered her take on working remotely with Lorde in an interview with Apple Music’s Zane Lowe, calling the experience “so fun,” adding, “I think that was one of my favorite parts of it… we were so unconnected to each other that borders and being in the same town as someone just stopped mattering completely.”

“I had the same line of communication with Ella [Lorde] as I have with someone who lives right down the street from me,” she added. “So that was kind of magical to exist in a weird, ethereal multi-verse for a while. I had such a good time. Also, even just being inside that session and being able to look into somebody’s brain like that was so fun.”

Check out the full interview here and find Bridgers’ just-released cover of Metallica’s “Nothing Else Matters” here.

Solar Power is out 8/20 via Republic. Pre-order it here.

Mike Lindell just can’t catch a break. Following reptilian raconteur Steve Bannon turning on him, the Daily Beast is reporting that the MyPillow CEO’s own “lead cyber expert” is admitting that the piles of evidence Lindell has spent months boasting about having that prove that the 2020 presidential election was hacked is all bullsh*t.

While Lindell made a big show out of offering a whopping $5 million to anyone who could show up to his “cyber symposium” and debunk his claims that China hacked our voting machines and swung the election Joe Biden’s way, that offer is apparently no longer valid. In an interview with the Washington Times, Josh Merritt—part of the team of cyber experts Lindell hired to legitimize his election-jacking theory—admitted that those pieces of “irrefutable” evidence the crucifix enthusiast has been throwing around, which look like screenshots from a bootlegged copy of The Matrix, are proof of absolutely nothing. As the Washington Times wrote:

Mr. Lindell said he had 37 terabytes of “irrefutable” evidence that hackers, who he said were backed by China, broke into election systems and switched votes in favor of President Biden. The proof, he said, is visible in intercepted network data or “packet captures” that were collected by hackers and could be unencrypted to reveal that a cyberattack occurred and that votes were switched.

But cyber expert Josh Merritt, who is on the team hired by Mr. Lindell to interrogate the data for the symposium, told The Washington Times that packet captures are unrecoverable in the data and that the data, as provided, cannot prove a cyber incursion by China.

While Lindell has spent weeks talking up his cyber symposium, and teasing his plan to unveil the mountains of data he—a former crack addict who hawks pillows in cheesy commercials that look like they were shot on an iPhone—had collected, it all turned out to be a bunch of hooey. Which any rational person already knew, but the idea of seeing Lindell unveil his trove of shite data would have at least been a conversation-starter.

On Wednesday, the same day Lindell was set to share his findings, Merritt said that he and his team were “not going to say that this [data] is legitimate if we don’t have confidence in the information.” The Daily Beast reports that several security experts who had traveled to Sioux Falls, South Dakota specifically to see Lindell’s “proof” were pissed off when Lindell offered them a boatload of nothing.

Rob Graham, a cybersecurity pro who is on the ground is Sioux Falls and live-tweeting his symposium exploits, offered a pointed take on what Lindell’s got: “random garbage.”

Funnily enough, that’s the same phrase many have used to describe Trump’s most devoted sidekicks.

(Via Daily Beast)

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.

The angel number “333” is a reassuring sign that confirms the path one currently charters is the correct one. All fears, worries, anxieties, or anything else that undercuts confidence at the knees, are acknowledged, but the beam of light that this triple-digit figure shines towards is optimism rather than pessimism. In short, “333” not only begs for faith but also induces it. After all the chaos that the world endured in 2020, it’s no surprise that Tinashe’s fifth album carries the title of 333, but a pandemic year barely scratches the surface of inspiration for the singer, that is, if it’s even for the table she sits at.

To understand why Tinashe might need faith instilled in her future, you have to understand her past. After gaining popularity for a trio for 2010s mixtapes, In Case We Die (2012), Reverie (2012), and Black Water (2013), and breaking through mainstream walls with her debut album Aquarius and top-30 Billboard single “2 On,” things would veer off-road for Tinashe. Struggles with her former label would result in an unpromoted sophomore album Nightride and a well-overdue third album in Joyride. Tinashe would reclaim control of her career as an independent act for her fourth and fifth albums, Songs For You and 333, but for many of her fans, and quite possibly the singer herself, questions of what-ifs and maybes swarmed the mind.

333 encapsulates Tinashe’s eye-popping versatility like no other album in her discography has done. Through 16 songs and collaborations with Jeremih, Kaytranada, Kaash Paige, Buddy, and more, the singer dives headfirst into the idea that trusting what’s in front of you will lead to what’s also destined for you. It’s the hidden message that lays underneath the drawn-out and steady snaps on the album’s opening track, “Let Go.” “It’ll be alright,” she sings softly. “When I let go.” The gadgets and gizmos that we believe we can control to steer our lives in the desired direction are mere placebos that appear as such we end up at a different destination than expected — whether it be an enchanting heaven or a bottomless ditch.

So with that, Tinashe keeps faith in what she can do well, and in all honesty, it’s a lot. Between R&B that arrives as gritty on “I Can See The Future” or bouncy and sensual on “X” as well as pop-leaning records that come alive through “Undo (Back To My Heart)” and “The Chase,” Tinashe’s palette bears many different colors for brushes of all sizes. For some, this never-ending availability of options may be too much to handle, but for Tinashe? She’s cut front the cloth that doesn’t simply beg for freedom — she requires and demands it. A lack of boundaries for some leads to aimless roaming and wasted times, while for others, it provides the perfect space for discovery and inspiration. Tinashe is the latter.

Roaming free helped the singer produce several examples of attention-seizing records on 333. “Unconditional” begins with uptempo dance-ready production before dialing the tempo back in its second half into a relaxed state that sees Tinashe expanding on her request for love without restriction as she plans on giving the same. “Last Call” arrives as a somber goodbye to a relationship that once was and the hope that a friendship can be salvaged. The song’s climatic production from verse-to-chorus accentuates Tinashe’s true pain towards a departed love while a similar structure on “The Chase” presents a woman who’s moved on and won’t beg for a former lover’s presence.

For the career Tinashe has endured, two quotes from her come to mind. “I realized that it was my turn to get back into the driver’s seat as far as curating every move I made from there on out,” which she said following the underwhelming success of “Flame,” a lead single turned promo release for Joyride. The second comes from a 2017 interview with Lena Dunham. “I learned that if I couldn’t trust in myself, and my own opinions, I lost all of my value as an artist,” she said. Both statements from Tinashe are worth keeping in mind while traversing through her latest body of work.

Tinashe deserves the spot she stands in right now. She was due for this position years ago, but maybe the bumpy road she walked on was intentionally laid for her. The trials and tribulations the singer went through are certainly examples of the faults within an often unsupportive music industry, this and the accompanying high moments she experienced all contributed to the success she has now. Control what you can and let go of what you cannot as hindsight is 20/20 and foresight is as blind as a bat, but faith in continuing forward should bring Tinashe all she wants and more. The angels have spoken, now it’s time to listen, trust, and believe.

333 is out now via Tinashe Music Inc. Get it here.

Tyler The Creator’s third album, Cherry Bomb, was released in 2015. Since then, Tyler has released three albums, with his latest, Call Me If You Get Lost, coming out this year. Between Cherry Bomb and now, Tyler has done some growth as an artist. That, paired with some things he has said, has led to theories that Tyler isn’t too keen on Cherry Bomb anymore. Now, Tyler has gone ahead and debunked that rumor.

Today, a fan on Twitter asked Tyler if he doesn’t like the album. They cited a couple facts that prompted them to ask the question: Tyler tweeted recently that 2015 was his “ugly phase,” and he raps on the Call Me If You Get Lost track “Massa,” “That caterpillar went to cocoon, do you get me? / See, I was shiftin’, that’s really why Cherry Bomb sounded so shifty.”

Tyler replied that insisting his “ugly phase” comment was about his physical appearance and nothing more: “n**** i said my ugly phase, my face, what that gotta do with my music lmfao yall be reaching.”

Speaking of Call Me If You Get Lost lyrics, Tyler wants to make sure that they’re shown correctly online, as he called on Genius and Apple Music to update their listings of his lyrics after he posted the correct ones himself.

Being a parent requires a constant baseline of fear that something terrible is going to happen to your child, one that keeps you on your toes at any given moment to spring into action should that happen.

That is especially the case for any parent with a pool and a small child who is not yet a strong swimmer. Andre Drummond learned all about that this week as his son hung out with his feet dangling into the pool with family before falling in, causing the now-Sixers center to spring into action, leaping into the pool to quickly scoop up his son in what was a scary scene at the Drummond household that got caught on a security camera and Drummond posted to his Twitter.

Happily, his son was fine (and smiling immediately after) and Drummond was able to laugh a little bit at how his son just sort of leaned into the pool to the dismay and terror of everyone else.

Drummond’s reaction time here is impressive, as he had his son out of the pool within two seconds of him going face first into it. Hopefully the youngest Drummond will learn from this and be a tad more careful around the edge of the pool, but if not it’s good to know dad is ready and able to jump in and lift him out.

Would-be concertgoers had better get their shots, as Anschutz Entertainment Group (AEG), the second-largest concert promotion company in the US behind Live Nation, will be requiring proof of COVID-19 vaccination at all of its US venues beginning in October. AEG notably operates some of the biggest venues in the States, including Staples Center, Brooklyn Steel, and Webster Hall, and subsidiaries like GoldenVoice operate festivals including Coachella, Stagecoach, and upcoming fests like Lovers & Friends and Day N Vegas.

Up until now, and until the policy goes into effect, AEG has been allowing entry with either proof of vaccination or a negative COVID test within 72 hours of the event date. However, with new infections rising and the emergence of new variants of the novel coronavirus, including the Delta variant, AEG’s leadership wants to protect attendees — and the company’s bottom line — to ensure future events don’t get canceled or postponed as in 2020 when the initial COVID outbreak essentially shuttered the entertainment industry for months.

As AEG COO Jay Marciano explained in a statement:

“We have come to the conclusion that, as a market leader, it was up to us to take a real stand on vaccination status. Just a few weeks ago, we were optimistic about where our business, and country, were heading. The Delta variant, combined with vaccine hesitancy, is pushing us in the wrong direction again. We realize that some people might look at this as a dramatic step, but it’s the right one. We also are aware that there might be some initial pushback, but I’m confident and hopeful that, at the end of the day, we will be on the right side of history and doing what’s best for artists, fans, and live event workers. Our hope is that our pro-active stance encourages people to do the right thing and get vaccinated. We’ve already had to deliver bad news about JazzFest this week; I think everyone can agree that we don’t want concerts to go away again, and this is the best way to keep that from happening.”

In contrast, Live Nation has let artists set the tone, determining vaccination requirements for their own shows. With this move, it’s possible AEG will put pressure on its industry peers to take further steps to protect the public and prevent another potentially disastrous industry-wide shutdown.