Musicians’ name changes have been the source of some media attention lately after Lady Antebellum and The Dixie Chicks altered their monikers to distance themselves from racist connotations. But there are many other reasons why artists decide to change their titles. Shady Records signee Boogie is now in the latter camp after the rapper has reportedly slightly altered his name.
While Boogie recently released “Boxed In” as his first single of 2020, the song may have been his last under the name. According to a report from HotNewHipHop, the rapper is looking to be known as Westside Boogie in an official capacity. The news of the name change was made clear by his contribution to the LVRN Home For The Holidays compilation, which sees him credited under the new moniker.
The rapper’s decision to adopt the new name reflects his Compton roots, but also comes at an apt time. Not only will his new title save the rapper from an A Boogie Wit Da Hoodie mix up, but Westside Gunn recently announced his decision to leave the Shady Records family. That means Boogie now has the opportunity to be the sole Westside on his label.
Check out the Home For The Holidays tracklist above.
A Boogie Wit Da Hoodie is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Ice Cube has seen an abundance of controversy in the past few months. The rapper recently had to clarify that he wasn’t a MAGA supporter after he was criticized by fans for working with the Trump administration. Cube was also flagged for sharing an antisemitic meme just a few weeks before that (which he later claimed was posted by a hacker). But it now looks like Cube is trying to smooth things over with a head-scratching gala appearance.
Cube has apparently been booked to headline the annual gala of the Zionist Organization Of America (ZOA) at the end of next month, according to NME. The virtual event will also see a speech from Jon Voight, who has similarly faced criticism for backing Trump.
The rapper’s appearance at the gala was secured after he formed a friendship with the ZOA’s president Morton Klein. Cube and Klein were in contact following the rapper’s controversial tweet and the two apparently had a two-hour-long eye-opening conversation about the NAACP and civil rights. Klein detailed his chat with Cube in a tweet posted back in July. Along with mentioning the that two condemned racism and antisemitism in their chat, Klein said: “Cube told me he thanked Jews for starting NAACP, many Black schools & fighting for Black civil rights.”
I, Mort Klein, just had a 2 hour conversation with Ice Cube. We both grew up poor in Black hoods. Cube told me he thanked Jews for starting NAACP, many Black schools&fighting for Black civil rights.Cube told me he supports condemning Black&all antisemitism& I condemned all racism
The second season of His Dark Materials promises more. More fantasy. More adventure. And more mature storytelling. The show, an adaptation of Philip Pullman’s best-selling fantasy series, enjoyed a critically well-received first go-round with Dafne Keen playing the feisty young protagonist Lyra Belaqua, who has a terribly important destiny and is surrounded by morally-questionable adults (played by names like Ruth Wilson, James McAvoy, and Lin-Manuel Miranda). Season 2 sees Lyra partner with a young boy named Will (Amir Wilson), traverse multiple worlds, and confront philosophically-complex ideas like the concept of Original Sin.
It’s… a lot. But it works, thanks to the show’s commitment to its source material and its charismatic cast. We chatted with His Dark Materials writer Jack Thorne on the twists of Season two, exploring darker storylines from the book, Fleabag fanfiction, and yes, Baby Yoda.
For fans who maybe came to the show and haven’t read the books, what are some things that you’re excited for people to see this season?
The first season we were constantly on the move, we were never really allowed to sit still. She was constantly making and forming new relationships. This series is much more about her being in one place and chartering the journey of one relationship, one very significant relationship, which is the relationship with Will. She is not the girl we met in series one. In series one, she was always anxious for what was next. What’s the next adventure? Here she’s had an adventure and it’s not turned out well and she’s battling demons that have been brought to her by her parents.
We always described it as a series about trust. Will and Lyra are learning to trust each other. Will has never trusted anyone because he’s a teenage carer that’s had to look after his mum. That’s had to act as sort of her protector for a very long time, from a very young age. Lyra is someone that did trust easily and now, in terms of that trust, [it’s] really basically broken by her uncle, who she subsequently discovered was her father, who did the worst thing possible towards her.
You had a planned stand-alone episode with James McAvoy that got scrapped because of COVID. You were editing this earlier in the year. Has what’s been going on with the pandemic affected the tone of the show in any way?
The bit that we didn’t get to film would have been — we all had pandemic in our heads then. But I mean, we hadn’t heard of COVID-19 when we were making this show. It’s interesting that this show deals with an empty town where adults are all petrified of creatures they can’t see. So, a virus they can’t see, whereas the children are seemingly less affected by [it]. In our world, children do seem to be able to move around a bit more than adults can. So that is fascinating for us. I firmly believe that Philip Pullman is a wizard, but I don’t think he necessarily prophesized this.
Speaking of darker themes, the second book in Pullman’s series is heavier, more mature. How do you strike a balance between the material and the audience you’re trying to reach?
It’s hard. For HBO and the BBC, we’re a family show — that’s one thing that they are most excited by. Because those sorts of shows aren’t in abundance right now. So it’s important that we are a show that young people can watch with their parents and that they won’t go to bed with nightmares. Getting that balance right is tricky. It’s tough. We are constantly discussing it. It’s not just a matter of how dark we go. It’s also how much conversation do we allow? Where’s the bit that will make the nine-year-old boy sit forward; the nine-year-old girl sit forward? As well as where are the bits that will appeal to the 45-year-old who’s watching it on their own? Do you know what I mean? And getting that, doing that 9 – 90 thing is the biggest challenge of the show because there’s so much temptation to descend towards the darkness, because the darkness is so thrilling.
The show had a big writer’s room change in Season 2. You were able to bring on a handful of voices to help flesh out certain storylines. How does that change manifest on screen?
We knew that I wasn’t going to be able to write anymore, that we just didn’t have the time to do it that way. So I wrote all the drafts on my own and then the writers came in and they took the first drafts that I wrote and then transformed them. I needed to lay out the story. When you’re chartering the relationship between Will and Lyra, you want to make sure that we’re not jumping to places too quickly. That we’re seeing that relationship develop, so I just wanted to make sure that was in place, and then this incredible team came in.
You think, “Well, their job is to take on and develop and do things.” And of course, what they do instead is they transform. In one case, they did so much work on the script, that it didn’t feel right for me taking credit at all anymore. But yeah, I’d say that the storyline, in particular, it felt like they took on and ran with was the witches. We always knew we wanted to bring Ruta in and I’ve written Ruta in. And I’ve written the relationship between and Ruta and Serafina, but they just deepened it and needled it, and just brought it to a much more worthy and interesting place.
You’ve also brought on a couple of new faces, Andrew Scott being the big one. And we get a mini Fleabag reunion later in the season. How did you convince Phoebe Waller-Bridge to do that?
We offered and Phoebe said yes? [Laughs] She’s lovely. I’ve worked with Phoebe a few times. We made plays together. I think maybe it was her second play, but we started out together in our 20s. And obviously, she loves Andrew, and she has always loved these books. So, she was delighted to be asked and we were beyond delighted and she said, “Yeah, sure.” We’re very lucky.
I hope you know having Hot Priest and Fleabag working together to destroy God is going to spark a lot of fanfiction once the show premieres.
Fantastic.
Another new character is Simone Kirby’s Dr. Malone. What’s her relationship with Lyra this season?
Well, I don’t want to spoil anything, but I love Mary. I think she’s an interesting character from here onwards. Whether or not she is good for Lyra? I think that’s a really key question for Philip, and I wouldn’t want to answer it yet.
The Mandalorian Season 2 is out. If it’s a fight between Pan and Baby Yoda, who’s cuter?
[Laughs] I think it depends on what form Pan is in.
He’s an adorable red panda this season. You knew what you were doing.
There’s an advertisement in Cittàgazze for a drink and that all comes from that. That’s how that sort of thing happened. But yeah, no, I think he’s unbearably cute, the red panda.
Take that, Baby Yoda.
I wouldn’t want to fight Baby Yoda, to be honest. The idea of being in competition with that thing is beyond us.
HBO’s ‘His Dark Materials’ returns on Monday, November 16.
ESPN’s Adrian Wojnarowski brings word on Monday evening that Harden “has made it clear to ownership that he’s singularly focused on a trade” and his preferred destination is the Brooklyn Nets. Though it is important to note that ESPN’s reporting also notes that the two teams “so far have engaged in no meaningful dialogue,” these kind of discussions can often escalate quickly.
The Rockets are in a challenging position in that Harden remains a top-flight player and the team is likely dreading the potential of moving him elsewhere. In addition, this kind of public posturing for one particular destination can damage the market for Harden and, with Houston still trying to compete, they may choose to hang on to Harden through the beginning of the upcoming 2020-21 season.
As an additional wrinkle, Wojnarowski reports that Houston recently offered Harden a contract extension that would add more than $100 million in total cash over two additional seasons. If Harden were to accept, he would be owed more than $240 million over five years, but Harden’s reported insistence on moving to Brooklyn seemingly wasn’t overcome by the financial commitment.
It remains to be seen as to how this will play out, but the Rockets reportedly aren’t overwhelmed by the prospects of a deal with Brooklyn specifically. Given that the Nets would seemingly be intent on avoiding the inclusion of Kyrie Irving or Kevin Durant in any offer, Brooklyn would have a package centering on strong pieces like Caris LeVert, Spencer Dinwiddie and Jarrett Allen, but none would qualify as “stars” at this juncture. From there, the Nets don’t have top-end draft capital to offer, which could leave the two teams without an obvious common ground on a deal.
Conservative media has other things to worry about right now, such as an outgoing president who refuses to concede. But a couple of them decided to take a break from touting flimsy voter fraud evidence to engage in some very old school culture warmongering. It started with noted far right commentator and former Kanye pal Candace Owens, who took umbrage with a new Vogue spread depicting Harry Styles in a dress. While that led to widespread mockery, in came Ben Shapiro to tell her, in essence, “hold my beer.”
The former Breitbart writer started by getting Owen’s back, writing, “Anyone who pretends that it is not a referendum on masculinity for men to don floofy dresses is treating you as a full-on idiot.” He then went on, for a good long while, accusing Styles and Vogue of attempting to “feminize masculinity” and destroying gender and what have you, over a series of tweets you can read here (if you’d like).
But the response to Shapiro’s latest tirade, as usual, was a lot more direct. That is to say, the right-wing commentator — who, even at 36, still looks like the hissable trust fund baddie in an ‘80s prep school comedy — found himself once again having the internet version of his head getting dunked in a toilet bowl.
Some reminded us of one of Shapiro’s greatest achievements: angrily and cluelessly reading the lyrics to “WAP” while cameras rolled.
Ben Shapiro, who thought a woman with a WAP had a medical issue and who cried over a razor commercial being mean, is lecturing Harry Styles, the source of WAPs all over the world, on masculinity.
I don’t care if you wear a dress, just wear a matching mask to be truly in vogue.
246,000 Americans have died and Candace Owens and Ben Shapiro are furious over Harry Styles wearing a dress on a magazine cover. These people are trolls who don’t care if you die.
Following the success of last year’s Hot Pink, Doja Cat has appeared on songs from artists like Ariana Grande, Bebe Rexha, and Ozuna. But those aren’t her only collaborators. On Monday, the singer announced she teamed up with UK retailer PrettyLittleThing for a curated line of clothing.
Per the retailer’s website, the new line is designed for “the bad girls who know they look good” and boasts of form-fitting leather, clashing prints, and cropped staples. Doja Cat also acted as a model, showing off various ways to style the 26-piece line.
Speaking about the new line in a statement, Doja Cat said she was able to unleash her creativity: “This was my first time curating for a fashion brand, period! I love PrettyLittleThing and can’t wait for all my fans to see it and wear it. […] They really let me channel the essence of who I am into this collection. Wait until you see what’s next!”
Echoing Doja Cat’s sentiment, PrettyLittleThing CEO Umar Kamani said: “I’m so excited to be working with such a credible artist on this new collection. I’ve admired Doja Cat and her career for a very long time and we’ve been working closely with her to bring her unique style to the PrettyLittleThing customer. This is just the first collaboration and we have lots more to come throughout the partnership.”
Check out some of Doja Cat’s PrettyLittleThing looks above and shop them here.
Doja Cat is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
The actor Martin Scorsese is most closely identified with may be Robert De Niro — although before they reunited for The Irishman, the two hadn’t worked together in 24 years — but these days it’s Leonardo DiCaprio. Since 2002’s The Gangs of New York, the director and actor have collaborated a total of five times, including on 2006’s The Departed, the picture that finally nabbed Scorsese his Oscar. But their sixth team-up, Killers of the Flower Moon, ran into some trouble last year, in part because DiCaprio fought for script changes that may have gotten it booted from one company to another.
This comes from IndieWire, who caught the project’s screenwriter, Forrest Gump scribe Eric Roth, on an episode of the podcast Script Notes. Among other things, Roth confirmed rumors that began circulating back in March, namely that the screenplay changed dramatically at the behest of DiCaprio.
Roth said he spent “four or five years” adapting the source, a non-fiction book that recounts the tale of the Osage tribe of Native American people, who discovered oil on their land — thus inspiring every killer in the country to wipe them out. DiCaprio was supposed to play their hero but, as The Hollywood Reporterreported over the summer, he allegedly insisted that he play a more brooding character — the nephew of one of the killers, played by Robert De Niro.
While Roth didn’t confirm all the details — among them that Paramount, who originally was to backed the extremely expensive production, thought DiCaprio’s alleged changes made it less commercial, or “smaller scale; same price” — he did make it clear that the two fought.
“Leonardo wanted some things changed that we argued about,” Roth said. “He won half of [the arguments]. I won half of them.”
Roth also said that rewrites will continue to happen until it finally starts filming in March, a full year after its original production date. Since then the production migrated from Paramount, who produced the Scorsese-DiCaprio hit The Wolf of Wall Street, to Apple. It’s still unconfirmed just how much DiCaprio’s fighting did to cause pre-production headaches — or if those changes will result in a better final picture.
Calling out the best box of mac and cheese on grocery store shelves is no easy task. So many of us grew up with one brand or another, greatly informing our taste buds in the present day. This is a dish that’s highly dependent on sense memory. Perhaps the most dependent.
Because of that, under normal circumstances, we might just leave you to stick to your tried and true brands. But since the pandemic has created an unprecedented boom time for mac and cheese, we figured you might be experimenting a little further afield. So we decided to rank the boxes that are most commonly found on grocery store shelves.
So what makes a “good” cheesy mac? If we remove nostalgia, we’d have to say a solid noodle, a lack of a cardboard taste, and a creamy cheesy sauce that’s suitably sharp. The good news is this: that combo is relatively easy to find. We’re talking about pasta and cheese — a deeply satisfying experience, even straight out of the box with no frills. Just ask Cliff Booth…
The weird thing with macaroni and cheese these days is that there’s just so much of the stuff. It’s become a bit like food mad-libs — with a mix of words like “organic,” gluten-free,” “vegan,” “white cheddar,” “sharp cheddar,” “low sodium,” and “shells” getting mixed and remixed endlessly. Annie’s alone has seven Deluxe Rich and Creamy boxes, 29 standard powdered cheese sauce boxes, and an additional ten microwaveable versions.
They sell 46 different varieties of macaroni and cheese right now. Seriously.
Don’t worry, we’re not ranking 46 boxes of Annie’s mac and cheese today. Instead, we’re ranking 12 boxes from brands you can generally find coast-to-coast. As for parameters, we’re going on flavor alone. Because of that, the deluxe versions tend to dominate our list (though my editor has made it very clear that the powdered cheese fans out there roll deep). And while you’ll see a lot of standards near the top, a fairly new entry almost stole the #1 slot.
Banza famously makes gluten-free boxed pasta, largely from chickpea flour. It’s a no-brainer that they’d enter the mac and cheese game with their pasta.
Bottom Line:
The powdered sauce isn’t the problem with this box. The chickpea pasta has a very narrow toothsome-ness. If this stuff is overcooked, even slightly, it’ll crumble. No one wants crumbly pasta in cheese sauce. That being said, you are getting more protein and fiber with this version.
This is Whole Foods proprietary brand. There’s no reinventing the wheel with this box. It’s standard stuff and actually a good price for a Whole Foods product.
Bottom Line:
“Standard” is the keyword. There’s literally nothing to write home about this box of mac and cheese. The pasta keeps that cardboard taste. The powdered cheese sauce needs salt, which is never a good sign when there’s already 550mg of sodium in each box.
This is the box of mac and cheese that changed the way generations of Americans ate. It was affordable, delivered nutrients on the cheap, and generally put smiles on hungry faces.
Bottom Line:
History aside, this box now feels like it’s from another era and just so mass-produced. It’s really hard to get past the cardboard essence that lives in the noodles, even when cooked (it’s better with the organic version!). The powdered cheese sauce is fine but, again, you’ll often find yourself shaking a little more salt and pepper over your bowl.
Trader Joe’s signature brand is “okay” mac and cheese. It’s your standard elbow macaroni with a neon orange cheese powder. That’s it.
Bottom Line:
We dare you to tell the difference between this and Kraft in a blind taste test. The noodles have the exact same cardboard nature and the cheese sauce is middling at best.
Whole Foods Deluxe mac and cheese does amp up the flavors and value. There’s a decent velvet texture to the cheese sauce and you feel like you’re getting a better product for your dollar with this version.
Bottom Line:
We’re still dealing with mac and cheese that needs a lot of work. A little salt goes a long way. Overall, this feels like mac and cheese you’re supposed to bake with by adding in… we don’t know… broccoli or ham or even hot dogs … something.
Kraft Deluxe is a big step up from a standard box of Kraft Mac and Cheese. The noodles are hefty and able to carry a heftier sauce with them. This is also splittable (technically, one 14-oz. box is meant to serve four people). However you split it, this feels like a full meal in a bowl.
Bottom Line:
This only really ranks this low because the noodles can’t seem to escape the cardboard taste. The cheese sauce is a step up though — with a much deeper sense of smoothness and savoriness.
Cracker Barrel has a wide selection of mac and cheese dinners. They’re generally big enough to serve as a side during dinner and they’re designed to be baked. You need to fire up the oven to finish this one off and it really makes a difference.
Bottom Line:
This is better than it has any business being. It’s savory, cheesy, and doesn’t need a shake of salt to round out the seasoning of the sauce.
Annie’s has corned the market on bespoke, seemingly high-end mac and cheese. While this isn’t intrinsically any different than Kraft or Trader Joe’s above, it does have an edge thanks to the taste.
Bottom Line:
Annie’s edges out based on the pasta alone. There’s still a cardboard essence but it’s almost gone and gets covered up nicely by a cheesy sauce that doesn’t need another hit of salt to be well-rounded.
Getting back to the cheese sauce packets, Velveeta Shells and Cheese hits a very specific mark in both texture and flavor with an intense Velveeta cheese sauce and hefty pasta shells that help deliver all that gooey cheese.
Bottom Line:
This is a solid pasta and cheese experience that needs no fussing. You can boil up the pasta, toss it in the sauce, and serve. It’s just fine the way it is, on its own or on the side. It also works wonders with a nice hot sauce drizzled over the top.
This new-ish line from Cheetos asked, “what if we dusted your mac and cheese with Flamin’ Hot Cheetos dust?” The mac ‘n cheese are spirals, cheesy, and truly reminiscent of Cheetos in every bite.
Bottom Line:
I was super dismissive of this bowl of mac and cheese. The color is an unholy bright red and it sort of smelled like wet Cheetos at first whiff. Then I tasted it. It really delivers with a creamy, cheesy sauce that has a legitimate heat and didn’t overpower.
I thought I was going to eat a few bites as a tester but ended up eating the whole bowl.
Amy’s might be the easiest to make on the list. Crank up an oven, drop in the tray, bake, enjoy. Of course, you can also cook these off in the microwave, but then you’ll lose out on crisping up the edges, giving this mac and cheese a textural edge.
Bottom Line:
You don’t have to make a sauce and you get baked mac and cheese. That’s a big plus for this box. Plus, the seasoning is dialed. Look, you’re not going to trick anyone into thinking you made mac and cheese from scratch with this, but it’s perfectly good for what it is. It’s also a good single serving size.
This mac and cheese utilizes cheesy sauce packets and shells for delivery. The cheese packets mean you don’t have to fuss with milk and butter to find that perfect creamy spot. It’s well-seasoned, while still being very cheesy — both of which are wins.
Bottom Line:
While this is a winner on its own and easy to jazz up. Straight out of the box, it won’t have you reaching for the salt and pepper.
Over the weekend, The Crown returned for its fourth season, which was much-awaited for two reasons. One, it’s The Crown. Two, this season of Netflix’s much-loved show about the Royal Family is all about the Margaret Thatcher/Princess Diana years, which represents some of their juiciest — and most tragic — history. (Although the season ends in 1990, seven years before Di’s death.) One figure who doesn’t come off greatly is Charles, Prince of Wales, played by Josh O’Connor. And while the real-life person has yet to comment on the show, his friends sure did, and then some.
According to The Daily Mail, a number of “Palace insiders” have come forth — anonymously, as it were — to slam the show for purported inaccuracies and fictions.
“This is drama and entertainment for commercial ends being made with no regard to the actual people involved who are having their lives hijacked and exploited,” one insider told the Mail. “In this case, it’s dragging up things that happened during very difficult times 25 or 30 years ago without a thought for anyone’s feelings. That isn’t right or fair, particularly when so many of the things being depicted don’t represent the truth.”
Another insider was steamed about the way they portrayed Charles and Diana, the latter played by Emma Corrin. “The new series paints the Prince and Duchess in a very unflattering light but at least at the start of reality shows like The Only Way Is Essex they admit that some scenes have been invented for entertainment,” the person said. “There is no sense of telling carefully nuanced stories – it’s all very two-dimensional. This is trolling with a Hollywood budget. The public shouldn’t be fooled into thinking this is an accurate portrayal of what really happened.”
Yet another roped in Charles and Diana’s son, Prince Harry, as well as Duchess Meghan Markle, who famously semi-cut ties with the family, moved to Los Angeles, and cut a huge deal with Netflix, who owns The Crown. “There are raised eyebrows about Harry taking millions from the company that’s behind all this,” they said. “After all where do much of Netflix’s profits come from? The Crown.”
Other Season 4 critics weren’t shy about putting their name on their disses. Royal biographer Sally Beddell Smith trashed the show as “a work of fiction and the level of invention has been growing. While the earlier seasons were period pieces, series four is recent history, so it seems more cruel in its false depictions.”
She added:
‘Because The Crown is such a lavish and expensive production, and so much attention has been paid to visual details about historical events, viewers are tricked into believing that what they are seeing actually happened. There should be a disclaimer at the start of each programme saying, ‘This is a work of fiction and any resemblance to those living or dead is purely coincidental.’ ‘
Smith went so far as to accuse the show’s writer Peter Morgan as being “almost Trumpian with his alternative facts.” Then she really twisted the knife: “This is a Downton Abbey version of the Royal Family.”
Others worried how surviving members of the family would take it. Former Welsh Secretary and Vale of Glamorgan and Conservative MP Alun Cairns said, “There is no doubt that whilst millions will enjoy watching The Crown, we need to be mindful that the programmes raise painful events that will have an impact on members of the Royal Family and others who were children or innocent bystanders.”
The Mail even highlights some of the inaccuracies. For one thing, the show suggests — erroneously, as it happens — that Charles continued his tabloid-fixture affair with now-wife Camilla Parker Bowles throughout his marriage to Diana. But there’s more:
In what is felt to be a particularly wounding fabrication, Charles’s beloved great-uncle, Earl Mountbatten is shown, shortly before his death at the hands of the IRA, telling the Prince that the family are disappointed at his relationship with Camilla and to find a wife. In the drama, Charles calls him a traitor. There is no evidence the exchange happened.
In another insidious fictional scene, Prince Philip issues a threat to Diana in 1990 after she suggests leaving Charles. Sources said this appeared to be a clumsy reference to baseless conspiracy theories that he was somehow involved in the car crash in Paris that killed the Princess in August 1997.
Mind you, the piece finds no one standing up for its portrayal of former Prime Minister Margaret Thatcher, played by Gillian Anderson.
The fourth season of The Crown can now be streamed on Netflix.
On Monday, a new development emerged in Taylor Swift’s ongoing battle to get the rights to her first six albums’ back. A report surfaced that Scooter Braun had sold her masters to a company for $300 million, the same price for which he bought Big Machine Records last year. But now Swift is saying that Braun asked her to sign a strict NDA to “silence” her, hoping that that would dissuade her from retrieving her past work.
In a lengthy message posted to social media, Swift claims that didn’t sign the NDA, saying her team was never even able to get a price quote for the masters:
“Scooter’s team wanted me to sign an ironclad NDA stating I would never say another word about Scooter Braun unless it was positive, before we could even look at the financial records of BMLG (which is always the first step in a purchase of this nature). So, I would have to sign a document that would silence me forever before I could even have a chance to bid on my own work. My legal team said this is absolutely NOT normal, and they’ve never seen an NDA like this presented unless it was to silence an assault accuser by paying them off. He would never even quote my team a price. These master recordings were not for sale to me.
A few weeks ago my team received a letter from a private equity company called Shamrock Holdings, letting us know that they had bought 100% of my music, videos, and album art from Scooter Braun. This was the second time my music had been sold without my knowledge. The letter told me that they wanted to reach out before the sale to let me know, but that Scooter Braun had required that they make no contact with me or my team, or the deal would be off.”
Along with the statement, Swift also included her response to Shamrock Holdings’ letter. The singer said she plans to move forward with re-recording her first six albums because she doesn’t want Braun to continue to profit off her work.
Been getting a lot of questions about the recent sale of my old masters. I hope this clears things up. pic.twitter.com/sscKXp2ibD
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