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Iggy Azalea’s ‘Money Come’ Video Is An Orgasmic Overthrowing Of The Patriarchy, But Not In A ‘Barbie’ Movie Sort Of Way

Iggy Azalea is clocking back into work. The rapper has been enjoying her newly found success on OnlyFans, but as promised, her new music has arrived. Iggy’s thirst for financial expansion, seen in the recent sale of her publishing catalog, is at the root of her new single, “Money Come.”

The record — produced by Tricky Stewart, JerkPoP, and Nana Afriyie — is the first offering from her forthcoming album. In the song, Iggy is locked into her wealth goal, tuning her haters out as she raps, “Say you gonna run up on who? I need proof / These b*tches p*ssies, their mouths are too loose / Still know some neighborhood boys who can shoot / I can put it on your head and they can put you on the news / P*ssy so wet, he need an anchor / Where that b*tch talkin’ sh*t? I wanna thank her / ‘Cause even though I don’t f*ck with you hoes / All the hatin’ kept my eyes on the money like a banker / Come baby, come baby, money make me come.”

For the official video, directed by Christian Breslaver, is an orgasmic overthrowing of the patriarchy and not in a Barbie movie sort of way.
Conceptually, “Money Come” is a crossbred of Meghan Trainor’s “Nice To Meet Ya” and Megan Thee Stallion’s “Thot Sh*t” videos as Iggy, along with her fellow women in combat armed to the teeth, storm the office to take back control of the boardroom as a result the bag.

Watch Azalea’s video for “Money Come” above.

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

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Anchor begins reading ‘breaking news’ report and realizes it’s a marriage proposal

THIS JUST IN: Love is beautiful.

Just ask news anchor Cornelia Nicholson, who thought it was business as usual while reading a breaking news bulletin.

That is until she realized it was a brilliant marriage proposal in disguise.


The look of shock and delight on Nicholson’s face while she reads, “Coming up right now, we have the story of two young journalists…who just so happened to find love in the same industry?” as pictures of herself with boyfriend (and fellow reporter) Riley Nagel pop up onscreen are priceless enough.

But when Nagel actually appears in the studio to give his “special report”? That’s something worthy of a rom-com. Not only did he totally master the art of surprise, but he thoughtfully listed out all the things that he loved about Nicholson before popping the question. And he did it all without ever losing his news anchor voice.

Watch:

@ceraynicholson Still at a loss for words😭💍 @Riley Nagel hid this so well. I am so excited for our future together #shesafiance #proposalvideo #engagement #news #chattanooga #localnews #love #wedding #surpriseproposal ♬ original sound – Ceray Nicholson

Nicholson wasn’t the only one left swooning after Nagel’s epic proposal. Check out what other folks had to say:

“As a producer, I would have been so giddy the whole show waiting on this. Congrats.”

“This was the sweetest, most gentle proposal. I’m crying.”

“A legend! I’ve never seen a news proposal.”

“I love hearing her voice when she realizes.”

“BREAKING NEWS: I’M SOBBING CONGRATS.”

“I know everybody behind the cameras is crying. This is too much for my heart.

Creative, sincere proposals just never get old, do they?

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Ron DeSantis Awkwardly Tossed Baseballs On Iowa’s ‘Field Of Dreams’ At The Same Time Trump Was Being Arrested In Atlanta: ‘I’m Happy To Be Here’

Ron DeSantis found himself trapped in yet another awkward moment where he had to avoid attacking Donald Trump, who he needs to defeat in the primary, because the Florida governor can’t afford to anger the Republican Party’s MAGA base.

The moment came as DeSantis visited the Field of Dreams in Iowa at the same time Trump was being arrested in Georgia. A reporter asked DeSantis to comment on that contrast, which visibly caused him to struggle to compute a normal human answer as DeSantis so often does. There’s a reason the guy keeps being compared to Homelander from The Boys.

“Governor, what do you think about this split screen of you here in the Field of Dreams and former President Trump being arrested?” a reporter asked off camera.

“Well, I’m glad I’m at the Field of Dreams,” DeSantis responded after an awkward pause where he clearly decided to dodge the question entirely. “I’m happy to be here.”

While DeSantis remained reluctant to capitalize on Trump’s arrest, he had no hesitation attacking the other Republican candidates. DeSantis boasted that he came through “very strongly” during the first GOP debate unlike his opponents.

“The thing about the debate is, you know, nobody hit me so I wasn’t gonna get involved in that scrum,” DeSantis told reporters via the New York Post. “I know those guys were going back and forth. And what I did with 100% of my time was to speak directly to the American people about our vision to reverse the country’s decline.”

(Via New York Post)

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Luh Tyler Turns Rolling Loud Upside-Down In His ‘Rapper Of The Year’ Video

In Luh Tyler‘s video for “Rapper Of The Year,” the fast-rising teen captures his first Rolling Loud performance rocking for a massive crowd. In typical Luh Tyler fashion, the song eshews a traditional verse-hook structure in lieu of a stream-of-consciousness flow that highlights Tyler’s freestyle ability. “I ain’t ever wrote a song, no I don’t need no pad or pen,” he boasts. “They say i’m rapper of the year, I got them n****s mad again.”

In the video, Tyler is joined onstage by one of his musical inspirations in Kodak Black, as well as his mom, who looks as excited as anybody to be dancing around with her son as he raps songs from his debut album My Vision, which dropped via Atlantic in March of this year. The Tallahassee native has been busy since; in June, he was selected as a member of the 2023 XXL Freshman Class along with GloRilla and Lola Brooke, and earlier this month, joined Moneybagg Yo on the Memphis rapper’s Larger Than Life Tour.

“Rapper Of The Year” is the title track from a three-song release (abbreviated as ROTY, which also included the songs “I’m Him” and “St. Nick.”

Watch Luh Tyler’s “Rapper Of The Year” video above and get the accompanying project here.

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Jonas Brothers Share Their Catchy Rendition Of Switchfoot’s ‘The Beautiful Letdown’

The Jonas Brothers are taking over. The trio released their new album in May and are currently on a massive tour. They performed “Mr. Brightside” with Jimmy Fallon onstage and collaborated with Tomorrow X Together.

Now, they’ve shared a cover of Switchfoot’s “The Beautiful Letdown” to be featured on The Beautiful Letdown (Our Version) [Deluxe Edition]. The Switchfoot album has contributions from OneRepublic’s Ryan Tedder, Jon Bellion, Dayglow, Twenty One Pilots’ Tyler Joseph, Ingrid Andress, and more.

“We grew up listening to their album The Beautiful Letdown and ‘Meant To Live’ was a huge influence for us,” the band said in a statement. “We’ve seen them a ton of times live and we always wanted to work with their music producer (John Fields). ‘Twenty Four’ was the first song that me (Joe) and Kevin ever played together. This album has incredible significance for us on an emotional level but also sonically it was a big part of our sound. We worked with John Fields who produced The Beautiful Letdown and it was a dream come true for us. And the guys in the band have always been so supportive of us. Thank you for inspiring us and we are so happy to be part of this project singing one of our favorite songs ‘The Beautiful Letdown.’”

Listen to the cover of “The Beautiful Letdown” above.

The Beautiful Letdown (Our Version) [Deluxe Edition] is out 9/15.

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‘Excitebike 64’ Is Coming To The Nintendo Switch Online Lineup Soon (And With New Online Multiplayer, Too)

Nintendo Switch is already a strong racing game platform. Mario Kart 8 Deluxe is easily the system’s best-selling game, and classic racing titles like F-Zero for Super Nintendo and Mario Kart 64 for N64 can be played through the Nintendo Switch Online service. Now the high-speed offerings are continuing to grow: Nintendo just announced that soon joining the NSO lineup is Excitebike 64. The announcement was delivered with a fun trailer video that leans into the gruff-voiced, adrenaline-fueled aesthetic of the era.

Excitebike 64 on NSO will be the same classic experience as when the game was released in 2000, but with the modernized bonus of being able to race against friends online, in addition to the standard local multiplayer mode from back in the day. The game is set to be added to the NSO library on August 30, and like all Nintendo 64 games on Switch, you’ll need a Nintendo Switch Online + Expansion Pack membership to play.

Excitebike 64 is a natural addition to the Switch Online offerings. For one, there’s brand recognition thanks to the original Excitebike being an enduring hit from the Nintendo Entertainment System era (that game’s also playable on NSO, by the way). Excitebike 64 also just stands on its own as one of the best-selling N64 games.

Watch the trailer above and check out where Excitebike 64 ranks on our list of the definitive best N64 games.

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Earl Sweatshirt And The Alchemist Dropped Their Joint Album As An NFT, Apparently

For months, Earl Sweatshirt and the Alchemist have been teasing a collaborative album, and while fans were undoubtedly excited for the project to exist, at least a few of them are likely to be disappointed to learn that it’s only available (for now, at least) as an NFT. That’s right; the quintessential iconoclasts of rap have jumped on the NFT train. (To their credit, they are like… two years too late; that train has already derailed.)

The album’s called Voir Dire and is exclusively available through Gala Music — the same outfit that put out Mount Westmore’s Bad MFs last year. According to Stereogum, you can still stream the album if you sign up for an account with Gala Music, and the songs on the album album are typically “short and hazy,” with one guest appearance from New York rapper MIKE.

MIKE, of course, has been a fixture on projects from Alchemist over the past couple of years, while he and Earl are good friends. They appear together on “Sentry,” the album’s lead single. You can check out the “Sentry” video above. Check out the tracklist for Voir Dire below.

1. “100 High Street”
2. “Vin Skully”
3. “Sentry” (Feat. MIKE)
4. “All The Small Things”
5. “My Brother, The Wind”
6. “27 Braids”
7. “Mac Deuce”
8. “Sirius Blac”
9. “Geb”
10. “Deadzone”
11. “Free The Ruler”

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Educating women is the fastest way to combat climate change

We all want the world to be better and what better place to start than at home? Enter: Wildgrid, an all-female team providing education and empowering women to “electrify” their homes.

Why women? Women make 91% of ALL decisions in their households. And that’s no small thing when it comes to sustainability – 20% of all carbon emissions are from our homes! Electricity, gas-burning stoves, furnaces, hot water heaters, and many more – all of these everyday appliances make a big difference in how eco-friendly our homes are.

So what is the fastest way to make major reductions in household carbon emissions? Educating and empowering women!

Creating a more energy-efficient home – called electrification – is a process that can often feel confusing and overwhelming, particularly to folks who are often marginalized in male-dominant spaces.

“In spaces with men where this kind of topic is being covered, I find myself feeling [overwhelmed]… I found it really great that it was for women,” said one Wildgrid user who took Wildgrid’s women-only education course, Voltage Vixens.

Wildgrid’s online tool is simple, intuitive, and requires no previous background in sustainability to understand. To calculate all the rebates you qualify for, visit WildgridHome.com.

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Playoff Lessons: Can Darius Garland Play Like A Star All Of The Time?

Among the four members of the Cleveland Cavaliers’ core, Darius Garland authored the finest showing in their five-game, first-round flameout against the New York Knicks this past spring. After a torrid Game 1 performance, Donovan Mitchell’s jumper turned cold and he broke down defensively. Evan Mobley struggled mightily as a scorer and short-roll conductor. Jarrett Allen’s rebounding and defensive positioning were constant thorns in the side of Cleveland’s efforts.

Despite some issues, Garland acclimated himself fairly well in his introduction to playoff basketball. As New York engulfed him offensively and hunted him defensively, he averaged 20.6 points (56.6 percent true shooting), 5.0 assists and 1.6 steals per game.

The problem, though, was an inconsistent footprint. Garland endured lengthy stretches of muted impact. Nobody was a bigger victim of the team’s shoebox floor-spacing or Mobley and Allen’s regression in the first round than Garland. This is not to absolve him of any problems, but to note that many of Mitchell, Mobley, and Allen’s nosedives were less about the spacing shortcomings and more about areas they must remedy on their own.

Moving forward, he and the Cavs must build a roster and individual skillset to avoid the long periods of hibernation — they seem to have taken this lesson to heart by adding Max Strus and Georges Niang this summer. He is too good and too integral to their success. Against the Knicks, their offense faltered for numerous reasons, including Garland being relegated to bystander or neutralized option across possessions. That cannot be a recurring theme as they carve out permanent residence in the playoffs over the next handful of seasons.

When Cleveland aimed to involve Mobley in ball-screens, New York trapped the initiator, usually Garland, with Julius Randle. That left Mobley in 4-on-3s. I’ve previously talked about the imperative nature of his improvement in those spots. But the Knicks prompted them because it directed offense away from Garland without fear of consequence, assuming the likelihood of at least one non-shooter stationed around the perimeter that could be ignored to close off Mobley’s room inside.

Those traps and Mitchell Robinson’s willingness to play near the level are a major reason Garland’s pull-up three-point volume fell from 20.6 percent in the regular season to 11.3 percent in round one. His spot-up triple opportunities jumped to 26.3 percent from 15.5 percent, but the inability to bend defenses with the threat of pull-up shooting in high pick-and-rolls quelled some of his impact as a creator. That, along with New York’s range and length bombarding his dribble-drive pursuits, illuminates the slide of his playmaking numbers during the playoffs (32.8 percent assist rate down to 22.9 percent; 12.2 percent turnover rate up to 16.1 percent).

Typically, in these scenarios, he could seamlessly shift into an off-ball role. Among bona fide offensive engines, he’s a premier off-ball player in the league, sprinting into movement jumpers, reading and utilizing screens cunningly, and working off the catch absent a hiccup. In spurts, this tactic played out wonderfully for Cleveland. His third quarter explosion in Game 4, when he spammed handoffs en route to 11 points and five dimes, exemplifies the appeal of Garland off the ball.

Yet New York’s physicality — namely from RJ Barrett and Immanuel Quickley — and Cleveland’s clunky spacing wore him down and made it challenging to start so many possessions simply trying to get the ball in the point guard’s hands. Can he follow Stephen Curry’s lead and learn to disregard all that physicality while still thriving as an off-ball cog who rocks on the ball? Curry is better and bigger than him, though his development curve should remain relevant.

Too commonly, he and the Cavs’ pursuits were thwarted by top-locking and trapping. He’s become pretty averse to on-ball physicality, but off-ball physicality is a different aspect to now counter. The problems were cyclical. The surrounding personnel encouraged diverting the offense away from Garland on the ball. Garland’s own limitations rendered him easier to contain off the ball. The landscape left an All-Star-caliber guard resigned to life as a castaway.

Amplifying his arsenal thrusts some responsibility onto Mobley. Clean up the short-roll game to make trapping a less appealing and sensible gambit for defenses. Continue growing as a high-post and DHO hub to open up off-ball chances for Garland. Together, they pocket the keys for this franchise’s future.

In Game 2, Cleveland’s lone win and Garland’s finest outing behind 32 points on 8-of-17 shooting, its transition frequency was a series-high 18.4 percent — 4.1 points higher than its regular season average and 3.4 points higher than the playoffs. The Cavs could probably stand to prioritize running a bit more after ranking 19th in transition rate a season ago.

Four of Garland’s nine pull-up three attempts occurred in Game 4. His twitchiness and jitterbug handles were a terror to cover in space, only to be notably bottled up at a slower beat. Given the half-court struggles, athletic prowess and youthful nature of their four top players, dialing up the tempo could alleviate some offensive tensions, even if much of the onus primarily rests on growth from the roster rather than sweeping schematic or philosophical amendments.

On the ball, the lesson is clear: trust the handle. Garland is a sorcerer with the rock, treating it like a nonchalant accessory of his body. East-West or North-South, he weaves and slithers his way into space for drives, passes and jumpers. It proved particularly useful against New York, which prioritizes nail and strong-side help to eliminate the middle and curtail drives. Cleveland’s dearth of wing shooting simplified the strategy as well.

When Garland whipped the ball around stunts or slalomed through defenders to fashion forays deep into the paint, fortuitous outcomes followed. His handle is his best weapon and unlocks the scoring and passing. Treating it as such is imperative. That first-round series emphasized the necessity of always believing in his handle, even amid constant, mounting defensive pressure.

When Garland let help deter him, he and Cleveland’s offense suffered. I’d love to see him snake more pick-and-rolls. Maybe, Allen and Mobley can embrace the Gortat Seal to diversify their ball-screen dynamics. Improved ancillary shooting may declutter the paint and coax Garland to probe without fear of being submerged by a looming rim protector (or two).

Part of his 4-of-21 Game 3 showing was the ebbs and flows of shooting variance, but he also settled too much and didn’t wield his dexterous handle into beneficial spots enough. Life is already arduous as a slender, small guard who’s more shifty than explosive. Tucking away his best tool for creation left him confronting an increasingly daunting reality. The dichotomy in process when he preserved a live dribble versus when he extinguished it was stark. Let that ball boogie and bounce!

The leading plotline of the summer for Garland and the Cavs should be answering this question: How do we ensure he’s an omnipresent threat offensively? An inconsistent signature defined his good, albeit sporadic, first round. A serviceable playoff debut should be succeeded by star-laden encores. Doing so requires his star to shine bright at all times, not solely for moments, quarters or singular games, rather than letting it flicker. Accomplishing that means steadfast deploying his mystifying handle, shoring up his off-ball physicality, and enjoying a context better tailored to elevate everything he brings to the hardwood. The Cavs have at least attempted to alleviate that last concern with their free agency acquisitions on the wing, but it’s incumbent on Garland to take the strides in the other areas to carry regular season success into the playoffs in 2024.

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A Stagehand For The Weeknd Is Suing Live Nation, Claiming He Was Run Over By Forklift

About a year ago, The Weeknd was on his After Hours Til Dawn Tour. It kicked off at the beginning of July and ended at the start of September, although he’s now continuing overseas. However, there was an incident at The Weeknd’s concert at the AT&T Stadium in Arlington, Texas.

On August 14, 2022, a stagehand by the name of Steve Genovese was allegedly run over by a forklift while working on The Weeknd’s elaborate stage setup. Now he is suing Live Nation for five counts of civil liability including negligence, negligent hiring, and gross negligence.

“While marking the floor for the stage dimensions, [Genovese] was run over by a forklift which was being operated by another worker on site,” the complaint says, according to Pitchfork. “As a result, [he] suffered severe, excruciatingly painful, and permanently disabling injuries to his leg. The flesh and muscle were torn away from [his] leg and were detached from the bones.”

“Defendants had the knowledge, ability, and duty to prevent the severe and life-altering injuries inflicted on [Genovese],” it continues. “Instead, [they] placed more value on their own financial gain than on the safety of the workers who helped put on The Weeknd concert.”

It argues that Live Nation “failed and refused to provide qualified forklift drivers and adequate staff as agreed in their respective contracts.”