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LeBron James is doing something no other NBA player has done in the history of the league. No, I’m not talking about scoring 40+ points against all 30 teams, although that is historical and impressive. No, he’s the first NBA player to become one of hip-hop’s go-to A&Rs, despite having little formal music business experience.

What he does have, though, is a golden ear — or at least, a big enough following to turn burgeoning viral songs into bonafide Billboard hits. Any song that makes its way into one of James’ offseason workout posts has the potential to skyrocket. For example, when he played Tee Grizzley’s “First Day Out” on his Instagram story, fans flocked, shooting what might have been a one-off from the Detroit bar smith into the upper atmosphere of rap radio bangers.

In 2019, he offered his A&R duties to trap veteran 2 Chainz, resulting in an executive producer credit on Rap Or Go To The League, and now, he’s going for a repeat with Top Dawg Entertainment rapper Ab-Soul. Despite Soulo being just a month removed from the release of his new album Herbert, he’s already looking ahead to his next, asking James at Wednesday night’s game against the Clippers (which the Clippers won, 113-104) to A&R his next project.

Ab captured the moment on video and posted it to his Instagram, calling working with James a “rite of passage.” “Top [Dawg] told me to ask you if you would A&R the next album,” he said. “Yeah, I can do that,” LeBron replied. Surely, such a project won’t be coming out anytime soon, but LeBron’s involvement will make the wait for it even harder than the six-year break between Ab’s last two albums.

Though he’s dedicated to the New York Times crossword and an avid puzzle creator when it comes to the Benoit Blanc mystery films (Knives Out and Glass Onion), writer/director/producer Rian Johnson is less concerned with twisty tricks and shocking reveals when it comes to his and Natasha Lyonne’s new series, Poker Face (which debuts with its first four episodes today on Peacock). Oh, the show will deliver on those things (and a ton of famous guest stars), but the most important thing for Johnson is that he crafts a character, in Lyonne’s nomadic and hazardously curious Charlie Cale, that you want to hang out with. Someone clever, funny, and idiosyncratic. Someone classic, but also fresh. And they just gotta have a cool car. The car is key, especially for a road show like this, which Johnson compares to Highway To Heaven and Quantum Leap (though there are no angels or time travel here). Another comp? Columbo and, of course, people will tie it to Knives Out, which is fine by Johnson even though these are two distinct things.

When we spoke recently via Zoom, the image of the car was centerstage, a blue 1969 Plymouth Barracuda, right behind Johnson. I complimented it, he remarked on the full-size Muppet (Gonzo) that lives on a shelf over my shoulder in my office, I asked if he’d confirm the Muppets would be a part of “Knives Out 3,” and he (jokingly) ended the interview. Thankfully, I won him back over for a conversation about the trait Charlie shares with Ana de Armas’ character in the first Benoit Blanc mystery and why Charlie’s unique quirks serve as mere decoration to draw attention to the marvel that is Lyonne’s ultra-captivating amateur sleuth. We also discussed the notion of winning in a procedural (a word Johnson isn’t scared of), nostalgia, and his formula for success when writing mysteries.
What are some shows that you feel inspired this?

Rockford Files, Magnum P.I. to some extent, but also, oddly, Quantum Leap because it’s a roadshow where every episode is kind of an anthropological deep-dive into another little microcosm world, into another little kind of space. But also The Incredible Hulk, moving from town to town. You got to walk on that dusty road at the end of them. Or Highway to Heaven.

I was just going to say.

I think there’s DNA from a lot of stuff kind of mixed into it, and it really is just the pleasure of that group of TV shows where I spent so much time sitting on the carpet in front of the family TV, watching reruns when I was growing up.

Obviously, there’s a difference between doing something that has some brush strokes that are reminiscent of certain shows versus, all of a sudden, “Rian Johnson does Father Dowling Mysteries or Murder, She Wrote!” What’s the right amount of nostalgia for something like this?

I mean, I try and avoid all nostalgia at all costs, but I guess that’s because of how I define nostalgia. To me, nostalgia means pleasure taken in remembering a thing that you liked through the lens of where you’re at now. Whereas what I’m really trying to do with this (or also with the Benoit Blanc Mysteries) is I’m trying to actually deliver the pleasure that you got back then when you experienced it, and deliver that in as vibrant and present a way as when you first experienced it back then. But in that context, that means not being afraid to use the tools that those things used back then. And so that means we’re going to be delivering the tropes of the genre. We’re going to be delivering the basic pleasures of it, just hopefully in a way that feels vibrant and feels real, which I guess can be defined as nostalgia in a way, but to me it’s a very different thing. I don’t know if that makes sense.

It does. And I agree. I’ve thought a lot about nostalgia lately. I don’t know, I think it’s somewhat of a toxic thing. Hard to innovate when you’re weighed down by it, I think.

Yeah. I mean, it’s also something I indulge in and something I take pleasure in. I don’t think it’s necessarily an unhealthy thing to take pleasure from.

Maybe it’s a question of how precious someone is with it. The difference between enjoying something or fixating on other people and how they’re enjoying it, and, “No, that’s not right, you’re ruining my childhood” and that kind of thing.

Oh, policing other people’s pleasure. Yeah, that bleeds into a whole other realm of badness.

Yeah, exactly. I am curious about the construction of this character. She has these quirks. She has this very amazing wardrobe, the car, the Barracuda. Can you tell me about developing the surrounding details of Natasha’s character?

I think that that’s one realm where Natasha and I let ourselves just kind of be led by our basic taste and let ourselves sink back into some of the trappings of that period. I think that’s the thing where we glance closest to the notion of nostalgia, is we let ourselves have this thing have kind of a little bit of a retro feel. I mean, it’s very much set in the present day. There are cell phones. There are all the things you’d see today, but Charlie’s vibe is very much that of someone you’d see in a Roger Corman movie or in an Altman movie, I guess. That’s all just kind of the design of it.

To me, the real work and the meat and potatoes of it was actually figuring out who the character of Charlie was. And because thinking about those shows that we’ve been talking about, the reality is, like with Columbo, for instance, I don’t watch Columbo for the mysteries. I watch it to hang out with Peter Falk. And there are not a lot of actors who have the kind of charisma and presence on screen where they alone can anchor a show to where you’re going to come back every week just to hang out with them and watch them win. And I guess it was when I became friends with Natasha and saw her work in Russian Doll and recognized that she had that, that I kind of honed in and approached her to kind of create the show together. That, for me, is really kind of what makes the character tick, I guess.

I’ve only seen the first four so far. I may be off on this, but you mentioned the character winning. For this kind of story, why is it important that they always win? Is there ever a thought to maybe shake things up and have them not win?

I won’t give anything away. It is a possibility. Everything’s on the table.

This has to do with the idea of them winning, but it has more to do with the idea of setting a pattern and paying that pattern off every week. It’s almost a contract with the audience. I mean, for me, really the genre that I was excited about doing is the genre of TV as I experienced it growing up and the notion that there’s something really pleasurable about tuning in every week and kind of walking into a room that you recognize, about a familiar pattern that you can get used to and that you know what you can expect with that pattern repeating every week.

And within that context, there are going to be surprises. We’re going to delight you. We’re going to kind of play with expectations here and there. But we have a contract with you that this is the format of the show. And when you tune in, you’re going to get the pleasure of seeing how this format’s going to play out this time. And that includes her, quote-unquote, winning at the end. Now, that doesn’t mean we’ll always do it, and we reserve the right to pull the rug out every now and then, but that’s kind of the bigger picture in my head of, for lack of a better word, although I don’t think this is a dirty word, the procedural element of the show.

Natasha’s character being able to tell if people are a liar, that’s similar to Ana de Armas’s character in Knives Out. What is it about that specific kind of special skill that is such a great fit for a detective story?

For very different reasons in both of those, it was kind of the perfect obstruction and superpower for each of those people. With Marta in Knives Out, it’s a character we care about. She’s in a situation she can only get out of via lying, and so taking away her ability to lie felt like the ultimate “make life hard on your main character” thing. And similarly, Charlie (in Poker Face), she’s on the road. Her life is constantly threatened, but she has this good heart, and so the hardest possible thing you could throw at her was having this extrasensory thing that is going to let her know, send an alarm up, when something’s off, and knowing that she’ll kind of be drawn into it because she hates seeing the little guy gets screwed.

So for me, it’s less of kind of a philosophical thing of being interested in lies. It’s almost more that in each case, it was a great kind of dramatic tool to throw as many banana peels in front of the main character as possible.

There’s a resurgence of the kind of detective genre, the whodunit genre, you may have observed this. Are you watching these and, I’m curious, are you the type who tries to race the story and figure out who is behind the murder, or do you just kind of let it play out?

I’m a junkie. I watch everything. I watch anything that’s vaguely a whodunit, and there’s so much good stuff. I really enjoyed Chris (Miller) and Phil’s (Lord) show. The Afterparty was great. I thought See How They Run was super fun, and Bodies Bodies Bodies. And it’s been really fun (seeing) stuff coming out. But the second part of your question, no, absolutely not. Maybe for the first 20 minutes, I’ll be kind of trying to put it together, but at a certain point, I’m very happy to kind of step back and let the story carry me along, which I think really informs how I approach writing my own murder mysteries. I think a big key to how I try and come at them is to never assume that the clue gathering and the solving is going to be entertaining the audience, and to always give it a dramatic spine that is actually going to carry the audience through, with either a thriller or a more basic, fundamental, dramatic engine than the audience trying to solve a puzzle.

Has that always been the case, as a viewer?

Oh, yeah, yeah, yeah. And it’s not like it’s a conscious decision of, “This is my theory of who done it, so thus I will watch them this way.” The reality is just when I’m watching them, it just happens. Your brain gets fatigued after about 20 minutes, and you realize if the writer is worth their salt. And given most of the stuff I was watching were Agatha Christie adaptations, I knew that she was, so I will never be able to guess this solution. And so at some point, the detective’s going to explain the thing I never could have guessed. I could randomly point to one of the people and say they did it and maybe be right or not, but kind of who cares?

The first 4 episodes of ‘Poker Face’ are now streaming on Peacock with new episodes premiering Thursdays

The Eye features music’s premiere rising artist in a stripped-down studio space to deliver renditions of their finest songs with just one camera, one microphone, and one take. The latest group to bask in the spotlight is Phony Ppl, a Brooklyn band that you probably know better than you think.

The five-piece group combines sounds of hip-hop, R&B, soul, and more, and they’ve been doing that for over a decade now. Their biggest chart success came in 2015 with the release of the album Yesterday’s Tomorrow, which found its way onto the Billboard Heatseekers Albums chart. Months later, they made their television debut by backing Fetty Wap for his Jimmy Kimmel Live! performance of “Trap Queen” and “My Way.”

More recently, they turned some ears in their direction with the 2020 single “Fkn Around,” a fun and funky tune that boasts a feature from Megan Thee Stallion. (They previously debuted the song together in Meg’s 2019 Tiny Desk Concert performance.) Also in 2020, the group linked up with Joey Badass for “On My Sh*t.”

These days, Phony Ppl is fresh off the release of their latest album, Euphonyus from November 2022. Also these days, they recently graced The Eye with a trio of performances.

The group sounds tight on “Why iii Love The Moon,” a jazzy and vibrant cut that comes with a simple but thought-provoking message: “That’s why I love the moon / Every night it’s there for you / It’s constant / Unlike these human beings / Who lie about what it seems to be.”

Beyond that, they also delivered the funky “Nowhere But Up” and, of course, “Fkn Around.” They didn’t get Meg to join them in the studio for this rendition, but even without her, the song’s smooth and infectious energy holds up tremendously well.

Watch Phony Ppl perform “Why iii Love The Moon,” “Fkn Around,” and “Nowhere But Up” for The Eye above.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

After Donald Trump and Republicans seemingly had a gift dropped in their lap thanks to classified documents being found at Joe Biden’s residence, former Vice President Mike Pence barreled into the fiasco thanks to classified documents being found at this residence, too. Turns out, the heads of our government are not the best stewards of top-secret information.

The situation has reportedly gotten so bad that the National Archives sent a letter asking former presidents and vice presidents to basically look around the house to see if there are any classified documents in the garage or tucked under a couch cushion. You guys are killing them here. Via CNN:

“The responsibility to comply with the [Presidential Records Act] does not diminish after the end of an administration,” the letter states. “Therefore, we request that you conduct an assessment of any materials held outside of NARA that relate to the Administration for which you serve as a designated representative under the PRA, to determine whether bodies of materials previously assumed to be personal in nature might inadvertently contain Presidential or Vice Presidential records subject to the PRA, whether classified or unclassified.”

The letter was sent to every administration going all the way back to President Reagan. Interestingly, Jimmy Carter was not a recipient because even though he signed the Presidential Records Act, it didn’t go into effect until he left office. So God knows how many documents that crafty little peanut farmer has or whether he dives into a pool of them like Scrooge McDuck.

(Via CNN)

After starring in the Netflix trilogy To All The Boys I’ve Loved Before, Noah Centineo swiftly became the streamer’s up-and-coming golden boy by landing his own action show The Recruit, a spy thriller that premiered last month on the streamer. Season one followed Centineo as Owen, a new CIA lawyer who becomes entangled in international espionage. Think James Bond but for Gen Z! Your dad would love this show, by the way.

The show managed to attract a solid fanbase, which probably has nothing to do with the leading man and everything to do with convoluted political games. And now said fans can look forward to even more of Noah Centineo running around in a suit because The Recruit was renewed for a second season.

Netflix confirmed that the show will return, with Centineo on board. The actor said “I know I speak for our entire cast and executive team at eOne and Netflix when I say that we are thrilled to be returning to The Recruit for a second season. I’m looking forward to seeing what [showrunner] Alexi Hawley has in store for us all.”

Despite all of the Netflix cancellations, it’s pretty rare to see a show that didn’t smash records get another shot on the streamer. Showrunner Alexi Hawley said that a rabid fanbase helped them get the show renewed for another season. “I’m thrilled to dive back into the fun, funny, action-packed world of The Recruit,” he said. “Seeing how invested our audience became in the show’s adventurous take on the spy world has been incredibly rewarding, and I can’t wait to turn it all up to 11 in Season 2.”

This is a win for Centineo, who was supposed to be gearing up to portray He-Man, but was replaced last year. So now he will have to settle for being a CIA agent instead, which some would say requires less training.

How can a fun social media platform that promotes creative dancing, life hacks, pink sauce and all things super trendy be anything short of awesome? How could anyone be a TikTok hater?

Well, they exist. In fact, some of these naysayers are anxiously prepping for doomsday like Joel from the Last of Us. But instead of fungus, these doomsayers are bracing for a great battle against, in their eyes, America’s greatest foe, China. TikTok’s parent company, ByteDance, is Chinese, and as TikTok has grown into one of the world’s most popular apps, many fear it will be used as a tool for misinformation campaigns, spying, espionage, and calculated IQ degradation.

Over the past month, it seems like the anti-TikTok movement has really picked up steam. Since December, the US government banned the platform on all federal devices, Bi-partisan legislation has been announced (labeling TikTok as “digital fentanyl”), and dozens of university campuses like UT-Austin, and Texas A&M have outright blocked it.

To top it off, on Tuesday, Republican Senator Josh Hawley released a very forward challenge.

With election season fast approaching, and new information becoming available, the battle against TikTok is only going to get more intense. In this highly polarized country, this could soon be one of those pressure points used by politicians. So, to stay on top, here’s a breakdown of how the TikTok narrative has transpired and what it means going forward.

How did we get here?

Josh Hawley’s first sentence,”TikTok is China’s backdoor into American’s lives,” encapsulates why a lot of people are freaking out over the app. Not to brush aside the extremely problematic subversion campaigns committed by The US Government, China’s no boy scout. The fact is, China has harvested data and stolen trillions of dollars of IP (Intellectual Property), using hacking capacities that eclipse every nation on earth combined, as reported by CBS.

At the core of this conflict is TikTok’s Chinese-based parent company, ByteDance. The concern is basically that ByteDance, while controlling an app with over a billion users, could disclose oceans of private data about American citizens to the Chinese Government if they demanded it. Once mostly a Republican concern, this has since become more bi-partisan, as Democratic Senator Mark Warner mentioned, “TikTok, ByteDance, and other China-based tech companies are required by Chinese law to share their information with the Communist party.”

Even FBI Director, Christopher Wray has verbalized his concerns over TikTok’s influential algorithm and its spying capacity. All of this to say, if the Chinese wanted to weaponize TikTok, they certainly could. That’s not really up for debate.

So… Was Trump Right?

If you remember pandemic days, these TikTok concerns reached mainstream attention when Donald Trump ordered the app to be banned if ByteDance didn’t sell their American operations to an American company within 45 days. Software juggernaut Oracle seemed a contender, but alas, the deal never went through. This 2020 executive order was soon replaced by Joe Biden’s new initiative for the US Committee on Foreign Investment (CFIUS) to thoroughly investigate TikTok’s potential threat. That security review has still not concluded.

All the while, ByteDance continued to invest millions into lobbying, and over a billion dollars on campaigns such as Project Texas to bolster confidence that American data would never be shared with China. ByteDance made assurances that their US user data was stored in Virginia, backed up in Singapore, and even made sworn testimonies that only US security teams could determine who accessed data.

Tensions boiled after bombshell reports from BuzzFeedNews in mid-2022 revealed that in fact, several Chinese-based ByteDance employees had toiled with private data. Leaked audio of several executive meetings revealed, “everything is seen in China,” and there’s even a guy known as “Master-Admin” who has access to everything.

The Bans: What’s the other side of this?

The result has been, most notably, the ban of the app on all federal devices. These revelations fueled the fire of many lawmakers, like Texas Governor Greg Abbott, already skeptical of TikTok, to take further action. 31 States have even taken the ban to the state level, and thus public universities have followed suit. Auburn University, University of Texas-Austin, and Texas A&M are just some of the many schools that have banned the app on their campus Wifi. As of this writing, no private schools have reported blocking access to the app.

Students haven’t been quiet over the matter. The bans on public campuses have provoked a huge uproar about censorship and opened debates about free speech violations. Here’s a thread from UT Austin content creator Eric Aaberg’s TikTok account.

It’s not just outraged TikTok users who feel like this is overkill. There are many who question: is this solely a TikTok issue? In reality, other platforms like Google and Facebook / Meta also harvest swaths of data. Lawmakers fear TikTok’s access to keystroke patterns, searching habits, location, names, ages, and phone numbers can be weaponized, but Meta is just as snoopy and tracks browsing history even when not using the app.

All these software programs harvest your data, target you for ads, and strive to keep victims glued to the screen for eternity. But the most important question is this: Is it to maximize profits or for a foreign regime’s geopolitical ambitions? The answer to that will determine what’s banned and what’s allowed to run wild. While dystopian and concerning, the issue of data privacy concerns stretches beyond just TikTok.

Some wonder if politicians are using this ban on TikTok as a symbolic attack on China to win political points. Following the Congressional ban on federal devices, American TikTok spokesperson Brooke Oberwetter noted “We’re disappointed that Congress has moved to ban TikTok on government devices — a political gesture that will do nothing to advance national security interests.”

While there’s an inherent bias in that comment, it begs the question: Is this really just a political gesture? Should we be concerned? And what are people willing to give up for national security?

Bottom Line: Will TikTok be banned nationwide?

While Josh Hawley declared he would bring this nationwide ban to the Senate floors for a vote, the reality is that, though a lot can be done to dissuade the use of TikTok, an outright ban is quite unlikely. Take the College bans: Although the campus Wifi blocks TikTok, a simple VPN or switch to personal data jumps over the firewall with ease.

So, why exactly is the nationwide ban unlikely? (Check here if you want to dig deeper) Basically, the government has the ability to take “narrowly tailored” specific action to limit speech if it concerns national security, and for that reason, the ban of the app on federal devices is lawful. For example, a government employee could have sensitive information that they could be blackmailed for, whereas, does it really matter that “Master Admin” knows you’re obsessed with Charli D’Amelio?

Regulating ordinary citizens’ speech is a whole different animal. While it’s possible, the legislative hoops that would need to be jumped through to prove its constitutionality would be rigorous. A nationwide ban should not be expected any time soon, however, as election season approaches, be prepared for the topic to come up as a hot-button issue.

After not appearing in a live-action film in seven years, Tobey Maguire returned in a big way in 2021 with Spider-Man: No Way Home, the seventh highest-grossing movie ever. The actor followed up playing Spider-Man for a fourth time by portraying an absolute ghoul in the sadly misunderstood Babylon, but he’s ready to don the Spidey suit again.

“I love these films and I love all of the different series. If these guys called me and said, ‘Would you show up tonight to hang out and goof around?’ or ‘Would you show up to do this movie or read a scene or do a Spider-Man thing?’, it would be a “yes!” Because why wouldn’t I want to do that?” Maguire said in the upcoming book, Spider-Man No Way Home: The Official Movie Special. He also revealed his reaction when Marvel reached out about playing Spider-Man for the first time since 2007’s Spider-Man 3.

“When they called, I was like finally! [Laughs] I got the call and was immediately open about coming to do this. Not without nerves – you know, ‘What will this look like and what will the experience be?’ But to get to show up with beautiful, talented, creative people and play together? It’s just like, ‘Yes!’ It’s fun and exciting.”

Here’s a dramatic reenactment of Maguire being offered the part:

Spider-Man No Way Home: The Official Movie Special comes out on February 14th.

Earlier this week, some Britney Spears fans called the police to request a wellness check on her after she deactivated her Instagram account. After the incident, TMZ reported that Spears was “annoyed” by what happened. Now, Spears has offered a response to the situation and it sounds like TMZ’s report was accurate.

Since her Instagram is currently deactivated, Spears took to Twitter to share a text post. It reads, “As everyone knows the police were called to my home based on some prank phone calls. I love and adore my fans but this time things went a little too far and my privacy was invaded. The police never entered my home and when they came to my gate they quickly realized there was no issue and left immediately. This felt like I was being gaslit and bullied once the incident made it to the news and being portrayed once again in a poor and unfair light by the media. During this time in my life, I truly hope the public and my fans who I care so much about can respect my privacy moving forward. All the love, B.”

A Ventura County Sheriff’s Office spokesperson previously told Page Six, “I can confirm that we did get calls into our dispatch, and essentially, I can confirm that we don’t believe that Britney Spears is in any kind of harm or any kind of danger. […] I can’t confirm or deny that deputies went to her house, but we don’t believe that Britney Spears is in any kind of harm or danger at this point.”

Find Spears’ post below.

This post is being updated.

Cordae may have dropped the “YBN” prefix from his name, but that hasn’t his former collaborator YBN Nahmir from carrying it on his back. With a discography featuring 21 Savage, the City Girls, Offset, and G-Eazy, to name a few, the Birmingham native has fought tooth and nail for his spot in today’s hip-hop ecosystem after exploding onto the scene in 2018 with “Rubbin Off The Paint.”

The inner fighter has been the core of his growing musical archive. During his last stop by UPROXX Sessions, YBN Nahmir performed his flexy track “Spend It“; this go-round he spices it up with a ferocious in-studio performance of his single “Lamborghini Truck” from his 7-track EP Faster Car Music, Vol. 1. For some flexing is a hobby, but for YBN Nahmir, it is a lifestyle, and he’s ready to protect it at all cost.

Watch YBN Nahmir’s UPROXX Sessions performance of “Lamborghini Truck” above.

UPROXX Sessions is Uproxx’s performance show featuring the hottest up-and-coming acts you should keep an eye on. Featuring creative direction from LA promotion collective, Ham On Everything, and taking place on our “bathroom” set designed and painted by Julian Gross, UPROXX Sessions is a showcase of some of our favorite performers, who just might soon be yours, too.

Coi Leray is in the midst of a stunning resurgence. While rap fans undoubtedly slept on her versatile debut album despite standout singles like “Blick Blick” and “Anxiety,” she bounced back late last year with the Grandmaster Flash-sampling “Players.”

Today, in a new interview with Billboard, she discusses the ups and downs of her career so far and explains why “it’s no competition” among her fellow female rappers as they storm the charts in a way that hasn’t been seen in hip-hop in nearly 20 years.

“I don’t compete with them, because you just can’t,” she says. “The best thing about this industry [is], there’s room for everybody. That’s why it’s no competition. I could be here and you could be here right with me. At the end of the day, even if we at the top of the mountain, I’ma be Coi and you gonna be you, and we could trade places or I could become someone else. I’m gonna determine my greatness, my destiny, and my future. What’s for you is for you, while we’re at the top together. Steel sharpens steel.”

She also listed some of her favorite peers in the rap game, naming GloRilla, Ice Spice, Cardi B, Nicki Minaj, Megan Thee Stallion, Doja Cat, Flo Milli, and rising star Lola Brooke, as well as name-checking Latto, who was recently embroiled in a ghostwriting controversy over leaked reference tracks for Coi’s “Blick Blick” and BIA’s “Whole Lotta Money.”