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Shakira Celebrates One Of Her Biggest Hits Crossing A Billion Streams On Spotify

One of Shakira‘s biggest hits continues to thrive in the streaming era. Yesterday (September 27), the Colombian superstar celebrated “Hips Don’t Lie” amassing over one billion streams on Spotify.

Shakira originally released “Hips Don’t Lie” in 2006 as a single from the re-issue of her album Oral Fixation, Vol. 2. She teamed up with the Fugees’ Wyclef Jean for the global pop anthem that married the music with her captivating dance moves. Later that year, “Hips Don’t Lie” became Shakira’s first song to top the Billboard Hot 100 chart. The song was also part of her co-headlining set with Jennifer Lopez at the 2020 Super Bowl halftime show.

“Hips Don’t Lie” is continuing to do incredible numbers over 15 years later. Spotify gifted Shakira with a plaque for the song amassing over one billion streams on the platform. Shakira posted a picture with the plaque to her social media accounts and expressed her gratitude for the song’s enduring success.

“Wow! One billion streams for Hips Don’t Lie. Thank you to Spotify for the plaque, to Wyclef Jean for the collaboration and to all of you for your incredible support,” she wrote.

Spotify added the song to its official “Billions Club” playlist when it crossed the 1 billion mark back on June 1, 2022.

The news about “Hips Don’t Lie” crossing one billion streams is a bright spot in Shakira’s career. Earlier this week, a Spanish court approved a trial to go forward where she will soon face six counts of alleged tax fraud. Shakira has maintained her innocence, calling the claims by Spanish prosecutors “false accusations.”

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Jalen Suggs Is Already An Elite Guard Defender

The immediate returns on a trip to Jalen Suggs’ Basketball-Reference profile might elicit waves of concern when greeted by the .361/.214/.773 slash line he produced as a rookie. His 11.8 points on 45.5 percent true shooting are troubling. Among erratic ball control, shortcomings as a vertical athlete in traffic, and hibernating outside jumper, the development of his scoring arsenal and the accompanying areas he must refine to facilitate that maturation are the priorities moving forward.

Sure, Suggs didn’t rival his peers from the 2021 Draft during his rookie season, as Cade Cunningham, Jalen Green, Evan Mobley, and Scottie Barnes all registered better inaugural campaigns. And yet, it would be misguided to broadly label his first year a disappointment when viewed on its own, away from the heights those aforementioned players reached.

More than anything, the simplest remedy for a gigantic step forward in 2022-23 will be renewed health. Dealing with a few different injuries, Suggs played just 48 games, tied for 26th-most among his fellow draftees. When the 21-year-old did play, however, he maintained the class’ theme of advanced defensive chops up and down the board. So many members of the 2021 Draft hinted at All-Defensive Team promise — Mobley, Herbert Jones, Quentin Grimes, Davion Mitchell, etc. Suggs belongs in that grouping.

While his scoring numbers may frighten folks, the film and a slew of the defensive numbers should cast those fears into the ether and replace them with hope. He was absolutely one of the NBA’s top rookie defenders, and if you remove the rookie label, he’s already a clear plus league-wide, primed to further ascent the hierarchy of guard stoppers. His plus-2.2 Defensive Estimated Plus-Minus ranked 28th overall and second among rookies, trailing just Mobley (plus-2.3), who looks like he could be a legitimately generational defender.

What makes Suggs unique among this class of guard defenders is how multifaceted his talents are. Other excellent rookie guard defenders, like Mitchell and Ayo Dosunmu, lasered in on the ball. Suggs doesn’t quite match them there, but he does exceed them in his all-around services. His closeouts are jarringly disciplined. He rarely dashes past shooters and remains involved after recovering, often anticipating angles downhill and promptly erasing them to blot out any former advantage.

The final clip there is my favorite. Suggs camps at the nail to barricade the drive and invite a pass from Spencer Dinwiddie. He angles his closeout to funnel help toward Franz Wagner, stays down on multiple shot fakes, and mirrors Kentavious Caldwell-Pope’s movements, preventing any room for a shot, slash, or threatening pass. Full of paramount subtleties, that’s the stuff of veterans. He put on a clinic in how to execute that at 20 years old.

Suggs’ functional strength is arguably his best athletic trait. The fluidity with which he decelerates and preserves his balance on those closeouts underlines his core strength. It’s also evident in his on-ball chops. He applies his torso like a buffer to counter ball-handlers without falling for foul-baiting chicanery. Many young players will instinctively extend their hands as a reaction to movement and accrue unnecessary fouls. Suggs’ first thought is to absorb contact with his midsection, which protects him from sacrificing space and can even knock opponents off-kilter.

His inflexibility hinders him around screens occasionally, and he’s best at anticipating angles rather than utilizing lateral quickness. But he’s a very good point-of-attack defender whose strength, dexterity, and discretion fuel him.

Although he tallied 3.9 fouls per 36 minutes, that stemmed more from his intrepid off-ball habits than anything he was consistently doing wrong on the ball. By and large, these tendencies benefited him and the Orlando Magic. Sometimes, though, he barreled into foul calls or was a beat late tracking the ball, leaving his teammates in chaotic 4-on-5 scrambles. He’s long adhered to this style as a playmaker and I expect those doomsday gambles will only decrease throughout his continued NBA assimilation.

He reads passing decisions quite shrewdly and regularly shoots the gap. According to Cleaning The Glass, his 2 percent steal rate ranked in the 82nd percentile among combo guards. His closing speed to detonate passing lanes is explosive, and he shuts down dribble handoffs. I really like his prospects to wreak havoc as a stunt-and-recover guy around the nail, too.

Orlando consistently played a No Middle defensive scheme, so Suggs would aggressively crash inside at times when it wasn’t always required (maybe it was required and I’m wrong, this is where it’s hard to analyze plays as an outsider). But he’s so keen and pesky with his hands, and is a closeout technician. Those hallmarks jump off the screen in his takeaways. I don’t worry much about his possible overhelping and deem it an easily redeemable fix.

Not only did he fare well in steal rate, Suggs shined with an 0.7 percent block rate to finish in the 76th percentile. He’s a legitimately effective interior defender and provides help-side rim protection. Opponents shot 4.7 percent worse on shots within 6 feet when he was the primary defender, according to NBA.com.

He’s prompt and aware in his rotations, and practices remarkable verticality contesting plays inside the paint. On more than a handful of sequences, he diagnosed complex actions and thwarted them. His off-ball recognition is uncommon for rookies. One perceived windfall of playmaking and stretch bigs is how it lures defensive anchors away from the paint and eases chances to score at the hoop. Suggs won’t eradicate every example in these instances, but he does offer a unique presence on the backline to mitigate some of the offensive allure of these ideals.

I’m not entirely sure whether he reaches a level to be an elite of the elites on-ball roadblock for a championship-caliber defense; his lateral quickness and screen navigation warrant sharpening. This is nitpicking, however, and more intended to frame his maximized responsibilities. With a little seasoning, he’s a premier playmaker who can operate at the nail, hellaciously guard secondary options, moonlight against primaries, and sprinkle in some rim protection.

In essence, those were his duties in 2021-22, when the numbers and tape aligned to portray a very good defender. How Suggs garners the degree of investment that amplifies his imminent defensive stardom whenever Orlando is less catered toward development hinges on his offensive progression. The cutting, off-ball movement, and connective passing were all positives last year. His scoring demands significant growth.

Preferably, the Magic emphasize Paolo Banchero, Markelle Fultz, Wendell Carter Jr., and Wagner as the pillars to deploy Suggs off the ball, where he can flourish and bolster his efficiency in a more suitable role. Many of the angles I outlined last summer for his offensive optimization are still relevant.

He’s not an on-ball creator; treating him as such is a disservice to him and the offense. Screening, cutting, play-linking, transition, early offense forays, and puncturing tilted defenses are his calling. Others set the tone and he carves his own, indispensable niche.

There is nothing niche about his defense, though. It is perhaps the best of his class by anyone other than Mobley, which is a rather lofty honor. If it is not, it is squarely in the conversation. He’s wide-ranging, astute, and menacing. The early returns for this fifth overall pick are rosy. All you have to do is disregard the guise that is a traditional box score.

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When Is ‘Don’t Worry Darling’ Coming To Streaming?

Don’t Worry Darling has suddenly become the year’s must-watch movie, and it has nothing to do with the actual plot of the movie (which, to be fair, is pretty predictable). But with constant gossip and drama brewing since the movie first began production, it’s perfectly fair to want to sit down and watch the movie, just to see if it was worth all of that fuss.

If you are unaware, Don’t Worry Darling follows Pugh as a young woman who lives with her husband in an experimental town where things are not as perfect as they seem. Also starring are Chris Pine, Gemma Chan, and Kiki Layne.

The movie arrived in theaters last week and managed to attract a large crowd of Styles’ dedicated fans, and some Nick Kroll fans too, probably. But if you don’t want to have to be in public in order to watch the movie, it’s always a good choice to wait until it comes to streaming.

Since Don’t Worry Darling is one of the few Warner Bros. movies released this year, we can assume that it will still qualify for the HBO Max 45-day release deal with the streamer (that deal is set to expire at the end of the year). This would make Don’t Worry Darling available to stream on November 7th, that is if the movie fizzles out in time. If the dystopian drama ends up sitting comfortably at the box office, Warner Bros. might wait it out a little longer before making it available online.

So, if you still want to see Don’t Worry Darling, despite the on-set fights, dramatic firings, and, of course, SpitGate, then you won’t have to wait much longer!

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Avril Lavigne Praises Machine Gun Kelly’s Musical Evolution: ‘He’s Grown In The Most Authentic Way’

Pop-punk is alive and well, and one of the pioneers of the subgenre couldn’t be happier to see it thriving in a new generation. In an excerpt from Time‘s 2022 Time100 Next issue, Avril Lavigne shared some thoughts on one of her collaborators and favorite musicians, Machine Gun Kelly.

For the magazine, Lavigne praised Kelly’s musical evolution and growth over his decade-plus-long career.

“When he is performing, you can’t help but love him even more because he puts on such a good show,” Lavigne said. “You never know what he will do next. He might hang from a helicopter, climb up 60 feet of scaffolding, or zip-line across a stadium. He’s grown in the most authentic way, starting as a rapper and evolving into one of the biggest rock stars in the world. I have a lot of respect for him and how thoughtful he is with his craft.”

Earlier this year, Kelly appeared on Lavigne’s seventh studio album, Love Sux, on a song called “Bois Lie.” Lavigne also joined Kelly on his Mainstream Sellout tour, which took place across North America this past summer.

Avril Lavigne is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Trump Reportedly Bragged To White House Guests That He Refused To Use The Same Toilet As Obama

Visiting the White House is normally a formal if not regal event, steeped in the rich history of America’s founding fathers and the leaders of the free world who followed in their footsteps. Unless, of course, Donald Trump is president. In which case, he’s going to let you know exactly where he does or doesn’t go to the bathroom with a side order of possible racism.

According to a excerpt from Maggie Haberman’s new book, Confidence Man: The Making of Donald Trump and the Breaking of America, Trump reportedly told White House guests that he has a “secret bathroom” that he had “completely redone” after it was used by the Oval Office’s previous occupant, Barack Obama. Like almost everything Trump says, this wasn’t entirely true, but the implication was clear as day.

Via Rolling Stone:

Trump was lying, staff said at the time, saying that only the toilet seats had been changed, as per the custom in presidential transitions. During one of the times he claimed to have renovated Trump made a remark emphasizing his desire for the changes: ”You understand what I’m talking about.”

The guest, Haberman writes, “interpreted [the remark] to mean Trump did not want to use the same bathroom as his Black predecessor.”

As Haberman writes, this wasn’t Trump’s only racially-tinged snafu while hosting guests at the White House. Shortly after taking office, he reportedly assumed “racially diverse” staffers for Chuck Schumer and Nancy Pelosi were waiters. The former president reportedly instructed them to start bringing out the food before former chief of staff Reince Preibus jumped in to correct him.

(Via Rolling Stone)

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Taylor Hawkins’ London Tribute Show: How And Where To Rewatch

Last night, a touching tribute concert was held for the late Foo Fighters drummer Taylor Hawkins in Los Angeles. It featured a stacked lineup of talented musicians, including Miley Cyrus, Mark Ronson, Kesha, Rush, Joan Jett, and many more. Members of the Foo Fighters also honored their late bandmate, who passed away this March, through speeches and performances. Even Violet Grohl, lead singer Dave Grohl‘s daughter, helped open the show with a cover of Jeff Buckley’s “Hallelujah.” The full setlist is available here.

Following the LA tribute, fans might be wondering if they can still watch another tribute that was held for Hawkins earlier this month, one that had taken place at London’s Wembley Stadium on September 3. (Unlike the London show, the LA concert was not broadcast.) Spanning fifty songs, the UK tribute included guests like Liam Gallagher, Nile Rodgers, Paul McCartney, and members of Queen. Fortunately, it is still available for people to re-watch, whether you’re located in the US or London. Here’s how.

The London tribute is available to stream in the US on CBS’ official website, with a direct link available here. According to RadioTimes, UK viewers can stream the tribute on-demand by having a subscription to Paramount+, which offers a seven-day free trial. The streaming service is also free for Sky Cinema users.

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Trueno Brings Latin Rap From Argentina To NPR’s Tiny Desk Series

NPR is continuing to highlight rising Latin acts with the El Tiny spin-off of the Tiny Desk series. Argentine rapper Trueno is the latest artist to perform his hits in a stripped-down performance that was released yesterday (September 27).

NPR brought back the El Tiny spin-off of Tiny Desk for Latinx Heritage Month. Omar Apollo was the first artist to kick off the series on September 15 with his performance that helped his hit “Evergreen” break into the Billboard Hot 100 chart. Mexican singer Girl Ultra followed his lead and now Trueno is proudly representing Argentina on El Tiny.

This past year, Trueno has become a revelation in the Latin rap scene. Back in May, he made global headlines when the Gorillaz brought him out a special guest during the band’s Quilmes Rock set in Argentina. Trueno performed a freestyle rap in Spanish over the Gorillaz classic “Clint Eastwood.” Later that month, he released his breakthrough album Bien O Mal.

Trueno’s El Tiny performance was filmed at a conventillo, Argentina’s influential co-opt-like communities. He opened his set with “Dance Crip,” his ode to hip-hop’s roots that interpolated “Rapper’s Delight” by Sugarhill Gang. From his Bien O Mal album, Trueno also performed the title track and “Tierra Zanta.” The most powerful moment of his set was his performance of “Argentina,” his rap anthem for his country where he shouted out each one of its provinces.

Back in July, Trueno received support from J Balvin when they released the collaboration “Un Paso.” Trueno is nominated for Best Rap/Hip-Hop Song for “Dance Crip” at the 2022 Latin Grammy Awards.

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The Family Of A Jeffrey Dahmer Victim Thinks It’s ‘Sad’ That Netflix Is ‘Making Money Off Of This Tragedy’

Dahmer – Monster: The Jeffrey Dahmer Story (henceforth referred to as Dahmer) is a big hit for Netflix, with an upsetting number of people watching the Ryan Murphy/Ian Brennan-created limited series starring Evan Peters as the serial killer. But it’s also faced backlash from not only Joe Pera, but the families of Dahmer’s victims as well.

“I’m not telling anyone what to watch, I know true crime media is huge rn,” Eric Perry, the cousin of Dahmer’s first victim, Errol Lindsey, tweeted, “but if you’re actually curious about the victims, my family (the Isbell’s) are pissed about this show. It’s retraumatizing over and over again, and for what? How many movies/shows/documentaries do we need?” Lindsey’s sister, Rita Isbell (who is played by actress DaShawn Barnes in the series), also spoke out against Dahmer in an essay for Insider:

I was never contacted about the show. I feel like Netflix should’ve asked if we mind or how we felt about making it. They didn’t ask me anything. They just did it. But I’m not money hungry, and that’s what this show is about, Netflix trying to get paid.

I could even understand it if they gave some of the money to the victims’ children. Not necessarily their families. I mean, I’m old. I’m very, very comfortable. But the victims have children and grandchildren. If the show benefited them in some way, it wouldn’t feel so harsh and careless. It’s sad that they’re just making money off of this tragedy. That’s just greed.

You can read the rest of the essay here.

(Via Insider)

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Tyler The Creator Immortalizes ASAP Rocky’s Mosh Pit Mishap On A Birthday Cake

Tyler The Creator may have chilled out a bunch from his early days terrorizing the music world and raising hell for the fun of it, but he’s still quite the mischievous scamp when he wants to be. Lately, the main target of his pranks appears to be ASAP Rocky, whose recent struggles to exit a mosh pit during his abridged Rolling Loud headlining set have given Tyer plenty of fodder for his antics. After trolling Rocky by turning his profile pic into a screenshot of Rocky’s distressed face from the video, Tyler upped the ante, getting the photo printed on a birthday cake for Odd Future member Jasper Dolphin (Rocky’s birthday is next week, so don’t be surprised to see a repeat).

ASAP Rocky and Tyler The Creator’s friendship appears to be both endearing and excruciating as the two have pestered each other and collaborated repeatedly throughout the years. There was a bit of a troll war on Instagram Live a couple of years ago and before that, Tyler shared his joy at Rocky’s release from Swedish jail by chasing the Harlem rapper around the studio. But for all that, they’ve got a lot of loyalty too; while Rocky was locked up, Tyler vowed to never tour Sweden again.

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Lizzo Believes SZA Will Be ‘One Of The Greatest Songwriters And Singers’ Of All Time

Lizzo had some kind words to say about her friend and fellow musician, SZA. In an excerpt in Time‘s 2022 Time100 Next issue, Lizzo shared an account about how she met SZA in Minneapolis before either of them had risen to mainstream fame.

At the time of their first meeting, they took a selfie together, not knowing they would form a long-term friendship. A year after their first encounter, Lizzo booked a tour with SZA as the headliner. Shortly after, the two would watch each other blow up in the music world.

“When she dropped Ctrl, her debut studio album, it was a cultural f*cking reset,” Lizzo said of her friend in the magazine. “She changed the world! The authenticity in her craft — the way she’s able to tell her story and the way she uses melody — is extraordinary. No one can replicate that. When she’s onstage, she’s timeless. She’s someone who’s the real deal, and I think that she’s well on her way to being regarded as one of the greatest songwriters and singers of all time.”

You can watch SZA’s video interview here.

Lizzo is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.