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The Beatles Announce A ‘Let It Be’ Reissue, Arriving In October

A new reissue of The BeatlesLet It Be is coming in October and features previously unreleased session recordings and a 1969 mix by producer Glyn Johns. The reissue also includes unreleased rehearsal recordings, studio jams, and new mixes by Giles Martin and engineer Sam Okell. The special edition will be released in tandem with The Beatles: Get Back, the coming documentary series directed Peter Jackson, and a new hardcover book also titled The Beatles: Get Back.

“I had always thought the original film Let It Be was pretty sad as it dealt with the break-up of our band,” Paul McCartney wrote in his foreword for a special-edition Let It Be book. “But the new film shows the camaraderie and love the four of us had between us. It also shows the wonderful times we had together, and combined with the newly remastered Let It Be album, stands as a powerful reminder of this time. It’s how I want to remember The Beatles.”

“It’s an album of conflict,” producer Giles Martin, son of the late George Martin, told Rolling Stone about The Beatles’ twelfth and final LP, which came out in 1970. “Not, funnily enough, conflict within the band, despite what people think, but creative conflict. It’s the most creatively conflicted album the Beatles made, because they aren’t quite sure what they’re making.”

“I see Let It Be as a married couple whose relationship has become stale,” Martin added. “They say, what we need to do is go back to the old place and go on those dates we used to go on. But doing that, they realize that the place was just old, and they didn’t have anything to talk about anyway. ‘We need to get our sex life back, let’s go to that club again,’ but then realizing the music’s too loud. And what they need to do is move on to something like Abbey Road.”

Get the Let It Be reissue on 10/15 via Apple Corps Ltd./Capitol/UMe. Pre-order it here.

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Lyrical Lemonade’s Summer Smash Festival Proved To Be The Next Great Hip-Hop Event

As live shows begin to come back during the pandemic, Cole Bennett’s Lyrical Lemonade annual Summer Smash festival made its return to Chicago’s Douglass Park as a wholly independent-ran event with ASAP Rocky, Lil Baby, and Lil Uzi Vert headlining the event.

Though this was my first time attending Summer Smash, I was the most excited about this festival’s lineup in particular. It included a good mix of performers such as the trailblazing underground rap icon Xavier Wulf, Chicago’s own DCG, Queen Key, and C Dot Honcho, as well as all the artists you’d expect at a Lyrical Lemonade event such as Don Toliver, Lil Tecca, Blueface, Dro Kenji, and Warhol.ss.

From day one, fans swarmed Douglass Park that overstretched miles of land allowing plenty of room to move between the main Lyrical Lemonade Stage, the SPKRBX stage, which was catacorner next to it, and Lenny’s Tent, where the most rambunctious up-and-coming acts came to play.

Despite the rise of Delta around the world during the festival, much about the event felt as safe as possible, including what appeared to be fewer people at this festival than others and that proof of vaccination and a negative COVID test was a requirement for entry (though those can easily be faked). It provided a level of comfort where I could freely walk around without fighting my way through sweaty bodies and BO. It was great. The staff at the festival were very accommodating and this was one of the best festivals to get around logistically. As a plus, a majority of the performances were on time.

On day two, Baby Keem had one of the more stand-out performances. His set drew out an intense and passionate mob that clung on to his every word and they had no problem opening up a mosh pit to get dirty to some of his most popular cuts like his self-titled anthem “Baby Keem,” latest release “Durag Activity,” and popular banger “Orange Soda,” which really got the everyone amped. Remember, Baby Keem only has a handful of songs out and he’s still on the come up despite his relation to Kendrick Lamar. The crowd’s reaction to him foretells a certain future for him that includes packed-out and sold-out shows from dedicated fans (as if he’s not doing that already).


Lil Baby was also really impressive. Seeing him perform live made me even more of a fan because he put effort into his entire stage set and design. Before Lil Baby hit the stage, the lights were shut down and the festivalgoers went crazy. With blue lights beaming down on him, Baby hopped off something that looked like a couch, which sat above the stage and over the crowd. Soon after, he began to rap his verse off his Drake collaboration “Wants And Needs” before getting into “Sum 2 Prove.” His energy stayed high the entire time and so did the legion of fans watching.

@uproxx

imma tell my kids this was the national anthem 😌 @lyricalemonade @lilbaby #fyp #summersmash2021 #lilbaby #4pf #festival

♬ original sound – UPROXX Music

On the final day of Summer Smash, there was a Juice Wrld tribute helmed by DJ Carnage on the Lyrical Lemonade stage with fans singing along to his songs and paying their respect. The tribute was followed by a few surprise guests. Over the weekend everyone had their guess on who it could be. Kanye West? Polo G? To the crowd’s shock, it was Lil Durk. The Voice popped out with his crew, filling out the entire stage, and a few fans hopped over the fence into the pit, where they weren’t supposed to be, to catch the Chicago icon perform his hits. First, he made the crowd sing praises to the late King Von by saying his name before getting into his 2020 cut “Redman” off his mixtape The Voice. The crowd ate up every word and at one point Durk hopped into the pit to interact with the energetic crowd and began shooting a music video. The show abruptly came to an end, with Durk not really wanting to dip, but being told he had to. One of his boys tossed hundreds into the crowd and I managed to scoop up a few for myself.

There was also a second surprise guess and it was none other than Chance The Rapper. He only did one song though, and quickly left the stage. Some backstage shenanigans going on after their surprise set caused the festival to shut down for a little bit, and The Kid Laroi, unfortunately, was not able to perform.

Closing out the festival was Lil Uzi Vert, one of the most energetic and engaging performers, ever. His alien stage set design was ethereal and really set the tone for the entire show. One thing is for sure, it’s obvious that Uzi loves his fans and had no problem with them throwing their phones at him on stage — or throwing anything on stage for that matter. Uzi loved the chaos as his set was a maelstrom of space rage. Almost immediately he wanted a taste of the crowd so he hopped off the stage, into the pit to be closer and in tune with the people to rap “Move” with them. Then he ran to the end of the pit to climb the soundstage’s tent to do a massive stage dive into the crowd to the sounds of “POP.”

@uproxx

because whats a lil uzi vert show without a stage dive? 😂 #fyp #summersmash2021 #uzigang #liluzivert #babypluto

♬ original sound – UPROXX Music

The chaos didn’t end there, though. Throughout the night Uzi would stop and playfully grab a phone thrown on stage to have the crowd participate in saying a long “hello” to each one. While he was performing “The Way Life Goes,” one kid hopped on stage and did a backflip, but security was too slow to catch him. Uzi on the other hand absolutely loved it.

It was the perfect ending to a 3-day festival that was already smooth to begin with.

Summer Smash is just one of many festivals to make its return post-pandemic and it did so in a grand way while priming itself as a premier hip-hop experience. Considering that this festival has no ties to a big corp like Live Nation or Goldenvoice, it was one the most polished and well-run festivals I ever attended outside of normal festival annoyances such as entry and exit. Heck, even the entry and exit weren’t that bad. Cole Bennett certainly outdid himself with the return of Summer Smash, especially as the world seems to be an apocalyptic blender. Attendance was so worth it.

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

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Tucker Carlson Finds It Very ‘Confusing’ That Oregon’s Bisexual Governor Is A Woman Who Is Married To A Man

Tucker Carlson is very confused. An evergreen statement to be sure, but at the moment—or at least on last night’s show—the concept that’s proving so darn perplexing to Carlson is… bisexuality. While most children could likely explain that a person who identifies as bisexual has the capacity to be attracted to a person of either the same or a different gender (hence the bi), to assume that the Fox News host would be the intellectual equivalent of a six-year-old would be far too insulting to said child. Which explains why, as Media Matters reports, Tucker had SO MANY QUESTIONS when discussing Oregon governor Kate Brown, a bisexual woman who is married to a man. Seems simple enough, right? Here’s what Tuck-Tuck had to say:

Kate Brown first became governor of Oregon way back in 2015. At the time, there was not a whole lot going on in Oregon, so voters didn’t ask many questions. The one thing they did learn about Kate Brown over and over again is that she is a self-described bisexual. Why is this relevant? Well, the media didn’t explain. They told us without exactly explaining what it meant, that this fact was historic and it was highly thrilling.

Perhaps the media didn’t think a reasonably intelligent adult needed to have this explained to them?

Kate Brown’s sex life was shattering ceilings. Woohoo!

“Woohoo!” An exclamation Carlson has never heard when his own sex life is involved.

And yet, if you looked a little closer, you noticed something a little weird, actually, Kate Brown was married to a man. Yes, he had a different last name, but he was still, as they say, on TikTok, binary. He was a dude.

Does having a different last name make this more confusing for Tucker?

That’s fine, of course. But it was also a little confusing.

Is it?

How does having a groom at her wedding make Kate Brown an official member of the LGBTQ exclamation point community? No one bothered to ask. That kind of curiosity was forbidden. It was like wondering why we don’t call Barack Obama half white, which he is. It’s not allowed. Stop with the questions. Celebrate.

Could someone at Fox News please tell Tucker what the B stands for? Then explain the whole “1 + 1 = 2” thing?

(Via Media Matters)

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OG Anunoby’s Continuous Improvement Should Pay Off In A Big Way In 2021-22

Player by player, move by move, the core of the 2018-19 Toronto Raptors title team is leaving their Canadian post. First, it was Kawhi Leonard. Marc Gasol and Serge Ibaka followed a year later. Norman Powell was dealt at last season’s trade deadline. Kyle Lowry joined the Miami Heat earlier this month. The infrastructure of that team is dissipating and it’s paved the way for guys such as Pascal Siakam and Fred VanVleet to blossom in expanded roles.

You can count OG Anunoby among those Raptors who will receive more chances to showcase the depths of his game. Following Lowry’s departure and coming off a season where he ushered in major strides, a larger role at this state of his development could be the perfect storm to usher Anunoby onto the precipice of stardom.

A year ago, Anunoby averaged 15.9 points, 5.5 rebounds and 1.5 steals on 60.5 percent true shooting (.480/.398/.784 split) while staking his (unsuccessful, but nonetheless valid) claim for an All-Defense Team spot on the wing. He was a hellacious on- and off-ball defender and considerably more adept as a creator, even if ample room for improvement remains in the latter area. The problem was various ailments confined him to just 43 games and the Raptors’ turbulent Tampa tenure saw them finish under .500 for the first time since 2012-13, both of which hid some of his breakthrough.

While Toronto may once again dip below .500 this season, another jump from Anunoby would vault him to a borderline All-Star after serving as an above-average starter during his 43 games in 2020-21. Achieving that means building upon the self-creation bedrock he established last season and patching up the holes that prevented it from being a reliable source of offense.

By no means is he primed to become one of the NBA’s preeminent wing initiators, but the foundation of consistent creation manifested much more regularly last season. He touts bulldozer strength, which allows him to overpower opponents on post touches and face-ups. His handle, while very much still in a developmental phase, is tiers better than his rookie year and enables him to facilitate some on-ball volume.

Still just 23 years old, and in tandem with his growth curve, Anunoby’s fourth-year maturation was rather encouraging for his offensive projection. He should never be burdened as a primary catalyst, yet the defense is so superb that simply another sizable step forward will drive him toward stardom. Expect the Raptors to see how far they can stretch his creation next season in an aim to both find the optimal threshold during his prime and elevate its ceiling.

To heighten that creation quota, Anunoby needs to refine aspects of his arsenal. Whether that means merely evolving as a shot-maker as many young guys do upon their prime, or addressing his shortcomings with ball-handling, balance and vertical leaping are within his domain. These facets are not mutually exclusive; the final three developmental regions can absolutely (and probably would) influence the shot-making. But at this stage, he’s not quite prepared to be the third creator because of those limitations. He was the No. 4 cog behind Siakam, Lowry, and VanVleet a year ago. The hierarchy is rearranged in light of Lowry’s absence.

The ball will swing his way against more set defenses. He will become more prominent on scouting reports. Currently, his North-South handle remains a pressing issue, particularly if the intention is to scale up his offensive role. He struggles navigating tight quarters as a creator and contact tends to perturb him significantly. It’s why his handle is best weaponized in an East-West manner with crossovers and spin moves. When he tries to maintain a controlled dribble and leverage his strength on drives, he either loses his handle or falls off balance.

That incongruity seeps into his balance issues. Despite being so strong in many regards, applying that strength as a slasher and self-creator isn’t always his forte. He often fails to generate power on drives while staying on balance. By the time he’s near the rim, he cannot stably explode off one foot to finish. The imbalance sacrifices so much of his strength advantage, which is exacerbated by poor one-foot leaping and inflexibility.

Wiggle or controlled, meaningful “oomph” isn’t typically existent on his drives when a clear lane is not available or forged via East-West handling. Expecting continued evolution with his handle is reasonable, given the history thus far, but these other faults seem much more embedded into his physical profile. They don’t have to prevent him from reaching stardom, nor do I anticipate they will, yet it’s nonetheless useful to acknowledge some of the sterner caps on his offensive ceiling.

The counter then, as I view it, to still jack up his usage without magnifying his flaws is more second-side creation instead of on-ball deployment. Second-side creation, for me, is defined as just anything where he’s not the one initiating a possession from the outset. He can still create or finish the possession, but his involvement is not the genesis of a play or action. If it is, it’s in a favorable matchup/context or in space away from the sea of help defenders.

Because his driving potential may not quite be as enticing as one might imagine from a 6’8 forward with a 7’2 wingspan, the pull-up jumper feels vital for his creation ascension. He can still intermittently chisel his way to the rim on handoffs, but holstering a viable pull-up jumper for some utility in these actions would be a substantial boon.

His pull-up frequency spiked from 7 percent in 2019-20 to 13.1 percent last season. While he only shot 27.9 percent on these 68 attempts, such a hefty increase requires a degree of adjustment that may surface later than the volume spike; remember, development can arise merely through improved shot-making. He exhibited some comfort off the bounce and parlaying that comfort into competency is an important step. If the handling trajectory sticks and he pairs this volume bump with newfound efficiency, scaling up the usage becomes a lot more appealing.

A threatening pull-up in certain on-ball occasions would put defenders in trickier spots and perhaps open driving lanes, which might be more readily available through a sharpened handle. He’s not imposing shooting off the dribble against pressure because his dribble to shoot transfer (read: gather phase) is a bit messy and his handle demands serious tightening to suffice if/when defenders fight over screens to crowd him.

But incremental progress in both outlets could exponentially matter. Offensive skills regularly compound, which is the case here. Second-side creation projects as his preferred upscaling and these factors will determine its efficacy. If he authors said headway, it’ll also empower him to further showcase his interior playmaking chops, where he skillfully identifies when he’s drawn the attention of multiple defenders and small pockets of space emerge to capitalize.

Because of his aforementioned physical hindrances, slashing to score won’t always be available. That does not mean, though, slashing itself cannot persist under the assumption of continued handling advancements or bolstering the face-up volume to exploit strength-based advantages.

Anunoby’s chances for stardom must be assessed through the prism of increased offensive impact. Many of the pathways have already been laid out — plus, some juice as a roller and off-screen shooter. Interior passing is a skill in his toolbag, but one that becomes more useful in the event of enacting wider means to compromise defenders as a driver or mismatch mercenary in the post.

For as many gaps in the offense as there are for him, his defense checks basically every mark among the league’s contemporary crop of premier wing defenders. He can credibly guard 2s, 3s, and 4s, as well as some 1s and 5s on certain occasions. He’s versatile off the ball, functioning on the interior, as the weak-side low man, and around the perimeter. Moving forward, he should be a mainstay among All-Defense Team conversations, with health probably being the foremost reason he failed to earn a nod last season.

On the ball, he’s shockingly nimble for a 6’8 man with his brawn. He floats laterally to cover ground and stymie preferred angles, and seamlessly absorbs contact in stride. His center of gravity allows him to get low for mobility and still fluidly change directions; creating space against him is arduous. On post-ups, he can fluster some assignments with his reach and capacity to anchor himself. Averaging just 3.9 fouls per 100 possessions last season, he doesn’t bite on many hesitations or shot fakes. His 7’2 wingspan is the exclamation point of his overwhelming stopper package.

He’s also hawkish off the ball, aptly pinging from responsibility to responsibility with his enabling physical tools. Above the break and near the nail, he floats around to spin passes or dribbles into takeaways. His hands are ridiculously strong and large. Those dimensions seemingly surprise offenses and he’s constantly blowing up actions at the elbow.

In contexts closer to the rim, he’s quite effective as a weak-side helper, whether that’s tagging on rolls or altering attempts around the rim. Players shot 7.2 percent worse than their average within 6 feet of the hoop against Anunoby last season, which ranked 38th among 181 players to contest at least three shots per game, according to NBA.com. Top 40 isn’t elite, but for a guy whose chief defensive attributes are on the ball or at the nail, faring that well is notable and underscores his malleability.

A healthy season inserts him squarely into the All-Defense conversation. It won’t be the byproduct of some gargantuan leap on that end. He was good enough in 2020-21 and injuries hamstrung his candidacy. Yet if he finds himself garnering All-Star buzz around the turn of the calendar, that will, almost certainly, stem from climbing another rung of the offensive ladder.

Perhaps his handle inches even closer toward being an asset and ripples into other elements of his creation. Perhaps this is the year the surging pull-up volume is accompanied by efficiency. Whatever happens, if it happens, will likely spring him into that tier of young, star wings and help ease Toronto’s pain of losing yet another pillar from its 2018-19 championship run.

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Patti Smith Has Shared A New Seven-Song ‘Live At Electric Lady’ EP

Patti Smith‘s “We Love NYC” set might’ve been rained out last weekend, but the queen of punk and poetry never slows down. Today, Smith has shared a new EP, Live At Electric Lady, in partnership with Spotify. The seven-song LP, her first solo recording since her 2012 studio album Banga, features live renditions of her classics (“Ghost Dance,” “Broken Flag,” and “Birdland”), plus covers of Bob Dylan‘s “One Too Many Mornings” and Stevie Wonder‘s “Blame it on the Sun.”

“We are very proud to be part of Spotify’s Live at Electric Lady series, our favorite recording studio,” Smith said in a press release. “It was a unique challenge and offered us an exciting and innovative platform. We are grateful to Spotify for their generous support and willingness to present a live performance with all its possibilities of risk and revelation.”

Electric Lady’s GM/Partner, Lee Foster, added:

“Prior to recording, I had been discussing cover song options to present to Patti with Tony Shanahan, Patti’s MD and longtime bassist/pianist. We’d yet to mention to Patti that we’d hoped to record a cover during the session, so she was unaware at the time. Days went by and Tony and I couldn’t find the right song together. Then, as we’d just begun to agonize over it, he called me excitedly and asked “is ‘Blame It On the Sun’ from Talking Book [Stevie Wonder’s 1972 album recorded at Electric Lady]?’ I looked quickly to confirm and told him yes. For no reason at all that morning Patti had texted him to say that the song was stuck in her head and that she wanted the band to learn it. Kismet.”

Spotify and Electric Lady Studios previously released an EP from Jon Batiste, which dropped in July. Additional recordings will feature Japanese Breakfast, Dominic Fike, Faye Webster, Bleachers, Remi Wolf, and Natalie Bergman, “with more surprises to come,” according to a press release.

Live At Electric Lady EP tracklist:

1. “April Fool”
2. “Ghost Dance”
3. “Blame it on the Sun” (Stevie Wonder)
4. “Broken Flag”
5. “Birdland”
6. “One Too Many Mornings” (Bob Dylan)
7. “Peaceable Kingdom”

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Don Lemon Had A Blunt Retort For Parents Who Unleash Unhinged Rants Against Masks In Schools

About 20 months after the world became aware of Covid-19 as a real problem, mankind still sees no easy way out of the pandemic. The delta variant has erased much progress against the virus after cases plummeted earlier this year, and yet, some people are still raging against the idea of masking. Many of those people also feel that their freedom would be abolished by vaccinations, as illustrated by a recent CNN video montage of people freaking out on the subject. That included a male anti-vaxxer raging during a city council meeting: “Your children and your children’s children will be subjugated!” And then there are the comparisons by anti-mask ranters who are labeling anyone who doesn’t share their views as “Nazis” whose “mandates are against the Nuremberg Codes.”

Don Lemon has run out of patience. Via Mediaite, Lemon grew exasperated over a parent who flew off the hook with a conspiracy theory about how masking in schools is “a plan to shut down schools and to use them as camps to physically isolate men, women and children.” Yep, the Holocaust comparison followed close behind: “Now, we know that concentration camps were something that the Nazis did, but it can come here at any moment, and we need to be aware.”

Oh boy. And here’s Lemon’s unapologetic response: “Just because you can have kids, does not mean you should. Yeah, I said it.” He wasn’t done yet: “It would be funny if it weren’t for the fact that people’s lives are at stake. The misinformation, the lies, they’re killing us.” There’s not much commentary that can be added to that. Either one agrees or disagrees with him, but hopefully, he change the minds of a few people on the fence, and they’ll see how silly it is to rage against a piece of cloth, one that could have prevented the delta mutation from surfacing if used properly.

(Via Mediaite)

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Outkast Drop An Animated Video For ‘Two Dope Boyz’ To Celebrate Their 25th-Anniversary ‘ATLiens’ Reissue

This Friday, August 27, the iconic Atlanta-based rap duo who put the Dirty South on the map with their cosmic slop-washed ethos is reissuing the album that saw them break through to the mainstream 25 years ago. Andre 3000 and Big Boi, better known as Outkast, are putting out a 25th-anniversary edition of ATLiens and to celebrate, they’ve shared a new Rafatoon-directed animated video for the album’s fan-favorite track “Two Dope Boyz (In A Cadillac).” The psychedelic visuals capture the duo in their mid-90s aesthetics (you know, before Andre started dressing like a mid-century dandy) and yes, cruising in a Cadillac convertible.

The ATLiens reissue will come with newly mixed, hi-res 24-bit sound with the previously unreleased instrumental tracks, in multiple formats. Legacy Recordings is dropping a limited-edition four-LP version, Get on Down’s version will come with a custom gatefold jacket and a glow-in-the-dark 45rpm single of “Elevators,” and Vinyl Me, Please has a two-LP neon green and blue galaxy vinyl. You can find out more here.

In addition to the collector’s edition vinyl re-releases of ATLiens, the boys will celebrate their breakthrough classic with a mobile video game being produced by F That digital agency that will find them defending their hometown from — what else? — an alien invasion. The release date is still TBD.

Watch the “Two Dope Boyz (In A Cadillac)” video above.

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Lorde Revisits The ‘Melodrama’ Era With A Performance Of ‘Green Light’ On ‘The Late Late Show’

Lorde is in the midst of a week-long takeover on The Late Late Show, and it has gone well so far. She started the week by performing “Solar Power,” then returned on Tuesday with “California.” Both of those songs are taken from Lorde’s new album Solar Power, but for last night’s appearance, she dug deeper into her catalog.

Instead of another Solar Power cut, she busted out her popular Melodrama single “Green Light.” For the performance, she kept things simple, joined on stage by a pianist and some warm, sunset-colored lighting.

Back when the song came out, Lorde told Apple Music of it, “The song is actually about a heartbreak. And it’s not something that I really am used to writing about. It took me a while to be able to figure out how to write about that. It was my first major heartbreak. The song is really about those moments kind of immediately after your life changes and about all the silly little things that you gravitate towards. I say, ‘She thinks you love the beach, you’re such a liar.’ What the f*ck, she thinks you like the beach?! You don’t like the beach! It’s those little stupid things. It sounds so happy and then the lyrics are so intense obviously. And I realized I was like, ‘How come this thing is coming out so joyous-sounding?” And I realized this is that drunk girl at the party dancing around crying about her ex-boyfriend who everyone thinks is a mess. That’s her tonight and tomorrow she starts to rebuild. And that’s the song for me.”

Watch Lorde perform “Green Light” above.

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‘Fortnite’ Is Adding A New Experience That Celebrates ‘The Life And Legacy Of’ Martin Luther King Jr.

In a sentence that there is no chance anyone could have possibly seen coming under just about any circumstance, Dr. Martin Luther King Jr. is coming to Fortnite. While King will not be a playable character in the game, a trailer and a post on PlayStation’s blog explained how this is going to work.

The experience is called “March Through Time” and will send players back in time “to a re-imagined Washington, DC called D.C. 63.” While there, gamers will receive the opportunity to “witness the Civil Rights teachings of Dr. Martin Luther King.”

This experience was built by members ChaseJackman, GQUanoe, XWDFr, and YU7A. In D.C. 63, players will travel to the Lincoln Memorial and the United States National Mall where Dr. King made his iconic “I Have a Dream” speech.

The Experience will also feature museum-inspired points of interest and quests you can complete with other players. These quests should bring an important reminder that relates to Dr. King’s speech: We move forward when we work together.

Here is the trailer, which features a bunch of Fortnite characters walking on the National Mall to the Lincoln Memorial (we then get an image of King’s “I Have A Dream” speech being given at the same location) before they are then transported to a museum.

This Saturday, Aug. 28, marks the 58th anniversary of King’s most famous speech during the March on Washington for Jobs and Freedom.

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Three Giant Snoop Dogg Bobbleheads Were Stolen From Philadelphia Grocery Stores

Smoking with Snoop Dogg seems like one of those life experiences you wind up telling people about for the rest of your life. Case in point: Nearly every celebrity, from Seth Rogen to Nick Jonas — and even non-celebrities like Florence Pugh’s mom — who has ever had a session with Snoop has a story to tell and really enjoys telling it. However, for the rest of us, the prospect of receiving a pass to the left from the Doggfather might seem woefully out-of-reach. One might even go to extreme lengths to smoke with the Dogg, like someone in Philadelphia apparently did according to the local news.

The perpetrators in question reportedly stole three Snoop Dogg bobbleheads from three grocery stores in the Philadelphia area, rushing in and making off with the statues. But, they’re not just any bobbleheads; each one is three feet tall and was sent to the stores by Corona as part of his “La Vida Mas Fina” campaign. One of the thieves went so far as to put the Snoop statue into a grocery cart and roll it right out the front door. Police won’t say that the thefts are related, but my unprofessional advice is to check out the local head shops. Something tells me the thieves probably spend a lot of time there.

According to CBS Philly, the statues might sell for over $1,000 on eBay, which could explain the extreme measures the thieves went to in order to secure them, but there’s always the possibility they just wanted a cool conversation piece for their bud holes (you just know Jason Mendoza would steal a Snoop Dogg bobblehead). Unfortunately, we don’t know what Snoop thinks about all this yet, but whenever he wakes up, it’s a safe bet he’ll post about it on his Instagram.

Watch the CBS Philly report on the thefts above.