Category: Viral

The Weeknd’s new album After Hours is only about six months old now, but he’s not promoting it like he has previous albums. That’s not his fault, though, as the pandemic has limited options on that front. What he has been doing, though, is working on new music. In a new Rolling Stone profile, he said that he could actually have a new album out during the pandemic.

The piece concludes by noting that The Weeknd has “begun producing some of the new songs he’s written out of a makeshift studio in his condo.” The Weeknd himself said, “I might have another album ready to go by the time this quarantine is over.”

He also suggested that his new music is different from After Hours, and that the whole album cycle will be cinematic in nature: “I’m guilty of wanting to outdo my last album, but it’s never like, ‘I’ve got to do the same type of song.’ I’m so happy I’m not like that. My palette is so wide. […] I’m trying to find a perfect balance with the film and the music, and so far it’s going really well. I think I might have cracked the code.”

The Weeknd also said that, on a distinct note, he has been writing songs about characters in movies and TV shows he has been watching during the pandemic: “I’ll write about their relationship or something in a song. It might never see the light of day. That’s an exercise. I love doing that.”

Elsewhere, he admitted that the pandemic has made it more difficult to enjoy the release of After Hours like he has previous albums, saying, “I’ve been cooped up here for the last four months. Usually you go to a club or you go driving. You hear [your music] on the radio. I really haven’t been able to enjoy the fruits of my labor.”

Read the full feature here.

At the root of the Jurassic World franchise — even moreso than Jeff Goldblum’s “life finds a way” utterance or his iconic, heaving chest — is a cautionary tale of bad decisions made by mankind and the hubris that follows. These humans simply cannot resist theme-park-ing homicidal dinosaurs and genetically engineering breeds while imagining that they won’t bite back if given the chance. Well, they always seize the opportunity, and one can hardly blame them. I’d be incensed as a massive reptile if puny humans tried to cramp my style, too, but this franchise’s audience knows the drill, and that’s why they show up. Somehow, watching characters ooh-and-ah over cute little baby dinosaurs, who rapidly reach adulthood and terrorize all who dare to tread upon Isla Nublar, never gets old, nor does watching a peaceful, idealistic sight like this one…

…transform into a threatening spectacle like this one. Yep, the Indominus Rex, the Mosasaurus, and the Carnosauris are all at it again.

Fortunately, Jurassic World: Camp Cretaceous (which by now, you realize is an animated spinoff) is wise enough to insert some Velociraptors as well, including an obligatory cameo from Blue. To do less would be unforgivable, since this is essentially a Clone Wars equivalent: a canon offering meant to tide over audiences while they wait for the sixth franchise feature-length offering, Jurassic World: Dominion, to arrive. Considering that this Netflix original’s visuals arrive courtesy of DreamWorks Animation (at the behest of Universal Pictures and Amblin Entertainment), this series is even more striking at times than the live-action set pieces. With Steven Spielberg, Colin Trevorrow, and Frank Marshall as executive producers, this series means business.

The end result is more family-friendly than what we’re used to from the PG-13 films, but it continues the fine tradition of scaring kids’ pants off. Still, there’s a good chance that they’ll also enjoy watching dinosaurs stalk humans afresh because the six teenage characters — all shipped off for a summer camp billed as the opportunity of a lifetime — of this series are worth rooting for. Granted, they’re mostly not wild about each other from the beginning but must band together when sh*t hits the fan. It’s also worth noting that the human characters are drawn in a relatively basic way, so the dinosaurs are what’s visually popping, along with lush surroundings. Overall, it’s a gorgeously rendered show with views from tree-top cabins and zip-line adventures aplenty.

Bioluminescence, man. It’s a little bit trippy at times, and DreamWorks (of How To Train Your Dragon, Shrek, Kung Fu Panda, and so on) was clearly the animation studio for this gig. The show looks wonderful, but it’s worth stressing that this can be an intense watch at times (with teens having no Chris Pratt to dig the characters out of trouble) and probably a little too much for the youngest kids out there. I certainly wouldn’t let this series act as a babysitter, unless said kids are already quite familiar with the movies.

The biggest question for our purposes, though, is whether the adults will dig this series. I do believe many will appreciate the effort (and visuals that are better than Clone Wars and Rebels), unless you really need some curse words with your dinosaurs. Again, it’s canon with developments (and uncovered secrets) relevant to the franchise (it takes place at about the same time as the first Jurassic World flick), so it’s worth watching on that note. The eight episodes are breezy (less than half an hour apiece) and barrel into each other with momentum as the teens whirl across the island in an attempt to survive. Before one knows it, cliffhanger upon cliffhanger turns into a bingewatch.

There’s another bonus here: the teens might even remind people of 1980s John Hughes movies. So at first, they’ll appear as two-dimensional stereotypes (athlete, popular social-media maven, basketcase, and so on) who are mildly unlikeable, but they gain depth and emotional range once they must start working together. They’re a diverse bunch, both culturally and regarding their chosen pursuits, and it’s actually pretty enjoyable to watch a group of resilient teens take matters into their own hands when all the adults were dumb enough to (1) Send them to a “luxurious” island camp full of absolutely lethal creatures; and (2) To breed these creatures in the first place.

Even with an adorable Ankylosaurus on the scene, we all know what to expect here: potential nightmare fuel. That’s always the case with the movies, and the spirit stays alive in the animated counterpart. The show earns the attention of devotees, and it might even be a worthwhile introduction to the movies for adults who haven’t watched any of the movies. It’s not a massive time investment and definitely doesn’t feel like one, and it’s a pleasant (although intense) diversion. For sure, Isla Nublar is also a fitting place to get lost while rooting for humans to escape incredibly visible threats, and forgetting about the invisible one stalking the world today.

Netflix’s ”Jurassic World: Camp Cretaceous’ streams on September 18.

When the Emmys air this weekend, there might be a bit more attention paid to the Contemporary Hairstyling category than in years past. You can thank Schitt’s Creek’s Moira Rose for that. Or really, you can thank hairstylist Ana Sorys, who joined the show in its third season and was the mastermind behind some of star Catherine O’Hara’s most iconic looks. The two managed to usher in a sort of Wig-aissance with a line-up of over-the-top extensions, colorful coifs, and scene-stealing postiche that felt as eclectic and unique as the character’s definingly winsome vernacular.

It’s not hyperbole to say the show changed the way we look at hair and its relationship to our own identities, although that does feel like the kind of grandiose endorsement daytime’s brightest star would appreciate. So we chatted with Sorys about the legacy of the show, the mind-blowing looks of its final season, and if we’ll ever see the wig wall again.

You joined the show in season three. Did you want to change anything in terms of the wigs Catherine had been wearing?

What I learned about Catherine — what I learned about Moira — was that she used her wigs as more of a mood and a feeling as opposed to what she looked like. She never knew what type of wig she was going to put on. It was always a last-minute thing. So when I came on the show, I decided that I was going to have a lot of wigs prepared, so if she had an idea in her mind of how she wanted to feel, I had it available. It was a lot of doing hair on the fly.

So how did that process of finding the right wig for the right scene work then?

Sometimes we’d do a wig fitting, and it’s not even a scheduled wig fitting. It’s the end of the day and it’s time to go home, and Catherine would always come into the trailer to say goodnight, and then we would just, she would try on a wig backward, or she would go through my bins and just have fun. I remember we spent, it must’ve been an hour and a half trying on wigs one night just cracking up. I think that was more of how the process went.

Moira goes on a journey in the finale season. How do her wigs reflect that?

In season five, a lot of the wigs were dark. We had a dark green wig; we had the black wig for cabaret; we had the crow that was black. I shop all year round and research, and I figured, season six, I wanted it to be a little lighter. I thought I just wanted to brighten things up. For instance, in season six, episode one where she’s coming out of the closet and she has this crazy white poodle wig that I bought in New York. She put it on backward, and it just looked like, I mean, “What the heck was that?” If we had put a dark wig on her in a dark time, in a dark closet, it just wouldn’t have felt the same.

And in the last episode, for instance, when she and Alexis are in the room together, she has the short wig on. That’s actually from Judi Cooper-Sealy, who was her hairstylist since her SCTV years. She had passed away and Catherine brought this wig with her from California. She said, “I know this isn’t Moira, but I’d like to incorporate this wig somewhere as an ode to Judi.” So, we decided that it would be a good time to do it during that scene. And to make it more Moira, I said, “I’m going to sew some colorful pieces into this wig.” We did that literally at the last minute, while she was in rehearsals. So we still have an ode to her old hairstylist and some color.

We can’t talk about specific looks without talking about her Viking Priestess get-up from David and Patrick’s wedding. I’m guessing that wasn’t done on the fly?

Yeah, for that scene, we did do a little bit of planning. When we got the script, I went to Catherine and I said, “I know you’re going to be wearing this headpiece and this very long robe. What were you thinking for your hair?” And I showed her reference of this huge donut hairpiece that I thought would look good around the hat. So we drew a sketch of it, and we measured her head and measured the hat. And for weeks, I had worked on this piece. The crew would watch me walk around with this stuffed pantyhose that I was trying to figure out how I would wrap the hair around it, so it would stay clean and endure the whole day.

I tried sewing it. I tried doing all these things, and I just couldn’t figure out how it was going to work. Dan came to me the night before, and he said, “You’ve been working on this for so long.” He’s like, “You don’t have to have it. This is something extra, so don’t worry about it.” And I was like, “No way! We are doing this.” I found my glue that I used to put my tiles down in my kitchen and I used tile glue, and it worked perfectly. It didn’t change the color of the hair. It tucked it in place, it didn’t darken it. And her hair, we started out with, I think it was 40 inches. And two days later I said to Dan, “You know what? I think that hair should be longer.” So I added an extra 22 inches to it. In the end, it was 62 inches of hair.

And no one saw it until the day of?

Right. We didn’t tell the crew what she was going to look like. We wanted it to be a surprise and when she walked onto set, it’s a moment in my career where I watched everybody’s face, especially Dan’s face… they could not believe it. Everybody started clapping. It was so worth it.

When did you realize Moira’s wig collection had become something bigger than just a running joke on the show?

It was when we started seeing people dressed up as Moira in drag. That’s when we were like, “Oh my God, this is a thing now.”

It’s so markedly different than how any other TV series would use a hairpiece or wig, even other comedy series.

I think that people are starting to realize that it’s okay to wear a wig just for fun; not to change the way you look, but change the way you feel. Most people wear hairpieces and extensions, and it’s more about wanting to look like other people. A Moira wig is more about expressing yourself and how you feel. It’s about wanting to be different and it not being an issue.

Can you even compare what you guys did on the show with the other work you’re nominated against at the Emmys this year?

It’s interesting because I’ve had people ask me, “So, what do you think of your chances of winning an Emmy?” I made a decision not to look at any of the other work, and not to compare myself as an artist for the work that I did on the show. We did this very organically, and we had a lot of fun with it, and it was more about how we made the fans feel. You know? At the end of the day, I think the only thing that matters is how you make people feel when they’re watching TV and watching your work.

The wigs became such a big part of Moira’s storyline. They were part of the comedy. Jokes were written in the script about them. Who came up with their names and backstories?

Well, for instance, in season six, episode one, where she’s calling out the names of her wigs because she’s worried that they’re going to burn in the fire. So the wigs, the names of the wigs are the names her best friends. They were Catherine’s best friends in real life. And when that episode premiered on TV, she invited those specific friends to her house to watch the episode, and those friends saw her call out their names on the show. She didn’t tell her friends that she was going to do that.

Which cast members went home with which wigs?

So, Catherine, she took the pink wig with her and she has the Sunrise Bay look. There was this one wig that I got from Japan. It was like a Harajuku blue wig, an anime, wig. We didn’t end up using it, but Dan said, ‘I want to take that one.’

And you have the rest?

I have them all packed away and labeled by episode, scene numbers, and seasons. I am pretty much in charge of what happens to them now, which is nothing. I didn’t want them to go into a production closet. Who knows if we’re ever going to need them again? So I just want to make sure that they’re in a safe place.

For an exhibition at The Met maybe?

That would be amazing. Yeah, we have to talk to Dan about that. He’ll love it.

Or you could just create a line of wigs. I’m sure fans would open their wallets for that.

Yeah, I’ve had women who were going through chemo contact me and ask me about wigs. They say, since they’ve seen Moira’s hair on TV, they’re having fun with wearing wigs as opposed to just wanting to blend into society. They’re actually wearing a pink wig or wearing a green wig, and it brightens their day. Who knows? Maybe there might be a Moira wig collection that you could buy in the future.

A virtual table read of scenes from Cameron Crowe’s 1982’s high school-set comedy Fast Times at Ridgemont High brought together an impressive collection of talent on Thursday, including Shia LaBeouf (seen here doing some Spicoli method acting), Morgan Freeman, Henry Golding, John Legend, Matthew McConaughey, and Julia Roberts. Also in Zoom attendance: Jennifer Aniston and Brad Pitt, “appearing on screen together for the first time since their 2005 divorce,” according to People. They were cast as Linda Barrett (Phoebe Cates) and Brad Hamilton (Judge Reinhold), meaning the got to reenact the scene every 14-year-old boy remembers from Fast Times:

The two actors shared a hilarious moment in the script in which the character of Brad has a sexual fantasy about Linda, resulting in a live reading between the two exes that caused laughs by everyone.

It must’ve been really hard for Brad Pitt to play a character named Brad who goes gaga for Jennifer Aniston. The scene elicited delight from the other famous people (McConaughey was grinning the entire time) and online, where reactions ranged from, “Jennifer Aniston is playing it so fucking cool but Brad Pitt is clearly embarrassed. I LOVE MY DIVORCED PARENTS,” to, simply, “All these actors reacting to Brad Pitt’s character jerking off to Jennifer Aniston’s character.” Come for (stop giggling) the Brad and Jen; stay for the Morgan Freeman saying the words “pumping slowly.”

The virtual table read raised money for CORE and REFORM Alliance.

Dua Lipa has made the most of the pandemic on an artistic front. Future Nostalgia came out around the start of lockdown, and for much of the year, she has made multiple appearances on late-night TV, including a guest-hosting spot on Jimmy Kimmel Live!. She found herself back on TV last night, this time to team with James Corden on The Late Late Show to parody two of her biggest hits, re-working them to be about dating during the pandemic.

The two swap lines in the first verse of “Don’t Start Now,” singing, “What a year for dating, crazy / Nothing is the way it was / People texting exes sex pics / From the basement at their mum’s / You have human contact / don’t know what you’ll contract / so your first date’s always on Zoom.”

In the second chorus, the pair instructs, “Wear a mask, wash your hands / It’s not like you have other plans / It’s awkward but it’s cool / following all these COVID rules.”

That line serves as a transition into the “New Rules” portion of the parody. Some of the fresh regulations include, “Up your waxing game / No one’s seen you naked since February,” and, “Stalk their Instagram / You gotta background check if you wanna slam.”

Watch the video above.

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

Netflix wants to drive us all a little mad this week. The streaming platform is dropping two huge titles — a star-studded intergenerational drama and Ryan Murphy’s horror origin story — to keep binge-watchers on the edge of their seats. Much of Hollywood’s younger crowd is in director Antonio Campos’ boondocks drama, The Devil All The Time, and they’re all behaving badly while Sarah Paulson hams it up on-screen as the nurse with the worst bedside manner in cinematic history.

Here’s everything coming to (and leaving) Netflix this week of September 18.

The Devil All The Time (Netflix film streaming 9/16)

This time-hopping drama set in the backwoods of West Virginia is basically an excuse for director Antonio Campos to assemble his own Avengers-style squad of Hollywood A-listers. Seriously, everyone’s in this thing — Tom Holland, Robert Pattinson, Bill Skarsgård, Eliza Scanlen, Sebastian Stan, Mia Wasikowska, Riley Keough, Jason Clarke, Haley Bennett, that kid who played Dudley in the Harry Potter franchise. The whole gang’s living in shacks and picking up hitchhikers only to murder them later and speaking in tongues and falling victim to generational trauma. It’s a heavy watch, there’s not really a happy ending, but boy does Pattinson deliver a batsh*t crazy turn as a pedophiliac preacher.

Ratched (Netflix series streaming 9/18)

Speaking of crazy, Ryan Murphy is back to give us his twisted take on the origin stories of one of film’s most notorious villains. Sarah Paulson plays Nurse Ratched before her One Flew Over The Cuckoo’s Nest days as she arrives at the asylum and starts making some necessary “improvements.” She also flips out on co-workers who try to steal her peaches from the breakroom so hey, at least there will be some comedy paired with the madness of this show.

Here’s a full list of what’s been added in the last week:

Avail. 9/15
America’s Book of Secrets: Season 2
Ancient Aliens: Season 3
Cold Case Files Classic: Season 1
The Curse of Oak Island: Season 4
Hope Frozen: A Quest to Live Twice
Izzy’s Koala World
Michael McIntyre: Showman
Pawn Stars: Season 2
The Rap Game: Season 2
The Smurfs 2
Taco Chronicles: Volume 2
The Universe: Season 2

Avail. 9/16
Baby: Season 3
Challenger: The Final Flight
Criminal: UK: Season 2
The Devil All The Time
MeatEater: Season 9
The Paramedic
Signs: Season 2
Sing On!

Avail. 9/17
Dragon’s Dogma
The Last Word

Avail. 9/18
American Barbecue Showdown
Jurassic World Camp Cretaceous
Ratched

And here’s what’s leaving next week, so it’s your last chance:

Leaving 9/20
Sarah’s Key

Leaving 9/21
Person of Interest: Seasons 1-5
SMOSH: The Movie

Leaving 9/22
20 Feet From Stardom

The past week has bene one filled with ups and downs for Cardi B. After kicking it off with a return to No. 1 on the Billboard singles charts with her hit “WAP” collaboration with Megan Thee Stallion, reports arrived mid-week that the Bronx native filed for divorce from her husband Offset after three years of marriage. Bringing things to a high point, Cardi delivers a new guest verse on Anitta’s latest single, “Me Gusta” alongside Myke Towers.

After Anitta sets the mood with her hook and a verse of her own, Cardi steps into to lay off a Spanglish verse. “He like to eat the cake like it’s my b-day,” she says confidently at the beginning of her verse, before concluding it with the declaration that she and Anitta are “two fly mamacitas.”

The song adds to a growing list of high points for Cardi in what is proving to be a very strong year for her, despite the delay of her sophomore album. Last month she was declared the latest face of a Balenciaga campaign, an announcement that arrived her debut album, Invasion Of Privacy debut set a historic record after it became the longest-charting album by a female rapper following its 124th week on the Billboard 200 chart.

Listen to “Me Gusta” in the video above.

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

There are certain filmmakers who seem to specialize in stories where bad things keep happening. Derek Cianfrance comes to mind, or the ending of Million Dollar Baby. The Devil All The Time, Netflix’s new Antonio Campos adaptation of Donald Ray Pollock’s novel, feels reminiscent of those, and probably outpaces them for sheer volume of Terrible Shit Happening. Yet rather than hammer you with the heartbreaking beauty of working-class sadness like Cianfrance might, Campos takes his characters out of the picture frame, where their foibles just seem absurd, almost wryly funny. The Devil All The Time‘s characters are a little too dysfunctional to be entirely tragic; that’s the comedy of life.

Campos’ directing style mimics Appalachian speech, the effect of hearing a terse moonshiner mumble out some matter-of-fact aside that treats shockingly lurid perversion like a description of the weather. The characters all live somewhere in or between Coal Creek, West Virginia and Meade, Ohio, with occasional stops in Knockemstiff, somewhere in between. Donald Ray Pollock’s first collection of stories, Knockemstiff, was published when he was 53, after working at the Mead Paper Mill until the age of 50.

Campos’ adaptation of Pollock’s debut novel retains a narrator, who foreshadows and contextualizes, introducing us to a handful of characters starting with Willard Russell (played by It‘s Bill Skarsgard, who seems to have finally shed his Swedish accent), a veteran of the Pacific conflict still haunted by the crucified soldier he saw there, that he thinks of every time he goes to church. Willard’s mother is always dragging him to church, trying to fix him up with an orphan girl, Helen Hatton (Mia Wasikowska), in order to keep a promise she made to God.

Willard though only has eyes for Charlotte (Haley Bennett, who also stars in Ron Howard’s upcoming adaption of Hillbilly Elegy, almost certain to be a worse version of The Devil All The Time), a waitress he met while passing through Meade. Which is just as well, because Helen Hatton soon falls for Roy Laferty (Harry Melling, whose face tells its own tale of Appalachian dysfunction even though he’s British), a traveling preacher whose showstopper is dumping a mason jar filled with spiders onto his face to prove his devotion to the Lord. Willard eventually makes his own promises to God, far more horrible than his mother’s, leaving his only son Arvin a legacy of traumatic memories and dubious life lessons. And honestly, that’s barely the setup.

The Devil All The Time goes on in this discursive manner, casting aside characters as unsentimentally as George RR Martin along the way, eventually encompassing a horny preacher played by Robert Pattinson, a troubled orphan played by Eliza Scanlen, a perverted pair of swingers played by Riley Keough and Jason Clarke, and a corrupt Sheriff played by Sebastian Stan — all somehow revolving around the now-grown-up Arvin Russell, played by Tom Holland. Every vignette is somehow more casually grotesque than the last, and the cast’s mix of mostly international stars with the occasional authentic regional American thrown in works shockingly well. Harry Melling in particular looks like he could play oddball Appalachian preacher or medieval European prince equally well (two sides of the same coin, perhaps).

This geographically eclectic cast in a vulgar and violent rural gothic is more or less what Martin McDonagh was going for in Three Billboards Outside Ebbing, Missouri. The major difference is that Donald Ray Pollock actually seems to know the people and places he’s writing about (or at least Antonio and Paulo Campos, in adapting him, sure make it seem that way). Pollock and Campos’ story choices are no less far-fetched than McDonagh’s in Three Billboards, but because Pollock can get the vernacular and mannerisms correct, it’s much easier to follow him when he gives us cancer, crucifixions, and ritualistic sex. The Devil All The Time is a wild yarn about death, dysfunction, and perverting the good book into something truly monstrous, but it’s underpinned with a deep well of humanity. These characters all feel like fully-formed people, even when they’re castrating each other and murdering dogs. That’s what’s so gloriously f*cked up about it.

The Devil All The Time is a lovingly-constructed quilt of interlocking insanity, about how the simple life is anything but simple and salt-of-the-earth folk are every bit as screwed up as debauched debutantes. You want to reminisce about the good ol’ days, kid? Well then, let’s peel away the postcard facade. The Devil All The Time is a masterpiece of dark Americana.

‘The Devil All the Time’ begins streaming via Netflix on September 18. Vince Mancini is on Twitter. You can access his archive of reviews here.

After career turn for the worse following his departure from Young Money prior to the release of his 2015 album, The Gold Album: 18th Dynasty, Tyga found success once again thanks to his 2018 single, “Taste,” and since its release, things have been looking much better for the “Rack City” rapper. A few months removed from the one-year anniversary of Legendary, his highest performing solo album since 2013, Tyga delivers another single to his already active year thanks to “Money Mouf” with Saweetie and YG.

The track finds the West Coast rapper in comfortable and alive in his pocket, confident bars over uptempo production that would thrive in strip clubs, well, if they were open at least. After setting the scene with a verse and hook of his own, one that reminds listeners that he invented “racks,” Tyga opens the floor for Saweetie and YG to step through where they lay verse of their own that fit the energy Tyga presents on the song.

The song arrives in a where filled with guest appearances from Tyga that include Curtis Roach’s “Bored In The House,” Kyle’s “Money Man,” Megan Thee Stallion’s “Freak,” and more. As for Saweetie and YG, the song comes after Saweetie laid off a “Tap In” remix with Jack Harlow, DaBaby, and Post Malone and YG unveiled his upcoming album, My Life 4Hunnid would arrive on October 2.

Listen to “Money Mouf” in the video above.

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

Earlier this year, Busta Rhymes announced he is preparing the release of his upcoming album, Extinction Level Event 2: The Wrath of God with the release of “The Don & The Boss” with Vybz Kartel. The album will be the successor of his 1998 album, E.L.E. (Extinction Level Event): The Final World Front. Pushing forth with the album’s rollout, the Brooklyn rapper inks and a cross-country connection by recruiting Anderson .Paak for his new single, “Yuuu.”

The single arrives with a matching that visual that presents Busta and .Paak as swore enemies who both aim conquer one another and come out as the superior being. The song is also the second times Busta and .Paak have worked together after they last connected in 2018 for their “Bubblin” remix.

The song arrives just a week after Busta Rhymes joined Trippie Redd for their “I Got You” single. Clearing a sample of his 2002 track, “I Know What You Want” with Mariah Carey, Busta played the OG role for the young rapper in the song’s music video. As for .Paak, the song is another addition to a fairly active year for the California native. After kicking his year off with “Lockdown” track, which was later remixed by Jay Rock, JID, and Noname, .Paak would later tap Rick Ross for a verse on his “Cut Em In” single, before he lent his vocals to India Shawn’s “Movin” and Big Sean’s “Guard Your Heart” track off his newly-released chart-topping album, Detroit 2.

Press play on “Yuuuu” above.