Phoebe Bridgers has become a dominating force over a short period of time as a musician, and now she is ready to explore a new music industry frontier: Today, she announced that she has launched her own label, Saddest Factory, a Dead Oceans imprint.
In a new Billboard interview, she noted, “It’s always been a dream of mine to have a label, because I’m also such a music fan.” She also discussed launching her label during the pandemic, saying, “One of my favorite things about this time is that everybody is listening to records faster, making tons of playlists, and doing dance parties in their houses. I felt like if there’s cool stuff, I want to get it going and get it out to people as fast as possible.”
The name of the label is a play on the word “satisfactory,” first made on Twitter in 2019 by Bridgers’ former Sloppy Jane bandmate Haley Dahl. Bridgers seems to have received no resistance when asking Secretly Group (the parent group of Dead Oceans) about her getting her own imprint, as she notes, “I brought it up, like, ‘Can I have a label?’ And they were like, ‘Yeah, totally.’”
Bridgers hasn’t revealed any of the artists signed to the label yet, but an announcement is expected to arrive soon. She doesn’t envision Saddest Factory sticking to any one genre in particular, as she says, “If I like it and I listen to it for pleasure, then other people will like it and listen to it for pleasure. I don’t think I have any ethos other than, ‘Am I jealous?’” She also noted in press materials, “The vision of the label is simple: good songs, regardless of genre.”
Additionally, she talked about the flexibility having her own label provides: “I haven’t felt this yet, but maybe at some point I’ll want to take a step back from the every two years album cycle and want to do other sh*t, like produce or just put out records. Music is always going to be in the forefront of my brain. I just want to explore.”
Bridgers launched the label’s website today, which is formatted like a Mac desktop and is brimming with personality and Easter eggs. Notably, there’s also a link for artists to submit their music to the label, so check out the site here.
Keeping up with new music can be exhausting, even impossible. From the weekly album releases to standalone singles dropping on a daily basis, the amount of music is so vast it’s easy for something to slip through the cracks. Even following along with the Uproxx recommendations on a daily basis can be a lot to ask, so every Monday we’re offering up this rundown of the best new music this week.
This week saw new tunes from 21 Savage, Blackpink, Romy, and YG. Yeah, it was a great week for new music. Check out the highlights below.
21 Savage And Metro Boomin — Savage Mode II
21 Savage and Metro Boomin’s original Savage Mode was beloved in 2016, so the pair decided to run it back with a sequel, Savage Made II. The duo really made their handful of features count, as the album features Drake, Young Thug, and a whole lot of Morgan Freeman.
Megan Thee Stallion and Young Thug — “Don’t Stop”
Megan is fresh off what was surely one of the biggest thrills of her career: Being the musical guest on Saturday Night Live. Ahead of that, though, she took advantage of the increased exposure to drop a new song (and cinematically referential video) with Young Thug, “Don’t Stop.”
Bryson Tiller — Anniversary
October 2 marked the fifth anniversary of Tiller’s debut album, Trapsoul. Naturally, an album released on that exact day five years later titled Anniversary is heavily referential to it. The focus only drifts from Tiller once, when Drake pops up on “Outta Time.”
YG — My Life 4Hunnid
YG has been on an annual album release schedule since 2018, and with just a few months left in 2020, he returned with My Life 4Hunnid. He got a number of friends to help him out with this one, including Lil Wayne, Ty Dolla Sign, Gunna, Lil Tjay, Lil Mosey, Calboy, Tay2x, and D3.
Bartees Strange — Live Forever
Strange recently told Uproxx about how he decided to let his real tastes shine through on his new album, saying, “I hear this song one way, a rock song with a hip-hop verse and a pop chorus, but no one’s going to get that so I need to just make it a rock song. I’ve always tried to walk myself back to make it more digestible for other people. And with this record I was just like, ‘I’m just going to make the stuff I like. These are the sounds that come natural to me.”‘
Blackpink — The Album
Blackpink are one of the leaders of the K-pop movement, and they did it all without a proper album. They changed that last week, though, with The Album, which, aside from their universally understandable pop sound, makes an appeal to English-language speakers with guest spots from Cardi B and Selena Gomez.
Dua Lipa — “Levitating” Feat. DaBaby
Dua Lipa has remixed and re-worked Future Nostalgia in just about every way and at just about every opportunity possible since its release. That’s great because it’s a superlative album, and she refreshed one of its strongest songs last week, “Levitating,” by adding DaBaby to it.
Beabadoobee — “How Was Your Day?”
A lot of things about being a touring musician are great, but it can put a strain on relationships. That’s something Beabadoobee addresses on “How Was Your Day?,” which she describes as “a track that explores all the relationships I neglected when I was away from home.” She also noted of the raw track, “I wanted to emphasize the rawness of the lyrics with the song sonically which is why I recorded it on a four-track with all the little mistakes and vocal wobbles included.”
Denzel Curry — “Live From The Abyss”
Curry decided to take advantage of the charitable Bandcamp Fridays initiative by dropping a new Bandcamp-exclusive track, “Live From The Abyss” (to benefit Dream Defenders). The track sees Curry rapping about Black-positive themes, with lyrics like, “I’m screamin’, ‘Black is beautiful,’ views are probably anti-race / I can see the fear in your eyes when you look in my face.”
Romy — “Lifetime”
Earlier this year, The xx’s Romy declared her intention to release her first solo album, and last week, she got one step closer to realizing that with a new solo single, “Lifetime.” The guitarist’s fresh song might not be what you expect for a guitarist’s solo single, but is instead more indebted to the dance influence of The xx’s recent material.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Jhené Aiko debuted her new song “Vote” on last night’s animated season premiere of Black-ish, not just imploring listeners to follow through but also empathizing with the obstacles many potential voters may face on Election Day. The first half of the episode finds Junior losing faith in the institutions of democracy as he faces his first election. Younger sister Diane throws on Aiko’s animated clip in an effort to impress the importance of voting on her brother. You can view the clip here at 14:39.
“Vote” expresses Aiko’s character’s desire to “focus on my vote,” but juxtaposes her civic-mindedness with the pressures many people will face. “I ain’t got no time, I gotta work,” Jhené croons. “Rent is comin’ up, I need this cash / Plus I got a couple terminations in my past / Gotta ask my bosses for a day off / But if I do, I know might get laid off.” As the song plays, the animated characters in the clip face the removal of mailboxes for absentee voting, phony voter guides being passed out by dubious individuals, and bosses who don’t follow laws that require them to allow employees to visit polling places. It’s an ugly reality that some politicians are relying on tactics like these to keep their positions of power, as voter suppression efforts have reportedly increased across the nation.
Listen to Jhené Aiko’s “Vote” above and find more voting information here.
The creative teams behind Game of Thrones and It’s Always Sunny in Philadelphia are on friendly terms. Sunny creator Rob McElhenney appeared in the final season of the HBO mega-hit, while Thrones showrunners David Benioff and D.B. Weiss wrote an episode of Sunny, season nine’s “Flowers for Charlie” (they also have a cameo in “The Gang Goes to a Water Park”). But those two, who have a nine-figure deal with Netflix, also played a cruel (but amusing) prank on McElhenney while Thrones was still on.
As detailed by the AV Club, James Hibberd’s Game of Thrones oral history Fire Cannot Kill a Dragon includes a passage about Matt Shakman, a long-time Sunny director who was hired to helm “The Spoils of War” and “Eastwatch” for Thrones on McElhenney’s recommendation. Benioff and Weiss “thought it would be funny if we told Rob that it was not working out with Matt and that he was a total disaster.” The bit lasted for multiple emails, with the showrunners informing the Mythic Quest: Raven’s Banquet star that they had to “step in and take over the episode because it’s turned into such a mess.”
“I forgot about that!” Shakman says. “That was the darkest practical joke. Rob was legitimately tortured about it. He was so concerned for me and was like, ‘What can I do? Who can I talk to?’ It went on for way too long.”
That’s some Dennis Reynolds-level commitment to a cruel joke. Literally. A few years ago, Glenn Howerton revealed that he once sent Danny DeVito a fake script that even Mantis Toboggan thought went too far. “We basically just took a spec script that somebody sent us, and just took out Danny’s storyline and put in a different storyline where he ends up going to jail,” he wrote. “The first thing that happens is he goes to jail and gets raped. Then he joins the white supremacists to protect him, and they do at first and then they rape him. Then he goes to the prison guards and asks for help, and they rape him. And we sent him the script for April Fools Day and made it look all legit. And that was the first time he called us and was like, I can’t do this guys.”
Benioff and Weiss’ prank is, somehow, more mean. And you know what? Respect.
Perhaps no other modern politician has been interviewed by more musicians than Bernie Sanders has. He chatted with Killer Mike in 2019, and he and Cardi B have talked on a number of occasions. Now he has added Halsey to his list, as the two recently sat down (virtually, of course) for a conversation, video of which Halsey shared over the weekend.
The video is billed as the first episode of a series with the two. The conversation was filmed on September 30, which was the day after Joe Biden and Donald Trump’s first presidential debate, so the two expressed disappointment over how that went. The topic of this episode was “Greed & The Wealth Tax,” so Halsey made her views clear on that, saying, “Despite being in the 1 percent, I support the wealth tax because I believe that the people who oppose it are motivated by greed. The amount of income that I have doesn’t even make a drop in the bucket compared to these billionaires, but I wake up every single day and I never want anything, I never need anything in this small bracket of wealth that I exist in.”
Back in March, when Sanders was still running for president, Halsey gave him her full endorsement, saying in a video, “Bernie has been fighting for me since before I was alive. A queer woman in a multi-racial family who was raised poor in an American suburb. A woman who got into the college of her dreams and couldn’t afford to go. A person physically tormented by a reproductive health disorder that I couldn’t afford to treat. A person who has repeatedly needed access to medical assistance, housing assistance, financial assistance, abortion, all before 21 years old just so I could stay alive. Now I’m considered fortunate, lucky even then, comparatively to the rest of the working class of America. And now my financial privilege protects me from the effects of marginalization that would have previously been fatal for me. So today, I fight for her too. That girl, who wasn’t protected.”
Watch the video above.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
NFL football is back and Lil Wayne is providing the soundtrack for Thursday night games on Amazon Prime Video with a new theme song fittingly titled “NFL.” The track is produced by Boi-1da and Illmind, features Young Money artists Gudda Gudda and HoodyBaby, and will kick off the season on Thursday, October 8 with the Chicago Bears/Tampa Bay Buccaneers game. The song’s lyric video features CGI versions of the rappers suited up for the game in an empty stadium.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
Blackpink are officially in your area.
Even though the K-pop girl group released a Japanese studio album named after that signature phrase back in 2018, mostly as a means of collecting all their singles to date, this past Friday marked their formal debut full-length, ceremoniously titled The Album. Kicking off said album with the highest-charting female K-pop single to date, “Ice Cream,” a collaboration with Selena Gomez released in late August, the record is already having a huge impact during a year where pop stadium tours have been placed on hold due to the pandemic.
Following the examples of Charli XCX and Taylor Swift before them, Blackpink wrote and recorded The Album during the pandemic, with all four members, Jennie (Kim), Lisa (Lalisa Manoban), Rosé (Chae-young Park), and Jisoo (Ji-soo Kim), singing in English, save a few Korean verses here and there. Though American and other English-speaking audiences are growing more and more accustomed to singing along to pop songs in other languages — due not just to the influx of Latinx pop, but other K-Pop groups like BTS — the increased accessibility of lyrics can’t hurt. Not that anything was holding them back in the first place, it’s almost hard to keep up with the speed at which the group’s songs break and set records when it comes to most streamed and most watched.
Aside from the success of their solo singles, like their record-breaking 2019 hit “Kill This Love,” or the widely-remixed and insanely-catchy “DDU-DU DDU-DU,” co-signs from American pop stars have been pouring in all year. After a huge feature on Lady Gaga’s Chromatica for the hypnotic single “Sour Candy” earlier this year, their Gomez-featuring hit “Ice Cream” includes co-writing credits from both Ariana Grande and Victoria Monét. The cherry on top, when it comes to massive guest stars, comes in the form of one Cardi B, the first rapper the group has collaborated with.
“Bet You Wanna” is a delicious, swaggering hit that combines an acoustic guitar, twinkling harmonies, and a top-form Cardi verse delivered in signature raunchy fashion. It’s no “WAP,” but even with all their own pull on the charts, it never hurts to have the reigning queen of hip-hop show up on your debut album. As The Grammys noted in an interview with the group around the project’s release, they’re often referred to as “the biggest girl group in the world,” and that’s not a title they take lightly. But the reason Blackpink is so easy to fall in love with is because of the obvious diva influences they wear on their sleeves, and because a thick layer of campiness helps confirm that though they’re deadly serious about making excellent pop music, they never take themselves too seriously.
It’s easy to imagine running back the beginning of the chorus on “Crazy Over You” to double-check if that’s another hidden Selena feature or Jennie and Jisoo, as even the phrasing is reminiscent of Gomez’s staccato pop hits (“Cut You Off,” “Let Me Get Me”). Elsewhere, the girls channel Lana Del Rey’s whisper-rap cadence on “Love To Hate Me” and borrow from Gaga’s signature sing-talk rhythms all over the record. None of these references ever come off as derivative or heavy-handed, as the group’s four vocalists often execute these stylistic choices better than the stars they’re drawing from.
Frequently bringing up the dichotomy between the two colors that make up their name in interviews, The Album is definitely full of darker moments that contrast with the campy and clubby technicolor pop elements. The record’s first song, “How You Like That,” relies heavily on trap beats and ominous, warped horns for the taunting chorus, and one of the project’s earliest singles, “Lovesick Girls,” is anything but hopeful when it comes to love. Pop music devoted to discussing toxic relationships never goes out of style, so all these songs hit harder than ever during a year marked by isolation and disappointment, but to their credit they’re never heavy enough to deter singing along at the top of your lungs.
What’s perhaps most interesting about Blackpink, though, isn’t the contemporary pop music they trade on, but the way they incorporate hip-hop. Even the most bubblegum-y songs here lean into a heavier beat or some simmering, trap-centric synths from time to time, anchoring this record in rap and R&B as much as pop, including a full-on rap verse from Lisa on “Love To Hate Me.” She’s no Cardi, but it’s not a bad verse by any means. As the post-internet globalization of music and flattening of genre leads us deeper and deeper into a new amalgam of styles and sounds, it’s possible that soon Blackpink won’t just be the biggest girl group in the world when it comes to pop, but hip-hop, too.
The Album is out now via YG Entertainment/Interscope Records. Get it here.
The long anticipated sort-of tenth season finale of The Walking Dead has finally aired after having been delayed for six months (because Angela Kang has tacked six episodes into the 10th season, it’s also no longer technically the season finale). It was a good episode, even if it didn’t quite live up to the expectations put upon it by a six-month delay. The episode was more low-key than the episode where Alpha was killed, and that would have been finem had it aired back in April; but it’s not an episode that benefits, exactly, from airing in isolation.
However, the episode accomplished what it needed to accomplish: namely, to end The Whisperer War, reintroduce Maggie, and tease the next arc. It did, however, leave us with a few outstanding questions.
Where has Maggie been? Good question, and the episode does not offer much by way of answers. We know that she was off in another community, and somehow capable of receiving mail (given Alexandria’s isolation from the rest of the country, this needs an explanation all on its own). Maggie was apparently helping out Georgie and her community, but it remains unclear what community that is. Is it The Commonwealth? Is it one of the three communities represented in The World Beyond?
Moreover, why did Maggie choose to return now? And who is her friend with the mask and the ninja skills?
The current speculation is that the extra six episodes in Season 10 will fill in Maggie’s backstory. We know that Lauren Cohan is in Georgia currently shooting those episodes, but so is Norman Reedus, which at least suggests that all six episodes will not focus entirely on Maggie’s backstory.
AMC
Is Stephanie even real? I know we met The Commonwealth soldiers at the end of the episode where Eugene was expecting to meet Stephanie, but I do wonder how real Stephanie is. Did she actually have feelings for Eugene and want to meet him? Or was she a character created by The Commonwealth to lure people out and into their community? If she’s not real — or was conning Eugene all along — Eugene is gonna be absolutely crushed. Don’t toy with Eugene’s emotions!
Are Luke and Jules still a thing? It sure seems like it! Jules is the reason that Luke relocated to the Oceanside, and though we have only seen a few scenes with Luke and Jules together, it certainly appears that the two are very much romantically interested in one another. In fact, during this episode, while they were walking among the zombie hordes, Luke very sweetly reached out and held Jules’ hand, which was very nice, but also reckless! Don’t hold hands while walking among zombie hordes!
Did anyone die in the episode? Alpha and a few unnamed members of The Whisperers died, but only one person in the Alexandria alliance died. Her name is Beatrice. She got chewed up by a zombie horde and left behind by Carol, who saw the writing on the wall and left Beatrice before she got eaten, too. Beatrice (an Oceansider) hasn’t had a lot of screentime, but she is best known here for not trusting Lydia, which is reason enough for her to die.
AMC
How long did they listen to “Burning Down the House”? Seriously, they must have had that song playing for hours, because there is a time skip in the middle of the episode, in which time jumps from day until night, and they are still playing the same song. Did it not drive anyone crazy listening to the same song on a loop? The walkers were following noise, but not a specific noise. Couldn’t they have switched up the song every once in a while, if only for their own sanity? No wonder Carol almost threw herself over a cliff!
“Do you know who that asshole is? It was fun to see Negan briefly starstruck by the identity of Beta underneath his mask, although Daryl was completely nonplussed. “He’s nobody.” That’s a super cool casual reaction, but come on, Daryl. If we found out that, say, Garth Brooks was Beta, we’d sh*t our pants.
In case you missed it, Beta is a very famous country musician in the universe of The Walking Dead. We found that out in an episode of Fear the Walking Dead last season.
AMC
Is Virgil going to move in on Connie? — Connie didn’t die, which is great news. However, the fact that she got picked up by Virgil — whose carelessness led to his family’s death, which led Virgil to a bout of insanity compounded by hallucinogenic tea — is maybe not the best thing in the world for Connie. But look: We know that Carol and Daryl are getting their own spin-off. There’s no room for Connie on that bike, so maybe her and Virgil can hit it off and stay together. Daryl and Connie would have made a cute couple, but then again, I’m not sure that Daryl is cut out for romantic adventures.
Did Carol and Daryl continue to lay the groundwork for their spin-off? They sure did! Earlier this season, the two talked about getting on Daryl’s motorcycle and riding away on adventures together. After defeating Beta and The Whisperers, Daryl suggested that they maybe do exactly that and ride out to Mexico (Angela Kang calls the Daryl and Carol spin-off a road-trip drama). Carol, however, insists that they still have things to do, so I suppose they will put that road trip off for exactly 30 more episodes.
HBO’s ‘Lovecraft Country’ is ambitious and astounding and will undoubtedly blow your expectations away. Created by Misha Green, who’s working with Matt Ruff’s 1950s-set dark-fantasy novel as source material, the show counts horror visionary Jordan Peele and sci-fi maestro J.J. Abrams as executive producers. The show is full of literary and musical references, along with monsters, both in-your-face and figurative; we’ll discuss the resulting symbolism on a weekly basis.
Lovecraft Country began as a road trip that highlighted the horrors experienced by Black Americans and then took monster-chomping vengeance upon bad guys. Over the past few months, the show’s explored a cult and a haunted house traveling into the cosmos, and there’s no telling where Hippolyta is right now. In his week’s episode, “Jig-A-Bobo,” the bad-guy-chomping returned, big time, but there’s a lot of layers along the way.
We also learned what happened when Atticus slipped into one of Hiram’s time-machine portals: (1) He briefly journeyed into the future; (2) He learned that his son, George (named after Courtney B. Vance’s late character), penned the Lovecraft Country novel that’s authored in real-life by Matt Ruff (and is the basis for this show). It’s all so circular but still delightfully maddening. On a more serious note, grim plights go down during this episode. We’ll work through that, but let’s begin with the most climactic turn of events.
1. Atticus wanted magic, and as a result, he’s got a new pet:
HBO
During the episode’s final moments, a monster burst out of a city street and saved Tic from a bullet meant to kill him. In the process, Leti and Ruby were also saved, and the creature tore down the street, killing a bunch of racist cops. Then the beast nuzzled up to Atticus, all cute-like. Justice served? Sure. And where does this leave Tic, other than looking a lot like Chris Pratt with Blue the raptor in those Jurassic World movies? I hope they take this further, and we’ll see Jonathan Majors toss a saddle on one of these creatures and joyride on the beast through downtown Chicago. It’d only be fitting to see him tame a monster that’s inspired by the virulently bigoted H.P. Lovecraft. I’m here for it.
This is also a fine turn of events for Tic to look like a hero again. After all, he’s been laying low for a few weeks and staring at pieces of paper while Leti, Hippolyta, and Ruby have been getting sh*t done, and while Christina’s been pulling strings. Yes, Atticus the Nerd might rise victorious. He’s been attempting to decipher those pages from the Book of Names and track down the rest of the book, and perhaps it’s all paying off now? It also helped that Tic and Montrose managed to stop trying to kill each other and executed a successful spell. I’ve got more to say about Atticus when it’s time to talk about Christina.
2. Diana only wanted to be a kid, so please leave her alone, ghosts:
HBO
In less fun news, Dee (portrayed by the outstanding Jada Harris) needs serious help. She was already traumatized enough by her father’s death, her mother being in the wind, and attending the funeral of her friend, Bobo. (Yep, his nickname not only feeds into the episode title, but he’s representative of the real-life Emmett Till, who was lynched at age 14 in a horribly racist act of kidnapping and murder.) Then Captain Lannister (who tracked Dee after finding her comic-book artistry near Hiram’s time machine) placed a hex upon her, and a copy of Uncle Tom’s Cabin (the 1952 novel by Harriet Beecher Stowe) hopped off a shelf. Is that all? Nope.
Poor Dee spent the rest of the episode being terrorized by nefarious ghost twins who resemble the controversial Topsy character (who was described in Stowe’s prose as “imp of darkness” and the “blackest little pickaninny”) from the book. Stowe did not intend for the character to be carried forth as an offensive caricature, but that’s exactly what society did. And Lovecraft Country, of course, isn’t afraid to throw Topsy at its audience in addition to other horrors from Black American history. Also of particular resonance is Dee uttering Eric Garner’s “I Can’t Breathe” plea (now used as a slogan for the Black Lives Matter movement). While being put in a headlock, Dee also gazed up to see the Cream of Wheat ad (and original mascot, who has since been declared a racist caricature by scholars, and finally, the corporation itself), which is haunted as well.
Dee’s suffering throughout the episode, and the refusal of any adult to listen to her stories or take her trauma seriously, is heartbreaking. She ended up suffering in silence, and Montrose eventually came to Dee’s aid late in the game. It’s about damn time.
3. Christina wanted immortality, and she’s achieving it:
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The absolutely brutal beat down and shooting of Christina by cops was, apparently, done by request (and she survived while cackling over her healing wounds). This lady is absolutely insane and definitely dangerous. She’s also now the biggest wild card of the season with only a few episodes to go and her motives remaining nebulous:
– With Atticus: Christina wants those missing pages from Atticus, but does she also want him (and Black America) to perish? She seemingly revealed all to Tic and even called him “cousin,” but he refused to trust her, and for good reason. Atticus later mentioned to Montrose that his son’s novel included a part where Christina (who was actually a male named Caleb in Matt Ruff’s novel) killed Atticus. Yet Atticus seemed confident while telling his Korean ex-girlfriend (Ji-Ah, the tentacle-sex woman) that her vision was wrong, and he won’t die soon (hey, he did dodge that bullet at the end).
– With Ruby: So, I guess this is really happening now. At this point, the sex scenes in this show are somehow even more memorable than HBO’s True Blood.
HBO
Christina is still transforming into William to have sex with Ruby, who transformed into Dell to do the deed, but she reached such, uh, heights that she inadvertently sloughed off Dell’s skin in the process. Christina remarked that Ruby was “being reborn” while they had sex. Well, Ruby’s angry at first at Christina not understanding her own white privilege and acting like all oppression is down to gender. (Note: Christina’s behavior sparks plenty of thoughts over here about intersectionality, which didn’t emerge as a concept until the late 1980s, but I assume the references are intentional.) However, Ruby seemed to start buying what Christina is selling (“You took that potion so you didn’t have to think about being a woman.. Who wanted what she wanted…”), and then things grew more curious when Christina lured Leti into whatever she’s scheming.
– With Leti: Again, it seems like those missing pages are key here. Christina followed Leti to a church, and they did some negotiating, which led to Leti offering photographic negatives to Christina in exchange for protecting Atticus. Leti wanted invulnerability for Tic, but Christina suggested that she’d rather protect Leti. And she gave Leti the Mark of Cain, which should (as it did in the Bible) aim to protect Leti from premature death. The trailer actually made it look like this moment was Leti feeling abdominal pain from some Rosemary’s Baby scenario, but since Tic and Leti’s son is apparently not an alien or devil, all good? We’ll see. (He’s a writer, and writers do love to make sh*t up — and now, I’m being silly.)
On the idea that Christina’s yanking both Ruby and Leti’s chains, are they both being manipulated? Probably, and this tweet sums this situation up quite nicely.
Billboard has been the defining name in music charts for decades, but they’ve had to face new competitors in recent years. Rolling Stone launched their own charts in 2019, and the year before that, Apple Music rolled out daily charts. Now, the biggest name in music that hasn’t been mentioned yet, Spotify, has entered the chart space: The platform has introduced its own set of charts, the first of which were revealed today.
In a post on its website, Spotify describes its set of Spotify Weekly Music Charts as “a new way for artists and their fans to celebrate milestones on Spotify” and notes, “Listeners have long been able to view the top daily songs on Spotify, but this new weekly offering brings recognition — and celebration — to a whole new level. Expanding our charts allows fans and artists alike to better share and enjoy pivotal music moments, as well as get a definitive snapshot of what music is having the most global impact — from new album releases to new hit singles.”
Introducing Spotify Weekly Charts A snapshot of what music fans are loving around the world, powered by @Spotify.
Included in the initial rollout is a set of Weekly Top 50 charts, which track listening data between Fridays and Thursdays and includes a US Weekly Album Chart, Global Weekly Album Chart, US Weekly Song Chart, and Global Weekly Song Chart. These charts are set to be published on Mondays. Additionally, there are also the US Top 10 Debuts and Global Top 10 Debuts charts, which “capture the biggest new releases on Spotify, Friday through Sunday” and “incorporate data from the first 72 hours a song or album is live, giving an exciting early take on new music.” The post also notes that “market-specific versions of each of these charts” are coming soon.
Spotify has launched the initiative with the creation of the @SpotifyCharts Twitter account, which this morning has unveiled the inaugural lists. Leading the first Top 50 Global Albums chart (counting streams from September 25 to October 1) is Pop Smoke’s Shoot For The Stars, Aim For The Moon. Meanwhile, 24kGoldn leads the Top 50 Global Songs chart with the Iann Dior-featuring “Mood,” Joji’s Nectar is on top of the Top 50 Albums USA chart, and Cardi B and Megan Thee Stallion’s “WAP” is No. 1 on the Top 50 Songs USA chart.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
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Here are the Top 50 Songs streamed in the USA (Sept. 25-Oct. 1, 2020)