Category: Worldwide

Johnny Depp agreed with his attorney that “nothing on this earth,” including “$300 million and a million alpacas,” would get to him to play Jack Sparrow again. But that was before Amber Heard was found guilty of defamation against her ex-husband. Now, a former-Disney executive is certain Depp will return to the Pirates of the Caribbean franchise.

“I absolutely believe post-verdict that Pirates is primed for rebooting with Johnny as Capt. Jack back on board,” an unnamed “former Walt Disney Studios executive” told People. “There is just too much potential box-office treasure for a beloved character deeply embedded in the Disney culture.” They continued:

“With [producer] Jerry Bruckheimer riding high on the massive success of Tom Cruise in Top Gun: Maverick, there is huge appetite for bringing back bankable Hollywood stars in massively popular franchises,” the insider adds. A spokesperson for Disney has not responded to People‘s request for comment.

There hasn’t been a new Pirates of the Caribbean movie since 2017’s bloated Dead Men Tell No Tales, but Jack Sparrow is still a presence at Disney properties, including the Pirates of the Caribbean dark ride at Disneyland and Walt Disney World’s Magic Kingdom, among other parks. There has been talk of a Bruckheimer-produced Pirates reboot starring Margot Robbie, however, with “lots of girl power.” People spoke to another Hollywood insider who believes Robbie would play Jack Sparrow’s daughter, and “likely have a cameo with [Depp] as a test.” So much for the girl power.

(Via People)

Last month, it was revealed that Jack Antonoff had put together a ’70s-inspired soundtrack for Minions: The Rise Of Gru. When that news was revealed, a name that surely came immediately to the minds of informed music fans was St. Vincent; Her latest album, 2021’s Daddy’s Home, was very directly inspired by the era, which was made clear by both the sound of the music itself and St. Vincent repeating that point in interviews and promotional materials.

Sure enough, she was involved in the project, which is mostly covers of ’70s songs. For her contribution, St. Vincent offered a cover of Lipps Inc.’s enduring classic “Funkytown” (which was actually released as a single in 1980 but first appeared on the band’s 1979 album Mouth To Mouth, so it’s still a ’70s tune). It’s hard to make such a distinct song sound fresh but St. Vincent took a pleasing approach here, delivering robot-icized vocals over a funky and psychedelic performance of the song.

The full soundtrack comes out on July 1 and other covers to look forward to include Thundercat doing Steve Miller Band’s “Fly Like An Eagle,” Phoebe Bridgers doing The Carpenters’ “Goodbye To Love,” and Brockhampton doing Kool & The Gang’s “Hollywood Swinging.”

Listen to St. Vincent’s cover of “Funkytown” above.

Minions: The Rise Of Gru (Original Motion Picture Soundtrack) is out 7/1 via Decca Records. Pre-order it here.

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.

There was never any real question of whether or not Barry Johnson would fully dedicate himself to Joyce Manor; he knew it, the band knew it, and the hype surrounding the leaked copy of their self-titled debut eventually settled the matter. Yet, Johnson admits being spooked at the time by a frightening vision of his mid-30s — burnt out on music and barely employed, spending his waking hours playing video games with only the daily beer run breaking up the monotony. This future had indeed come to pass for Johnson over the past two years and he couldn’t be happier — but only because leading a highly successful pop-punk band had done the opposite of extending Johnson’s adolescence.

“We had no home life,” Johnson explains, having spent nearly all of his 20s “in Joyce Manorland 24/7” — “you’re either unemployed or out on the road being an alcoholic Chuck E. Cheese cartoon.” The need for a hiatus and the fear that a hiatus might jeopardize the band’s livelihood were rendered moot by the pandemic. So, after a brief stint bartending in Long Beach, Johnson took advantage of California’s generous unemployment benefits and renowned community college system to get caught up on his unwasted youth. “This is exactly how it was when I was 8 — I’m in school, playing video games, I have three friends, I’m doing homework,” he beams from his Long Beach home while he and his girlfriend wait for a Doordash order. And then he qualifies a bit — “I didn’t do any homework when I was a kid, but I’m doing it now.”

Despite being Joyce Manor’s first studio album in four years, 40 Oz. To Fresno arrives more like a sigh of relief than a painstakingly constructed comeback. But it’s still a statement of intent, that after a decade of increasingly professional and proficient albums, Joyce Manor has earned the right to revel in a bygone, SoCal pop-punk delinquency. The title itself — taken from an autocorrected text about Sublime’s debut album — is the sort of in-joke that Johnson used to propose to the band before retracting at the last minute, i.e., Born Again In The USA, Self-Titled II, and Songs From Northern Torrance, a Teenage Fanclub spoof that ended up gracing their 2020 singles compilation. Still, 40 Oz. To Fresno was significantly less in-jokey than the previous frontrunner — Hungover Again. Johnson decided not to evoke his band’s 2014 masterpiece, but only shortly before the record pressing. So there will be an alternate version with the original cover: Johnson, indeed hungover again, eating a burrito.

It’s unlikely that 40 Oz. will unseat Joyce Manor or Never Hungover Again as a consensus choice for the band’s definitive work, but that was kind of the point; since signing to Epitaph in 2014, Joyce Manor albums have often been accompanied by extensive profiles that both celebrated their success and tried to unravel the mysteries of why they had yet to reach the rarefied commercial peaks of, say, Blink-182 or Weezer, bands which they’ve covered. By 2018’s Million Dollars To Kill Me, Johnson acknowledges, “It seemed like we were trying to make it or transcend the genre, like we were trying to become a big radio rock band, which isn’t really true because I know how ridiculous that is.” Nevertheless, Epitaph owner Brett Gurewitz claimed it was one of the best albums ever released on his label, right up there with Rancid’s …And Out Come The Wolves. As with Never Hungover Again and Cody before it, Million Dollars To Kill Me saw Joyce Manor playing to bigger rooms without cracking KROQ — they headlined the Hollywood Palladium twice, accompanied by Tumblr-era day ones like Jeff Rosenstock, Tigers Jaw and AJJ. But Johnson had begun to feel like Joyce Manor’s pivot towards power-pop had reached a dead-end — “I wanted to make a weirder Joyce Manor record.”

From the moment 40 Oz. To Fresno’s details were revealed, there was a safe bet that Johnson would make good on his word. After two records which started creeping towards a half-hour, 40 Oz. is classic Joyce Manor time management — nine songs, 17 minutes. It begins with a cover of new wave icons OMD’s “Souvenir,” which is followed by “NBTSA,” a 73-second blast of melodic hardcore originally recorded on 4-track for a 2017 Polyvinyl series. The album ends with “Secret Sisters,” a B-side from Never Hungover Again that Johnson debated releasing as a standalone single or tacking onto Songs From Northern Torrance. Neither option satisfied, and while “Secret Sisters” didn’t fit the timeline of Songs, it sparked a desire to revisit the days when Joyce Manor veered more towards “Teenage Dirtbag” than Teenage Fanclub. “We’ve never tried to make a specific sounding record, but I thought maybe it’d be cool to make a record that all sounded like that,” Johnson says. “It slams…like an emo, fuck this slams.”

Lead single “Gotta Let It Go” is the one song Johnson abides by that goal, but otherwise, 40 Oz. To Fresno still demonstrates the breadth of Joyce Manor’s craft and their dedication to brevity. “Reason To Believe” honors the Britpop influence of their previous two albums and the concision of their first two. Broadly inspired by our collective schadenfreude at fallen indie stars, “You’re Not Famous Anymore” is a throwback to the adolescent spite of Joyce Manor cuts like “Call Out” and “Leather Jacket.” “Don’t Try” serves as proof of concept for 40 Oz., a quintessential “don’t bore us, get to the chorus” heater that Johnson claims was “Frankensteined from four songs in the Joyce Manor graveyard,” with producer Rob Schnapf adding guitar to a new bridge.

The puzzle-piece approach to “Don’t Try” and 40 Oz. as a whole immediately recalls that of 2012’s Of All Things I Will Soon Grow Tired — an oddball in the Joyce Manor discography that experimented with a Buggles cover, Smiths fanfic and raw, acoustic folk-punk, bridging the time between Joyce Manor and their signing to Epitaph. Johnson had described it in the past as a form of self-sabotage, a way to get a step ahead of the backlash he anticipated after Joyce Manor’s unanimous acclaim. It only sorta worked. If Of All Things is the least-loved Joyce Manor album, it’s the most passionately defended by those who do love it; sometimes, including Johnson himself. But while its 10th anniversary came and went without much fanfare, Johnson began to recognize how Joyce Manor had lost touch with that mischievous streak amidst two-year cycles of releasing an album to polite acclaim and touring until it was as loved as the one before it. “I just wanted to make sure we weren’t on autopilot like, ‘Oh that record sucked? How are ticket sales doing? Really bad? We really f*cked up?’”

Million Dollars To Kill Me holds up pretty well four years later, though it’s clearly the work of artists who couldn’t quite articulate their visions. “I really needed a break and we probably should’ve taken one between Cody and Million Dollars To Kill Me,” he admits. Here was a conundrum that flipped his original fears of what dedication to Joyce Manor would mean for his security; that stepping away from the band would be a surefire way to torpedo any kind of financial stability he could hope to achieve. “I was starting to feel like we were in perpetual motion — ‘You got a good thing going! Don’t let it slow down!” Johnson had initially intended some of Million Dollars’ songs for a solo album before taking Matt Skiba’s non-Alkaline Trio projects as a cautionary tale. The band might have indeed taken a hiatus before they linked up with Pat Graham, drummer from the erstwhile, sorely underappreciated pop-punk rippers Spraynard. “He’s a killer drummer and a great guy and it’s like, ‘Let’s do some tours with Pat. And then we started writing with him and it’s like, ‘Let’s do a record.’” The band brought in Converge’s Kurt Ballou to produce, and Johnson envisioned a gnarly rejoinder to Cody, which was helmed by Schnapf, a seasoned vet best known for his work on Mellow Gold, Elliott Smith’s X/O and several The Vines albums. Meanwhile, Joyce Manor had reminded Ballou of hearing The Cars in constant rotation while growing up in Boston. “I was hoping he was gonna make it scarier but he thought, ‘I get to not do the thing I always do,’” Johnson recalls. “And I was like… aw, man… do the thing you always do!”

After the touring cycle for Million Dollars ended, Johnson eventually convinced the remaining original members — bassist Matt Ebert and guitarist Chase Knobbe — that taking a step away from the band was in the best interest of everyone’s mental and creative well-being. Ebert, who Johnson credits with being the brains and hustle behind the Joyce Manor operation in its earliest days, became a day-to-day manager for bands at Sargent House. Meanwhile, Joyce Manor found ways to stay busy with their catalog, bundling their formative singles and EPs into Songs From North Torrance and releasing a 10th-anniversary version of Joyce Manor last year, one of the most radical remasters I’ve heard in a long, long time. “Wouldn’t you like to hear what this would sound like if it was recorded on earth?” Johnson asks, albeit rhetorically. “Apparently not. People were deeply offended by it.” While he sees both projects as creatively rewarding, he’ll allow that they also provided them to buy some time while they plotted LP6. “When the pandemic’s over will anyone care about Joyce Manor? Is this still something people are gonna fuck with?”

Looking to reintegrate themselves into 24/7 Joyce Manorland without the anxieties of obsessively following hard ticket sales, the band took an opportunity that hadn’t been on the table for at least a decade — opening for one of their peers. Johnson has nothing but positive things to say after finishing a deeply satisfying one-month run with The Story So Far, a modern pop-punk institution that Johnson describes as a “bizarro version of us.” They do have most of the important stuff in common — both are from California, emerged as teens from late-aughts hardcore scenes, and have similar influences, though Johnson notes “they’re more New Found Glory and we’re more Blink-182.” But while Joyce Manor have received widespread critical acclaim and outranked Watch The Throne and The War On Drugs on Pitchfork’s 2010s album list, The Story So Far have been virtually ignored by every indie-leaning publication and have about twice as many monthly Spotify listeners — “The big difference is that they did Warped Tour,” Johnson shrugs. “We didn’t want to be a Warped Tour band, we were really self-conscious about that.” Granted, it’s easier to be nostalgic for the Warped Tour when it can’t be actively problematic, but for Joyce Manor and many other punk bands, its symbolic weight seems absurd as the pandemic continues to accelerate the music industry’s collapse. “That’s what I was worried about? Cred? Something I’m not doing making me cool? Get some real problems.”

But in the process of deconstructing the pop-punk orthodoxy that had governed his life to this point, Johnson had to confront the root cause — “I kinda thought secretly deep down, maybe I’m kinda dumb.” Johnson had never been much of a student, which he feels is largely responsible for his predisposition to the genre’s tropes. Even though Epitaph Records is built on a foundation of bands with literal PhDs and Graham enrolled in law school after departing Joyce Manor, “pop-punk isn’t known for attracting brainiacs,” Johnson jokes. “Lemme tell ya, there’s some fucking dolts out there that do what I do.” But as the pandemic dragged on, Johnson enrolled at Pasadena City College and excelled in online courses with names like “Explorations in Quantitative Reasoning.” Johnson is quick to note that Rivers Cuomo infamously followed a path from Los Angeles community college to Harvard. And, he’s even quicker to joke about it — “That’s what I’m gonna do, things worked out for him — he seems pretty normal.” Still, as much as he enjoyed acing tests on the logic behind calculating loans and mortgages, Johnson laughs that “after a year of that, I’m sick of fucking homework.”

“I’d love to rip a gig and crush a beer, that really sounds a lot more fun.”

40 Oz. To Fresno is out 6/10 via Epitaph Records. Pre-order it here.

Gucci Mane met his now-wife Keyshia Ka’Oir Davis back in 2010. Since then the two have been side-by-side through their respective ups and downs. After an arrest in 2013, and an eventual plea deal where he accepted a charge for possession of a firearm by a convicted felon, Gucci Mane would go on to spend two years behind bars. Through it all, Ka’Oir stayed by his side. A year and a half after his release, Gucci and Keyshia would go on and get married, and three years later, the two gave birth to their first child as a couple, a baby boy they named Ice Davis.

It’s all these occurrences and more between the couple that has Gucci Mane eternally grateful for his companion in his new song “Mrs. Davis.” Gucci sings his praises about his wife with lines like “Had to buy her two rings, ’cause we got married twice / A million dollar push present ’cause she carry ice.” The track also arrived with a matching video that captures the couple’s lavish love as sip champagne on a plane and spend time with their song Ice.

Gucci’s “Mrs. Davis” continues what’s been an active year for him. Prior to the new single, he released “Serial Killers,” “Blood All On It,” and “Rumors” with Lil Durk.

You can watch the video for “Mrs. Davis” above.

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

At the beginning of last month, Doja Cat released “Vegas,” which stood as her first single of the year. She uses the record to talk down on a past lover who underestimated her worth. The track is also one that’s set to appear on the soundtrack for the upcoming film Elvis which is set to premiere in theaters later this month on June 24. With weeks to go until the movie arrives, Doja returns with a vibrant music video for the track. Her feistiness and fierce spirit are on full display as she dismisses her ex-lover. She also passionately dances around an old-style room as she airs out her grievances.

The past month has been a tough one for Doja. She was forced to undergo surgery on her tonsils and it requires months of recovery, which she is still in the midst of. As a result, she had to back out as an opener for The Weeknd’s After Hours Til Dawn tour later this year. Despite this, some good news would come her way. Doja racked in the most nominations for the upcoming 2022 BET Awards and she helped to bring back Taco Bell’s Mexican Pizza which returned to store menus last month.

As for the upcoming Elvis soundtrack, Doja is not the only big name who will contribute to it. Eminem, Denzel Curry, Gary Clark Jr., Jack White, Jazmine Sullivan, Kacey Musgraves, Nardo Wick, Stevie Nicks, Swae Lee and Diplo, Tame Impala, and more will also contribute to the project.

You can watch the video for “Vegas” above.

Polo G announced his new single “Distraction” with a comical trailer on Instagram where famed TikToker Kai Cenat is shown going mad trying to find the source of a song playing. He ultimately finds his headphones and places them on his ears only to then be blown away by the music that pierces through them. It is now clear why he was so consumed, as the new visual shows Polo G in the back of a police car after being arrested, graduating, beating up an online streamer, and performing surgery all before enjoying dinner with a woman. The refrain closes with “Bring out the best in me or be a distraction,” bringing the messaging of the record and accompanying video full circle.

“Distraction” is Polo’s first proper 2022 release after the Billboard 200 chart-topping success Hall Of Fame from last summer, notably beating out the Migos’ Culture III which arrived that same weekend. The Chicago rapper then released the deluxe version, Hall Of Fame 2.0, less than six months later. Though the video for “Don’t Play” featuring Lil Baby from the deluxe did release this year, the 23-year-old otherwise stuck to collaborations with Fivio Foreign and PGF Nuk before unloading the new, focused single.

Check out “Distraction” in the video above.

It’s been a very active year for Logic, and he is here today with his sixth song of 2022 “Bleed It.” Over the 90s reminiscent production with midtempo drums and a vintage vocal filter, he raps in the chorus about letting his pen bleed. He raps with enthusiasm and confidence but also reflects on the days that may not have been the case, referencing how he was once a “loser,” “failure,” or “never was a winner but he won some.” After the internet backlash Logic has faced over the years despite being an advocate for mental health, he refreshed as he has his mind set on not dwelling too much on the naysayers.

“Bleed It” comes just one week after the record “Orville” featuring Like, Blu and Exile. Prior to “Orville” the 32-year-old released “Therapy Music” featuring Russ, “Tetris,” “Decades” and the DJ Premier-assisted title track for his forthcoming album Vinyl Days. Since Logic’s almost yearlong retirement in 2020, which he began to focus on being a father, the Rockville rapper has put out the 2021 mixtape Bobby Tarantino III and three songs alongside Madlib under their duo moniker MadGic.

Check out Logic’s new song “Bleed It” above.

Vinyl Days releases on 06/17 via Def Jam. Pre-save the album here.

After Lakeyah lead an enthusiastic social media campaign, including having fans guess who would be featured on her new track, tonight she releases her new single “Mind Yo Business” featuring Latto. It’s a special moment as the two rap over a sample of Lil Kim and Iconz’s “Get F***** Up” from 2001. Lakeyah is as confident as ever, denying men the opportunity to get with her if they don’t have as much money as she does. Latto dismisses the men who feel the need to lie about their size in addition to not being able to afford her as well.

“Mind Yo Business” follows Lakeyah’s previous single “I Look Good.” The Quality Control artist last released the third iteration of her time-themed series of projects, My Time (Gangsta Grillz: Special Edition) with the help of DJ Drama back in September of 2021. On the flip side, Latto is reveling in the success of her March album 777, boosted by the chart-topping smash hit “Big Energy,” which she later remixed with Mariah Carey. It’s a fun time to enjoy female rappers, and these two are bringing the energy as the summer rolls around meaning men better come to them correctly.

Check out “Mind Yo Business” above.

The Golden State Warriors are, shockingly, down 0-1 in the NBA Finals despite entering the fourth quarter of Game 1 on Thursday night with a 12-point lead after a dominant third quarter performance.

It seemed as though the Warriors would follow the script of so many of their games this postseason of spending the first half feeling things out before jumping on their opponents in the third and then cruising to a victory. However, this Celtics team is no stranger to fourth quarter comebacks as their resilience has been on display throughout this postseason, and they put forth their finest work yet in the final frame of Game 1. Jaylen Brown got himself going early and then Al Horford carried them down the stretch as they turned a 12-point deficit into a 12-point win.

After the game, Draymond Green clearly had one message he wanted to get out there: “We’ll be fine.” Green repeated that on a number of occasions, pointing out how they “dominated” the first 41 or 42 minutes — which wasn’t really true as they trailed by two at halftime — and that Boston’s “others” shot a rather unsustainable 15-of-23 from three-point range.

The Warriors dominated one quarter of play, not the first 40 minutes, and were solid to good in the first half, headlined by Stephen Curry’s 21-point first quarter, but there are some genuinely concerning things for Golden State moving forward. For one, the Boston defense really turned it on in the fourth quarter and bothered the Warriors with much more aggressive switching, and Golden State’s propensity for sloppy turnovers proved costly for once as the Celtics capitalized on some early fourth quarter mistakes from the Warriors to quickly close the gap.

On top of that, while the Warriors defense deserves credit for bothering Jayson Tatum in the opener, he will surely shoot better than 3-for-17 going forward and make up for some shooting dropoff from the role players. Green’s not wrong that the Warriors can make the adjustments and go on to win the series, but that’s only if this insistence that things will be fine is simply publicly trying to keep panic levels down, while putting the work in behind the scenes to make the needed adjustments and be ready for the Celtics to do the same (which I’m sure they’ll do, as he notes they need to watch film and make some changes).

Losing Game 1 isn’t the end of the world, which Green clearly wants Warriors fans to recognize, but losing a good Curry game and a bad Tatum game certainly narrows the margin for error going forward. We have seen Boston use this type of game to propel them forward in a series before (Game 4 against Milwaukee saw Al Horford go crazy and steal a road game while Tatum struggled shooting) and the Warriors will have to tighten the belts and recognize that this Celtics team won’t simply concede defeat after a big third quarter avalanche like some others might.

After a three-day hiatus following the completion of the Eastern Conference Finals on Sunday, the 2022 NBA Finals tipped off on Thursday evening in San Francisco. The first half was incredibly entertaining and close-fought, with the Warriors seizing control with a trademark third quarter push. However, the Celtics had the last laugh, erupting for 40 points in the fourth quarter and taking a 1-0 series lead with a 120-108 victory.

The evening appropriately began with fireworks from Stephen Curry in his home building. Starting virtually with the opening tip, Curry was locked in, eventually draining an NBA Finals record six (!) three-pointers in the first quarter on his way to 21 points. His 21-point output was the most by any player in a first quarter during the NBA Finals in more than five decades, and it was a vintage performance.

Golden State’s offense, buoyed by Curry, was stellar in the opening quarter, pushing the Warriors to a 32-28 lead. Still, Boston seemed to dodge a far worse outcome, largely on the strength of quality offense (1.16 points per possession) to keep relative pace. In fact, the Celtics kept pouring in good looks, improving to 8-of-17 from three-point range after 15 minutes of action.

However, the Warriors used an 8-0 run early in the second quarter to build their lead to double figures, putting the Celtics on their heels. Boston then responded in kind with a 10-0 run to even the score, throwing haymakers on offense and finally stringing together a slew of stops on the defensive end.

The rest of the first half was a back-and-forth affair, with Boston taking a two-point lead at the break. After the 21-point explosion in the first quarter, Curry did not score in the second period, with Golden State’s offense slowing as a result. Both teams shot north of 40 percent from three-point range in the first half, but ball security was a challenge on both sides, as the Celtics committed seven first-half turnovers and the Warriors committed eight.

Exiting the locker room, the Warriors again asserted control. Golden State rode a 12-4 run to a 66-60 lead and, while the Celtics slowed the barrage, the Warriors weren’t done. The home team later scored seven straight points, opening up a double-digit lead midway through the period.

After a patented third quarter barrage that included 38 points, six three-pointers and only two turnovers, Golden State led by as many as 14 points and held a 12-point advantage after 36 minutes of action. Boston came out of the gate in the fourth quarter unwilling to wave the white flag, and Jaylen Brown was in a groove. The Celtics, keyed by Brown, scored the first nine points and slashed the margin to 92-89 in a hurry.

Despite some solid offense from Golden State, Boston kept it going to an obscene degree. The Celtics scored 29 points in approximately seven minutes to open the fourth quarter, including a run of six three-pointers in less than four minutes. That turned Boston’s deficit into its first lead in a long while, and the Warriors suddenly faced a 109-103 deficit.

Boston scored 17 consecutive points overall, taking advantage of scalding-hot shooting from Derrick White, Al Horford and others. That spurt came with the Warriors failing to score for nearly five full minutes and, in short, the game was over by the time Golden State put a shot through the rim. All told, the Celtics started the fourth quarter with a 37-11 spurt, making nine three-pointers, and it was an all-out blitz after Boston scuffled in the third quarter.

The story of the evening was the remarkable fourth quarter swing, but Boston’s long-range shooting was tremendous. The Celtics out-scored the Warriors by a 40-16 margin in the closing period and, for the full game, Boston shot 51 percent from the floor and 21-of-41 from three-point distance. That level of shooting can serve as a great equalizer in an unfriendly road environment, and Golden State’s offense went ice-cold at an inopportune time.

Horford led the Celtics with 26 points, including six three-pointers to set a new NBA Finals record in a debut, and Brown added 24 points. Marcus Smart scored 18 points and, despite a poor individual shooting night, Jayson Tatum finished with 12 points and a game-high 13 assists. For the Warriors, Curry finished with 34 points and the team connected on 19 three-pointers, but the closing kick simply never arrived.

On a night when the two teams combined for an NBA Finals record with 40 three-pointers, the Warriors also suffered their first home loss of the postseason. That result swings home-court advantage toward Boston and, if nothing else, Golden State will face immense pressure as Game 2 arrives on Sunday in San Francisco.