Category: Worldwide

As the NBA season approaches and the preseason coming to an end, we’ll be taking a look at the player on each team that holds the key to unlocking their potential, and for the New Orleans Pelicans, the attention turns to Devonte’ Graham.

The Pelicans turned over a large portion of their roster during the 2021 offseason, with Lonzo Ball, Steven Adams, Eric Bledsoe and others exiting New Orleans. While the specter of Zion Williamson’s recovery from foot surgery looms over everything with the franchise, the Pelicans do have reasons for optimism with their new additions. Graham is at the center of that positivity, with New Orleans hoping he can recapture his 2019-20 form in a different locale.

Graham, a former second-round pick, enjoyed a breakout in 2019-20 when he averaged 18.2 points and 7.5 assists per game for Charlotte. The 6’1 guard connected on 37.3 percent of his three-pointers (on huge volume) and, even after a 2020-21 season that saw some statistical regression for Graham, he is appealing for any offense.

For one, Graham is a very willing pull-up shooter that opposing defenses have to respect when he has the ball within 30 feet of the rim. His career three-point percentage (36.3 percent) doesn’t necessarily paint the full picture, as Graham takes difficult attempts at high volume. In fact, he has buried more than 42 percent of his catch-and-shoot threes over the last two years and, on a team with Williamson and Brandon Ingram, he should be freed up to work off the ball with impunity. Graham is also a quality passer, and he has real gravity that should work well on a team with play finishers all over the roster.

With that said, Graham does have real pressure to be efficient and productive. The Pelicans are certainly weighing pressures, both internal and external, as they attempt to build a winner around Williamson, and New Orleans used a real chip to land Graham in a sign-and-trade scenario. The Pelicans do have young guards like Kira Lewis and Nickeil Alexander-Walker behind him, but it is clear that New Orleans fancies Graham as their primary starting point guard. Graham isn’t exactly known for his defensive excellence either, and his two-way performance could go a long way toward illustrating the team’s ceiling.

Williamson’s health and performance is the No. 1 factor in New Orleans, and both Ingram and Valanciunas have more star power at this stage. However, Graham’s performance could swing a lot for the Pelicans. His defensive concerns could be magnified if the Pelicans don’t receive better effort and performance on that end from their stars. Then, Graham is a career 39.5 percent two-point shooter, and if the three-point shooting and passing don’t jump off the screen, the door could be open for more playing time for Lewis, Alexander-Walker or others. That isn’t exactly what the Pelicans were hoping for when they acquired Graham, and there may be a spotlight on the team’s starting point guard from the opening tip.

Jay-Z’s raps used to play out like scenes from Goodfellas or Casino, but now, his money moves look a lot more like an episode of Succession than The Wire. Now, instead of menacing, mob-related hitmen, he’s hiring retired police officers to bring down business rivals, according to Rolling Stone. A breach of contract lawsuit against the rapper-turned-mogul apparently prompted him to turn to a private investigator to dig up dirt on the plaintiff, who had supposedly been avoiding a trial ever since Jay-Z countersued.

The lawsuit stems from 2016, when fragrance brand Parlux sued Jay, accusing him of failing to promote a branded cologne named after him, despite being paid $2 million in royalties since 2012. The former CEO of Parlux, Donald Loftus, said in a sworn statement that Jay “never once personally appeared” to promote the cologne, didn’t help develop “flankers,” product-line extensions to help sell the main product, and never returned a $20,000 prototype bottle after rejecting the design. Parlux said its overall losses amounted to $18 million.

However, Jay issued a lawsuit of his own, saying that Parlux never provided business plans, accounting reports, royalty payments, or promotional resources promised under its own deal. Loftus, who had requested to testify remotely, claimed health problems and fear of COVID-19 kept him from wanting to testify in person, but Jay-Z’s P.I. photographed him maskless hanging out all over New York, including at a crowded parade, in an indoor restaurant, and at the grocery store, at times taking buses to get around.

Naturally, undermining Loftus’ claims on this is probably key to establishing early on in the case that he’s an untrustworthy witness as the trial finally gets underway.

Kacey Musgraves delivered her shimmering album Star-Crossed last month, an album that featured both woozy reflections on her self-worth and kiss-off tunes about her ex-husband. Her track “Breadwinner” falls into the latter category and it recently saw an uptick in popularity thanks to some of today’s biggest TikTok stars using audio from the track’s empowering chorus. Now, Musgraves brings the hit track to a captivating performance on late-night TV.

Appearing on The Show With Stephen Colbert, Musgraves takes the stage in a black beanie and oversized bomber jacket. Backed by a full band and mounds of cash falling from the ceiling, the singer delivers cutting lyrics about giving a relationship her all and getting nothing in return. The song also warns other women to not make the same mistake with verses like, “He wants your shimmer / To make him feel bigger / Until he starts feeling insecure / I wish somebody would’ve told me the truth.”

Ahead of taking the Colbert stage, Musgraves found out her Star-Crossed isn’t eligible for any Grammys in the country music genre. The singer seemingly responded with a throwback photo of her in a hot pink cowboy hat posted to social media with the caption, “You can take the girl out of the country (genre) but you can’t take the country out of the girl.”

Watch Musgraves’ “Breadwinner” performance on Colbert above.

Star-Crossed is out now via Interscope/MCA Nashville. Get it here.

Indie music has grown to include so much. It’s not just music that is released on independent labels, but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.

Every week, Uproxx is rounding up the best new indie music from the past seven days. This week we got the new album from Coldplay, Kevin Morby and Hamilton Leithauser’s first official studio collaboration, and another great post-punk track from Swedish outfit Makthaverskan. Check out the rest of the best new indie music below.

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Coldplay – Music Of The Spheres

Coldplay, a band that we recently named one of the biggest bands of the 21st century in an episode of Indiecast, is back with their ninth studio album. Music Of The Spheres is what Caitlin White calls for Uproxx “dramatically a pop album, with features from massive pop artists like BTS and Selena Gomez positioned front and center.” If you’ve been waiting to hear Chris Martin at his most maximalist, this is your chance.

Blackstarkids – Puppies Forever

It’s been almost exactly a year to the day since I spoke with Blackstarkids about their debut release with new label Dirty Hit. Now, the Kansas City trio is back with a full-length album, Puppies Forever, which continues down the path of showcasing all of their diverse musical interests to culminate in something truly unique and remarkable.

Another Michael – Unplugged Music And Big Sessions

Another Michael’s New Music And Big Pop is one of the best indie albums of the year, and the band isn’t letting up any of the momentum. The new compilation release Unplugged Music And Big Sessions brings together demos, outtakes, and live sessions that document the band’s full creative process and provide a good insight into the many iterations of this batch of songs.

Damon Albarn – “The Tower Of Montevideo”

After spending the last few years digging in with his band Gorillaz, Damon Albarn is now turning his attention to solo music, gearing up to share a new album titled The Nearer The Fountain, More Pure The Stream Flows in November. To tide us over until the full release, Albarn has shared “The Tower Of Montevideo,” which features a basic drum-machine beat that Derrick Rossignol notes for Uproxx “is rounded out by a lush arrangement of synths, horns, and piano.”

Sunflower Bean – “Baby Don’t Cry”

After a series of stellar releases throughout the late 2010’s, Sunflower Bean are kicking of the 2020’s with “Baby Don’t Cry,” a brand new track that Adrian Spinelli describes for Uproxx as “a distinct callback to 50’s doo-wop trios on the song, but with a decidedly modern take.” Although the new song isn’t officially part of a new album just yet, here’s to hoping that there is more new music from the New York trio coming soon.

Black Country, New Road – “Chaos Space Marine”

London seven-piece outfit Black Country, New Road are back with a much-anticipated new album, called Ants From Up There. Along with the album’s announcement comes “Chaos Space Marine,” an exciting and unpredictable new single that Adrian Spinelli describes for Uproxx as opening “with a cacophonously controlled saxophone, before unfurling into a thrilling blitz of violin, piano, and drums.”

Kevin Morby & Hamilton Leithauser – “Virginia Beach”

After covering each other’s songs and announcing a co-headlining tour together, Kevin Morby and Hamilton Leithauser have just released their first original studio collaboration in the form of “Virginia Beach.” Described by Adrian Spinelli for Uproxx as “a welcome union for fans of both artists,” the track showcases the best of both artists, though Morby’s Kansas City twang certainly takes the front seat here.

Makthaverskan – “Closer”

With their fourth LP För Allting due next month, Swedish post-punk outfit Makthaverskan have shared another single in the form of “Closer.” Like the tracks that preceded it, “Closer” once again finds the band “[moving] into more of an atmospheric, melodic direction,” writes Caitlin White for Uproxx, which sets a high bar for perfect fall listening.

Snarls – “I’ll Follow You”

Over the last year or so, Columbus, OH indie rockers Snarls have been holed up in the studio with Death Cab For Cutie’s Chris Walla, crafting their new EP What About Flowers? Now, the quartet is ready to give us a peek of the resulting music, and “I’ll Follow You” follows through on the lofty expectations. Chock full of heart and shimmering guitars, “I’ll Follow You” is about being scared to love someone because of past relationship trauma.

Jim-E Stack – “FFBH”

For his new EP, Jim-E Stack decided to give away free copies of the CD inside vending machines. He also uploaded the glitchy, exciting new track “FFBH” to streaming services for those (like me) who weren’t able to pick up a copy of Promotional Only in person last week, an attempt to tide us over until the rest of the EP drops.

Keep For Cheap – “Segway
”

Minnesota quintet Keep For Cheap are proving that they’re here to stay on “Segway.” Complete with twangy guitars and beautiful vocal melodies, the track revolves around aspirations to embrace and examine all aspects of life, and cements Keep For Cheap as a band to watch as they prep a new effort.

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

“Jill and I are deeply saddened by the passing of our dear friend and a patriot of unmatched honor and dignity, General Colin Powell.”

That’s the beginning of President Joe Biden’s tribute to Colin Powell, who died on Monday at 84 years old from COVID-related complications. It continues, “Colin embodied the highest ideals of both warrior and diplomat. He was committed to our nation’s strength and security above all. Having fought in wars, he understood better than anyone that military might alone was not enough to maintain our peace and prosperity.” That’s a typical statement (even if it leaves out some key details about Powell’s legacy) for a president to make following the death of a respected general.

Meanwhile, here’s what former-president Donald Trump had to say about Powell:

“Wonderful to see Colin Powell, who made big mistakes on Iraq and famously, so-called weapons of mass destruction, be treated in death so beautifully by the Fake News Media. Hope that happens to me someday. He was a classic RINO, if even that, always being the first to attack other Republicans. He made plenty of mistakes, but anyway, may he rest in peace!”

“RINO” stands for “Republican In Name Only,” a term that Trump frequently used to disparage any Republicans who dared to not kiss the ring. Anyway, it shouldn’t be a surprise that this statement came from a man who thinks soldiers who died in combat are “losers” and “suckers,” and it’s not. But it is a reminder of Trump’s callousness — and all the gems we’ve missed since his Twitter account was taken away from him.

But anyway, may you all rest in peace.

Young Thug is suing his apartment’s owners after losing a bag full of money and unreleased music, according to Digital Music News. According to documents viewed by DMN, Thugger had been leasing an apartment at a high-end Atlanta building called Trace, where he accidentally left a $2,500 Louis Vuitton bag next to his car after returning from Los Angeles late last year. Apparently, the bag was turned into the building’s 24-hour concierge by a helpful neighbor and Thugger was contacted about the bag, which contained around $94,000 worth of jewelry and $40,000 in cash, as well as a hard drive containing around 200 unreleased songs.

Despite the concierge employee on-duty at the time leaving a clear note to contact her before releasing the bag to anyone else, another employee gave the bag to an unidentified third party, who unsurprisingly has yet to return any of the missing items. Thug’s lawsuit accuses the building’s ownership group of being “unreasonable and stubbornly litigious” and blames the group for “negligent supervision and failure to train” its concierge team members.

Meanwhile, despite losing the hard drive and the expensive items — which he says amounts to around $1 million — Thug’s not having all that bad of a year. His newly released album Punk is trending toward a top-three Billboard debut, according to Hits Daily Double, and has received positive chatter on social media.

Is it time for one last job for Marty Byrde? A better question: will he actually get his originally-intended job done? God only knows, and god help Wendy and Ruth, so let’s all salute her “I don’t know sh*t about f*ck” before the super-sized final Ozark season arrives. We’ve got a Season 4 teaser, which follows up on the blood-spattered tarmac happenings, as Marty meant to head toward Mexico. And it looks like he got there.

In other words, Marty Byrde’s back for one more play (and he’s in a heap of sh*t, as usual) after the third season lit his money-laundering world on fire. He obviously survived the mess, and Wendy went with him, meaning that she didn’t take the family and didn’t run, and we don’t get to see Julia Garner’s fan-favorite Ruth Langmore here, but we do get to hear her wondering if death would be a better option. That’s a fair question, but before we receive the answer, I want to see a capsule episode where Ruth tosses everyone off a casino boat. Make it happen.

Notably, we’re reminded here of “a beginning,” which is a direct callback to Navarro’s “today is a beginning” from the Season 3 finale after Helen takes a gunshot to the head. That truly shocking cliffhanger looks to lead directly into what we’re seeing above.

All of the show’s characters might feel like Ruth does before this show is over, but fortunately for the show’s fans, the season will contain 14 episodes, which will launch in two seven-part halves, so we might as well pretend that we’re getting five seasons. And boy, Jason Bateman has been ready to do this thing. Last summer, he declared in a statement, “I’m excited to end with a bang(s),” so I’ll (perhaps unrightfully) assume that he’s good with my multi-season mindset. Surely, he won’t mind.

Ozark will return on January 21, 2022.

Coldplay and BTS’ “My Universe” is the collaboration highlight of Coldplay’s new album Music Of The Spheres, but it’s not the only major one, as Selena Gomez also makes an appearance, on “Let Somebody Go.” Last night, Coldplay and Gomez gave their debut performance of the grand ballad on The Late Late Show, with Gomez joining the band in studio.

Chris Martin previously said of the song, “It’s just a really lovely ballad. And quite early on we realized it needed a female counterpart to the vocal. And we were very grateful that when we asked Selena to sing on it, she loved the song and was happy to do so. Collaborations in general are something that we’ve done more of recently. We never really used to do it before. When we were younger, we kind of locked ourselves in a room and felt we had to prove everything ourselves. But I think as time has gone on, it’s become more interesting for us to work with other people from different parts of the world, different genres. It just adds color and character to the music.”

Watch Coldplay and Gomez perform “Let Somebody Go” above.

Music Of The Spheres is out now via Parlophone. Get it here.

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

Think of the top scorers from last year’s regular season. Guys like Kevin Durant, Stephen Curry, Nikola Jokic and Joel Embiid enter the conversation. They’re all, roughly, in their primes. Durant and Curry are 33 years old. Embiid is 27. Jokic is 26. Toss in 31-year-old Damian Lillard, 26-year-old Zach LaVine and 26-year-old Giannis Antetokounmpo if you wish. The premise isn’t threatened.

Another name belongs among the game’s most prolific scorers, someone who does threaten the premise: 21-year-old Zion Williamson. As a sophomore, Zion averaged 27.0 points on 64.9 percent true shooting, despite insufficient spacing and guard creation around him. He’s my choice to be the first player in NBA history to register at least 30 points per game on 70 percent true shooting — benefitting in part from the league-wide boon in scoring efficiency, but also making waves because he’s freaking awesome.

Forty-three players averaged at least 20 points last season. Only Durant (66.6 percent) and Curry (65.5 percent) posted better true shooting marks than Zion. Pretty esteemed company, I suppose. His career is barely off the ground and he’s already rivaling all-time greats as a scorer. That is rare. Do not brush it aside. Revel in it. Deprioritize your concerns of him.

And yet, so much of the discourse surrounding Zion seems to hyperfixate on who he isn’t or where he lacks. The fretting over his health and defensive warts strikes me as a counter to the swell of atypical hype he received as a prospect. As if the dude who was a top-20 player and All-NBA-caliber star at 20 years old is somehow falling short of expectations.

There’s no denying his defense is unsatisfactory. He improved for stretches last year, but he remains an inattentive weakside helper and frequently opens the floodgates in ball-screens, among other deficiencies. Set to miss at least a portion of 2021-22 with a right foot injury and having been sidelined for 48 games as a rookie, it’d obviously be ideal to see him play more.

Yet too often, I see those talking points dominate conversations involving Zion or constantly surface when he is complimented. He’s a budding elite offensive engine. When healthy, he’s going to spearhead one of the NBA’s most fearsome offenses this season. In an era where everyone wants to gravitate beyond the arc, he mauls his way to the rim 15 times per game, which is, at worst, as valuable and efficient a means of scoring as the three-ball — despite what people who misinterpret or misunderstand the message behind analytically inclined scoring profiles implore.

I also don’t deem the widespread criticism of his dietary and training regimens from people who aren’t privy to those habits as appropriate. Zion is not alone in such concerns either. Other superstars like Nikola Jokic and Joel Embiid have received similar vitriol or critiques about their physique and diets from people who are by no means in tune with those aspects of one’s life. It shouldn’t be confined to superstars either. Any athlete — any human — should be free of these developments.

Specifically for Zion, and beyond what I think is necessary to respect one’s humanity, there are just vastly more exciting aspects of his basketball stardom to discuss and enjoy than lasering in on his defense or your unfounded claims about his diet and training. Basketball is fun, and few players embody that better than Zion.

He’s growing as a passer. His finishing creativity is exquisite and he swiftly teleports through cramped windows of space like a slippery 6’1” guard, not the 6’6’, 285-pound bruiser he is. Watching him navigate the newfound rigors of primary initiation bred from his role shift early in the season was fascinating.

He reduces hulking centers akin to overqualified perimeter players around the basket and is routinely impervious to help defenders. His offensive motor is unrelenting. He had a 23-game stretch averaging 29-7-4-1-1 on 66 percent shooting last season, which, somehow, hardly deviates from his yearlong performance. Stupefying.

His personality is equally splendid as the on-court product. He is candid and refreshing, a contagious smile or chuckle always a word or moment away. He carries himself as though all of these experiences are fleeting and surreal. As though he has not earned them through his unbridled talent and work ethic. As though he remains unaccustomed to the fanfare and praise, and is mystified that it’s directed entirely his way.

He carries himself like he’s 21, because he is. And already, he is a superstar, one we must appreciate more, tone down the ire toward and worry less about his future when the present is unabashedly incredible for so many reasons.

This week in pop music saw some anticipated singles from today’s biggest pop stars. Adele officially returned to the spotlight with her new ballad, Coldplay dropped their latest album, and Latin pop star Anitta teamed up with Saweetie for a sizzling tune.

Each week, Uproxx rounds up the best new pop music. Listen up.

Adele — “Easy On Me”

After taking a few years off of music to focus on her personal life, Adele returned this week with “Easy On Me,” her first new music in nearly six years. The soaring piano ballad showcases the singer’s signature powerhouse vocals and arrives on her upcoming divorce album 30, which is a reflection on all the changes she’s recently made in her life.

Anitta, Saweetie — “Faking Love”

With their new joint single “Faking Love,” Brazilian pop singer Anitta and Saweetie prove they’re a force to be reckoned with. The dancefloor-ready track opens with a sparse, clapping beat before adding a delicious beat drop, showcasing Saweetie’s versatile flow and Anitta’s energetic songwriting.

Coldplay — “Let Somebody Go” Feat. Selena Gomez

Coldplay dropped their anticipated album Music Of The Spheres this week, which included the Selena Gomez track “Let Somebody Go.” Unlike a lot of the singles Coldplay released for this album cycle, “Let Somebody Go” is reminiscent of the band’s early discography, delivering a reflective ballad about knowing when it’s time to move on from a relationship.

Finneas — “Love Is Pain”

After weeks of teasing, Finneas dropped his debut album Optimist this week. The 13-track effort includes the loungey song “Love Is Pain,” a tender reflection on the highs and lows of love. “It’s about how painful and heartbreaking love is,” Finneas said about the track. “I wanted to write a song about an adult relationship. The more you love someone, the more they have the capacity to cause you heartbreak.”

Lauren Jauregui — “Scattered” Feat. Vic Mensa

After starting out her debut project’s rollout with a bristling ballad, Lauren Jauregui showcases her impressive vocal range with the jazzy tune “Scattered.” The eerie single gets real about having a bad day, and Vic Mensa’s guest feature adds some clever verses about getting through a depressive episode. “I’ve come to realize that when I speak about the myriad of mental issues I go through, and speak about them honestly and with no short-cuts, not only is it a catharsis for me,” Mensa said about the collaboration. “It’s also valuable for the world because so many people are going through the same manifestations.”

Kali Uchis — “If It’s To Be”

After seeing her 2020 album Sin Miedo (Del Amor Y Otros Demonios) get a major uptick in streams thanks to TikTok, Kali Uchis returns with a brand-new single. Her track “If It’s To Be” doesn’t mark a new project, however. Instead it appears on the soundtrack to Netflix’s upcoming animated film Maya And The Three. The rhythmic track draws influences from Latin music and features Uchis’ recognizable, honeyed voice as she sings of leaving things up to chance.

Remi Wolf — “WYD”

Eccentric pop star Remi Wolf dropped her debut album Juno this week after making a name for herself with her previous EPs. The album’s track “WYD” showcases the entire album’s upbeat playfulness as Wolf sings of dispelling energy vampires over a shuffling and sparkling beat.

Noa Kirel — “Bad Little Thing”

With first English-language single, Israeli-born pop singer Noa Kirel delivers the swaggering tune “Bad Little Thing.” The irresistible tune proves her pop star status as she sings of having a partner wrapped around her finger over a revved-up beat.

Chelsea Cutler — “Forever”

Platinum-certified songwriter Chelsea Cutler was another pop star who released an album this week. Her captivating sophomore effort When I Close My Eyes debuted with the snappy track “Forever,” a song that highlights Cutler’s relatable songwriting and luscious voice.

Rence — “Track Shoes”

Pop newcomer Rence expanded his catalog with the effortlessly catchy track “Track Shoes” this week. With his breathy lyrical delivery and a disco-twinged beat, Rence proves he’s well on his way to stardom. “The song is about processing the complexities of breaking up with someone, but still caring about their heart and well-being,” Rence said about ‘Track Shoes.’ “It will always sting to hear that someone I used to care so much about is going through a hard time, even if it is completely unrelated to me. That’s how I love.”

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