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The Weeknd Once Again Shows Off His Extreme Plastic Surgery Look

The Weeknd has done a terrific job in promoting his album After Hours, not just in getting the word out, but in generating stories that went beyond the music. The most recent example of that came from his “Save Your Tears” video, in which he appeared to have some major facial plastic surgery done. His artificial-looking face, which indeed was artificial, had everybody talking, and now he has trotted it out again for a new Instagram post.

The photo is a simple one and seems to have been taken on the day of the “Save Your Tears” shoot. The angle at which The Weeknd has his head makes his extreme protruding cheeks the highlight of the picture. A few weeks ago, he shared another photo of himself in character, sitting in a make-up chair and posing to show off his exaggerated features.

In case it wasn’t clear, The Weeknd didn’t actually go to a plastic surgeon and get his face deformed. It was done with the help of prosthetics, and the person who brought the look to life, Prosthetic Renaissance Makeup-FX Studio designer Mike Marino, recently shared how he made it happen. The process involved multiple facial prosthetics, and it’s fascinating to see how it came together.

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Evan Mobley Has Separated Himself As The Clear No. 2 Prospect In The 2021 NBA Draft

Many NBA teams will endure loss-stained seasons this year, eyeing the 2021 Draft’s crown jewel in Cade Cunningham as a reward for their fortitude. But the consolation prize for missing out on Cunningham is also entirely worth the struggles because USC center Evan Mobley is a stellar prospect, even if not quite in Cunningham’s realm.

Through 15 games, the 7-footer is averaging 16.5 points, 8.6 rebounds, 1.9 assists (2.3 turnovers) and 2.9 blocks on 63.9 percent true shooting (.584/.350/.705 split). Despite a restrictive team context (more on this later), he has been one of the country’s top players, ranking 12th in BPM (12.2) and first among freshman. His two-way dominance pervades throughout most games and he’s the primary reason USC looks the part of a potential second-weekend NCAA Tournament team.

And yet, understanding the tantalizingly special prospect he is requires a vastly deeper look than the outline his college sample has provided. The Trojans’ scheme and personnel, particularly on offense, often run counter to showcasing all that he offers. Mobley projects as a valuable face-up scorer, using an array of skills and tools, but isn’t always granted the freedom to show his full arsenal.

He’s a quick and efficient leaper to convert extension finishes near the rim; NBA defenders are longer than college ones, but Mobley’s leaping ability will still distinguish him athletically and enable him to score over the top most of the time. He eats up space with galloping strides and operates concisely in narrow windows with economical footwork, while possessing a good enough handle to beat defenders, especially big men.

Even when defenders sag off to invite a 3 or long 2, he can manipulate that cushion to his advantage, taking a couple dribbles to promptly rise for a paint shot, relying on his feathery, ambidextrous interior touch. He’s shooting 26 of 58 (44.2 percent) on 2s away from the rim this season. All of these tools shine through on his face-ups.

[On the pass against Arizona State, ignore the turnover, the vision and idea are more important]

The key for his future team is recognizing who Mobley is as a self-creator. Planting him in the on the block with his back to the basket, which happens far too frequently at USC, will not deliver optimal results. His poor core strength and high center of gravity make it difficult for him to generate advantages down low. It’s already been an issue in college occasionally and brawnier NBA defenders are sure to pose further complications, while also mitigating the impact of his agility in space, an asset he’ll wield over most big men.

These face-up opportunities, likely to utilize his driving and interior scoring gravity by pulling in help, allow chances to showcase his passing. One of his best traits is the rate at which he surveys the floor and diagnoses passing reads. With the proper personnel to capitalize off of his playmaking, he’s going to pick apart teams. It’ll force opponents to be timely and selective in how they approach double-teams and help positioning, simplifying some of his scoring load.

Many of his best passes have occurred from the post this season, usually after he’s spurred a double-team his direction. He isn’t going to be a domineering back-to-the-basket scorer in the NBA — meaning fewer doubles to leave someone open will occur — so the translation will not be direct, but the timeliness with which Mobley discerns reads and how he executes them remain salient. His passing is not at all confined to the post, either, featuring short-roll distributing and live dribble faculty.

The short-roll creation is only part of his devastating ball-screen prowess. He’s going to be one of the best pick-and-roll bigs in the NBA, yielding equity as a passer, lob threat and, potentially, floor-spacer. With a 7-foot-5 wingspan, innate body control and springy vertical, Mobley has an elite catch radius above the rim. Toss the ball within his expansive orbit and he will finish plays.

He ranks in the 89th percentile around the rim this season, swiftly transitions from screen to roll and is instinctive in identifying when to slip or dive into space. USC’s lack of viable creators, as well its propensity for posting up in the lane while a pick-and-roll is unfolding, prevent him from thriving, but the mammoth potential he touts is evident. Addressing his core strength deficiency is critical too, propelling him to better merge vertical explosion with power to wrangle with the NBA’s foremost rim protectors. His length and quick leaping give him a high floor as a finisher, but core strength shortcomings could inhibit him from being a premier scorer around the rim.

His finishing and instincts manipulating openings in the defense will also serve him well in dribble hand-off initiation. Pair him with a legit DHO partner and Mobley should feast playing off of their gravity. Elite ones like JJ Redick and Duncan Robinson are difficult to uncover, but really, anyone who forces defenders to consider their choices suffices. Refining his screen-setting to consistently make contact is imperative, albeit rather low-hanging fruit for improvement, but his offensive utility is going to shine when he’s not constrained by such limited guard play, floor-spacing and schematic tendencies.

As previously exhibited, he also is adept at attacking from the perimeter. That ability extends to pick-and-pops. Preferably, the jumper progresses smoothly to command respect, but he also excels at capitalizing on any runway afforded to him by defenders. Even if they sag off to protect against the drive, he owns the touch, extension and quick leaping to benefit, all of which aid him as a face-up scorer. Quite simply, he’ll have utility as a popper, though the value does not solely have to come from deep.

Projecting his 3-ball is an interesting exercise. Throwing on my amateur shot doctor hat will only get me so far, but let’s try anyway. Through 15 games, he’s 7 of 20 (35 percent) beyond the arc and 70.5 percent (67 of 95) from the free throw line. During 150 minutes (14 games) at the 2019 Adidas Gauntlet in AAU play, he went 2 of 10 (20 percent) beyond the arc and 6 of 12 (50 percent) at the line. The willingness to shoot so young is a good sign. The rhythm of his mechanics is pretty encouraging.

His energy transfer is mostly good, though the elongated hitch shortly before his release affects the fluidity and increases the stiffness of his wrist flexion. Streamlining that release to move from a pronounced two-motion shot to a sort of 1.5-motion shot could do wonders, alleviating the issues on the back-end of his energy transfer. A slow-motion compilation helps illuminate my points.

My general conclusion is that Mobley will be a tenable spot-up shooter because the willingness and positive foundational mechanics exist. Tweaking away the hitch is likely important to be much more than just a guy who takes 1.5-2.5 triples per game and knocks them down at a 34-36.5 percent rate. However, I once considered the jumper to be a floor-raising necessity, whereas I now deem it a ceiling-raising skeleton key. If he reaches a threshold that demands opponents close out — and that threshold tends to heighten as one’s interior scoring or slashing aptitude elevates (think Giannis or De’Aaron Fox) — leveraging his driving and agility will be easier. He’ll create more advantages to produce as a scorer and passer. Considerably more avenues to offensive goodness arise. But it is not needed for him to be a very good player offensively.

Face-ups, floor-spacing and pick-and-roll finishing are not the extent of his potential deployment. Mobley’s coordination, touch, handle and agility as a 7-footer can and should be leveraged in other facets, too. Empower him to lead grab-and-go sequences to seek cross-matches in transition. Giannis does this a ton, and it’s one way Mobley should emulate him. Encourage him to spearhead the occasional pick-and-roll as a ball-handler, thrusting a big man into screen navigation, while accounting for Mobley’s driving and passing acumen. Send him downhill off of screens, where his intersection of size and mobility is, once again, a weapon.

There is much more to his offensive repertoire than has been regularly showcased at USC. His future NBA employer must be cognizant of this atypical skillset to maximize him and place defenders in a bind. Scheme him into space and let him cover tons of ground in a brief amount of time before using length, interior touch or passing to capitalize. With those tools, plus close to zero buffering delay as a decision-maker, he can function suitably in a variety of contexts.

He’s a scalable offensive player, who provides finishing, initiating and playmaking. Expecting him to consistently catalyze possessions is misguided, but he will simplify the burden of any ball-handler, while his skillset is simultaneously amplified by their presence, assuming they have notable scoring gravity. A stretch 4 alongside him, clearing the lane for his face-ups, attacks off the catch and rolls to the rim, would be a welcome addition as well. It’s a much easier archetype to land nowadays, meaning Mobley isn’t quite the difficult team-building centerpiece he might’ve been early last decade.

Although Mobley brandishes a variety of paths to offensive functionality, he is unlikely to be a dominant offensive big man. He’s capable of donning many hats, but he remains a complementary player on that end. His lack of strength and fully projectable shooting caps the scoring prowess and the jumper would have to be highly versatile for him to ascend the upper echelon. That’s why a floor-spacing front-court partner and tenable lead guard are vital to constructing an idealized team around him.

The main allure regarding him is his defense, which has a chance to exist in rarefied air among his contemporaries. The gaudy block total, with 44 through 15 games, undersells the level to which he reshapes the offensive approach of opponents. Because of his length and mobility crossover, he is able to play off of defenders, positioning himself to contain any drive, while also contesting or deterring jumpers. It’s his most popular defensive play this season and one with appreciable merit because he’s precisely the archetype to fluster elite pull-up guards, dissuading them from shooting over the top while also owning the lateral movement to stay tethered downhill. Wings with size and strength, a la Luka Doncic and LeBron James, won’t be as heavily influenced (then again, they rarely are), but a plethora of off-the-bounce scorers will struggle against him.

Conceptualize him in the Bam Adebayo archetype of defender rather than, say, Joel Embiid or Rudy Gobert, who are stronger and more paint-oriented. This is not to posit a straight-line comparison between Mobley and Adebayo, but rather to establish a general sense of how he’ll flourish defensively. Both, though, offer stylistic diversity and are capable across an array of requirements.

He can play drop coverage, but also is more than capable to switch or hedge ball screens. He’s tremendous in drop coverage because his length and mobility discourage initiators from using the space ahead of them to drive or pull up, allowing the perimeter defender to recover after fighting over the pick, exactly the purpose of such a scheme. As a switch defender, he’s active on his feet and rapidly flips his hips to mirror any change of direction. On hedges or traps, his size and lateral movement are imposing barriers around which to drive or pass.

There are dozens of instances this season when he blankets the team’s primary options, whittles down the shot clock and leaves them with scant, if any, high-value choices. It’s the seal of an imposing big man defender, someone whose alteration and deterrence domain exists well beyond the rim.

One minor issue that stems from so many players refusing to shoot near him is a belief of that as the baseline. Sometimes, he fails to rotate because he just expects guys to bypass a shot and migrate elsewhere. It’s caught him flat-footed or floating out of position on plays where a rotation can be easily executed. Growing to understand that will not be the case as often seems like a routine fix eventually, but is nonetheless worth noting as a potential hurdle to maximizing his defensive output.

Inside, he leans on short-area quickness, acute anticipation, vertical explosion and length to muck up the paint. He’s a stifling help-side rim protector and that, along with his perimeter adroitness are why he should be useful as a 4-man, too. If certain matchups are likely to exploit his high center of gravity and poor core strength, he can play next to another big man who might be better equipped to handle someone such as Embiid, Nikola Jokic, Karl-Anthony Towns or Domantas Sabonis — and few stymie any of them as is, because they’re All-NBA-caliber players (or better).

Emphasizing any defensive shortcomings in the post is missing the forest for the trees, though. At his peak, Mobley will almost assuredly have achieved some strength gains to the point of his length, anticipation, body control and quick leaping mitigating any prominent concerns. Post defense matters, but it is not a headlining portion of defense, even for big men. And Mobley frequently applies his length to turn away entry passes, which, to some degree, should help mitigate the flaw.

Most importantly, anyway, the young man is a menace anchoring the paint, playing light on his feet, darting in at a moment’s notice and erasing shots, both on and off the ball. He’s so punctual, intelligent and decisive in every movement, rendering it tough to sneak anything by him. With manipulative positioning, he’s also wily enough to bait guys into taking shots they have no business attempting near him.

The extent to which Mobley checks paramount boxes defensively is absurd. He protects the rim, he limits pull-up jumpers, he rarely fouls (2.1 per 40 minutes), he’s smart, he can handle various coverages, and he has distinguished physical tools. Cleaning up his consistency of contests inside and core strength are likely necessary to reach Defensive Player of the Year levels. Regardless, he’s going to be a terror, possessing high-end versatility and impact during an era that continually demands more from defenses.

Few big men own the length and mobility to flummox pull-up maestros, while being good enough to enforce the back line and supply enough offensive productivity to warrant heavy minutes. The USC 7-footer is next in line.

Feeling optimistic about a runner-up finish in the Cade Cunningham Sweepstakes might seem tough, but the chance to select Evan Mobley, a prospect much closer to rivaling Cunningham for first overall than dropping to third in this class, will be reason to smile for one lucky franchise.

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Trey Songz Was Arrested For Fighting With A Police Officer At A Chiefs Game

Trey Songz is reportedly on a 24-hour hold in a Kansas City jail after an altercation with a police officer at Arrowhead Stadium during Sunday’s Chiefs game, according to TMZ. A fan shot a video of the fight, which depicts the singer and the officer grappling in the stands, with Trey putting the officer in a headlock and the officer pinning him to a seat. Witnesses say Trey was defending himself after the officer attacked him, while the official police report says he was arrested for trespassing, resisting arrest, and assaulting a police officer.

The first two charges are misdemeanors, while the latter charge is a felony, albeit a lower-grade one, according to TMZ. Trey was placed on a 24-hour hold and will reportedly be released later tonight. A witness told TMZ that the fight started when fans heckled Trey and he asked them to stop. The officer supposedly accosted the singer without warning and, caught off guard, Trey fought back. In the video, fans try to shout down the officer, and when the officer’s backup arrived they were able to separate the two and arrest Trey.

The incident is Trey’s second arrest in three years. In 2018, he was arrested for allegedly assaulting a woman at a party. Earlier this year, he was criticized for hosting a packed party in Houston with Fabolous, despite contracting COVID-19 last fall.

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Keira Knightley Has Explained Why She’s ‘Not Interested’ In Filming Nude Scenes For Male Directors

Since Keira Knightley became a mom in 2015, she’s had a no-nudity clause in her contact. “I’m too vain, and the body has had two children now, and I’d just rather not stand in front of a group of men naked,” the Oscar-nominated actress told The Farewell director Lulu Wang and writer-producer Diane Solway on the Chanel Connects podcast. Knightley recognizes that there are times when “sex would be really good in this film and you basically just need somebody to look hot,” but that’s what body doubles are for.

The Pirates of the Caribbean star also said that she’s “not interested” in filming nude scenes directed by a man. “If I was making a story that was about that journey of motherhood and body [acceptance], I feel like, I’m sorry, but that would have to be with a female filmmaker,” she said. “If it was about motherhood, about how extraordinary that body is, about how suddenly you’re looking at this body that you’ve got to know and is your own and it’s seen in a completely different way and it’s changed in ways which are unfathomable to you before you become a mother, then yeah, I would totally be up for exploring that with a woman who would understand that.” But Knightley feels “very uncomfortable now trying to portray the male gaze,” adding, “I don’t want it to be those horrible sex scenes where you’re all greased up and everybody is grunting.”

Less greasy sex scenes, more hot-as-hell hand flexes.

(Via BBC)

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Jimmy Kimmel Recalls His Sad Time At Trump’s ‘Comical’ Mar-A-Lago Resort As Its Membership Reportedly Plummets With Trump Now Out Of Power

Ex-President Trump hasn’t been seen in public since returning to his South Florida Mar-a-Lago resort with a no-f*cks given Melania Trump, and we’ve already heard that their neighbors didn’t want them back, but now, things are looking even sadder all around. Apparently, many members who have paid Trump’s $200,000 initiation fee (which he jacked up to that amount in 2017, no doubt, due to his status as president) are out.

CNN is reporting that the Mar-a-Lago is on a steep decline, and they’re also quoting Laurence Lerner, who authored a book on the resort called, Mar-a-Lago: Inside the Gates of Power at Donald Trump’s Presidential Palace and recently spoke with MSNBC. Lerner pointed towards “no good” food being one reason that many members “silently walked out” of membership while adding, “It’s a sad place … it’s not what it was.” In addition, CNN points toward Jimmy Kimmel’s recent appearance on The Ringer’s “The Bill Simmons Podcast,” where the late-night host recounted his visit and said the place is just as stuffy and sad as one might imagine:

“You could not possibly exaggerate how comical it is,” Kimmel said on The Ringer’s “The Bill Simmons Podcast.” “Everyone there is 100 years old.” Kimmel told Simmons he went to the resort about six years ago to have dinner with Howard Stern, who lived near the property at the time. He described the Mar-a-Lago attendees as “hunched-over people who are eating soft food” and he said the place is covered in Trump photos.

“It was just quiet and a terrible place,” Kimmel said. “And now he lives in this terrible place.”

Not only does the food sound not-so-great on face value, but it’s worth remembering 2018 reports that the Mar-a-Lago was cited for 78 health code violations within three years. That number, interestingly enough, surfaced in mainstream reports once Trump fired a shot at the Red Hen restaurant chain after they asked White House Press Secretary Sarah Sanders to leave the premises. Interestingly enough, Sanders just announced her candidacy for Arkansas governor. What a tangled web the Trump circle weaves.

(Via The Ringer & CNN)

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Kanye West Shouts At Chance The Rapper In A Viral Documentary Clip

Early in Chance The Rapper’s career, Kanye West was not only one of his biggest supporters, but as a fellow Chicagoan, he was a close friend and mentor to Chance, as well. Unfortunately, recent years have seen their relationship cool as a result of Kanye’s social media outbursts and vocal support for a certain gold-plated businessman-turned-politician. A video that has surfaced online seems to show just how much their relationship has deteriorated, although some fans have used it as just another means to bully Chance.

The clip, which appears to be an excerpt from a documentary — reportedly about the creation of Kanye’s Donda album — features Roc-A-Fella Records co-founder Dame Dash narrating an encounter between Kanye and Chance at Kanye’s Wyoming ranch in the wake of one of Kanye’s alarming Twitter rants. Dash recounts Chance flying out to the ranch to check on Kanye out of concern for his former mentor. A perturbed Kanye lashes out at the nonplussed Chance, screaming, “Sit your ass down and listen to the album or leave.”

Dash explains, “They got into it, but they worked it out… At the end of the day, Chance was just there to be a friend.”

Watch the clip above.

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Billie Eilish Was ‘Very Proud’ Of Herself After The Trump Administration Called Her Out

Back when Donald Trump was president, especially in the final months of his tenure, Billie Eilish wasn’t afraid to let it be known that she’d rather have somebody else in the White House. She performed at the Democratic National Convention in August, and in October, she and now-Vice President Kamala Harris sat down for a virtual conversation. It would seem all that activity led to the Trump administration excluding her from consideration for appearing in a pandemic ad campaign. Not only was Eilish not offended by that, but the situation left her feeling great, as she said in a new Vanity Fair interview.

Eilish said, “I was very proud of myself. Tons of my friends texted me and they were like, ‘I’m so proud of you! Trump is afraid of you!’ I was like, ‘Damn right.’”

Eilish also said of her Election Day, “I was up with a bunch of horses all day. I was trying to distract myself, giving my energy to the horses, which was honestly so nice.” She said that when it became obvious Biden would become the next president, she “immediately started howling and cheering at 8 in the morning. And so did the rest of the neighborhood.” She then proceeded to grab some leftover 4th Of July fireworks and “lit the bitches.” Eilish added, “There’s still a million things we need to do better, but just getting that orange piece of sh*t out of that White House is the best thing that could happen right now.”

Elsewhere in the piece, she and Finneas both talked about her upcoming music. Eilish said it “feels exactly how I want it to” and continued, “There isn’t one song, or one part of one song, that I wish was this or that I wish it was that.” Finneas also called it “a continuation of Billie’s life story.”

Read the full feature here.

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WWE Has Signed An Exclusive Streaming Deal With NBCU’s Peacock Service

As the streaming wars rage on, Peacock just delivered a stunning haymaker to the competition by locking down the exclusive streaming rights to the WWE Network. Starting March 18, all WWE Network content including pay-per-view events and original series like Steve Austin Broken Skull Sessions, Undertaker: The Last Ride, and the all-new WWE Icons will be housed on Peacock. The new deal will also see the WWE Network deliver original “signature documentaries” starting in 2022.

In the meantime, the new deal will quickly kick off when Fastlane becomes the first major WWE event to stream on Peacock on Sunday, March 21. From the official press release, which is also posted on the WWE site:

“We are thrilled to further the long-standing and trusted partnership WWE has with NBCUniversal,” said Nick Khan, WWE President and Chief Revenue Officer. “Peacock is an innovative platform that will enable us to showcase our most significant events, including WrestleMania, and provide the extraordinary entertainment our fans have come to expect with the combination of premium WWE content, live sports, news, films, and television programs.”

According to CNBC, the Peacock deal will put an end to the WWE Network’s independent streaming platform in the U.S. However, the move will be quite the deal for WWE fans. For just $9.99, the current price of WWE Network, wrestling lovers will be able to stream the entire WWE catalog plus everything Peacock has to offer ad-free. Or they can save five bucks by picking up the ad-supported Peacock plan for only $4.99, which still gives them access to both WWE Network and Peacock’s full libraries but with commercial interruptions.

(Via WWE.com)

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‘How I Met Your Mother’ Star Jason Segel Has Explained Why He Hasn’t Starred In A Comedy In Years

Between 2008 and 2014, Jason Segel starred in Forgetting Sarah Marshall, I Love You, Man, Gulliver’s Travels, Bad Teacher, The Five-Year Engagement, and Sex Tape, many of which were box office hits; wrote The Muppets; and continued to play Marshall Eriksen on the hit sitcom How I Met Your Mother. Not a bad seven years. However, in the seven years since, Segel hasn’t appeared in a single comedy. He’s done fine work in The End of the Tour, as David Foster Wallace, and AMC’s Dispatches from Elsewhere, which he also created, but what happened to the lovable Dracula musical guy?

“I did about a decade and a half of pure comedy, between those movies and then How I Met Your Mother, which was literally every day for nine years,” Segel told Yahoo! Entertainment. “I think I was just interested in seeing what else I could do.” He added:

Sex Tape ended up doing well, I think, but it didn’t feel good. So I got to look forward and say, ‘This is freedom. You can do anything right now. So why don’t we walk right into some of the looming questions, like, what if I tried to do just a drama? What if I tried to write and create and run a TV show?’ I wanted to bump up against my litmus, which I hadn’t done in a long time.”

Segel is currently making the promotional rounds for Our Friend, a cancer drama co-starring Dakota Johnson and Casey Affleck (it’s out now), and he’s set to star in The Sky Is Everywhere from Madeline’s Madeline and Shirley director Josephine Decker. It’s interesting to see the Freaks and Geeks actor flex his creative muscle outside of comedies. That being said, if he wants to make another Muppets movie, I would not say no to watching.

(Via Yahoo! Entertainment)

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Adele Celebrates The 10th Anniversary Of ’21’ In A Reflective Post

Yesterday (January 24) marked the ten-year anniversary of Adele’s legendary 2011 album 21, which has become one of the defining releases of the century so far. Adele marked the occasion over the weekend with an Instagram post looking back on the album.

Adele shared the album art and some other photos from the era and wrote, “Well I never! Happy 10 years old friend! It’s crazy how little I remember of what it was like and how I felt a decade ago. But Thank You from the bottom of my heart for letting us into your lives and letting me be a soundtrack to some of it x.”

The album has set too many records to list here without getting exhaustive, but here’s one bit of trivia: 21 only left the Billboard 200 chart for the first time in late 2017. Here’s one more: It’s one of the 20 or so best-selling albums ever and easily the best-selling of this century.

When announcing the album back in 2010, Adele wrote of it, “It’s different from 19, it’s about the same things but in a different light. I deal with things differently now. I’m more patient, more honest, more forgiving and more aware of my own flaws, habits and principles. Something that comes with age I think. So fittingly this record is called 21. […] The whole reason I called my first album 19 was about cataloging what happened to me then and who I was then, like a photo album you see the progression and changes in a person throughout the years. I tried to think of other album titles but couldn’t come up with anything that represented the album properly, I kept swerving 21 thinking it was obvious. But why not be obvious?”