Category: Worldwide

For all the rappers who fancy themselves basketball players, there’s one who has been taking the road less traveled by his lyrical brethren. Schoolboy Q picked up golf on a bet a few years ago and he’s been a self-described addict of the sport ever since. However, because it’s a less-popular sport among the hip-hop demographic (there’s a lot of old, white guys in the pros), he hasn’t always had the best luck finding four to play with — until now.

Schoolboy’s golf dreams have come true courtesy of PGA Tour 2K21, this year’s addition to 2K Sports’ golf simulation video game. Q appears in the official ad for the game, playing online against WWE Superstar The Miz, PGA Tour cover athlete Justin Thomas, and Christopher McDonald — aka “everyone’s favorite golf villain” Shooter McGavin from Adam Sandler’s Happy Gilmore.

The ad sees the four trading tees in the game, with Q producing a yellow pro jacket he says he got at a thrift store (seriously, watch Happy Gilmore, it’s great), and McDonald experiencing a fit of gaming rage as he clearly falls behind while his three opponents celebrate their birdies, eagles, and holes in one.

Watch Schoolboy Q in the trailer for PGA Tour 2K21 above, and get the game when it arrives this Friday, August 21.

This best new pop music this week saw an array of unexpected collaborations and stand-out singles. Miley Cyrus signaled a new era with her ’80s-inspired single, Dua Lipa tapped Madonna and Missy Elliot for a revved-up remix, and Charlie Puth teamed up with Blackbear for a heartfelt number.

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

Miley Cyrus — “Midnight Sky”

Miley Cyrus’s new single is a standout of this week’s best new pop. “Midnight Sun” follows Cyrus’ 2019 EP She Is Coming and shows the singer is back in her musical groove. The song itself is an empowering nod to enjoying the single life while the track’s instrumentals hum with ’80s-inspired synths.

Dua Lipa — “Levitating (Remix)” Feat. Madonna and Missy Elliot

Dua Lipa debuted her shimmering sophomore album Future Nostalgia earlier this year but that hasn’t stopped the singer from sharing even more music. The singer called upon DJ The Blessed Madonna to transform the laid-back, groove-driven beat with revved-up bass and fluttering synths. “I decided to take the party up a notch,” Lipa wrote about the remix.

Charlie Puth — “Hard On Yourself” Feat. Blackbear

Charlie Puth has an undeniable knack for crafting summery pop tunes, even getting the chance to collaborate with the iconic Elton John. Following his buoyant track “Girlfriend,” Puth linked up with “Hot Girl Bummer” singer Blackbear for the honest track “Hard On Yourself.” Over a skipping beat, the two singers wonder why their love interest is so hard on herself.

Alicia Keys — “So Done” Feat. Khalid

Gearing up for the release of her seventh studio album, Alicia, Alicia Keys teamed up with crooner Khalid for the soaring track “So Done.” Over a subdue beat provided by Black Panther composer Ludwig Göransson, the two sing of giving all the energy they possibly could to an exasperating situation.

Gianni Lee — “Gas” Feat. Andrea Valle

Two of Philadelphia’s rising singers, Gianni Lee and Andrea Valle, linked up this week for the silky-smooth number “Gas.” Andrea’s captivating vocals are at the forefront of the single, supported by mesmerizing 808s and slow-burning synths. “I think a healthy collaboration between strong Black women and strong Black men is needed,” Lee said about the track. “I believe this release speaks to that, it speaks to friendship, it speaks to the idea of heroism and standing up for what we believe in. The release and the artwork scream AFROFUTURISM and the continued spread of its message and aesthetic in my artwork and everything that I touch. I’m a big afro-futurist.”

Christine And The Queens — “La Vita Nuova (A.G. Cook Remix)” Feat. Caroline Polachek

Back in February, Christine And The Queens shared the 6-track EP La Vita Nuova alongside a cinematic short film. Now, Christine has tapped a number of frequent collaborators to reimagine the EP’s title track with Caroline Polacheck. A.G. Cook stepped up to the challenge and added a shimmering, electronic edge.

Alaina Castillo — “Tonight”

Alaina Castillo continues making a name for herself with a number of slow-burning singles. Following a handful of singles and EPs, Castillo infuses a bit more energy onto her track “Tonight.” With expertly-layered production, Castillo delivers one of her most upbeat singles yet.

Lany — “You!”

LA-based trip Lany is gearing up to release their third album Mama’s Boy after two successful albums and a high-profile collaboration with Lauv. Now, Lany gives fans a taste of their impending release with the reflective track “You!” “There was only one person in the world I cared about hearing Malibu Nights,” said lead singer Paul Klein. “Now, there’s not one person in the world I don’t want to hear Mama’s Boy.”

Holly Humberstone — “Drop Dead”

Buzzing songwriter Holly Humberstone shared her debut EP Falling Asleep At The Wheel this week and on it arrived the stand-out track “Drop Dead.” “I wrote drop dead about a troubled and manipulative relationship that despite how bad it is, you can’t get out, because love can often be blinding,” Humberstone said. “I think a lot of people have been through something where you’re with someone that was no good and for some reason all they have to do is look at you and you go straight back.”

Benee — “Snail”

Rising New Zealand songwriter gained notoriety when her track “Supalonely” went viral on TikTok and now the songwriter offering a closer look at her songwriting with a handful of recent singles. With “Snails,” Benee drew inspiration from being stuck inside: “When we were in lockdown, I was fascinated by snails. There wasn’t really a lot to be doing, so I would spend a lot of time outside looking at snails and would think about how they’re doing their own little thing and they’re all free. I just played around with the idea of being kind of like a snail and how I come out in the rain. Being stuck inside because of COVID, it’s kind of my lockdown song.”

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

On Monday, Jon Jones relinquished his stranglehold on the light heavyweight division that he has kept for the most part locked down over the last 10 years. The vacant title sets up a likely showdown between Dominick Reyes and Jan Blachowicz as Jones turns his attention to the heavyweight division, where a showdown with Stipe Miocic is expected, eventually.

While Jones-Miocic is an unquestioned money fight — one Dana White is undoubtedly considering as the UFC negotiates the former light heavyweight champion’s return to the Octagon — the UFC president was clear after UFC 252 that the next title shot should go to Francis Ngannou.

Jones could test the waters with proven veterans like Junior Dos Santos, heavy-handed knockout artists like Derrick Lewis or hungry challengers like Jairzinho Rozenstruik. But the fight that would be the most intriguing at heavyweight would be against the recently-retired Daniel Cormier.

Cormier’s history with Jones is well established: the two feuded over the light heavyweight title, with both bouts going in Jones’ favor. Cormier has fought Jones twice, losing via unanimous decision in 2015 at UFC 182, then getting knocked out in 2017 at UFC 214. That second loss was overturned to a “no contest” after Jones tested positive for a banned substance. He’s continued to have ‘adverse findings‘ in his drug testing in the years following his UFC return, but USADA ruled the small amount has no performance-enhancing benefit. Before settling for a retirement bout in a trilogy fight against Miocic, Cormier even pleaded for a showdown against Jones.

“It’s all I want,” Cormier said in 2019, per ESPN. “When I fight Jones, I feel most complete when I’m preparing for competition against that guy. It makes me train harder. It makes me train smarter. I do everything right in preparation, and I believe that if I do stick around that would be the fight that I do it for. It would be at 205 pounds because I need to go and get that back from him.”

Instead, Jones will make the leap the heavyweight, aiming to be the sixth UFC fighter in history to hold championships in two different weight classes.

As for Miocic, his bout against Ngannou will be one of his toughest to date. Miocic smothered the Cameroonian fighter in their first showdown, forcing Ngannou to completely abandon his camp’s gameplan and fall victim to a five-round wrestling clinic. It appeared the top contender’s career was completely off the tracks, as he followed up his championship opportunity with an ugly decision loss to Derrick Lewis.

“I have carried my fear from the last fight to this one. I completely understand the frustration and anger that it has caused to my fans, coaches, teammates, family and friends and I am truly sorry for that,” Ngannou said, per ESPN. “I won’t let everyone down again. All I can do now is prove myself and make you proud again.”

He has stayed true to his word in his last four fights, finishing Rozenstruik, Dos Santos, Cain Velasquez and Curtis Blaydes in less than three minutes total.

“Francis is definitely next,” White told reporters after UFC 252, per MMA Fighting.

“Francis has been out there destroying everybody, and if you look at how long ago it was that he got that title shot, he’s worked his way back,” White continued. “It belongs to Francis Ngannou. But yeah, Jon Jones going to heavyweight is very interesting.”

Ngannou-Miocic seems like a lock for what’s next in the title picture. But Jones could shake things up, and be in for a major payday if he can convince Cormier to return from retirement. Depending on how Cormier’s torn cornea heals, it could be an opportunity too good to pass up.

Game 1 of the first round series between the Dallas Mavericks and Los Angeles Clippers delivered almost everything anyone could have wanted. Paul George and Kawhi Leonard were terrific for the Clippers, leading them to a 118-110 win. Luka Doncic was sensational, becoming the first player in league history to drop 42 points in his playoff debut, to go along with nine assists and seven rebounds.

Kristaps Porzingis is the fourth star in the series, but he only played 20 minutes, scoring 14 points and pulling down six boards, before he was ejected for picking up his second technical foul when he came to Doncic’s defense in a scuffle with Marcus Morris. Both technical fouls he received were questionable, and his ejection drew the ire of LeBron James and other NBA stars watching the game who couldn’t believe he was tossed in a playoff game for a shove and saying a bad word after a foul call.

Still, after the game Porzingis and the rest of the Mavs seemed ready to move on and move forward from the incident, rather than dwell on it. For Kristaps, he hopes it serves as a learning experience both for himself and his team, as they have to understand that the Clippers role players are well versed in the art of provocation, and Dallas can’t fall into that trap.

Between Patrick Beverley and Marcus Morris, the Clippers do certainly have their fair share of instigators on the floor and it was clear the goal of the Clippers was to bring an added level of physicality to Game 1, particularly in their treatment of Doncic. They wanted Doncic to feel their presence every trip down the floor, and early it led to a number of turnovers and an 18-2 run. To Doncic and the Mavs’ credit, they fought through that to take leads at various points in the game, but the frustration from all those bumps and grabs and hits was apparent in that brief kerfuffle with Morris.

Dallas now knows what L.A. is trying to do and it’ll be incumbent on them not to fall for it, as Porzingis says. If Kristaps and Morris both get tossed for an altercation, the clear winner in that situation is the Clippers. The Mavs, particularly their top stars, have to make sure cooler heads prevail, even in the face of master instigators on the other side.

Kyle‘s wild, animated, hip-hop sketch comedy show Sugar & Toys is returning for a second season September 20 on Fuse TV to lampoon all your favorite rappers, from the Lil’s to Drizzy, with Kyle hosting the proceedings from his living room — sort of. Due to current events, Kyle’s live-action segments had to be cut but fortunately, the show already has a team of animators ready to turn Kyle himself into one of the illustrated cast. Watch an exclusive clip introducing the new, animated version of Kyle above and the season two trailer below.

Kyle, who is fresh off the release of his latest album, See You When I Am Famous!!!!!!!!!!!!, explained the inspiration behind the show in an interview with Uproxx when it first premiered. “The morning cartoon is just such a nostalgic thing that every human, every race, ethnicity, rich, poor… we all experience the same thing,” he said. “I really like relating to the most innocent parts of people. The most innocent memories we have, the purest kind… We all went through it, we all have those memories.”

Watch the exclusive introduction of animated Kyle and the season two trailer for Sugar & Toys above and catch the season two premiere 9/20 at 11pm on Fuse TV.

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

The cable and streaming “late-night” landscape has been flush with Daily Show ex-pats doing their best to blend comedy with a penetrating examination of the issues that often get underreported or outright ignored by the mainstream media in their trance-like quest to signal-boost the Trump chaos machine. Some shows have been a success like those guided by John Oliver and Sam Bee. Others have failed to find the same level of audience/buzz despite doing great work (Wyatt Cenac, Larry Wilmore, Jordan Klepper). And now, sadly, we must add Hasan Minhaj’s Patriot Act to the list of shows that are no longer.

According to a tweet from Minhaj, “Patriot Act has come to an end.” The journocomic hybrid went on to thank Netflix while reflecting on the passage of time and changes in his life (such as having two kids) during the show’s run and his opportunity to work with an immense staff of researchers, writers, producers, and animators. It took a village to make that show, as Minhaj has always been eager to point out., right through the end. So, what now?

First, let’s process the surprise of this. Netflix churns out a ton of original programming with its GDP of a small country-sized budget, but Patriot Act seemed like a jewel in its crown. Particularly in terms of late-night, where it has struggled to find consistent wins. We don’t have hard numbers, so it’s somewhat impossible to know how much of that was hype, but hype is currency in this media climate. Just not enough, I suppose.

The loss of the show is, first and foremost, a human one. Business is business but those researchers, writers, producers, animators, and everyone else involved in the creation of the show are now going to be without a paycheck at a time where it is quite brutal to be in that state. I don’t mean to be that guy, but that’s on my mind as I think about the loss of the show.

On a more global level, the loss of this show and its voice is troubling. Not because there aren’t other shows that live in the same space of creative dissection and exploration of deeper cut stories like the eviction crisis and food/worker safety. There are, but there are more shows that loudly and proudly abdicate the responsibility to shine a light on the myriad things that impact and threaten us on the regular, instead choosing to divide, scare, shock, and reap the rewards of low hanging fruit harvesting. And so when the chorus of good weakens, it’s a sad thing. The Patriot Act was in the chorus of good with a voice that resonated and stood out for its cleverness and inventiveness (and for its host’s flair for storytelling). But mostly, I dug how it hung back to consider things. Check out our interview with Minhaj and his thoughts on that when we discussed Kanye’s entry into politics. Let’s also point out that “late night” is whiter after this move. Representation matters, influencing the stories we see and the knowledge we gain. Minhaj’s blistering and timely look at racism within the South Asian community following the murder of George Floyd is a primary example of a story that comes from a perspective that is not in abundance in the political comedy zeitgeist right now. So there’s all of that to consider.

The proximity of this move to a vital election is another thing to consider. No TV show has the ability to change the world, and most people seem to be dug in with their views and their vote, but The Patriot Act‘s highly visual and fact-driven approach always held with it the promise of being able to activate people around a specific issue that mattered to them. And it’s sad to think that the show won’t have the chance to go all-in on the things that are swirling around this election and this moment. A Patriot Act episode around the grim nonsense around the U.S. Postal Service would really hit the spot right now or at any point as this roller coaster continues its ride, but it’s apparently not meant to be.

Apple Music’ Beats 1 radio station launched five years ago, in the summer of 2015, nabbing UK radio legend Zane Lowe to anchor the station and make it an important part of the global music landscape. Now, though, it’s time for some change, as Apple is tweaking its approach to radio. From now on, Beats 1 will be known as Apple Music 1.

Apple has also launched a pair of new stations, Apple Music Hits and Apple Music Country, which, along with Apple Music 1, will operate under the Apple Music Radio banner.

Zane Lowe said of the change:

“Apple Music is home — it’s home to artists, it’s home to fans, and it’s home to incredible music. I’m an obsessive music nerd. I love searching for the most exciting new artists and playing them right alongside the most essential, established artists of our time, because great music does not know the difference and Apple Music fans just want to hear great music. That’s what Apple Music Radio is all about.”

Oliver Schusser — vice president of Apple Music, Beats, and International Content — also said, “For the past five years, if ever there was a meaningful moment in music culture. Beats 1 was there bringing human curation to the forefront and drawing in listeners with exclusive shows from some of the most innovative, respected, and beloved people in music. Now, Apple Music radio provides an unparalleled global platform for artists across all genres to talk about, create, and share music with their fans, and this is just the beginning. We will continue to invest in live radio and create opportunities for listeners around the world to connect with the music they love.”

I have not re-watched an episode of Breaking Bad since Better Call Saul premiered in 2015 (with the exception of the Netflix movie), but I imagine it’s a weird experience. The wacky lawyer you know and love, Saul Goodman? His name isn’t actually Saul Goodman; he’s Jimmy McGill, a grifter / mail room employee-turned-talented lawyer who had to drink his own pee after becoming a “friend” of the cartel. Also, he might be married to a woman he never mentioned on Breaking Bad. Unless his wife is now dead. And he eventually works at a mall Cinnabon. Like I said, a weird experience.

It will be interesting to go back and watch Breaking Bad once Saul wraps up knowing what we know now. Let alone what happens in the final season, which co-creator Peter Gould admitted will change the way people view the original series.

“I think by the time you finish watching Better Call Saul, you’re going to see Breaking Bad in a very different light,” he told the Hollywood Reporter. “I think we’re going to learn things about the characters in Breaking Bad that we didn’t know. We’re going to learn things about the events of Breaking Bad that we didn’t know. And we’re going to learn things about the fates of a lot of these characters that may surprise people or certainly throw them into a different light.”

It’s hard to imagine there being another series set in the Breaking Bad universe, so Gould and Vince Gilligan only have 13 more episodes to connect the threads between BB and BCS (including, “Where is Kim Wexler when Saul Goodman is Saul Goodman dealing with Walt and Jesse?” as Gould put it) and wrap up the saga of Gene Takavic. That’s a heavy task, but considering they made a spin-off about a strip-mall lawyer that’s arguably better than one of the greatest TV series ever, I have complete faith in them.

(Via the Hollywood Reporter)

Ralph Macchio‘s life would never be the same after 1984’s The Karate Kid. Five years and two sequels later, he seemingly stepped away from the franchise for good, other than occasionally revisiting his Daniel LaRusso persona for nostalgia’s sake, like he did on How I Met Your Mother. A few short years ago, his stance changed when he climbed aboard what turned out to be a highly-popular and critically-acclaimed revival series, Cobra Kai, which streamed for two seasons on YouTube Red (now YouTube Premium). Now, the show’s roundhouse-kicking over to Netflix on August 28.

Catch up with those first two batches of episodes while you can (before it reaches an even larger audience) because a release date for more will be coming soon. The show offers the perfect degree of nostalgia while updating the rivalry — Macchio’s LaRusso goes toe-to-toe again with William Zabka’s Johnny Lawrence — in a compelling way. The show ends up being a rare success in a sea of mediocre revivals and reboots, and Macchio was kind enough to prep the stage by speaking with us about why he’s so pleased with Cobra Kai and protective of The Karate Kid‘s legacy. We also addressed the biggest lingering issue that hasn’t popped up on the show yet with Macchio giving us insight on what could come in the future.

It’s a good time for Cobra Kai escapism. With the move to Netflix, did you find out before or after Season 3 wrapped?

That was after. We had information that YouTube was shifting out of scripted, and credit goes to Sony Television and YouTube for allowing us to find another home that will hopefully give us another life. And the pandemic arrived in the midst of all that. We spoke to many of the platforms, and it feels like it’s turned out awesome.

With so many revivals and reboots, I did feel skeptical at first, but this show feels organic, and it’s addictive to revisit this story as updated.

Yes, and I’m probably coming off a lot more intelligent than I am, but I did hold out. Listen, I’ve heard many, many pitches over 30-plus years of why we wanna revisit this world, and it never seemed fresh. It was always easier to say no and protect the legacy because I’m very protective of it, and it was never smart enough. This was a smart idea at a time when we have these streaming platforms, these abilities to make these five-hour movies, cut up into 10 half-hour parts. You let the characters breathe, and it doesn’t have to fit inside a 2-hour motion picture sequel that has to be louder, faster, funnier, bigger. [Creators] Jon [Hurwitz], Josh [Heald], and Hayden [Schlossenberg] were the guys that you just believed wanted to make the show that the fans wanted to see because they are the three biggest fans of the franchise. It was about how, tonally, is it going to find its way and embrace nostalgia while being fresh and original? Fortunately, it stayed that way.

The tone manages to stay lighthearted despite confronting some tough issues, which is notable, rather than turning toward a “dark” or “gritty” reboot.

Oh, that’s true. And we’re always finding those “feels” or “goosebump moments” or those nostalgic moments, but as it goes on, and you’ll see soon, you have to raise that bar and keep that young audience involved. It does dig deeper into places and take deeper dives from the action and dramatic standpoints, and they navigate that orchestra quite well and keep that music playing. Keeping everybody interested is quite fascinating to watch and be a part of that process and not always know how it’s gonna land.

Since your movies in this franchise, the Internet has… happened. You’ve even did an oral history of the crane kick. However, what gets under my skin was the end of the first movie when Johnny says, “You’re alright, LaRusso!” Daniel responded positively, but the show hasn’t reconciled this yet with the present?

Well, I can say this much. It hasn’t been addressed, but believe me, that was in every one of the first pitch meetings, it was there. Kreese was the bad teacher to Johnny Lawrence, who was trying to redeem himself in that teen moment. The thing that we discussed, and it’ll be interesting, is that at what point do we actually address that? To date, it hasn’t been directly addressed. How we attribute it — because we’ve discussed it — is that at that moment, yes, once they went back to school and once life began, the 30 years beyond that moment on, the untold story that slowly but surely dribbles out. In Cobra Kai‘s flashbacks or [through conversations], you can kind-of write those 30 years that no one ever saw. So just because that moment happened doesn’t mean that something didn’t happen that sent it to a dark place, and not necessarily an action by LaRusso to Lawrence, but maybe something in Lawrence’s life.

A whole lot has happened to that guy, no doubt.

And also — doesn’t this happen sometimes? — not really defending this as much as offering something about it: there are times that you do something or say something and react in a way, and then you go to sleep and wake up the next morning, and all of a sudden, it’s not feeling that good anymore? And then something else happens, and before you know it, you’re a couple of decades into it, and that moment disappears, and it’s something bigger. Maybe for Johnny Lawrence, that’s what happened over time.

The beginning of The Karate Kid Part II probably didn’t help, when Kreese put Johnny in a headlock.

Right, so the last thing on his mind after that was probably the life that he’s led from that moment forward. But if we get to continue to make that show, it will find its way because they an extraordinary job of finding those pieces, and old clips and even different camera angles, and then you can hinge a plot point based on that. It’s a lot of fun.

Over the years, you’ve revisited Daniel-san at moments, like with How I Met Your Mother. You also did the “Wax On, F*ck Off” sketch for FunnyOrDie. How do you choose where to bring it back?

Yeah, that last one was all me. I was at that moment in 2010 where the remake was coming, and I started seeing at the time, like, Tiger Woods and Charlie Sheen, and Sandra Bullock won an Oscar and had a breakup, and that got a ton of press. And I just started thinking that I needed to do the anti-version of what’s sexy in Hollywood, and that’s where “Wax On, F*ck Off” came from. It was all on my terms.

With How I Met Your Mother, that one came from my kids when I initially passed on it, and it was not as well marked out as it came out to be. It was a one-off joke, and then I was kind-of wallpaper throughout the episode, so it wasn’t exciting, and I told my kids that I was gonna pass on it. They were like, “Who do you think you are? How dare you pass on How I Met Your Mother?” Then we did a creative call, and then we found a way that I’d be more of Barney’s worst nightmare, and the Zabka payoff as the clown was fantastic. That one was by committee, and it worked out, and the more I was willing to heighten the cameo, the more willing the writers were to find that. On top of that, so many young kids who watched it then watched The Karate Kid and came up to me and said it was awesome. And now with Cobra Kai, we’re hitting all four quadrants.

It’s really remarkable to see how well this show is connecting with the younger generation.

Well, the kids are just great and wonderful to work with. And the writing staff is writing it fully, and the cast is big, so it’s nice to see that. A big part of the Netflix thing is that we’re in the “young adult” division, believe it or not. That’s the category that this show, and that’s the direction. I think you’ll see more of a push in creating more awareness of these young actors going forward, so it’s not only about these two rivals, these guys in their 50s, trying to not act like teenagers. It’ll be a little of everything.

There’s the idea, of course, presented by the show, that Miguel and Robby might be products of their senseis, like Daniel-san and Johnny. And there’s a huge mess to clean up in Season 3.

Yes. That’s a big part of where Season 2 leaves off and what we address going forward. In Season 2, clearly, both Johnny and Daniel had good intentions and believed in what they were doing, and then things went off the rails. Here’s the thing: just because you have knowledge of something doesn’t mean you know how to teach it on a larger scale. Case in point: LaRusso’s heart was always in the right place, and what he was doing, when other obstacles come in the way, the clarity of that (on Lawrence’s side as well) goes off its axis. There’s a decent amount of recalibrating and “look at what this has become” with the cliffhanger and how they get out of the mess. I can’t talk about it too much but can say that it is fantastic. So there’s my tease.

You gotta tease. People expect it.

The best is yet to come in this series! And I believe in that.

In closing, I gotta talk about that crane kick. Are you surprised that it’s such an iconic moment, all these years later?

If you asked me in 1984 if I’d be having this conversation with you, I’d say, “Yeah, right.” What I call the pop culture debate of it — Was it legal? Who’s the real Karate Kid? — to me, the great fun of that is that people really care! And there’s fandom and arguments and videos made on the concept. The movie belongs to the fans, and it’s become a worldwide piece of our childhood. As far as the crane kick and what it’s become, when I came out of a screening (a preview of seeing it for the first time), a majority of the audience — whether they were 10 or 62 years old — they were out on the sidewalk doing the crane pose to each other. That’s why it doesn’t surprise me, because [it was] like when you leave a Broadway show, and you’re singing that song. That usually says that it has some staying power. But 36 years? That’s incredible.

‘Cobra Kai’ streams on Netflix on August 28 with a Season 3 release date coming soon.

Infamously masked queer country singer Orville Peck has been turning heads ever since his 2019 breakout debut Show Pony. Since the record’s release, Peck has continued to captivate audiences through lonesome videos and heartfelt tributes. Now, the singer has teamed up with the iconic star Shania Twain to give a rendition of their collaborative track “Legends Never Die” on The Tonight Show Starring Jimmy Fallon.

Much of late-night television is still virtual, though Fallon and his team are back in their studio. For the performance, Twain and Peck took over a country dive bar in bedazzled outfits to croon their soaring collaboration, which arrives on Peck’s recently-released six-track effort Show Pony.

Ahead of his late-night appearance, Peck delayed his Show Pony EP just days before it was supposed to be released. Explaining the decision on social media, Peck wrote: “We’re undergoing a huge overdue worldwide transformation thanks to the Black Lives Matter movement and that is mainly what I want to put my focus on at the moment. The momentum is currently so strong, and it needs to keep going in order to dismantle the injustices of oppression, so if your voice hasn’t been heard yet just use it, or walk out and hear the protesters, and if you’re scared, tell them Orville sent you.”

Watch Peck and Twain perform “Legends Never Die” on The Tonight Show above.

Show Pony is out now via Sub Pop. Get it here.