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If ever there were a time for someone to rest on laurels, it would be after a gigantic statue in your image was erected in your hometown. And if that sounds like a strangely specific hypothetical, it’s because that exact scenario played out for Shakira in December when a 21-foot bronze statue of Shakira was unveiled in her hometown of Barranquilla, Colombia. However, instead of retiring, Shakira announced Las Mujeres Ya No Lloran, her 12th studio album and first album since 2017. The LP is due out on March 22.

“My new album, coming out March 22, is one I created together with all of you, my pack of shewolves who were there for me every step of the way,” Shakira captioned an Instagram announcement on February 15. “Making this body of work has been an alchemical process. While writing each song, I was rebuilding myself. While singing them, my tears transformed into diamonds and my vulnerability into strength.”

This morning, February 29, Shakira unveiled the full Las Mujeres Ya No Lloran tracklist, including the 2023 single “Acróstico” featuring her sons, Milan and Sasha. Check it out below.

Shakira’s Las Mujeres Ya No Lloran Album Cover Artwork

Shakira’s Las Mujeres Ya No Lloran Tracklist

1.⁠⁠ “Puntería” Feat. Cardi B
2.⁠ ⁠”La Fuerte” Feat. Bizarrap
3.⁠ ⁠”Tiempo Sin Verte”
4.⁠ ⁠”Cohete” Feat. Rauw Alejandro
5.⁠ ⁠”(Entre Paréntesis)” Feat. Grupo Frontera
6.⁠ ⁠”Cómo Dónde y Cuándo”
7.⁠ ⁠”Nassau”
8.⁠ “⁠Última”
9.⁠ ⁠”Te Felicito” Feat. Rauw Alejandro
10.⁠ ⁠”Monotonía” Feat. Ozuna
11.⁠ ⁠”Bzrp Music Sessions, Vol. 53”
12.⁠ ⁠”TQG” Feat. Karol G
13.⁠ ⁠”Acróstico” Feat. Milan and Sasha
14.⁠ “⁠Copa Vacía” Feat. Manuel Turizo
15.⁠ “⁠El Jefe” Feat. Fuerza Regida
16.⁠ ⁠”Bzrp Music Sessions, Vol. 53″ (Tiësto Remix)
17. “Punteria” (Vinyl Version)

Las Mujeres Ya No Lloran is out 3/22 via Sony Music Latin. Find more information here.

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

Perhaps you thought that the Scandoval drama would die down once the world found something better to focus on, but there is nothing like a good old-fashioned lawsuit to reel you back in!

On the heels of Tom Sandoval comparing himself to O.J. Simpson, he and ex Ariana Madix are now being sued by Raquel/Rachel Leviss, his former Vanderpump Rules co-star, for revenge porn, eavesdropping, and invasion of privacy. In the lawsuit, Leviss claims that Sandoval “recorded sexually explicit videos of her without her knowledge or consent which were then distributed, disseminated, and discussed publicly by a scorned woman seeking vengeance,” referring to Madix.

The affair reportedly came to light last spring when Madix found suggestive videos on Sandoval’s phone, which were then allegedly distributed. Leviss is asking for the video to be destroyed, which would fall on MGM’s Evolution Media.

The 19-page complaint continues:

To make matters worse, Leviss was misled by Bravo and Evolution into believing that she was contractually barred from speaking out about her mistreatment. As a result, she suffered in silence as Bravo and Evolution watched viewership explode, and the rest of the cast enjoyed unseen levels of public recognition and professional opportunity. Meanwhile, Leviss, who was humiliated and villainized for public consumption, remains a shell of her former self, with her career prospects stunted and her reputation in tatters.

This isn’t the first time Leviss has mentioned the invasion of privacy, which was brought up on fellow Bravolebrity Bethenny Frankel‘s podcast last summer. At the time, Leviss sent an “immediate cease and desist letter” to stop the video from being shared, but “some of Ariana’s friends have described the video in great detail online,” she said. “And she also sent it to me, so I don’t know who else she sent it to. I wouldn’t be surprised if she sent it to other people, but it’s not legal.” Leviss is seeking unspecified damages from her former friends Sandoval and Madix, who are already in a tough legal battle over their house.

Season 11 of Vanderpump Rules is currently airing and has been following the cast as they grapple with the fallout of the affair. Leviss is not currently appearing in this season, but she sure has a lot to say on her podcast. Sandoval will surely have some sort of absurd response.

And to think…. this isn’t even the first Bravo-related lawsuit this week.

(Via Deadline)

It seems that the Golden Age of Marvel films has come and gone, and now that Marvel has even admitted they had gone a little overboard with the content lately, MCU actors haven’t been shy about expressing their frustration with the way things have gone downhill over the years.

Ray Winstone, who appeared in 2021’s Black Widow, reflected on his MCU experience and had some choice words for the overall ordeal. “It was fine until you have to do the reshoots,” he told Radio Times. “Then you find out that a few producers have come down, and your performance is too much, it’s too strong… That’s the way Marvel works. It can be soul-destroying because you feel like you’re doing great work,” he admitted. The great work of the MCU is often overlooked.

Winstone, who has appeared in legendary films like Point Break, The Departed, and Cats, even considered quitting the film before his reshoots, but that would be an even bigger headache. “I actually said, ‘You ought to recast it because that was it for me.’ And you end up doing it again because you’re contracted to do it. Otherwise you end up in court,” he said, adding, “It’s like being kicked in the balls.”

Even after all of that, Scarlett Johansson ended up in a heated legal battle anyway, so maybe Winstone is lucky that a little kick in the balls was all he got.

(Via Decider)

While Warner Bros. hasn’t publicly confirmed that Coyote Vs. Acme has been deleted, a recent earning calls revealed that the studio took a $115 million write-down that is believed to include the Looney Tunes film. The studio has faced intense public and industry-wide backlash for its handling of Coyote Vs. Acme and it’s reportedly disingenuous attempts to shop the film to other studios, so it behooves Warner Bros. to never speak of the movie again.

Well, Will Forte has other plans.

In a passionate, and at times fiery, open letter to the cast and crew of Coyote Vs. Acme, Forte confirmed that the movie will be deleted and he made it clear that he “f**king hates” that it’s happening. However, the comedic actor also made it a point to sing the praises of the Looney Tunes film and all of the hard work that went into it.

According to Forte, the movie was “incredible” and “something so special,” leaving him confused and frustrated over its fate.

You can read Forte’s statement in its entirety below:

To the Cast and Crew of Coyote Vs. Acme —

I know that a lot of you haven’t gotten a chance to see our movie. And sadly, it’s looking like you never will.

When I first heard that our movie was getting “deleted,” I hadn’t seen it yet. So I was thinking what everyone else must have been thinking: this thing must be a hunk of junk.

But then I saw it.

And it’s incredible.

Super funny throughout, visually stunning, sweet, sincere, and emotionally resonant in a very earned way. As the credits rolled, I just sat there thinking how lucky I was to be a part of something so special. That quickly turned to confusion and frustration. This was the movie they’re not going to release?

Look, when it comes to Hollywood business stuff, I don’t know shit about shit. Even when a movie tests very well (like ours), there’s no guarantee that it’s going to be a hit. And at the end of the day, the people who paid for this movie can obviously do whatever they want with it. It doesn’t mean I have to like it (I f**king hate it). Or agree with it. And it doesn’t mean that this movie is anything less than magnificent.

You would be so proud of it — a movie that should be seen, but won’t. Please know that all the years and years of hard work, dedication and love that you put into this movie shows in every frame.

That’s all folks,
Will Forte

(Via Will Forte on Twitter)

Rap is full of fun and unexpected familial connections. While some are well-known, like Baby Keem and Kendrick Lamar, others often come as a surprise to fans. Sometimes, they’re even a surprise to the rappers themselves, as with Denzel Curry and Smino finding out they were related in 2021. Other interesting entertainment families include Nas and Tracy Morgan, Saweetie and Gabrielle Union, and of course, Quavo and Takeoff, who briefly considered going by “Unc And Phew” after splitting from Offset, who was shockingly not actually related to either.

But one familial bond no one could expect was recently revealed by Memphis upstart GloRilla, who noted during a recent interview that she’s related to another rapper despite being from over 1,000 miles away in Philadelphia. Appearing on the Bottoms Up With Fannita podcast, Glo was asked whether she’d collaborate with Lil Uzi Vert, and instead of answering outright, she noted, “That’s my cousin,” to the surprise and delight of the show’s host, Fannita Leggett. Undeterred, Leggett wondered why the two hadn’t collaborated yet since they have an existing connection, and Glo cagily replied, “We actually workin’ on it… we just gotta get it together.” Fans will undoubtedly be waiting for that if only to hear how the two divergent rappers’ flows will mesh.

You can check out GloRilla’s full Bottoms Up interview up top.

Lil Uzi Vert is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Donald Trump has another lawsuit to add to the pile. Trump Media & Technology Group co-founders Andy Litinsky and Wes Moss are claiming that the former president and his business cronies schemed to lock them out of a stake in the company, potentially losing the pair millions of dollars.

According to the Washington Post, Litinsky and Moss, who first met Trump on his NBC reality show The Apprentice, “pitched Trump on the idea of a Trump-branded tech start-up and social media platform in early 2021 after he lost the White House and was banned from Twitter, now called X.” Trump agreed to the deal and was given 90 percent of the company, while Litinsky and Moss got 8.6 percent; the rest went to attorney Bradford Cohen.

But things have gotten complicated.

The filing said that Trump was set to receive 78 million shares in the post-merger company — a stake worth $3.5 billion at today’s share price — and that [Litinsky and Moss’ investment company United Atlantic Ventures] would receive more than 7 million shares, a stake worth about $339 million. “Throughout TMTG’s corporate history,” the motion states, “UAV’s 8.6 percent ownership interest has been recognized and honored.” But UAV’s attorneys allege in the motion that Trump has recently attempted to “drastically dilute” the partnership’s stake as part of what they called an “11th hour, pre-merger corporate maneuvering” tactic designed to increase the amount of authorized stock, from 120 million shares to 1 billion shares.

Speaking for his clients, Litinsky and Moss’ lawyer told the Post, “They feel like: We made Truth Social for you. You get 90 percent. But some people just aren’t happy with 90 percent.” It’s almost as if going into business with Donald Trump isn’t a great idea. Weird!

(Via the Washington Post)

It is looking like another year of bad news for music lovers who were looking to attend the Firefly Music Festival in Dover, Delaware in 2024. Given that the festival didn’t take place last year either, as they were reportedly taking a break, there were questions about if it would ever return. Today (February 29), Firefly released a statement about what people can expect for now.

“Firefly Music Festival will not return in 2024,” they wrote. “We look forward to powering Firefly’s lights back on someday when the timing is right, but until then, The Woodlands will continue to host new music events for years to come. Keep on dancing, fam.”

Things seemed to have changed drastically since Firefly’s previous post, which was made in October 2022 and was an exciting confirmation that fans would get to see them in 2024. Because of this, fans on social media are upset and mourning the loss of a festival that they went to a bunch and loved.

Firefly’s traditional hosting spot at Dover’s The Woodlands will be the home to other festivals this year. Phish has appeared to be the ones taking things over, at least for 2024. The jam band announced that they’ll be hosting their new Mondegreen festival there.

Check out the post from Firefly Music Festival above.

Let’s set the scene. You’re out with friends, or maybe by yourself, at a local nightclub or day party, and the DJ on set gives a shoutout to the “Carribeans” in the crowd. They say something like, “One time for my Carribeans” or “Where my Carribeans at?” and those in the audience who identify as such make some noise with the expectation that a song from their region will be played next. Instead, an afrobeats record from the likes of Wizkid, Davido, or Burna Boy blares from the speakers. Carribeans and Africans in the audience are left equally confused by the miscategorization and the DJ does a quick two- or three-song rotation before getting back to their regularly scheduled programming.

As ludicrous as it sounds, this scenario happens more often than you’d think. Look no further than comments in this Lipstick Alley forum from 2022 for proof. While regions heavily populated with Africans or Carribeans like southern New England, New York City, Philadelphia, or Houston probably haven’t had this experience to the extent of other areas, it is an issue. It’s just one example of the miscategorization of these genres that we’ve seen happen time and time again.

By the 2010s, Afrobeats and dancehall were undeniably popular in the global mainstream. Viral dances like those attached to Fuse ODG’s “Azonto” and Iyana’s “Kukere,” as well as success from Davido, Burna Boy, Wizkid, P-Sqaure, D’banj, and others played a big role in afrobeats’ rising popularity. In contrast, the success of Sean Paul, Popcaan, Vybz Kartel, Bounty Killer, Beenie Man, and others helped boost the appeal of dancehall. Though dancehall stands alone as its own unique sound, afrobeats is more of a culmination of various genres that include any mixture of house, hip-hop, dancehall, highlife, R&B, afrobeat (yes, without the s), and more.

Afrobeat is different from afrobeats as it pulls from traditional Nigerian music with additional influences from funk, jazz, and soul, and sees its origins go back to the 1960s, while the origin of dancehall is between the 1960s and 1970s. With afrobeats and afrobeat often getting confused and afrobeats containing numerous influences — including dancehall — it’s not all that surprising that the genres are mixed up, leading to DJs shouting out “Carribeans” and playing afrobeats. However, a history mix-up would be a generous explanation for all of this.

With afrobeats and dancehall making their presence felt in the mainstream world by the mid-2010s, artists in the respective genres continued a tradition of collaboration dating back to their origins. Some of the records we’ve received over the years include Kranium & Wizkid’s “Can’t Believe It,” Popcaan and Davido’s “Risky” and “Dun Rich,” Burna Boy’s “Toni-Ann Singh” with Popcaan, Byron Messia’s “Talibans II” with Burna Boy, Teejay’s “Drift (Remix)” with Davido, Vybz Kartel & Burna Boy’s “Personally (Remix),” and Wizkid’s “Slip N Slide” with Shenseea and Skillibeng. In these cases, the blend between afrobeats and dancehall can be effortless with each artist performing just as well in the other’s genre as they do their own. For those without knowledge of the artists and sounds within afrobeats and dancehall, this is where the distinction between the genres gets lost, and suddenly, you’re shouting out the Carribeans in the crowd, only to play a set full of afrobeats staples.

While some ignorance is understandable, fans’ and DJs’ reluctance to correct said ignorance is not. Both afrobeats and dancehall are becoming more and more globally popular and respected by the month. For example, a fall 2023 report from Spotify noted that afrobeats tallied more than 15 billion streams on the platform. In just the last few years, both genres have provided records that served as anthems for the year’s hottest months, including Burna Boy’s “Last Last,” Byron Messia’s “Talibans,” and Wizkid’s “Essence.”

These artists are Grammy nominees and winners. Artists in both genres collaborate with some of the biggest names in the industry. The genres’ successes aren’t a fluke, but the result of years of work from their pioneers and contemporary hitmakers to push the beautiful sounds of their culture to the masses. Afrobeats and dancehall deserve the respect and recognition to stand and be known on their own terms.

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

Reacher is the role that Alan Ritchson was meant to embody. There’s no doubt about that, but it’s wild to consider that the Fast X actor had been kicking around in Hollywood for over a decade before landing what would ultimately be his household-name-making role. Perhaps he’s even so fitting as Jack Reacher — managing to even infuse a layer or two within a brick sh*thouse — because Ritchson knows what it’s like to fail and forget that “details matter.” For that reason and more, he is making it known that he has blown auditions in the past.

In his recent Men’s Health interview, Ritchson describes how his life before apprehending every goon and irritating stunt coordinators included a series of small gigs punctuated by failed bids for larger roles. These included losing out on Thor, for which “the casting cabal told his team the role had been his to lose but he hadn’t shown that he had “the craft’” because he assumed, “They’ll throw me the part if I look like the guy; nobody really cares about acting.” Additionally, he was deemed “too old” to portray Finnick in The Hunger Games: Catching Fire, but that’s neither of these stories feel as brutal as that time when he went and bought an expensive car after deciding that he nailed an audition and then nope:

[H]e auditioned for the lead on the show Titans. “I was so confident. I was like, ‘This is the best damn audition I’ve ever had in my life. There’s no way they can do this show without me,’” he says with mock bluster. He was so sure he’d gotten the gig that he bought a Tesla. The role went to Brenton Thwaites instead. Ritchson was told he was too old again.

Well, everything did eventually work out for the best. Reacher keeps soaring higher in streaming popularity, and viewers eat that show up like the yummiest vending machine junk food that ever existed. If Ritchson had been cast in Titans, there likely would have been too much overlap for him to take on the Big Man for Amazon. Speaking of which, the third season is filming now, and we await further word for a release window.

(Via Men’s Health)

This morning, February 29, Cage The Elephant executed the classic double-dip announcement: New album and subsequent tour. Actually, it’s better than a double-dip because Cage The Elephant also dropped “Out Loud,” billed as “the emotional centerpiece of Neon Pill.” The title track previously arrived last month.

The six-piece band will drop Neon Pill on May 17 and support the album with a headlining North American tour, beginning on June 20 in West Valley City, Utah. Bakar and Young The Giant will serve as the supporting acts on select dates of Live Nation-produced trek.

When Do Cage The Elephant’s Tickets Go On Sale For Their Tour In Support Of Neon Pill?

As per a press release, “numerous pre-sales, including for the band’s Fan Club, Discord, and Spotify followers,” are scheduled to begin next Tuesday, March 5, at 10 a.m. local time. Tickets to all Canadian dates will become available to American Express Card Members from March 5 at 10 a.m. local time through Thursday, March 7, at 10 p.m. local time.

The general on-sale for tickets and VIP packages will go on sale on Friday, March 8, at 10 a.m. local time. Find more ticketing information here.

How To Buy Tickets For Cage The Elephant’s Tour

Cage The Elephant captioned their Instagram announcement with directions for pre-sale access, writing, “For pre-sale access, sign up for our mailing list before Monday [March 4] at 7 a.m. CST at CageTheElephant.com.”

What Are Cage The Elephant’s Tour Dates?

06/20 — West Valley City, UT @ Utah First Credit Union Amphitheatre^
06/22 — Seattle, WA @ Climate Pledge Arena^
06/23 — Ridgefield, WA @ RV Inn Style Resorts Amphitheater^
06/24 — Bend, OR @ Hayden Homes Amphitheater^
06/26 — Vancouver, BC @ Rogers Arena^
06/28 — Edmonton, AB @ Rogers Place^
06/30 — Spokane, WA @ BECU Live at Northern Quest^
07/02 — San Francisco, CA @ Bill Graham Civic Auditorium*
07/03 — Santa Barbara, CA @ Santa Barbara Bowl^
07/05 — Phoenix, AZ @ Talking Stick Resort Amphitheatre^
07/06 — San Diego, CA @ Viejas Arena^
07/07 — Los Angeles, CA @ Kia Forum^
07/09 — Albuquerque, NM @ Isleta Amphitheater^
07/11 — Austin, TX @ Moody Center^
07/12 — Houston, TX @ The Cynthia Woods Mitchell Pavilion presented by Huntsman^
07/13 — Fort Worth, TX @ Dickies Arena^
07/15 — Rogers, AR @ Walmart AMP^
08/02 — Alpharetta, GA @ Ameris Bank Amphitheatre*
08/03 — Raleigh, NC @ Coastal Credit Union Music Park at Walnut Creek^
08/04 — Charlotte, NC @ PNC Music Pavilion*
08/07 — Noblesville, IN @ Ruoff Music Center^
08/08 — Madison, WI @ Breese Stevens Field^
08/10 — Winnipeg, MB @ Canada Life Centre^
08/12 — Minneapolis, MN @ Target Center^
08/14 — Chicago, IL @ Credit Union 1 Arena at UIC^
08/16 — Grand Rapids, MI @ Van Andel Arena^
08/18 — Saratoga Springs, NY @ Broadview Stage at SPAC^
08/19 — Bridgeport, CT @ Hartford HealthCare Amphitheater^
08/21 — Gilford, NH @ BankNH Pavilion^
08/22 — Mansfield, MA @ Xfinity Center*
08/24 — Holmdel, NJ @ PNC Bank Arts Center^
08/26 — Montreal, QC @ Centre Bell^
08/27 — Toronto, ON @ Budweiser Stage^
08/29 — Burgettstown, PA @ The Pavilion at Star Lake^
08/30 — Cincinnati, OH @ Riverbend Music Center^
09/05 — New York, NY @ Madison Square Garden^
09/06 — Philadelphia, PA @ TD Pavilion at the Mann^
09/07 — Lewiston, NY @ Artpark Mainstage Theater^
09/09 — Cleveland, OH @ Blossom Music Center^
09/10 — Detroit, MI @ Pine Knob Music Theatre^
09/12 — St. Louis, MO @ Hollywood Casino Amphitheatre^
09/13 — Des Moines, IA @ Wells Fargo Arena^
09/14 — Kansas City, MO @ Starlight Theatre^
09/16 — Omaha, NE @ CHI Health Center Omaha^
09/18 — Denver, CO @ Red Rocks Amphitheatre*

^ with Young The Giant and Bakar
* with Bakar

Neon Pill is out 5/17 via RCA Records. Find more information here.

Young The Giant is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.