According to Rolling Stone, Diddy’s lawsuit will now be held in New York and is going to be open to the public.
“I’m fighting for fair and equal treatment for everyone,” he shared in a statement to the publication. “This isn’t just about me. I look forward to continuing this fight in court. We all deserve the same 24 hours.”
Meanwhile, Diageo has pushed back against the judge’s decision.
“It is important to underscore that this is not a ruling on the merits of the claims, which we maintain are false and baseless,” the company’s spokesperson said to Billboard. “We are currently considering all legal options.”
Diddy first filed a lawsuit against Diageo in May, claiming “discriminatory treatment” and that they failed to invest in Ciroc and DeLeón — as it was allegedly only being marketed to “urban” brands.
He also alleged that Diageo’s Stephen Rust, the President of Reserve and New Business, told him that “race was part of the reason Diageo limited the neighborhoods where the Combs brand were distributed.” The company has continued to deny all claims.
Hank Azaria has starred in dozens of TV shows and movies, both as a full-bodied actor and as a voiceover artist. But the roles he’s best known for are the multiple characters he has voiced on “The Simpsons.”
A documentary by Indian comedian Hari Kondabolu, “The Problem with Apu,” examined the issue of Apu being a racialized stereotype, no matter how beloved the character was. Kondabolu himself started of as a fan of the character. “Apu was the only Indian we had on TV at all so I was happy for any representation as a kid,” he told the BBC. But that perspective changed as he got older. “He’s funny, but that doesn’t mean this representation is accurate or right or righteous,” he said. “It gets to the insidiousness of racism, though, because you don’t even notice it when it’s right in front of you.”
Azaria spoke to his own obliviousness and his years-long journey from defending his portrayal of Apu to co-founding an anti-bias non-profit aimed at educating people about why such portrayals are harmful on The Man Enough podcast.
“So what happened to me with Apu was that got pointed out to me,” he told host Liz Plank and Jamey Heath. “It’s like, your well-intentioned character that was very funny and made a lot of people laugh, and won you Emmys, and helped create an iconic, wonderful television show—and all those things are true about it—but it had some blind spots baked into it, in its groundwater that came through me and the writers and the creators, that had unintended negative consequences. And the fact that I was oblivious to it only underlined how much I needed to look at it.”
That wasn’t his first reaction, though. He said he got upset and “very defensive” at first, reacting in a way that many people find familiar.
“I was like, ‘Well, where does this end?’ And I hear now a lot of people say it today. They say it to me: ‘Isn’t this all silly? It’s gone too far. Where does this end? Can you not do an Irish accent? Can you not do a Polish accent? You’re not a policeman. How come you can play Police Chief Wiggum? I mean, where does this nonsense end?’ kind of thing. And that was my first, second, and third reaction.” He said to him, it was just another thing he was imitating as a voice actor. He didn’t see the difference between imitating an Indian or a Black person versus a French or German person.
Taking accountability for the past 💛#growth #mindset
“Learning that difference became important to me,” he said. That was the beginning of his gaining a deeper understanding of how his voicing of Apu could be problematic.
Interestingly, Azaria’s experience with a 12-step recovery program helped him process the backlash he experienced in a healthy, accountable way. He pointed out that a part of recovery is denial, but once you get past that, you start owning your part in the issue.
“Even if, in the end, you decide, well, my part of this, I think, is only 10% of the whole thing, I think somebody else is maybe 90% of this…you can only really work on your end,” he said.
“Step four is that inventory. What am I doing here? Who am I? Where was I at fault? Where am I to blame? What’s my part? How am I accountable?” he went on. “And step nine is amends. Now how do I make this right? How do I make up for it? Sometimes that can be 20 minutes. Sometimes it can take you years to work through that.”
Azaria also had a professional and personal choice to make. “Am I gonna keep doing this voice or not?” he asked. “It wasn’t so apparent to me what to do, especially when I was so defensive at first, because on the one hand, I didn’t want to just bow to what we called then ‘PC pressure.’ Now there are other words for it, right? I didn’t want to ‘fold to the woke mob’ or ‘give in to cancel culture,’ whatever we wanna call it. But more to the point, I didn’t want to just, for appearance’s sake, fold, because I was afraid of criticism or looking like a bad guy. On the other hand, I certainly didn’t want to continue to do harm and perpetuate a stereotype and hurt people and marginalize people I really didn’t know.”
Azaria shared that one reason he didn’t participate in Kondabolu’s documentary was that he was afraid he would misstep and say things that would hurt both himself and other people. He said he was still learning and knew he needed to keep his mouth shut and his ears open. He started reading and attending seminars and talking to people.
“And these are conversations I had never had before,” he said. “I don’t think I’d ever had a conversation about race with anybody before, except in college, in a class where I was mostly just taking it in as an intellectual exercise.”
Through that learning, Azaria began to recognize what many would call “white privilege,” but that Azaria refers to as “relative advantages.”
“I realized one of the main relative advantages or privileges I enjoyed is never having to think about that stuff. Never ever once. Didn’t impact me. It’s why I didn’t take a pause when I did the voice of Apu or others, because it didn’t occur to me that there would be any kind of impact beyond either a laugh or not a laugh, a successful show or not a successful show.”
The more he learned, the clearer the reality became for him and he was able to make the decision to stop voicing Apu in 2018. Since then, he has gone on to work closely with The Soul Focused Group, a Black-led organization that focuses on building connections and raising the consciousness of people to help bridge divides that keep us apart. He also partnered with the group to found The Human Solidarity Project to remove financial barriers to the services The Soul Focused Group offers.
Azaria’s evolution is fascinating to hear about and a great example of how education, open-mindedness and open-heartedness can lead us to a deeper understanding of and connection to one another.
Olivia Rodrigo sat down with Zane Lowe from Apple Music to talk about her new album, Guts. During their chat, she revealed the difficulties she encountered during the creation process.
“I think the first time around I was just filled with so much adrenaline, I was like, ‘Okay, wow, this is happening. I’ve never done this before,’” Rodrigo shared. “This time it feels a little more real, and it’s a scary thing to know that people are going to be curious and they’ll maybe have a lot of ears on it.”
Despite her being anxious about making a sophomore record, she did feel that doing it gave her “a lot of confidence as a songwriter.”
“I think this time I was in a different place, and I was having a lot of pressure and a lot of expectations placed on me, and I think I really had to try to block out the noise and just focus on the craft of songwriting,” she noted. “I wasn’t going through my first 17-year-old heartbreak, and I think that it forced me to be maybe a little bit more creative in the way that I write.”
Later on, Rodrigo also discussed her love for Phoebe Bridgers. The two recently had a conversation, as Rodrigo was on the cover of Interview Magazine and Bridgers was conducting it.
“It was so much fun talking to her,” she added. “I think she’s so smart and obviously such a brilliant songwriter, but she’s just really, really gracious and really down to earth and it’s been really nice to have some interactions with her. I think she’s just great all around.”
Goose treated fans to a new surprise EP, Autumn Crossing, which features three live rare songs that have been dubbed the “Travelers-Elmeg Suite.”
The release came with a music video directed by Will Thresher, Michael Nuchereno, and Aaron Mannes. Filmed in western New York, the nature shots add to the calming nature. And it even takes viewers to space, just to give off the psychedelic vibes.
Fans will also be able to purchase a limited 12″ vinyl version of the EP, with artwork from Jonathan Lovering etched into it.
“This is a meaningful one for me,” Rick Mitarotonda, the band’s guitarist, shared in a statement. “It’s among a collection of material I wrote in the years prior to Goose forming. This band is interesting to me in that way, it draws from many different times and places, and there’s a particular freedom to that. This one was a special time and place for me personally.”
Starting next week, Goose will be heading out on the road, playing shows across North America and Europe through December. A complete list of dates and more information can be found here.
Check out the video for “Travelers I,” “Travelers II,” and “Elmeg The Wise” above.
Autumn Crossing is out now on streaming platforms. It will be available on vinyl starting early December. Find more information here.
Even though many of the plot points and mysteries from season two of The Afterpartyhave been solved, the AppleTV+ show could still have some more tricks up its sleeves.
The murder mystery stars Tiffany Haddish as a former detective who first solves a series of suspicious murders which inspire her to write a book. Sam Richardson, Zoe Chao, John Cho, Ken Jeong, and Anne Knokle also star in the series, which is told through various perspectives by using different genres. It’s fun and different! We need more of that.
The second season just wrapped up, and many fans are wondering if there will be a third. The answer is a little complicated. “We have a lot of ideas, but right now we’re on strike,” executive producer Anthony King told TVLine. While they are unable to make progress with a new season, King confirmed that they do have some ideas. “Until the AMPTP comes back to the table and makes a good deal with the writers, none of those things can come to fruition. They all have to stay just ideas, so we’re waiting on that.”
Earlier this week, King, along with fellow EP Phil Lord and creator Chris Miller, expressed their interest in a third season (Via Variety).
Miller: We would love to do a Season 3, not only because we have lots of great ideas, but also because that would mean that the AMPTP would have given a fair deal to the writers and we could all be back to work.
Lord: This is what we’re striking for.
King: It’s in the list of demands.
Miller: We snuck it in along with the AI language, that there will be a Season 3 of “The Afterparty.”
So, as long as some demands are met, it seems pretty likely that we will get a third season of shenanigans…eventually.
Midway through the second quarter of Friday’s FIBA World Cup semifinal between Germany and the United States, Daniel Theis attempted to float an entry pass inside to Johannes Thiemann, who held an advantage against the smaller Mikal Bridges. Except, Bobby Portis interrupted Theis’ plans and deflected the pass, which caromed toward Isaac Bonga. Immediately and without hesitation, the lanky German forward redirected the ball into Thiemann’s clutches and helped Germany knot the score at 41.
While the sequence marked Bonga’s lone assist of the evening during a game his preeminent contributions occurred defensively, it also revealed a few themes central to Germany’s 113-111 victory over the U.S. that propelled it into Sunday’s title game against Serbia.
Often deploying some trio involving Thiemann, Theis, Franz Wagner, Moritz Wagner, and Johannes Voigtmann, Germany constantly leveraged its size advantage to success, whether that be scoring at the rim, generating second chances or commanding double teams to produce fruitful looks elsewhere. It trotted out some massive quintets. USA’s interior depth is scarce, and an aversion to consistent two-big lineups or minutes for Walker Kessler only heightened that dilemma and gulf. Germany nabbed five more offensive rebounds and scored six more points in the paint than the Americans on Friday.
The gap in passing quality announced itself from the outset as well, reinforced by Germany’s 73.2 percent assist rate compared to USA’s 65.8 percent. Bonga’s improvisation to keep the offense humming provided a snapshot of how his side hung 113 points on its counterparts in a 40-minute game.
The shot-making numbers — 68.3 percent (28-of-41) inside the arc, 43.3 percent (13-of-30) beyond it — are eye-catching, but Germany routinely yielded high-quality attempts all over the floor because of its decisive, savvy passing. Beyond a stretch late in the fourth quarter when USA dialed up the contact point and physicality on switches and stalled the action a handful of times, Germany was a multifaceted juggernaut offensively. Its cohesion and connectivity were joys to watch.
Individually, names like Dennis Schroder and Franz Wagner rightfully headline this squad. Both of them played well Friday. Schroder conducted the offense masterfully and discerningly, logging 17 points (7-of-13 shooting) and nine assists to zero turnovers. Wagner thrived in transition and notched 22 points (7-of-18 shooting), five boards, two assists, and one steal.
Yet the semifinal stars were Theis and Andreas Obst. Nobody played better than them. Theis was the foremost star. In 28 minutes, he slapped down 21 points (10-of-15 shooting), seven rebounds, two assists, one steal and one block. His perimeter comfort on both ends was integral to Germany’s jumbo lineups. When they needed him to operate above the break as a floor-spacer or outside-in passing hub, he obliged. When he was thrust into pick-and-rolls, he converted. When he was the low man defensively, he rotated punctually. When he had to stunt or defend the ball-handler, he didn’t look out of sorts. His two-way fluidity popped.
Protecting the rim, attacking closeouts, providing diverse play-finishing, and looking sprightly in space, the 31-year-old cast an imprint in a multitude of facets. He blended his traditional NBA role player duties with heightened freedom this national team environment affords him. Never did it feel as though he had to impose himself, but he was always around, guiding Germany toward the gold medal game.
Helping lead that charge alongside Theis was Obst, whose sidestep triple with 75 seconds remaining served as the biggest shot of the night and dumped water on the fire of USA’s late, furious push. Obst scored a team-high 24 points on 6-of-11 shooting and added six dimes. Among screens into jumpers, drives, and second-side actions, Germany prioritized scheming him touches in motion. USA tried stashing Tyrese Haliburton and Jalen Brunson on Obst. That gambit was completely exploited. Their struggles with screen navigation continually rendered them a liability, underlined the roster’s shaky guard defense, and enabled Obst to thrive.
After he buried a couple long balls early in the first quarter, USA emphasized skirting him off the arc and forcing him to put the ball on the deck. That didn’t quiet him. His processing and playmaking were sharp counters whenever defenders keyed in on his scoring genes. Once he elected to pass, the ball really snapped out of his hand and left opponents scant time to rotate or recover.
The jumper, of course, is a marvel. There’s no wasted movement; it’s beautiful. He’s netted 16-of-35 threes in the tournament, including 4-of-8 in the semifinals. According to Basketball-Reference, on 501 cataloged attempts since 2014-15, he’s drilled 41.3 percent of them. He’s just an absolute marksman who showed out at a pivotal moment and was not confined to outside shooting as a means of impact.
As another World Cup reaches a conclusion without Team USA hoisting the trophy, focus from many crowds understandably shifts to limitations of the roster and how they can be remedied heading into next summer’s Olympics. To fixate solely on those angles, though, would be to disregard everything Germany excelled at on Friday.
That result is also a testament to what Germany has built with this group. The offensive schematics and synergy are tremendous. The personnel is well-constructed. Its top players fill many different gaps and do not overlap in infringing ways. All of that was on display as it dispatched USA and now stands on the precipice of its first World Cup title in team history.
Meet Me @ The Altar dropped the new video for their song “Strangers.” The energetic song is made even more fun by its visual. It uses different lenses like fish eye to document the moments the band spend at the skatepark or hanging out around town. Basically it’s carefree, and it rocks: which is why people love their sound so much.
“‘Strangers’ wrestles with self-consciousness,” lead singer Edith Victoria revealed in a statement. “It’s about experiencing the nagging self-doubt that fuels imposter syndrome or accuses you of not being strong enough to endure what life has a tendency to throw at you.”
“The song explores the sensation that you’re missing out on being your true self and reaching your full potential because you can’t shake the thought that you’re not good enough,” Victoria added. “Sometimes I catch myself questioning how much further along I might be toward my goals if it weren’t for anxiety and self-sabotage.”
Check out Meet Me @ The Altar’s “Strangers” above.
Past // Present // Future (Deluxe Version) is out 9/29 via Fueled By Ramen. Find more information here.
Meet Me @ The Altar is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
It’s not always easy to figure out what mental health condition you have, even after being diagnosed. Sometimes questions pop up after a diagnosis or new symptoms appear that may give you pause. One of the mental health conditions most questioned is bipolar disorder because it seems to contain a lot of symptoms that can overlap with other disorders, especially depression.
Bipolar disorder is characterized broadly by experiencing cycles of depression and mania. Depression symptoms can be so deep that it seems insurmountable and the mania symptoms can be so extreme that people impulsively take a cross-country trip without packing a thing. But since there’s typically a much smaller swing between the two poles, some people may question if their depression is actually undiagnosed bipolar disorder.
Tracey Marks, an Atlanta-based psychiatrist, is helping people learn the difference between depression and bipolar disorder and how to tell if it’s likely the latter.
In her video, Marks explains that one of the most common markers is that with bipolar disorder, your depression presents between ages 15 and 19, though you may not have a manic or hypomanic episode for years. This can cause people to be misdiagnosed with unipolar depression, otherwise known as major depressive disorder, for years before they’re properly diagnosed with either bipolar 1 or bipolar 2.
“Whereas unipolar depression as we call it, where all you experience is depressive episodes, tends to occur or presents for the first time later in life,” Marks says.
When depression is really bipolar disorder, anti-depressants don’t work or can make things worse, according to Marks. She really helps to put things in layman’s terms to break down what symptoms may actually point to bipolar disorder. You can watch the entire video below.
If any animal embodies the simple joy of our “10 things that made us smile” series, it’s gotta be a Golden Retriever. This week’s list includes not one but two Golden good boys being their playful, hilarious selves. We’ve also got a sweet floofy puppers and a story about tiny dogs that is certainly smile-worthy. (Doggos for the win!)
And babies! Gracious, do we have a couple of adorable babies this week. Wait till you see the “Oh No” dance. Serious cuteness overload.
Also, have you ever seen a duck being tossed into a kiddie pool over and over because it just can’t get enough? You will, and your day will be all the better for it.
Enjoy all this and more in this week’s roundup:
1. Find someone who looks at you the way this doggo looks at his stuffed animals
Lifting others up instead of tearing them down is such a simple, powerful act. We never know how much our words might mean to someone who needs to hear them.
10. Let’s strive to attai the unbridled joy of this duck being tossed into a kiddie pool
Perhaps we can start by greeting each day with a “Ready, set, WHEEEE!”
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Craig Ferguson was the host of “The Late Late Show” on CBS from 2005 to 2014. He’s probably best remembered for his stream-of-conscious, mostly improvised monologues that often veered from funny observations to more serious territory.
In 2009, he opened his show explaining how marketers have spent six decades persuading the public into believing that youth should be deified. To Ferguson, it’s the big reason “Why everything sucks.”
“In the 1950s, late ’50s, early ’60s, a bunch of advertising guys got together on Madison Avenue and decided to try to sell products to younger people. ‘We should try to sell to younger people because then they will buy things their whole lives,'” Ferguson explained.
The problem is, according to Ferguson, that young people are “kind of stupid.”
“So the deification of youth evolved and turned into the deification of imbecility. It became fashionable to be young and to be stupid,” he continued.
‘Why everything sucks’
On a deeper level, Ferguson makes the point that exalting youth and inexperience over wisdom and experience runs contrary to the way of nature.
“Then what happened is that people were frightened to not be young,” he said. “They started dyeing their hair, they started mutilating their faces and their bodies in order to look young. But you can’t be young forever, that’s against the laws of the universe.”
Calling marketers’ war on the over-49 set the reason why “everything sucks” may be a bit of an exaggeration. But the takeaway from Ferguson’s monologue is spot-on. There’s no reason to feel bad about aging. You’ve got experience, wisdom, probably better credit, and have learned that Saturdays are a lot more fun after you’ve been to bed by 10:00 pm on Friday.
This article originally appeared on 2.17.22
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