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New York’s Times Square recently erected a new permanent outdoor stage, and today, the first performance to take place there has been announced. Post Malone will be the first to perform on the TSX stage, giving a free concert including songs from his upcoming album, Austin. He made the announcement in a typical low key way on Twitter, although billboards promoting the concert went up in Times Square announcing the show as well. The show’s scheduled for 5 PM.

https://twitter.com/PostMalone/status/1681308350552883212

If you’re not going to be in New York City today to see the concert, have no fear. He’s currently on his If Y’all Weren’t Here I’d Be Crying tour, which heads up north to Ontario, Canada tomorrow, then makes an East Coast swing, circling around to the Southwest in August (you can see the setlist here). Meanwhile, Post has been prepping fans for the release of the album with the singles “Chemical,” “Mourning,” and “Overdrive.”

In a video message to fans, he broke down the importance of the album’s title. “That is my name,” he said. “It’s been some of the funnest music, some of the most challenging and rewarding music, for me at least. You know, trying to really push myself and really do some cool stuff. I played guitar on every song on the record and it was a really, really fun experience, and I’m super, super excited to share it with you.”

Paul McCartney is going to be giving fans a chance to hear the backstories behind some of his most famous songs as he will launch a new podcast, McCartney: A Life In Lyrics.

According to Rolling Stone, each episode will center around a single song, as he will discuss it with Paul Muldoon. (Muldoon contributed the foreword to McCartney’s The Lyrics: 1956 To The Present book.)

Starting September 20, the first season’s 12 episodes will all be available to those who have a Pushkin+ membership. For other listeners on standard platforms, the first episode will premiere, with subsequent ones being released each week from there.

“I wanted to become a person who wrote songs and wanted to be someone whose life was in music,” McCartney shared in the podcast trailer. “It was like going back to an old snapshot album, looking back on work I haven’t thought much about for quite a few years.”

“When we listened back to the tapes, we realized there was something very special happening in these conversations,” Muldoon added in the prologue, according to the publication. “It was McCartney unfiltered.”

As for some of the songs that fans can expect to hear about in the first season, the list includes: “Eleanor Rigby,” “Let It Be,” “Live and Let Die,” “Back in the USSR,” “When Winter Comes,” “Penny Lane,” “Uncle Albert/Admiral Halsey,” “Here Today,” “Magical Mystery Tour,” “Jenny Wren,” “Too Many People,” and “Helter Skelter.”

It’s a truth universally acknowledged that it’s been too long without a new Alexander Payne movie. Six years! Joyously, the Trailer Gods have blessed us with an enticing look at The Holdovers.

The throwback trailer, complete with a deep-toned voice over, promises a wry, sweet, Nebraska-esque look at humanity via Paul Giamatti playing a rumpled sourpuss charged with taking care of rebellious Youths in school uniforms.

Here’s the official synopsis:

“The Holdovers follows a curmudgeonly instructor (Paul Giamatti) at a New England prep school who is forced to remain on campus during Christmas break to babysit the handful of students with nowhere to go. Eventually he forms an unlikely bond with one of them — a damaged, brainy troublemaker (newcomer Dominic Sessa) — and with the school’s head cook, who has just lost a son in Vietnam (Da’Vine Joy Randolph).”

Yes to all this. It’s one thing to make a movie about found families, but these three are essentially forced to endure each other until they make a deep connection. So, just like a normal family.

It’s easy to point out Giamatti rocking this type of role again, but it’s also great to see Randolph emerge in a serious supporting role. She’s done some sharp work lately, especially stealing scenes in Only Murders in the Building, and she’s clearly got the chops to do great things.

The Holdovers is in select theaters October 27th before going wide November 10th.

The Philadelphia 76ers have not had a particularly good offseason so far, as they saw a couple of rotation players leave this offseason and have done little to replace them, because their entire focus has had to be on James Harden’s trade request.

While there was hope Harden would change his mind after attending various Michael Rubin-hosted parties with his fellow Sixers stars, he informed the team last week that he still was adamant about being traded. His preference, by all accounts, is to go to L.A. and join the Clippers, who likewise stayed very quiet in free agency as they focused their efforts on acquiring Harden. To this point, there have been no real updates on those talks, which seem to be in a holding pattern until the Damian Lillard trade request in Portland is sorted out. That is for a variety of reasons, not the least of which being if Portland can find a better offer from a team other than the Heat, Miami could become a Harden suitor and force the Clippers into a stronger offer.

In the meantime, the Sixers are making it known they’re willing to let this drag on. On Tuesday, Daryl Morey went on 97.5 The Fanatic in Philly to discuss the offseason, confirming Harden still wanted to be traded while laying out what the Sixers demands are in return — a “very good player” or the draft picks to allow them to later get a very good player.

Given that the Clippers don’t particularly have draft assets to move, it seems clear that Philly will be holding out on them until they put the best package of players together — which is apparently more than Marcus Morris and Norman Powell. Terrance Mann’s inclusion could be a sticking point, as he is the type of young, versatile wing that both the Sixers and Clippers would want to have on the roster to provide depth and Philly may hold out hoping to land him alongside Powell.

We have seen in the part that Morey is willing to let things get uncomfortable, as he held out as long as possible on trading Ben Simmons before ultimately landing Harden. In Tuesday’s interview he even touched on that situation, noting Harden was the only star that was ever really put on the table in talks for Simmons.

Overall, nothing Morey says here is groundbreaking, but it does provide a firsthand account of what the Sixers are looking for in Harden talks, as well as confirmation that they’re not going to acquiesce to a trade request if they can’t get back what they feel they need to remain a contender.

Florence Pugh is effortlessly cool, and she’s recently been rocking a hairstyle (on the Oppenheimer red carpets) to match. That would be the buzzcut that Pugh debuted at the Met Gala, which was obviously even shorter than the haircut she gave herself during A Good Person, so why did she decide to take the more extreme plunge?

As Pugh recently told Radio Times (via The Daily Mail), “I purposefully chose to look like that. I wanted vanity out of the picture… Vanity is gone. The only thing that people can look at then is your raw face.”

That’s a declaration that we don’t usually hear from actors, but Pugh appears to relish those times when “I’ve not needed to be glam or have a full face of makeup, I fight to keep it that way. It helps the audience.” She also believes that those moments when she can wear less makeup onscreen also aids her performances. “It helps me when I’m wearing less makeup because then I’m less of a sparkly thing on screen,” the Midsommar star explained. “I feel like I’m allowed to do ugly faces, like it’s more acceptable.”

As someone who is genuinely envying that buzzcut right about now (feels like that would be a solid move in this blazing summer heat), I salute Florence Pugh, and given that she doesn’t plan on being a romcom queen, I hope that she gets to enjoy an abundant supply of non-glam roles throughout her career.

(Via Radio Times & The Daily Mail)

Slowdive is back, and they’ve definitely got some skin in the game. Today (July 18), the band has released “Skin In The Game,” the latest single off of their upcoming fifth album, Everything Is Alive.

On the foggy “Skin In The Game,” lead vocalist Neil Halstead delivers hazy vocals as he recounts reaching the end of a relationship, and comes to accept that what’s done is done.

“I won’t know and you won’t say it now / ‘Cause you don’t say and I will never ask,” he sings on the song’s opening verse.

According to a press release accompanying the single and album announcement, Everything Is Alive will contain psychedelic-influenced sounds. The album is dedicated to guitarist Rachel Goswell’s mother and drummer Simon Scott’s father, both of whom died in 2020

“There were some profound shifts for some of us personally,” Goswell said in a statement. “Those crossroads are reflected in the many-layered emotional tenor of Slowdive’s music; everything is alive is heavy with experience, but each note is poised, wise, and necessarily pitched to hope. Its unique alchemy subtly embodies both sadness and gratitude, groundedness and uplift.”

You can listen to “Skin In The Game” above.

Everything Is Alive is out 9/1 via Dead Oceans. Find more information here.

“I personally don’t like to draw a line between ‘K-pop’ and pop music, but I do think it is a good time for K-pop artists to be shown to the world, because the world is just ready for it,” Blackpink’s Jennie once said about the genre of pop as a whole.

While this week saw a BTS member collaborating with a rising rap star, the track was just one of the standouts on this week’s list — as all the artists continue to push the envelope of what’s expected. And we are ready for it.

Continue scrolling for Uproxx’s Best New Pop roundup.

Billie Eilish — “What Was I Made For”

Rounding out the rest of the already-incredibly stacked Barbie soundtrack, Billie Eilish was unveiled as one of the surprise musicians featured on it, as her “What Was I Made For” is an emotional twist to the lighthearted doll’s energy. Through the somber piano track, Eilish explores the themes of self-doubt and questioning her spot in the world.

Karol G — “S91”

Karol G’s creative video for “S91” finds her on the run in the desert, blending real-life with animation, and having some car speed races that would fit right into The Fast And Furious. “I’m sorry, but the flow is not for sale,” she declares, in the English translation of the lyrics — making it a powerful track about owning her individuality.

Jung Kook, Latto — “Seven”

Jung Kook and Latto marked their first collaboration with “Seven,” and it is already off to the races on the charts. As soon as the beat kicks off to start the BTS member’s verse, it already has listeners hooked. Latto feels right at home with her feature on the track, as it includes some equally-fiery lines.

Troye Sivan — “Rush”

Troye Sivan’s “Rush” has made quite the splash in just the few days it has been out. (Particularly, the music video has been met with internet controversy.) No matter what you think, there’s no denying that it’s still a fun, club-ready anthem — which is exactly what he set out to do with it.

Reneé Rapp — “Talk Too Much”

Reneé Rapp is moving more into potential pop star territory, as she also announced her departure from an HBO acting role. Ahead of her new album, the latest drop, “Talk Too Much” shows off her edge a little more with a rock-inspired tone that feels like a perfect fit alongside Olivia Rodrigo and Suki Waterhouse.

Charlotte Cardin — “Jim Carrey”

“Jim Carrey, will you marry me?” Charlotte Cardin asks on the similarly-titled new track, which features a lyric video where a “Jim C.” contact keeps declining her FaceTimes. In between the comedic lines, she reflects on her worst behaviors.

Raia Was — “If You’re Asking (I’m Offering)”

“It’s about being inside a relationship, with its shifting power dynamics, and craving a defining moment – like, are we doing this or not?” Raia Was said about her new song, which appears ahead of her next record, Captain Obvious. “My sophomore LP seemed like as good a time as any to join the ranks of artists who’ve addressed their relationship to the industry from within a song.”

Sofía Valdés — “Easy”

Featured on her upcoming EP, Silvia (named after her grandmother), Valdés’ “Easy” was written during a time when she was struggling emotionally — and felt like nobody really understood. “I picked a fight just for kicks,” she pushes back in the lyrics, carried by light instrumentation.

Ricky Montgomery — “Black Fins”

Ricky Montgomery’s heartbreaking new song, “Black Fins,” finds them reckoning about his relationship with their father — especially in the wake of loss.

“As a young kid, music was my only healthy outlet,” Montgomery shared in a statement. “Songs about deadbeat dads and abusive households made me feel more normal. Like I wasn’t so alone. But nobody had the same story I did. With this song, it is my hope that I can carry forth that tradition of helping other people feel seen. If even one kid out there feels some kind of kinship from this song, that’s a good enough reason to put it out there into the world.”

Charlotte Sands — “Good Now”

Drawing inspiration from early ’00s emo bands, Charlotte Sands’ new EP, Good Now, shows off her fast-paced and biting wordplay. A clear example of this is the title track, “Good Now,” where she points out that she’s “still scared of the next page / cause maybe I’m the villain,” over a fun-and-moody instrumental.

“This EP is about a lot of different experiences and stories throughout the last year of my life,” she noted.

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

Later this week, Splendour In The Grass music festival kicks off in Australia. As the event spans four days, here is everything to know about the set times for this year.

Starting on Thursday, July 20, things kick off at noon with The Gatling Gun performing at Bryon Bay Brewery. Throughout the afternoon, Lila Swain (on the Smirnoff stage) and Kira Sunday (Red Bull Unforeseen) both play at 4 p.m.. Juups follows behind on the Smirnoff stage at 6 p.m., as DJ Cheq (Red Bull) and Nic Holland (Rainbow Bar) start at the same time. On the World Stage, Trouble San DJs play from 5 p.m. until midnight.

However, Friday is when things really kick off. Some acts not to miss on this day include Claire Rosinkranz at 3 p.m. at the GW McLennan Tent, Sudan Archives on the Mix Up Stage from 5:30 to 6:15, J Balvin at the Ampitheatre from 9 to 10, and Lizzo following after him on the same stage — with her performance happening from 10:45 p.m. until midnight.

On Saturday, the Ampitheatre features Benee at 4:15 p.m., King Gizzard & The Lizard Wizard at 5:45, Sam Fender at 7:15, Yeah Yeah Yeahs at 8:45, and Flume closing things out on the stage from 10:30 to midnight. Other key acts include Jeremy Zucker at 6 and Arlo Parks at 9 — both playing at GW McLennan Tent. There are also DJ acts that continue until 2 a.m. — in case the party doesn’t want to stop.

For the final day on Sunday, Tove Lo takes the Ampitheatre at 6 p.m., followed later by Mumford & Sons at 10:45. Iann Dior plays the Mix Up Stage at 8:45. Over at the GW McLennan tent, fans can also catch 100 Gecs from 10-11 p.m..

Check out the complete Splendour In The Grass schedule here.

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

Bill Belichick is a legendary figure in the NFL coaching ranks, operating as both coach and head of the front office in New England for more than two decades, but despite putting forth a Hall of Fame career with the Patriots, he is not untouchable when it comes to hot seat talk.

Since the departure of Tom Brady, the Patriots have not been able to regain their footing as one of the AFC’s elite, watching as the Chiefs and other teams, including the division rival Bills, have passed them by. As such, there’s mounting pressure on Belichick to get the Patriots back to that level, and given he is the one making personnel decisions too, there isn’t anywhere to really deflect the blame when the team falls flat.

Given his stature as an iconic figure in New England, few would expect him to be on a real hot seat, but NBC Sports Boston’s Tom Curran — who is as respected and plugged in a Patriots reporter as there is — explained to Rich Eisen that he thinks that’s exactly the case, with his seat having grown steadily warmer since 2019.

As Curran lays out, it all dates back to Belichick not giving Brady the contract he demanded and convincing Robert Kraft it was the right decision to let him go, which of course saw Brady then win a Super Bowl with the Bucs while the Pats took a step back. Since then the Patriots have flailed offensively and while Curran doesn’t think there’s quite a mandate of win a playoff game on Belichick to keep his job, he does think if the team looks as listless as last year and disorganized, Belichick could be asked to step aside to allow defensive coordinator Jerod Mayo to take over as head coach.

We’ll see if this comes to fruition or if the Pats can make a surprising leap forward this season, but in a division with two very good teams in Buffalo and Miami, as well as a Jets team that finally has a high-level quarterback in Aaron Rodgers (although, how great he still is remains to be seen), that task will be immensely difficult.

John Boyega’s latest film, Netflix’s They Cloned Tyrone, feels like it was invented in a Mad Libs lab. An homage to Blaxploitation films that came before, it’s a pulpy crime caper. A mind-bending mashup of sci-fi hijinks and 70s-era funk with some Nancy Drew callbacks thrown in.

Following a trio of troublemakers trying to uncover a bigger conspiracy that threatens their neighborhood, the film sees Boyega playing a drug-dealing criminal forced to team up with a slick-talking pimp (Jamie Foxx, at his comedic best) and a street-smart sex worker (an equally wonderful Teyonah Parris) to take down a government agency intent on controlling Black folks in their community.

Forget the Kool-Aid, these villains are infiltrating the churches, the barber shops, and the chicken joints – weaponizing elements of Black culture for their own nefarious gains while replicating stereotypes that keep people stuck in the same destructive cycles. It’s a real mindf*ck, filled with absurdist comedy, needle drops, and plenty of soul. And it gives Boyega — a sci-fi star in his own right with a Star Wars franchise under his belt — a chance to clone himself, playing multiple versions of a stone-faced anti-hero that’s far removed from his own charming, charismatic persona.

We chatted with Boyega about finding something “fresh” in director Juel Taylor’s script, Attack the Block sequel updates, and why he’s ready for romance (on-screen).

When director Juel Taylor calls you up, tells you the premise for this film, and you hear the words “hood Scooby-Doo” what’s your first reaction?

I’m laughing. Just imagine the Scooby-Doo characters but they’re Black and have our culture and a whole different kind of worldview. But he also spoke about how interesting [it was]. He would go through these ploys that made it quite eccentric at times — funny and slapstick, but at the same time with some cool social commentary. So I was like, ‘Okay, this is going to be something I haven’t seen before.’ In an industry where, you know, you read scripts a lot of the times [that] just touch on things again and again. This just was fresh.

What about this film’s social commentary feels different?

Fontaine is born into a cycle that he can’t really control, which influences his choices. Whether you are stuck in an environment or have limited options — that can influence who you become. Exploring that was just intriguing. It just makes you think about what freedom truly is.

What’s the secret to vibing with Jamie Foxx? How do you make a good first impression?

I don’t even know if there’s a secret. I think that’s all him. If you’ve got a guy that likes people, who’s naturally intrigued by you and your talent, who’s a supporter too, I think that that helps. But then also it’s just the vibe of everybody. It wasn’t just us actors, it was the crew too. Everyone just was willing to work but at the same time didn’t mind busting a smile, having a conversation. I think it just created a nice vibe on set. I compare it to my experience on Attack the Block because I had genuine fun on that. This felt that way because everybody was just so in tune, they could relate to each other.

There’s a lot of dark humor in this movie. Were you worried about anything going too far?

I’m really into dark comedy, especially comedy that makes you reflect on yourself. I’m not really that sensitive. And I have strict rules about artistic expression. Sometimes you’ve just got to laugh for yourself. Juel Taylor just made it very digestible to me. And once I understood his vision, I can’t lie, the jokes could have gone anywhere. If Jamie Foxx is saying it, hell, I’m probably going to laugh.

The movie finds ways to experiment on this community through things they use and consume every day. If someone was going to do that to John Boyega, what would they use?

What’s this thing I’m on now for my skincare? It’s a coffee scrub – for exfoliation. I think if they put it in the coffee scrub, I’ll be pissed. I’m using that every day now, just to make me glow.

You’ve said you had strict rules on the jobs you would take when you were starting out. Have those changed with this added fame and opportunity?

No, not at all. Because I still wouldn’t be in EastEnders. I just like being involved in characters that are farfetched, far from who I am in real life. I just think that’s interesting. I think it makes me feel fulfilled as an actor because it does require a lot of work, a lot of commitment. And I don’t know, I feel more alive when I’m expressing my art in that way. So I would still go for projects much like They Cloned Tyrone that offer me the opportunity to just explore my range.

What’s your stance on where the industry is now, and where it’s headed in terms of diversity and opportunity?

I feel like this movie specifically is a breath of fresh air. I mean now we’re in a climate of strife where people are trying to go for what is fair. And obviously, best of luck on that. But I do think it definitely brings those conversations to the surface. It’s an ever-changing industry. We have far to go, but it’s great to see that projects like this can get made and it’s great to see that people like Juel Taylor can get an opportunity. A first-time director working with Jamie Foxx and Teyonah Parris, that’s a big deal and that definitely reflects on some of the changes coming and you just hope for more and that there’s a consistency in that. Not only to make money but to give birth and fresh air to new directors with fresh perspectives and interesting stories.

There’s a photo of you horseback riding that was taken for a men’s fragrance campaign a while ago and ever since, fans have been asking when John Boyega will get to be in a romance movie.

[laughs] Oh, I can do a Bridgerton! Why not? I would love to do a romance piece. That would be something that I’d really, really enjoy.

Has there been any movement with the Attack the Block sequel?

You know Joe Cornish is still in the lab about to hand off a cool little draft, so we’re going to wait to go through the process and do some writing. But we catch up whenever I’m in town in London and we’ve had a good few creative talks. I know they’re out there doing their research. So the same way they’ve done for Attack The Block, going out to talk to some kids … there’s been a lot of time and change, culturally. So it requires just a lot of research. And we’re giving this movie true development so that we can present the best sequel possible. But yeah, we are still in the lab.

‘They Cloned Tyrone’ is current streaming via Netflix.