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Jonas Brothers Premiered A Lovely New Ballad Called ‘Walls’ On ‘Saturday Night Live’

In their second performance of the night, Jonas Brothers shared some new music from their upcoming album, The Album.

On “Walls,” Joe shines throughout the ballad, as he expresses gratitude for a special love in his life, and makes it known that his life would be incomplete without her.

“If you ever left me, I would die / Even the walls would cry,” sings Joe on the song’s chorus.

On the Saturday Night Live stage, the boys were joined by the choir from the “Waffle House” performance, as Kirk Franklin and Jon Bellion, the latter of whom produced the bulk of their upcoming album, led the choir, who jumped around and offered vibrant displays of energy.

Now that all three of the JoBros are married, we can expect much of their new songs to reflect the love each of them shares with their wives. In a recent interview with Mr. Porter, Joe revealed why he prefers to keep the details of his marriage to actress Sophie Turner in this music, rather than in the public eye.

“I want to feel like an open book,” he said. “But when we started dating, I realized that I didn’t have a ton of stuff that was just for me. And in the end, it makes me a better person to have something for myself.”

You can watch the performance of “Walls” above.

The Album is out 5/5 via Republic. Find more information here.

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Jonas Brothers Brought The Jam Session In A Performance Of ‘Waffle House’ On ‘Saturday Night Live’

Ahead of their upcoming album, appropriately titled The Album, the Jonas Brothers paid a visit to Saturday Night Live. During their visit, the brothers delivered a soulful performance of “Waffle House.”

While on stage, the boys were joined by a choir, as they grooved out using the whole stage, and maintaining a rockstar presence. With almost two decades in the game, Jonas Brothers have not lost their magic.

Upon the release of “Waffle House,” the brothers shared that the song was inspired by conversations they had at the namesake diner while on the road.

In a recent interview with Variety, the JoBros revealed that family is a key theme in the album, and they linked with producer and songwriter Jon Bellion to create a body of work that resonates with fans and their families, who have supported them over the years.

“How do we make an album that speaks to all those different walks of life and ages?” “The key to Jon’s initial pitch was bringing in influences from the ’70s, but with a really modern edge to it,” said Nick. “We wanted to find a way to tell stories that are universal but also ultra-personal.”

You can check out the performance above.

The Album is out 5/5 via Republic. Find more information here.

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Israel Adesanya Knocked Out Alex Pereira At UFC 287 To Win The Middleweight Title

Israel Adesanya (24-2) knocked out Alex Pereira (7-2) to regain his UFC middleweight championship at UFC 287 in Miami.

Pereira picked up right where he left off from their last fight with a slew of outside leg kicks to open the bout. Adesanya looked for openings as the champion circled around him, changing levels with leg kicks of his own and combinations to the head.

Adesanya was more aggressive to open the second round, but it was Pereira who closed the distance and began to control the exchange. Adesanya found his footing, moved away from the cage, and walked down the champion with his own handful of strikes. Pereira was composed as Adesanya began to pour it on, staying in his pocket and waiting for opportunities to strike. He continued to chip away with leg kicks regardless of which stance the challenger was in.

Late in the round, Pereira hurt his opponent with a big leg kick, but Adesanya knocked the champ out with two consecutive big overhand right shots and finished him with a hammer fist for good measure. And in classic Stylebender fashion, Adesanya celebrated the win in style.

The only other loss Adesanya suffered in his UFC career came when he moved up to light heavyweight to fight Jan Błachowicz. Adesanya came into Saturday night 0-3 against Pereira, two coming during his kickboxing days and the last most recently in November when he passed the crown to the middleweight division to Pereira.

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Graham Nash Revealed That David Crosby Died From COVID, But They Patched Up Their Friendship Before His Passing

Since David Crosby‘s death this past January, fans have been in mourning. When the news broke, a cause of death had not been reported.

During an appearance on Kyle Meredith’s Kyle Meredith With podcast, Graham Nash, Crosby’s bandmate from Crosby, Stills, And Nash, shared that Crosby had passed following a bout of COVID-19.

“He was rehearsing for a show to do in Los Angeles with a full band,” Nash said. “After three days of rehearsals, he felt a little sick. And he’d already had COVID, and he had COVID again. And so he went home and decided that he would take a nap, and he never woke up. But he died in his bed, and that is fantastic.”

He continued, saying, “I mean, the fact that he made it to 81 was astonishing. But [his death] was a shock. It was kind of like an earthquake, you know? You get the initial shock and then you figure out that you survived. But these aftershocks kept coming up, and they’re diminishing in size as I go along.”

Elsewhere in the interview, Nash spoke on his estrangement from Crosby. He recalled a moment from seven years ago when he revealed that their relationship had been strained. However, the two were able to patch things up in recent years.

“I’m very pleased that David and I were getting closer towards the end,” said Nash. “He had a good life. I mean, what incredible music he made. He was a fantastic storyteller. I loved him dearly. In looking back at what separated us, it was just foolish stuff, really. The music is the most important part of our relationship.”

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A Minor League Team Threw A No-Hitter In A 7-5 Loss And We Promise You Read That Correctly

The thing with a no-hitter is it is a far less precise achievement than a perfect game. The latter is simple despite how rare and difficult it is — 27 up, 27 down, no mistakes anywhere — but the former can be littered with imperfections. You can walk a batter, you can hit a batter, there can be an error, any number of little things can go wrong, even if you didn’t allow a hit.

Having said that, losing and throwing a no-hitter is damn near impossible to do, because you have to mess up so many times, both on the mound and at the plate, for that to happen. But folks, that didn’t just happen on Saturday, it happened in a game where the losing team scored five runs. The game between the Rocket City Trash Pandas and the Chattanooga Lookouts ended with the Trash Pandas — the double-A affiliate of the Los Angeles Angels — throwing a combined no-no in a game that the team lost, 7-5.

Rocket City apparently had a 3-0 lead and a very normal no-hitter cooking entering the top of the seventh and final inning. Coleman Crew threw a very respectable six innings of work with six strikeouts and a pair of walks, and the team turned to Ben Joyce to close up shop and get them home. It was at this point that things went entirely off the rails.

Joyce had 0.2 innings of work with four walks, five runs (one earned), and a strikeout. His replacement, Eric Torres, got the final out of the inning, but … well, it was a bit of an adventure.

The Trash Pandas were able to get two back in the bottom half of the seventh, but it was nowhere near enough.

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Taylor Swift And Joe Alwyn Have Reportedly Broken Up After Six Years Of Dating

While Taylor Swift is currently on the road celebrating all of her musical eras through the Eras tour, it looks like it’s the end of one era.

Today (April 8), ET reported that Swift and Joe Alwyn have broken up after six years of dating. According to the publication, the split took place a few weeks ago. The two are said to remain amicable.

“it was not dramatic,” said the source to ET, “the relationship had just run its course. It’s why [Alwyn] hasn’t been spotted at any shows.”

Over the course of their relationship, the two kept details of their relationship fairly discreet, however, Alwyn helped co-write and produce several songs on Swift’s albums Folklore, Evermore, and Midnights. For his work, he is credited under the name William Bowery.

Though Swift and Alwyn have never co-starred in a movie or a television show together, Alwyn does make a brief appearance in Swift’s 2020 Netflix documentary, Miss Americana.

At the time of writing, Swift is between stops of the Eras tour. Her next stop will be in Tampa on April 15. She is currently on a high after selling out AT&T Stadium in Arlington, Texas for three consecutive nights. Now that’s a real f*cking legacy!

Representatives for Taylor Swift did not immediately return our request for comment.

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Doja Cat Is Teasing ‘No More Pop’ And Seemingly Shared New Song Titles From Her Upcoming Album

At long last, it looks like we may finally be getting new Doja Cat music — that is, if she’s not trolling us this time.

Today (April 8), she took to Twitter and seemingly teased her impending new era. In one tweet is a picture, showing a screenshot of audio files, which appear to be rough drafts of upcoming songs. Some of the song titles include “Wet Vagina,” “Balut,” and “Agora Hills.”

In a follow-up tweet, it looks like she’s hinting at the new direction in which she’s moving.

“no more pop,” she said.

In the past, Doja has said that her fourth studio album would predominantly consist of rap music. She’s also said it would take inspiration from “’90s German rave” culture. She’s also expressed interest in doing an R&B album.

While we aren’t sure what to expect from Doja’s fourth album, it does seem as though she is, in fact, still planning to lead into her rap side.

In a follow-up tweet, she explained, “i also agree with everyone who said the majority of my rap verses are mid and corny. I know they are. I wasnt trying to prove anything I just enjoy making music but I’m getting tired of hearing yall say that i can’t so I will.”

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Does ‘Air’ Have A Post-Credits Scene?

Post-credit “bumper” scenes aren’t a new phenomenon. One of the first major films to feature a bit at the end of the movie was the 1966 Dean Martin spy comedy The Silencers, the first film in which he played agent Matt Helm. (Other early adopters include Night of the Living Dead, The Muppet Movie, and Airplane!) But they didn’t become a staple of movies until Marvel started using them, usually to tease future installments with post- or mid-credit scenes, sometimes featuring characters only die-hards would recognize.

Nowadays post-credit scenes so prevalent that even non-comic book movies feature them. According to Wikipedia users, there have been 16 films with them in 2023 so far, from blockbusters like John Wick 4 and Ant-Man 3 to comedies like House Party, Cocaine Bear, even Champions. So it’s a fair question to ask if Air — the new Ben Affleck-directed docudrama about the making of the Air Jordan — has one. So does it?

The answer: Sorry, but nope. It certainly could have had one. For instance, the movie never even shows a clear image of Michael Jordan, whose superstardom led to the shoe that helped save Nike in the ‘80s. A post-credit scene could have featured him, in either archival footage or in a newly filmed segment, where he spouts off about something he didn’t discuss in the doc series The Last Dance. Alas, Air ends like most movies used to: right before the end credits begin, allowing moviegoers to chance to exit knowing they won’t miss anything about hundreds, maybe thousands of cast and crew names.

Air is now playing in theaters nationwide.

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FTR Explains Their Decision To Stay In AEW And Picks Their Dream Match At Wembley

On Wednesday night’s AEW Dynamite, Dax Harwood and Cash Wheeler answered one of the hottest questions in pro wrestling: Will FTR head back to WWE or continue to build the foundation of AEW? To the current AEW tag team champions, the answer was never in question as they let the storyline build to its conclusion.

“AEW is home, this is where we want to cement our legacy, and I think this is going to be our definitive run right here,” Wheeler tells Uproxx Sports.

Harwood and Wheeler feel a sense of unfinished business in WWE, as they believe they didn’t get to do what they’re capable of during their time with the promotion from 2014-20. Harwood says they’ve also been told from higher ups within WWE that the promotion knew they’d made a mistake by releasing FTR.

Despite a 63-day first tag title reign in AEW that Harwood says “wasn’t too memorable,” both agree that the freedom they’ve experienced since joining the promotion is something they can’t imagine giving up again after simultaneously holding the Ring of Honor, AAA, and IWGP tag titles for much of last year.

“To be able to go to Japan and do what we’ve done, to go to Mexico and do what we’ve done, to go work for these independents and do stuff with Bret (Hart), to do stuff that we’ve had on our bucket list, that from 2014 to 2020 was not even possible. There’s so much more we can do and we wanted to do,” Wheeler says. “There’s more to wrestling than one company. I love getting to go in front of 2,000 people, 20,000 people, whatever it is, as long as they care and they love what we do. It’s the passion that these fans bring to us that really helped elevate us to where we are now. So it’s hard to say bye.”

Harwood says the “uncertainty” of Vince McMahon’s potential return to WWE “helped,” although he says that they already decided their plans before the high-profile sale to Endeavor that confirmed that McMahon would have a role with the company again. Their relationship with AEW CEO Tony Khan also played into their thought process with sticking around.

“I think that Tony gets Dax and Cash, FTR, better than Vince,” Harwood says. “I think he understands that we are average, everyday human beings that just caught on with the fans because they can relate to us, because we’re either family men or just regular human beings. We just enjoy physicality and we enjoy fighting, and I think that they can live their lives through us. (Vince has) a business track record that proves that he is obviously very intelligent to the business, but I think he thinks he knows what the Revival was better than we did. That’s why he came up with all those cartoon costumes he gave us. In contrast, Tony understands that no one knows who we are better than us, and no one can display our characters or show our characteristics better than we can.”

Wheeler continues, “The conversations we have with Tony, the relationship we have with Tony compared to [Triple H] or Vince, we get along well with both those guys over there. Vince, to our faces anyway, was always very respectful, respected our work. Same with Hunter. But with Tony, I feel like we can have open, honest discussions with him about how we feel, where we think we need to change something or pivot. And I know that he’s receptive to it.”

While FTR knows best what their character presentation is, they understand that Khan is their boss and that, due to the number of things he needs to consider, they “should do exactly what he says.” But when it came to deciding what their future would hold, FTR put their happiness first.

“I’m very glad and very fortunate that we made the decision to stay here in AEW. My family is very happy and very supportive of that because now I get to be home and go to Finley’s soccer games and dance practice and gymnastic meets and things like that,” Harwood says. “And overall, in the next few years, FTR will be able to continue to cement our legacy and hopefully, and I say this with humility, hopefully go down as at least one of the greatest tag teams of all time.”

Wednesday night’s moment for FTR was made that much sweeter with the announcement that AEW will host All In on August 27 from the iconic Wembley Stadium, the same venue their hero Bret Hart wrestled British Bulldog at the historic WWE SummerSlam 1992 event — Harwood says he’s watched the match “a hundred times.”

“Wembley Stadium is huge for AEW,” Wheeler continues. “AEW has to be ambitious right now. We’ve done so much as a company over the past three years that everybody said we couldn’t do. When Tony said we’re going to sell 20,000 (tickets at Arthur Ashe Stadium), that seemed ridiculous to people at the time. Everybody wants to keep moving the goalposts. Everybody wants to keep saying you can’t do this. I love that we’re going to Wembley because even if it’s not completely to the brim full, 50-, 60-, 70,000, whatever it ends up being, that’s huge for this company. As a company that’s only a couple years into its existence. You can’t play it safe all the time. The roster right now is so deep, why not go for it?”

There have been reports of 25,000 pre-sale sign-ups over the first 24 hours, and FTR has eyes on doubling that number with a specific dream match in mind.

“CM Punk and FTR versus the Elite,” Harwood says. “That’s gotta be it, right? If you want to sell 50,000 tickets and take this company to the next level, that’s it, that’s me dreaming. That’s the dream match. That six-man tag in Wembley Stadium could help launch AEW to the next level.”

Whether or not that match happens remains to be seen. In the meantime, FTR eyes future showdowns with Chris Bey and Ace Austin, a rematch with Aussie Open, and bringing fans along their journey in engaging contests that keep them on the edge of their seats.

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Immanuel Quickley Is Developing Into One Of The NBA’s Best Two-Way Guards

Late in the second overtime of an early March road victory against the Boston Celtics, Immanuel Quickley paused, thoughts buzzing through his head, and sized up Grant Williams. Despite star point guard Jalen Brunson sidelined with an injury, Quickley’s New York Knicks clung to a 126-123 lead with under three minutes remaining. He shuffled side to side briefly, spotted an angle, crouched low, and zipped inside to flick a finish high off the backboard.

A few minutes later, New York had earned a ninth consecutive victory. Quickley played 55 of a possible 58 minutes. He scored 38 points on 15-for-28 shooting, added eight boards, seven dimes, four takeaways, and two swats. Without Brunson in the fold, the spindly, slippery guard boogied his way to a monstrous performance and helped mitigate the absence of a vital starter.

In his third season, Quickley’s emerged as a rising star. He’s one of the foremost players on the fifth-seeded Knicks, averaging 14.6 points (57.7 percent true shooting), 4.1 rebounds, and 3.4 assists, while shooting 36.7 percent beyond the arc. Following a slow first two months, he’s been especially terrific, averaging 17.7 points (61 percent true shooting), 4.1 rebounds, and 3.7 assists, all while burying 39.4 percent of his long balls.

Quickley is Mr. Malleable for these Knicks. He’s played 79 of their 80 games, is fourth in total minutes behind a trio of full-time starters, seamlessly rotates between a starting and reserve gig, and dons various hats offensively and defensively.

Over his first two seasons, the former Kentucky Wildcat drilled 36.5 percent of his triples, nearly identical to his 2022-23 clip. The problem, however, was his escapades inside the arc. He shot 42.6 percent on two-pointers. His finishing and lack of downhill juice were particularly cumbersome, rendering him a rigid and inefficient scorer. This year, he’s netting 52.4 percent of his twos.

As a rookie, he converted 56 percent of his shots at the rim (33rd percentile among combo guards, per Cleaning The Glass) and just eight percent of his shots occurred there (second percentile). Two seasons later, he’s scoring on 68 percent of his trips to the tin (80th percentile) and his rim frequency has spiked to 17 percent (16th percentile).

He better maintains a live dribble to bob between defenders and slither through driving lanes when they arise, which also helps him avoid sandwiching himself into daunting looks around the hoop. His change of pace is an unpredictable weapon. He’s not just comfortable enduring contact, he relishes chances to dish it out, sprinkling in subtle hip or shoulder bumps toward the body of opponents.

The floater remains a trademark (1.05 points per possession, 81st percentile, per Synergy), but he’s also flourishing from intermediate range in a variety of facets. He pinballs off defenders for space to bury pull-ups, is much improved at snaking screens to lock defenders onto his back/hip, busts out fakes for space, and pirouettes into unencumbered turnaround jumpers. According to Cleaning The Glass, he’s shooting 50 percent from ~4-14 feet (78th percentile). He’s become rather adept at keeping himself a threat even if the speedometer approaches or reaches zero. The paint is no longer a labyrinth with only a floater to guide him.

Quickley’s certainly diversified and expanded his off-ball prowess in year three. Yet he’s able to fit alongside New York’s other creators, Brunson and Julius Randle, because of his proficiency as a secondary cog. Quickley is a sensational shooter and off-ball presence. Relocating across the entire hardwood, he’s a tenacious off-ball mover, pinging from one side to the other or merely drifting around the arc to shake free of an unassuming defender. He springs loose with jab-steps and a jittery cadence, utilizes screens like a perennial All-Star, and capably launches bombs on the move.

Although he’s not slow, his burst isn’t so exceptional that it always counters the shortcomings of his 6’2, 190-pound frame. To compensate for that, Quickley scatters defenses himself or exploits an already scattered defense with his footwork, motion, and shooting credentials. This season, he’s knocking down 38.9 percent of his catch-and-shoot threes and ranks in the 63rd percentile in efficiency off the dribble, per Synergy. His duality broadens his offensive usage and the types of lineups head coach Tom Thibodeau can construct involving him.

“The thing that I like about him is that he can play both with the ball and off the ball. So, we are able to use Josh [Hart] a lot as the point,” Thibodeau said during a media availability. “Quick can play off the ball, so now you can force the shift and it goes to the backside, and you got he and Jules. We can screen for him and there’s things we can do for him. Then, we put him in pick-and-roll and we can take advantage of him that way.”

New York is 11.7 points better defensively with Quickley on the court. Among guards, his plus-1.6 Defensive Estimated Plus-Minus this season ranks 12th. The dude is a very, very high-level defender. He’s not solely a specialist confined to specific on-ball assignments or fooling these metrics with inordinate steal and block production, though the on-off numbers are likely boosted by often replacing lesser defenders, Brunson or RJ Barrett, in lineups.

He’s feisty and impactful on the ball, warps around screens with his pliability and slender frame, and touts the body control of a trapeze artist. His disciplined, high-handed closeouts belie his youthful nature. Blowing up dribble handoffs is a budding staple of his defensive imprint. Before a screen arrives, he positions himself astutely and hugs his man to minimize the ground lost fighting over the pick. Promptly recognizing driving angles, he uses his torso to stifle them. He’s yet to foul out this year, despite his physicality at the point of attack and operating around screens.

Although his 6’8 wingspan may surprise initially, it constantly pops on tape. Whether it’s for steals, deflections, or to merely deter/alter a pass or shot, those limbs are constantly swirling to give the opposition a migraine. Watching him defend is a joy, even more so when he’s playing with any of Hart, Quentin Grimes, and Miles McBride in the backcourt.

For all of Quickley’s exploits in man-to-man coverage, it might not rival his contributions as a helper. He’s always gesturing and communicating, rotates to shut down the ripple effects of a breakdown elsewhere and provides effective nail help, the last of which is a pillar in New York’s no middle defensive philosophy. It is uncanny how he swiftly diagnoses the cause and effect of singular events on a possession and responds correctly. Just like his offensive spoils, his defensive signature is multifaceted, much to the delight of his head coach.

“He can defend on the ball, he can defend off the ball. So, I think the versatility is good. He’s stronger than you think,” Thibodeau said. “He has a great understanding. He has great anticipation. He can think ahead what’s coming. And I think that’s been a big plus for him.”

As the regular season nears its conclusion, award discussions are swelling. Quickley is the odds-on favorite for Sixth Man of the Year. Some of his detractors point to his most fruitful performances occurring as a starter — he’s averaging 20-4-4-1 on 60 percent true shooting in 19 starters and 13-4-3-1 on 57 percent true shooting off the bench. The most crucial aspect in all this, though, is that Quickley, is simply a really, really good basketball player.

Reveling in a career-best campaign, the 23-year-old is paramount to the playoff-bound Knicks’ present and future. On both ends of the court, his services are valuable, wide-ranging and growing. Ahead of an offseason in which he’s extension eligible, all of this should should grant Quickley quite the payday sooner rather than later.

All stats are accurate prior to games on April 7.