Lady Gaga is the newest artist to partner with a VR fitness company, Supernatural, for a special workout for fans. As the artist of the month for December, she joins the ranks of Katy Perry, Kid Cudi, Coldplay, and The Weeknd, who have special playlists that fans can jam out to — in a virtual gym.
There are also two separate workout options: a medium intensity boxing and a high intensity flow.
“The Supernatural Artist Series is something I’m thrilled to share and experience with all of our athletes,” Leanne Pedante, a coach and Head Of Fitness, shared in a statement. “This partnership allows Supernatural members to deepen their already-immersive experience in a whole new way as they box and sweat to their favorite artists.”
“Music has always been an integral part of Supernatural, and since launch we’ve been dreaming of ways to empower our athletes to further connect with music from the artists they love,” Chris Milk, Supernatural’s founder and CEO, told Billboard following the launch of Perry’s partnership.
According to the publication, the company has also secured publishing deals with “UMPG, Sony/ATV, Warner Chappell, Kobalt and BMG — as well as label deals with UMG and Warner.”
For those interested in working out to Gaga’s biggest hits, the fitness program is available for subscriptions through Meta Quest and Meta Quest 2. So far, since July of this year, they have announced special workouts — a trend that will likely continue into 2023. There have also been additional themed workouts, including a Nightmare Before Christmas one for Halloween.
More information on Lady Gaga’s collab is available on Supernatural’s official website.
On Thursday evening, the Indiana Pacers welcomed the Cleveland Cavaliers to town for a Central Division clash, and it was a highly competitive atmosphere. Cleveland is enjoying a strong season, and Indiana entered the night with an encouraging 18-17 record after 35 games. Late in the third quarter, Indiana led the proceedings, but Donovan Mitchell connected with Isaac Okoro on a dunk after a sequence in which he tossed the ball off the background to himself.
A closer look would tell you that Mitchell almost certainly committed an uncalled traveling violation, and Pacers head coach Rick Carlisle didn’t enjoy the non-call. In fact, Carlisle lost his mind to the point where he was quickly ejected from the contest.
As you can hear from the Bally Sports broadcast, it was noticeable right away that Mitchell traveled, and it is tough to blame Carlisle for being frustrated in a close game. Still, Carlisle seemingly blew his top and it is at least plausible that he did so to motivate his team. Former Hawks head coach Lloyd Pierce took over on the bench for the Pacers, and Carlisle got to watch the end of the game from the locker room as his team aimed for a notable home win.
Miley Cyrus’ New Year’s Eve Party is the place to be to close out 2022. The “Midnight Sky” hitmaker will be hosting the event this Saturday (December 31) from Miami, alongside her godmother, country legend Dolly Parton. While the hostesses are already megastars in their own rights, the two have promised a superstar line-up of musical performers.
Their latest addition to the line-up includes David Byrne of the iconic new-wave band Talking Heads, as reported by Rolling Stone.
Later, Cyrus announced that rock outfit Liily, and singer-songwriter Fletcher would also be on the line-up for the New Year’s Eve special. Saturday Night Live comedians Chloe Fineman and Sarah Sherman will also make appearances throughout the night.
On top of her New Year’s Party, Cyrus plans to ring in the new year with new ears. In an interview with Today‘s Hoda Kotb, she revealed that her new year’s resolution is to listen more.
“Dolly was telling me, her husband [Carl Thomas Dean] says, ‘You’re not hard of hearing. You’re hard of listening.’ And I guess that would kind of be my resolution, to not just listen to myself, but listen to others,” said Cyrus.
Miley’s New Year’s Eve Party airs on December 31 at 10:30 p.m. EST on NBC. The special will also be available to stream live on Peacock.
For the third time in his seven-year career, Buddy Hield, who leads the NBA with 132 threes (before Thursday’s games), is shooting better than 41 percent beyond the arc this season. His combination of efficiency, quick release, and versatility make him one of the NBA’s deadliest long-range snipers. Already 37th in NBA history in three-pointers made, he’s going to sit quite prominently among those ranks whenever he retires down the line.
While it would be somewhat of a miracle to ever catch Stephen Curry’s league-best total, Hield now does own one three-point record that the future Hall of Fame guard cannot match currently. On Thursday, Hield notched the quickest three-pointer in recorded NBA history when he knocked down a long ball just three seconds into the Indiana Pacers’ contest against the Cleveland Cavaliers.
His swift jumper squeaked him past another Pacers sharpshooter in Reggie Miller, who drilled a triple four seconds into a game on March 5, 2000. I’d link a video to that play as well, but a brief YouTube search proved unfruitful, sadly.
Miller is one of the greatest shooters ever and Hield could follow suit if he maintains this trajectory. It’s pretty cool that Indiana holds the top two spots. But it’s also tough luck for Miller to lose another record post-retirement, with Curry, Ray Allen, and James Harden all passing him atop the three-point leaderboard since he called it quits in 2005.
After the popularity of SZA’s “Kill Bill,” from her recent sophomore album, SOS, it seems she is returning the favor to fans for the song’s immense success.
Today, she posted the first teaser of the music video. As expected, it pays tribute to the Tarantino movie of the same title. From donning the iconic Uma Thurman jumpsuit (in red instead of yellow) to recreating some of the character’s fight moves, SZA clearly plans to go all out for this one.
“It’s what y’all deserve,” she captioned the trailer.
“Kill Bill” made it onto the Billboard Hot 100 and has been there since. Lyrically, SZA details that she “might kill her ex,” in a chaotic tale of revenge — on par with her Scorpio energy.
About a week ago, she revealed to Entertainment Weekly that the “Kill Bill” music video was happening, but kept it pretty hush hush about the specific details. However, SZA did spill about her love for the original movie that inspired it.
“I love Vivica A. Fox’s character,” she said. I love Lucy Liu’s character. I even love Bill because he’s super complex. I feel like he doesn’t understand why he did what he did. He’s void of emotion, but he loved The Bride so much that he couldn’t stand her to be with anyone else.”
“That was really complex and cool to me,” she added. “It’s a love story. I just watched it again for inspiration for the music video that we’re gonna shoot for ‘Kill Bill.’”
As expected, fans were overjoyed. Continue scrolling for some fun reactions about the upcoming video.
While we still don’t have the visuals to accompany Beyoncé’s seventh studio album, Renaissance, fans are suspecting that they may arrive soon. Over the past week, it appears Bey sent friends, family, and a selected group of fans special holiday cards.
On the cards was an image of the “Break My Soul” hitmaker dressed in a white cowboy hat, with a matching bustier and fluffy sleeves. The front of the cards also contained text reading “Winter Renaissance.”
Inside the cards read “Wishing you and your family the most joyous holiday season. Love Beyoncé and the Parkwood team.”
Of course, as the cards began to surface online, the Beyhive was sent abuzz, and immediately began sharing fan theories.
Some believe that these cards are a hint the music videos could premiere any day now. Some also believe that this may be leading up to another album.
“ok so it’s winter renaissance meaning that the visuals will he coming in winter & summer renaissance is the tour and they’re all under the renaissance project but she also has hints for the next alleged country project (thus the cowboy hat),” said one Twitter user.
ok so it’s winter renaissance meaning that the visuals will he coming in winter & summer renaissance is the tour and they’re all under the renaissance project but she also has hints for the next alleged country project (thus the cowboy hat) pic.twitter.com/Ep2j8V0Rte
Another Twitter user believes Bey may be re-releasing Renaissance during the winter months.
Because it’s going to be a renaissance of the renaissance album over these winter months where we get a deluxe edition AND the visuals…
Because it’s going to be a renaissance of the renaissance album over these winter months where we get a deluxe edition AND the visuals… https://t.co/LHgxdzJm3A
Vanessa De Luca, editor of The Root, shared an image of a card she received, and confirmed that all that arrived was a holiday card, “But always nice to be thought of,” she said in a comment.
“If a b*tch goes through your purse and she steals some of your money, you not gonna fight that b*tch?” she said in the video. “Yeah, b*tch, you gonna fight for your money, right? So if a n**** is providing for you, giving you money, paying your bills, doing all that sh*t, and a b*tch go take him from you — you not gonna fight over that d*ck?”
“That’s your money,” Cardi added. “You not gonna fight for that? B*tch, cause I’m fighting with teeth.”
True crime stories are the obsession of the moment, but the history of fictionalized stories about criminals who wreak all kinds of havoc is incredibly rich and action-packed while, at the same time, offering the occasional comment on society, law enforcement, and what desperation can do to people. In this list, we’re taking a look at some truly great gems from the 1990s that deliver on that promise while also mixing in some high-concept creativity and spectacle.
Warner Bros
1. Heat
Year: 1995 Cast: Robert De Niro, Al Pacino, Val Kilmer Genre: Action, Crime Rating: R Runtime: 170 minutes Director: Michael Mann Trailer: Watch here
Al Pacino and Robert De Niro finally got to share the screen in Michael Mann’s sprawling crime drama (both were, of course, in Godfather II, but shared no scenes), and the results are tense and explosive. The verisimilitude that Mann is known for is present in every scene, particularly in moments when the two are facing off, either with a gun in their hands (the film delivers one of the greatest heist scenes that has ever been filmed with the chaotic post-bank robbery gunfight) or simply sitting at a table together. The depth of these characters and the space given to an exploration of their motivations and obsessions will get under your skin and stay there long after hearing Moby’s “God Moving Over The Face Of The Waters” over the end credits.
Year: 1991 Cast: Keanu Reeves, Patrick Swayze, Gary Busey Genre: Action, Crime Rating: R Runtime: 141 minutes Director: Kathryn Bigelow Trailer:Watch here
A green FBI agent (Keanu Reeves) goes undercover to investigate a string of bank robberies, leading him to charismatic adrenaline junkie Bodhi (the late Patrick Swayze) and his group of like-minded criminal surfers. Kathryn Bigelow directs this amped-up heist film, exploring then-little-known cultural enclaves of extreme sports with intense surfing and skydiving scenes that seduce Reeves’ character and the audience. Then she yanks us all back into reality with bloody action sequences and bank robberies that serve as a reminder to the high-stakes game these characters are playing.
Year: 1993 Cast: Christian Slater, Patricia Arquette, Christopher Walken, James Gandolfini Genre: Crime, Romance Rating: R Runtime: 119 minutes Director: Tony Scott Trailer: Watch here
Before he shook up all of Hollywood with Pulp Fiction, Quentin Tarantino penned the screenplay for this unorthodox love story between a comic book store employee and a sex worker (Christian Slater, Patricia Arquette) who fall in love and head to California to start a new life together with big dreams and a suitcase full of cocaine that the Mob is desperate to get back. A rollercoaster ride that unleashes mayhem from beginning to end, thanks to Tony Scott’s skillful direction, Tarantino’s memorable dialogue, and a large cast of familiar faces who make four-course meals out of every scene they get, True Romance is a must-watch.
Year: 1997 Cast: John Travolta, Nicolas Cage Genre: Action, Crime Rating: R Runtime: 138 minutes Director: John Woo Trailer: Watch here
John Woo made a name for himself with several Hong Kong action classics such as The Killer and Hard Boiled, but he didn’t find true success in the US until this audacious actioner. Starring John Travolta (who had also worked with Woo on Broken Arrow in his post-Pulp Fiction boom period) and Nicolas Cage, Face/Off tells the high-concept story of an FBI agent and a terrorist-for-hire whose mutual hatred for each other and years-long deadly cat and mouse game somehow leads to the two men switching faces and identities, threatening the city of Los Angels and terrorizing each other in the process. While the action scenes are epic and beautiful in Woo’s trademarked style, the film also delivers in its less explosive moments when its two leads are simply pulling off subtly brilliant impersonations of the other’s mannerisms and characters.
Year: 1994 Cast: Arnold Schwarzenegger, Jamie Lee Curtis, Eliza Dushku Genre: Action, Crime, Comedy Rating: R Runtime: 141 minutes Director: James Cameron Trailer:Watch here
James Cameron is known for making big-budget action films that look and feel like no other, but with this film, he decided to bring the noise and bring some laughter to go with it. Here, Arnold Schwarzenegger stars as a counter-terrorism agent who has spent years hiding what he does from his wife and daughter (Jamie Lee Curtis, Eliza Dushku), a secret that turns all of their lives upside down when they suddenly learn the truth. Mixing Arnold and Curtis’ top-tier action-comedy chops with a chase scene between a horse and a motorcycle, an awkwardly comedic yet seductive pole dance scene, and a Harrier jet flying in the middle of a city shows that True Lies is yet another highly entertaining reminder of Cameron’s ability to create a crowd pleaser.
Year: 1995 Cast: Bruce Willis, Jeremy Irons, Samuel L. Jackson Genre: Action, Crime Rating: R Runtime: 128 minutes Director: John McTiernan Trailer: Watch here
It’s not set during Christmas and the scale is a bit larger with all of Manhattan now serving as John McClane’s battleground, but director John McTiernan managed to create a Die Hard film that stands up to the original in his return to the franchise after sitting out the sequel. This time, McClane (Bruce Willis) teams up (and butts heads) with an electronics store owner (Samuel L. Jackson) to stop a mysterious terrorist named Simon (Jeremy Irons). Willis and Jackson have terrific chemistry as they fight for their own lives, and the lives of millions of New Yorkers, and though Irons doesn’t surpass what Alan Rickman gave us with Hans Gruber, he still brings more than enough menace to the table.
Year: 1991 Cast: Wesley Snipes, Ice-T, Judd Nelson Genre: Crime, Drama Rating: R Runtime: 97 minutes Director: Mario Van Peebles Trailer: Watch here
Blade is usually the first film that comes to mind whenever most people think of Wesley Snipes. But the film that first set him on the path to superstardom was Mario Van Peebles’ gangster film, in which Snipes plays ruthless and ambitious drug kingpin Nino Brown, who is targeted by a team of cops (Ice-T, Judd Nelson, Van Peebles) determined to bring him down. Bullets, betrayals, and personal vendettas get our attention, but the film takes its time as it shows us how destructive the drug epidemic can be (especially in Black and brown neighborhoods), and that the war against drugs has just as many casualties as any other.
Year: 1994 Cast: Jean-Claude Van Damme, Mia Sara, Ron Silver Genre: Sci-Fi, Crime Rating: R Runtime: 99 minutes Director: Peter Hyams Trailer: Watch here
Based on the Dark Horse comic book series, Time Cop imagines a world where time travel is such a day-to-day reality that it warrants government oversight and protection with an elite force at the ready to keep it clear from abuse and falling into the wrong hands. Jean-Claude Van Damme is captivating to watch as the star of the film and that unit, wrestling with grief and Ron Silver’s crooked politician. Their performances (Silver is in full villain-you-love-to-hate mode here), action sequences that benefit from Van Damme’s unique physical skills, and fun ’90s-era visual effects help make this one of Van Damme’s best.
Year: 1995 Cast: Antonio Banderas, Salma Hayek Genre: Crime, Thriller Rating: R Runtime: 104 minutes Director: Robert Rodriguez Trailer: Watch here
A sequel to Robert Rodriguez’s groundbreaking independent film El Mariachi, here the unnamed musician (Antonio Banderas) uses his guitar case filled with weapons to take his revenge on the drug lord whose underlings killed his girlfriend and destroyed his hopes of becoming a musician. Not only does it have the kind of gunfights that were clearly influenced by the films of John Woo, but it also introduced U.S. audiences to Salma Hayek and Rodriguez while further establishing Banderas as a star on the rise following dramatic turns in high-profile films like Philadelphia and Interview With The Vampire.
Year: 1995 Cast: Larenz Tate, Chris Tucker, Keith David Genre: Action, Crime Rating: R Runtime: 119 minutes Director: Albert Hughes, Allen Hughes Trailer: Watch here
After the success of Menace II Society, Allen and Albert Hughes followed up with this film about an African-American Vietnam vet (Larenz Tate) who comes back home to New York, realizes how limited his options are, and decides to organize an armored car robbery with his friends. Between the gunfights and the needle drops, it shows how the Black community is often brutally reminded of how much this country continues to expect so much from them, and give back little to nothing in return.
In a June TikTok, Halsey is sitting on the couch, her gaze crossed between an eye-roll and a daydream. She’s nodding along to a song, biting her lip in tired frustration. The song is called “So Good,” and at the time of filming, Halsey’s record label won’t let her release it — unless she starts a viral moment. “Everything is marketing. And they are doing this to every artist these days,” white text reads overtop her face. “I just want to release music, man. And I deserve better tbh.” FKA Twigs shared a similar sentiment on the app this year: “It’s true all record labels ask for are TikToks and I got told off today for not making enough effort.” Florence Welch sang a stripped-down version of her single “My Love” and captioned the video, “The label are begging me for ‘low fi tik toks’ so here you go. pls send help.”
It made sense in 2020, that an app providing windows into peoples’ homes would be the object of fascination. It made sense that without concerts, people would turn to their screens to simulate the experience of live music. Two years later, TikTok has trained a generation of eyes — and ears — on its tech and transformed the way they discover artists and listen to music. The personally catered user-generated content feed has evolved from lip-syncs and dance challenges at the forefront to include a wider range of videos, like skits and outfit try-ons and confessionals. The app calls its songs “sounds,” designed to soundtrack creators’ lives and carry viewers from clip to clip. This year, artists realized it’s no longer as simple as describing dance moves for a single to get attention on the app, leaving artists like Halsey and their teams scrambling for the elusive “TikTok song.” TikTok has rewritten the anatomy of an earworm and changed what people expect from pop stars.
For a pop song to become a TikTok song, it has to play to the whims of the algorithm and users’ shifting attention. It has to abide by a set of unspoken rules. It has to be relatable. It has to be genuine. It has to be familiar. It has to have a moment. In 2022, nearly all of Billboard’s Mainstream Top 40 number-one songs — singles like “Bad Habit” by Steve Lacy, “About Damn Time” by Lizzo, “As It Was” by Harry Styles, and “Heat Waves” by Glass Animals — were associated with TikTok moments.
“Moment” is the new “catchy,” rebranded for a visually-focused, fast-moving content stream. A moment is a part of a song that inspires listeners — or, more accurately, viewers — to use the music as a tool for self-expression, and embody it in their own short-form videos. The moment can be call-to-action lyrics that command a series of hand gestures, or a turn-of-phrase that provokes a personal anecdote. Taylor Swift’s refrain, “I’m the problem, it’s me,” from her 2022 single “Anti-Hero” has been used hundreds of thousands of times on the platform, playing in the background of videos where TikTok creators share their “problems” in bold text. The moment can be an emotional verse about missing an ex that accompanies a slideshow of a creator’s old romantic photos. It can be a sunny chorus to soundtrack a video of someone’s beach vacation or general good vibes, like “Sunroof,” which initially gained popularity on TikTok and then peaked at number 4 on the Billboard Hot 100. The moment can be a dramatic sound effect or key change that complements a before-and-after makeover clip, like Sam Smith’s “Unholy.” It’s hard to imagine these songs weren’t written with TikTok front of mind.
Cole Silberman discovered the artist Role Model a few years back and now mainly manages young, up-and-coming talent. “When a label says ‘make a TikTok song,’ they’re not looking for a full body of work,” he said. “They’re looking for things that they can share quickly and build quick moments on, and then continuously lean into those moments. A label is a business, and they have to make money.” When a song does well on TikTok, it juices streaming numbers and sales. Labels figure that these moments are like ads for their product, and why would you put out a product without a commercial?
The TikTok moment has become so crucial that users have been speeding up songs, as if to get to the climax quicker, before a viewer gets bored and swipes up for something new. Sped-up versions of songs took off on the platform this year, to the point where artists like Panic! At The Disco and Marshmello re-released their old hits in double-time. Some newcomers released three recordings per single — normal, fast, and slow.
Hannah Hicks is a manager whose company roster includes Grammy-winning producers and artists like Grimes. “TikTok is such a big part of what we think about, even from the creation of a song. It’s defined what it means to be an artist in 2022,” she said over the phone. Most artists have been trying to “make transitions hit harder” in their songs, Hicks told me, a bass drop or chord progression to soundtrack the pacing of a video, to signal a turning point in a 30-second clip. If enough creators use your transition, you’ve got a moment.
A TikTok moment should be easy to latch onto. One straightforward way for an artist to achieve this, as the platform showed this year, is to go back to basics. Gen Z pop-punk-ish artist Leah Kate released “Twinkle Twinkle Little Bitch” in June and it’s been used nearly 45,000 times in TikTok videos. Meanwhile, her counterpart Gayle’s TikTok hit “ABCDEFU” was nominated for next year’s Grammys. Counting, spelling, and nursery rhymes are well-worn pop strategies — The Jackson 5’s “ABC,” Brian McKnight’s “Back At One,” Nat King Cole’s “L-O-V-E” — taking on new life in the TikTok era. Another way artists facilitated the moment this year was by remixing old songs, warming up melodies that have proven successful in the past. Nicki Minaj took on Rick James circa 1981 for “Super Freaky Girl,” Jack Harlow did his best 2006 Fergie for “First Class,” and Yung Gravy sampled Rick Astley on “Betty (Get Money).” Each song had its moment on TikTok upon release.
Emotional mirroring, as every source I spoke to told me, can be just as important as a song’s immediate stickiness. Gayle released chill and angry versions of “ABCDEFU,” in addition to fast and slow renditions. She, or her team, knows her song needs to meet fans where they are…be it chill or angry. Specific, relatable content goes a long way in this landscape, and a wider array of emotions means more chances for her moment to land.
On TikTok, you’re not just listening to music, you’re projecting yourself onto it, pairing it with a snapshot of your life. A TikTok song has to resonate with a creator for them to feel compelled to use it in a video, or for a viewer to listen to 30 seconds of it. People want to lip-sync along to a song where they feel exactly the same way as the artist. “It’s like everyone is their own music supervisor,” Hicks said. “They’re thinking, ‘what song can not only capture the emotion, but also the movements of what I’m doing?’”
The word “moment” came up 20 times in my conversation with Silberman and seven times with Hicks. The thing about moments, though, is they end. A viral hit isn’t enough. What listeners really want from today’s pop artists is a relationship. The person behind the moment. They don’t want artificial pop stars, they want down-to-earth people. They want to feel like they’re hanging out with their artists, like they can reach through the phone and touch them.
They also want to feel heard, like they’re part of something, like social media is including rather than isolating them. In 2022, fans wanted input. This year, many artists quasi-collaborated with fans on TikTok, letting them have a say in which lyrics they should use or which songs they should put out first. Artists shared intimate footage of their processes writing and recording songs, hooking viewers to follow through to the final product. Charlie Puth shared pieces of his song “Light Switch” on TikTok as he was writing it, building hype before it was even available on streaming services. Fans are the decision makers, perhaps even more than the invisible music industry execs. “It’s interesting to see the kids just picking and choosing what music is gonna work and what’s not. I feel like all the power is in their hands right now,” Scout Easley, an A&R Manager at Sony/ATV Music Publishing, said.
Everything comes back to the algorithm. TikTok rewards consistency, so if an artist is constantly uploading videos, the algorithm will have their videos populate peoples’ feeds more frequently. More videos also means artists will have to show more of their lives and days to the platform, which conveys a certain level of intimacy by proxy. The TikTok machine wants genuine personalities as much as listeners do.
The formula is, of course, always evolving and impossible to pin down. And that’s why artists have to move fast. Stacey Ryan, a 22-year-old singer-songwriter, had the moment, after responding to an “open verse challenge” with a piece of her original song. She had the emotional connection with her 1.5 million followers, all of whom wanted to hear the finished product. And then, she had two weeks. Two weeks to record and put out “Don’t Text Me When You’re Drunk,” while people’s thumbs still hovered over her profile. Another week and she might’ve been lost in the scroll.
“That was a song that I had written that wasn’t even finished. And then, it all of a sudden blew up,” Ryan said. “We recorded the song and put it out in under two weeks, because we really wanted to jump on the bandwagon. That kind of kickstarted my professional career on TikTok. That was when I got signed.”
Charlie Finch, a 19-year-old artist, says he uses TikTok as a “testing platform,” a way to get a sense of what listeners want from him. The first video Finch posted about his single “Enough” got a million views, and the next 20 “Enough” TikToks did similar numbers. Other songs of his stay in the thousands.
This new world might feel strange for artists like Halsey, whose careers predate TikTok, but it can be a land of possibility for rising names like Ryan and Finch. This is how a new slate of pop stars are being made. But it comes with a price. “There is a stress that comes with it, because TikTok definitely does penalize you for not posting and consistency is the number one thing,” Finch said. “You have to keep going, keep going, keep going. If I’m on vacation with my family, I can’t stop. I have to figure out a way to make it work.”
Just as easy as it is to swipe away from a video, it’s easy to forget a TikTok song the minute a new one comes around. When music is content and content is ephemeral, nothing is built to last.
Halsey’s label eventually let her release “So Good” after her initial TikTok made headlines. The song has been used 16,100 times on the platform, small numbers compared to Gayle and Ryan’s millions. User TheRealTophiaChu commented on one of Halsey’s videos about the debacle, “Any time a song is TikTok famous it loses value SO fast.” The comment continued, “There are so many good songs that I can’t even listen to because they were so overused.”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
J.J. Watt’s NFL career is about to come to an end, and one of his teammates desperately wants to get a piece of memorabilia. Watt revealed during a press conference this week that Jesse Luketa, a rookie outside linebacker out of Penn State, tried to contact him recently about getting his hands on some gear after Watt’s final game. There were two issues: 1. Watt did not know Luketa’s number, which meant he did not answer a FaceTime from the youngster and wasn’t sure what was going on when that same number sent him a weird Voice Memo, 2. Luketa, per Watt, was “high off his ass” after getting his wisdom teeth out while asking for a signed jersey.
Watt said he was going to make sure Luketa was cool with him sharing the Voice Memo after the presser. Well, apparently, Watt got the all clear, as the Cardinals posted the video to their Twitter account on Thursday evening. Not only that, but you can see the exchange the two had via text and a picture of Luketa looking like a person who just got their wisdom teeth out — head to the 1:08 mark of the below video to hear the voice message.
On Tuesday morning, Watt tweeted that the Cardinals’ Christmas Day game against the Tampa Bay Buccaneers was the final home game of his decorated NFL career. He’ll play in Arizona’s final two games — road trips to Atlanta and San Francisco — before hanging the up and, hopefully, giving Luketa a jersey.
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