GoneTrending

After a few months of silence on the music front, Joel Deleōn is making a comeback. On Monday (November 21), the ex-CNCO star released a preview of the music video for his single “IDK Y.”

Deleōn first launched his music career as Joel Pimentel in the Latin boyband CNCO. In 2015, Ricky Martin and Laura Pausini helped put him into a group with Richard Camacho, Erick Brian Colón, Zabdiel De Jesús, Christopher Vélez on the TV series La Banda. Following years of success with CNCO, Deleōn decided to depart from group in May 2021.

Adopting the last name of his late grandfather, he launched his solo career in October 2021 as Joel Deleōn. That month, the Mexican-American singer released his debut single “La Culpa,” which blended Latin pop with elements of regional Mexican music. In January, Deleōn followed that up with the sexy track “Coco” that dabbled in Afrobeats.

Following the release of “Coco,” Deleōn appeared to hint at an internal struggle with his record label Sony and his management team under Walter Kolm Entertainment. He tagged both groups in multiple tweets with pleas to release new music. Deleōn was also contemplating dropping music through SoundCloud.

“There have been changes and changes take time so I decided to disconnect during that process,” he wrote in August. “There are a few last things missing before I can return with my art. You don’t know how excited I am for you to hear/see it.”

Things appeared to have settled down and Deleōn is ready to release new music. After his fans left 50k comments on an Instagram post with the cover art for “IDK Y,” he released a preview of the music video on TikTok. Deleōn appears to be going in a futuristic direction. With the drums being played in the teaser, there might even be a bit of a pop-punk punch to next single.

Deleōn promises to release the “IDK Y” video when the comments on his Instagram post reach 100k. As of press time, there’s over 63k comments on the post, so Deleōn’s fans need to keep leaving comments to reach the goal.

On the heels of his new movie, Taurus, Machine Gun Kelly has shared the song “Taurus” from the movie’s soundtrack. On the song, Kelly and vocalist Naomi Wolf battle with their thoughts, as they struggle to write them down into words. It’s a rap track, unlike Kelly’s recent rock-leaning output.

“I seek you out, slay you alive / One more word and you won’t survive / And I’m not scared of your stolen power / I see right through you in the eye,” they sing on the song’s chorus.

The accompanying video features clips from the movie.

Taurus is a semi-autobiographical film that tells the story of Cole Taurus, played by Kelly, a troubled musician looking for inspiration for his new song. In an interview with Variety, Kelly, who is credited as Colson Baker in the film, said he turned to himself for inspiration for the film — especially for some of the film’s darker elements.

“That side of me is where I always felt more comfortable,” he said. “I’d much rather watch someone [for whom that self-destruction] is second nature than to watch some actor pretend. There’s nothing more annoying than watching a thespian fake being a rock star. It’s the worst.”

Check out “Taurus” above.

Taurus is now available to buy or rent on digital platforms.

“Y’all wanna talk about The Crown,” Cardi B asked fans on Twitter today, referencing Netflix’s show — a dramatized retelling of the British royal family’s history. As it turns out, both Cardi and her fans have lots of thoughts when it comes to the series.

The new fifth season dropped earlier this month, bringing viewers up to the divorce between Prince Charles and Princess Diana. One fan asked what the Bronx rapper thought of the Charles/Diana/Camila love triangle… which also features the infamous (and frankly, quite gross) phone call speech that Charles made to his then-mistress — and now, wife.

“I NEED your thoughts on Camilla & Charles,” one replied. Cardi responded, “I haven’t gotten there yet ….I’m on episode 13 when Prince Phillip comes back and Queen Elizabeth ain’t gave him no p*ssy.”

Cardi’s live-tweeting description, including blatantly joking that Queen Elizabeth wasn’t letting Phillip get some, has sent fans into a hilarious spiral. It appears that, as Netflix only drops ten episodes per season, the episode 13 in question seems to be Season 2, Episode 3. The subtext to “ain’t gave him no p*ssy” is that Lizzie went to Lisbon to visit her husband, Prince Phillip. Already having marital problems, she rejects a kiss, but divorce isn’t an option at that historical point for someone of her stature.

Continue scrolling for some fan reactions on Cardi and her thoughts on The Crown.

Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

We know that there’s a painstaking amount of detail that goes into bringing characters to life on the big and small screen. But ever so often, a fascinating look behind the scenes will come along that’s so mind-blowing, one can’t help but feel a fresh level of gratitude (and awe) for the effort that goes into modern-day storytelling.

Take, for instance, the hyperrealistic wigs we see in so many films and television shows. Odds are, one of your favorite characters wears one—even when you would bet your life savings that the hairs you see are sprouting from their own head. This illusion is the result of dedicated hours upon hours from artists that are so much at the top of their game, we might as well just call them hair sorcerers.

---

In a video posted to YouTube by Insider, Rob Pickens, founder of Wigmaker Associates, takes viewers on a tour of the wigmaking process for some of today’s most iconic shows, from start to finish. As Pickens explains, since cameras have become more equipped to pick up every detail, wigs must become more detailed and precise to not only mimic real hair texture, but perfectly fit an actor’s head shape to look as natural as possible.

To do this, hair teams don’t just measure an actor’s head. They create a mold that completely replicates their skull shape using a headwrap made with cellophane and tape—lots of it—after which they trace over the hairline with a sharpie.

That headwrap then goes onto a canvas block (which more or less looks like a mannequin head), and that canvas block is filled with stuffing to match the actor’s exact head shape in a process that Pickens calls “padding the block.”

It might be a laborious endeavor, but once it’s done, that mold can be used for any production in the world. Cranium cloning, if you will.

Next, wigmakers must create a layer of superfine lace that will serve as the piece’s foundation. For very short hair styles, a silk base is used to create the look of skin that might be visible under the hair’s surface. This technique was used for later seasons of Netflix’s “Stranger Things” to create Eleven’s signature buzz cut, when actress Millie Bobby Brown couldn’t shave her head.

When actors are portraying real people with different skull shapes and hair lines, the hair team must add an extra step of creating prosthetic pieces to go under the wig’s foundation. In Hulu’s “Pam & Tommy,” for example, a prosthetic forehead was given to actress Lily James to replicate Pamela Anderson’s characteristic high forehead.

The next step is the ventilating process, where each hair is stitched into the lace one by one using a variety of knotting techniques. The key here is to match an actor’s natural hair patterns, like which direction the hair at their temples prefers to go, while keeping it malleable enough to part anywhere, just like you can with real hair.

As for the hair itself, the choices come down to either real human hair or synthetic. Synthetic hair, which is more durable but has more of a light-reflecting sheen, is usually used for background actors. But for “hero wigs” that must pass the close-up test, real human hair is required.

Pickens might even add mohair (a durable, resistant hair fiber made from angora goats) to hairlines to mimic baby hairs, which he did for Ana De Armas for her portrayal of Marilyn Monroe in Andrew Dominik’s “Blonde.”

Wigs might evoke a sense of glamor, but in the world of realistic storytelling, accuracy takes precedence. When tasked with creating an aging and syphilis-ridden Al Capone (played by Tom Hardy), Pickens helped convey the story with hair that was “actually a bit sickly before we texturized it.”

But wait, there’s more. We are now to the coloring process, which, as Pickens puts it, is a blend of “alchemy and color theory and figuring out how that’s going to play on the final product.” Colorists have to understand how a scene might be lit and edited, so that they can make an educated guess as to how to color the hair so it has the desired shade in the final cut, rather than in real life.

“Reds can be quite the nightmare sometimes,” Pickens shared. “If we create a red wig and they put a blue filter over the entire thing, it could look brown.”

And just to make matters more complicated, the looks don’t just get created for the main actors. Anyone performing as a photo double or stunt performer also needs a matching (usually synthetic) wig. Stunt double wigs in particular are tricky, as they need to be durable enough to endure take after take of literally rolling with the punches, yet still be easily removed for when a stunt might go wrong. But also they must look exactly like the hero wig. No big deal, right?

To say that people were floored to learn some of these things would be an understatement. Just check out some of these comments:

“I’m amazed by what they can create to make us believe that their wigs are their real hair because it looks so natural..So many times I’ve just assumed that the actors must have changed their real hair to look a certain way because it looks too real to be a wig. It was interesting to see what the process looks like.”

“I love learning stuff like this. I never would have thought about how much went into wigs. Unsung masterpieces are everywhere.”

“This is so cool. I honestly had no idea so much detail went into this. I’m impressed.”

More content is being put out now than ever before, causing many shows to have to create costumes and wigs on a mass level (read: faster and cheaper). This undoubtedly leads to a drop in quality that can sometimes take us out of a story—something we covered in a previous article. However, when artists are given the opportunity and resources to really work to their highest potential, magic happens. Kudos to the pros who completely immerse us into a story, strand by strand. Your labor of love is appreciated.

You can watch the full video below, which has even more fascinating info:

It’s been nearly a year since City Girls rapper JT and Lil Uzi Vert went public about their relationship, but fans think there could be trouble in paradise: In a tweet shared yesterday (November 23), JT shared a one-word tweet, simply saying, “Single.”

After providing no follow-up context, fans were left to assume the tweet was a direct shot at her relationship with Uzi.

Despite having temporary pauses in their relationship in the past, the couple seemed to be doing well. As recently as Monday, the “Act Up” rapper praised Uzi for their new music video for “Just Wanna Rock” and shared that she might be in Philadelphia– Uzi’s hometown — for the Thanksgiving holiday.

To date, JT nor Uzi have offered a public response since the Miami rapper made the initial tweet. But, with the holidays right around the corner, maybe there is some hope for the lovebirds.

When it comes to music, the City Girls were expected to drop their highly anticipated follow-up to 2020’s City On Lock on July 29, but due to unforeseen reasons, the album was delayed. This past spring, the Miami duo released “Top Notch” with Fivio Foreign, following up with “Good Love” featuring Usher over the summer.

In September, JT was among the artists enlisted by Minaj for the official “Queen Mix” of her “Super Freaky Girl” single.

The Witcher franchise went to an unexpected place recently. Henry Cavill, whose presence was an integral part of why this show is more enjoyable than it needed to be, decided to leave the building. He shall be replaced by Liam Hemsworth, presumably so that Cavill can go back to being Superman with fewer projects on his plate. Hemsworth did the semi-stoic thing on The Hunger Games, but can he please a rabid fandom who loved that Cavill lived and breathed the video games like they were his own nerd-children?

That remains to be seen. Cavill’s second-season co-star (and onscreen mentor as Vesemir), Kim Bosnia, told us how Cavill was the soul of the show as well as its heart and brain. We’ll see Henry for one more season, but the franchise feels different now, and Hemsworth cannot be looking forward to the inevitable scrutiny that his arrival shall bring in Season 4. However, the franchise must travel back in time now for a pre-planned jaunt into the days when elves weren’t considered vermin.

That’s quite a departure from the conflicts seen in the O.G. series, which infamously saw Geralt of Rivia and Jaskier tangle with some angry, ostracized elves. That conflict led to Jaskier amplifying (with a banger) what had actually transpired and painting Geralt as the kicker of elf asses. It’s something that was completely ridiculous, but Geralt didn’t bother to correct The Bard. Now, the elves will get their day in the spotlight with the limited prequel series called The Witcher: Blood Origin.

Netflix’s four-part event series will stream on Christmas Day. A teaser trailer reveals enough sword-and-ax swinging to make John Wick take notice. Now, I’m dreaming of a crossover, but first, here’s that teaser trailer, which travels 1,200 years back in time:

This series, which will star Michelle Yeoh portrays Scian as an elven swordmaster, also stars Jodie Turner-Smith, Jacob Collins-Levy, and Sophia Brown. We’ll probably see the inception of the first Witcher prototype, but before that happens, we’ll see a world where elves weren’t nearly as shunned as they are in the series proper. We’ll see no Geralt, Ciri, or Jennifer, but I can always dream that Jaskier will time travel. Maybe not? Oh well. Let’s do an official synopsis:

Set in an elven world 1200 years before the time of Geralt, Yennefer, and Ciri, The Witcher: Blood Origin will tell a tale lost to history: the creation of the first prototype Witcher, and the events that led to the pivotal Conjunction of the Spheres, when the worlds of monsters, men, and elves merged to become one.

The Witcher: Blood Origin premieres on December 25.

(Editor’s note: Today, in honor of Thanksgiving, we’re republishing this piece, originally published in 2016. We hope you enjoy it.)

The Last Waltz is a concert film directed by Martin Scorsese about a star-studded “retirement” show by The Band that occurred 40 years ago on Thanksgiving day in San Francisco. The co-stars are Bob Dylan, Van Morrison, Neil Young, Joni Mitchell, Muddy Waters, Dr. John, Neil Diamond, and about another half-dozen rock stars from the ’60s and ’70s. Every year around this time, I try to watch The Last Waltz at least once, in the way that people watch A Christmas Story or It’s a Wonderful Life whenever mid-December rolls around. I’ve come to regard The Last Waltz — and I preface this by offering sincere apologies to Planes, Trains, and Automobiles — as the greatest Thanksgiving movie ever. That’s not simply because The Last Waltz takes place on the holiday, but also because this film embodies what’s wonderful, horrible, hilarious, and moving about one of this country’s most sacred annual traditions, and how many of us manage to survive it. Other films have used Thanksgiving as a backdrop. But to me, The Last Waltz is Thanksgiving.

Allow me to recount the plot of The Last Waltz: A dysfunctional family of five brothers has decided to stop living together. Before they split up, they invite a coterie of friends dressed in colorful suits and floppy hats over for a holiday celebration. Despite years of pent-up resentment — the brother with the amazing voice loathes the brother with the amazing haircut, whom he views as disloyal and undermining — all parties agree to put these tensions aside and put on a good face in front of the guests.

The guest list at this party is truly a mixed bag. There is a wise old man from Mississippi. There is a beautiful blonde poet from the Hollywood hills. There is a jive-talking hipster from New Orleans. There is a coked-up Canadian hippie. There is a portly, purple-suited Irishman who mistakenly believes that he knows karate. And then there’s the Jewish rock star for Minnesota who can’t decide if he really wants to be there.

Thus far, it sounds like I’m describing a Wes Anderson film. And, in some ways, I am — beneath the formalism of the filmmaking is a whole lot of messiness.

On the surface, the party is lavish — there are chandeliers on loan from Gone with the Wind (really!) and the lighting is bold and theatrical and there are famous writers reciting indecipherable passages from Chaucer. Beyond the pomp and circumstance, however, it’s like the bowery. Nearly everyone is sneaking away to get smashed on booze and smuggled chemicals — this is out of habit, but also because family reunions tend to be fraught with tension. It is the most certain of all inalienable truths. The trio of sweet, soft-spoken brothers know that the brother with the amazing haircut will be overbearing and arrogant, and that the brother with the amazing voice will make his stirring but problematic case sympathizing with Southerners who lost the Civil War. And the sweet, soft-spoken ones will once again be caught hopelessly in the middle. You feel for them. Weird politics and flawed family dynamics – who can’t relate to dreading these things at this time of the year?

And yet — in spite of the resentments, and the betrayals, and the intensifying intoxication — everyone is able to come together and conjure a feeling of community. When they gather around to tell old family stories that have been told and re-told umpteen times — like the one about Jack Ruby, or the one about shoplifting bologna and cigarettes — the brothers pretend to laugh whenever the overbearing brother takes over the conversation. (The upside of being on stage is that you can turn off his microphone.) After a while, the laughs seem less forced. They’re faking it so well that they start to feel actual community and love and understanding. This is what The Last Waltz, and Thanksgiving, is all about.

Earlier this month, Robbie Robertson put out a memoir, Testimony, that concludes not long after The Last Waltz. (Condolences to anyone hoping for an in-depth, behind-the-scenes look at the making of 2011’s How To Become Clairvoyant.) My feelings about Testimony are as conflicted as they are about Robertson — he’s a great artist and an insufferable person, and Testimony similarly is artfully rendered and often hard to stomach.

As is my custom with rock memoirs, I’ve been reading Testimony out of order, in order to get to the parts that most interest me. The Last Waltz is near the top of that list. Robertson was the chief engineer of The Last Waltz — he conceived the concert, brought on Scorsese, and acted as the film’s producer. Unsurprisingly, his view of the concert is sanitized and romanticized — he goes into deep (perhaps unnecessary) detail about the conception and planning of the concert, recounting every personnel hire and rehearsal. Of course, every move is confirmation of Robertson’s genius.

For people that have seen The Last Waltz as many times as I have, Testimony will be interesting be default. Because I am one of those nerds who is curious about any and all minutia related to this concert, including what Van Morrison was wearing before the show. (“A beige trench coat,” Robertson writes, clearly less exciting than the extravagant purple jumpsuit he wore on stage.) For anyone else, however, Robertson might seem ponderous. He heaps praise upon the performers, particularly Neil Diamond, who in Robertson’s estimation performed “Dry Your Eyes” (which Robertson co-wrote) “like a sermon out of Elmer Gentry.” Robertson even spends a paragraph describing the Japanese bath in his San Francisco hotel room.

As for the other guys in The Band… well, Robertson admits that they weren’t as into the film as he was, but “they didn’t have the cinematic passion that I did.” Hm … sounds a little fishy, Robbie.

At that point, I decided it was best to chase what I was reading in Testimony with some passages from Levon Helm’s scathing 1993 book This Wheel’s On Fire, a dishier and more overtly nasty book than Testimony.

(Notice that I said “overtly” — Robertson isn’t above score settling, he just does it in a more magnanimous tone. For instance, when describing a disastrous 1970 gig at the Hollywood Bowl, Robertson hints that Helm’s heroin addiction adversely affected The Band’s performance, though he later diffuses the accusation by adding that Helm himself admitted as much after the show. Why Robertson chose to write about a forgotten concert — and throw Helm under the bus 46 years later — is a mystery. Though, perhaps, it does explain why he waited until after Helm died to write a book.)

In Testimony, Robertson claims that when he brought up the idea of a retirement concert to the guys in The Band, “no one was opposed to the idea.” Even Helm “knew we couldn’t continue with out live shows.” If Robertson really believes that, then I suggest that he read This Wheel’s On Fire. Helm’s take on The Last Waltz is unequivocal: “I didn’t want any part of it,” he writes. “I didn’t want to break up the band.”

In Helm’s version of events, Robertson pressed Helm about the dangers of the road, and how it took the lives of everyone from Hank Williams Sr. to Jimi Hendrix. “Every time I get on the plane I’m thinking about this stuff,” Helm recalls Robertson saying. “The whole thing just isn’t healthy anymore.”

“I’m not in it for my health,” Helm replies. “I’m a musician, and I wanna live the way I do.” (This quote later inspired the title of the heart-rending 2013 documentary, Ain’t in It for My Health: A Film about Levon Helm.)

Helm claims he only went along with The Last Waltz because management made it seem that he had no choice — whether that’s really true or if it speaks to the same self-defeating fatalism that caused Helm and the rest of the Band to slowly cede control to Robertson, it’s hard to say. Like so many families, the Band was undone by money problems. Robertson was credited as the Band’s primary songwriter, a distinction that Helm felt put too fine a point on the group’s collaborative process. At one time, these men freely pooled their talents and personal experiences for the common good. While Robertson technically wrote “The Night They Drove Old Dixie Down,” the song’s authenticity and soul came from Helm. But that partnership was over by the time of The Last Waltz.

In The Last Waltz, Robertson’s dark proclamations about “the road” form the narrative, while Helm’s contrasting view goes unacknowledged. This inevitably influenced Helm’s view of the film. When Helm finally saw The Last Waltz, he “was in shock over how bad the movie was,” he writes in This Wheel’s On Fire. Helm hated how many overdubs there were. (In Helm’s book, the Band’s producer John Simon claims that the only tracks that weren’t re-recorded were Helm’s vocals and drums.) Helm hated that Scorsese (whom he refers to, hilariously, as “the dummy”) didn’t shoot the dress rehearsal or any of the pre-show festivities orchestrated by concert promoter Bill Graham, which he felt were some of the best parts of the event.

Most of all, Helm despised Robertson’s “world-weary angst” about the life of touring musicians. In Helm’s view, this was like a gangster trying to leave the mafia. Ultimately, Helm felt that Robertson sold out his former comrades. “To me,” Helm concludes, “it was unforgivable.”

All of this stuff composes the poisonous subtext of The Last Waltz. Perhaps it’s easier to enjoy the movie if you aren’t aware of it. Or if you stick with Testimony and ignore This Wheel’s On Fire. But for me, the subtext actually deepens the experience of watching The Last Waltz.

I don’t think the movie would be as rich if it was simply about an old ’60s rock group that decided to hang it up. The tension between the joyous performances and the embittered back-stage reality is what gives The Last Waltz its emotional and spiritual power. If Helm really hated being there, then his ecstatic yodeling at the end of “Up On Cripple Creek” is all the more remarkable. If Rick Danko was already focused on his solo career — when Scorsese tries to interview him in The Last Waltz, Danko instead plays the luminous “Sip The Wine” from 1977’s Rick Danko — then his definitive performance of “It Makes No Difference” is that much more awe-inspiring. If Richard Manuel already seemed to be on his last legs, as both Robertson and Helm suggest in their books, the courageous grit he lends to “The Shape I’m In” is flat-out heroic.

(Garth Hudson is the only member of The Band I have not yet directly referenced. I am the one billionth person to make this mistake when talking about The Band, but only because he was seemingly unbothered by the humanoid craziness surrounding him in The Last Waltz. To quote Ronnie Hawkins, Hudson was werrrd, a musical genius living in his own solar system.)

Perhaps Helm’s point of view made it into The Last Waltz after all. No matter what Robertson says about the impossibility of road life, the rest of the guys refute by showing. These musicians are so devoted to their craft that they can perform masterfully, no matter the circumstances. They are weary men who find the wherewithal to transcend their weariness and approach grace.

This is what keeps me coming back to The Last Waltz every Thanksgiving. It affirms the faith in the power of ritual to heal — at least temporarily — whatever is awkward or unresolved or plain broken about your familial bonds. Sometimes, that belief is just enough to make things okay for a little while.

There are a lot of “disgusting” things going on in America (never mind the world) right now, including rampant political corruption, institutional racism, and the government assault on the rights of the LGBTQ+ community and a woman’s right to bodily autonomy — to name just a few. What doesn’t rise to that same level of social injustice? A guy who makes sh*tty informercial pillows and spreads bonkers conspiracy theories not being allowed to tweet. Yet here we are.

On Tuesday, former crack addict Mike Lindell, who doesn’t seem to know what a “shoutout” is, gave a “shoutout to Elon Musk” to let him know just what he thinks of his new Muskified Twitter — and whine about his suspended account remaining suspended while chatting with Steve Bannon (who seems to revel in making Lindell perform hysterics for the cameras).

The way the pillow scion sees it, if Musk’s goal is to make a platform for “free speech,” then he shouldn’t be “carving out the guys who are going to talk about our election crimes and our election integrity… I think I would like to do a shoutout to Elon Musk right now: Hey, check out the evidence! I was banned because I was telling the truth. And that’s disgusting to be one of the few people that’s still banned.”

Disgusting!

Not to be outdone when it comes to wackadoo conspiracy theories, Bannon told Lindell that he has no desire to be on Twitter because it’s “financed by the Chinese Communist Party.” He then called upon Musk to prove that what he was saying is not true.

But Bannon wasn’t through with Lindell yet. As Raw Story reports, the layered-shirt enthusiast wanted to see just how far the Pillow Man would go to get back on Twitter. “Would you commit — right now — to do an open live Twitter with Elon Musk?,” Bannon asked the man who once organized a protest outside Fox News HQ that even he failed to show up to. “He could play 20 questions, he’d rip your face off, you present your evidence and he takes you on mano a mano and your evidence about what you believe is the voter fraud related to machines and other things in the 2020 election.”

“Absolutely,” Lindell replied, because of course he would. “And I would do that any day anytime, any time of day or night, and I’ll drop everything I have to do that, Steve, because I believe it’s very important to our country.”

By “drop everything” he means… what exactly?

(Via Raw Story)

50 Cent has teamed up with the Houston Rockets to give back to the city. Yesterday (November 22), the rapper, along with the team, held a turkey drive outside of the Toyota Center, where the Rockets play their home games. Houston residents were invited to line up in their cars and receive a Thanksgiving meal on a first-come-first-serve basis.

The meals came by way of donations from Kroger, Spec’s, 50’s G-Unity Foundation, and the Rockets’ Clutch City initiative. Recipients also received a voucher to an upcoming Rockets home game.

At the event, 50 spoke to local Houston station KPRC, saying, “I just want them to have a great Thanksgiving and enjoy themselves, you know what I’m saying? I’m actually coming in here fashionably. My kids been here working and putting it together, so I gotta catch up and put in more work so they don’t gotta look at me like I got them out here first.”

At the conclusion of the drive, 50 and the Rockets gave away turkeys to 1,000 families.

50 first moved to Houston back in January 2021, and has since been involved in several causes, including the NAACP Toy Drive, Houston’s Christmas Eve Super Feast, the Houston Symphony, and the Houston Livestock Show And Rodeo.

Paulo Londra is dropping highly-anticipated album Back To The Game tonight (November 23). Before then, the Argentine star released the high-octane music video for “Nublado” featuring Blink-182’s Travis Barker.

After a few years being caught up in a contractual dispute, Londra signed a new partnership with Warner Music Latina in March. Since then, he has re-established himself as one of Argentina’s top artists. This past year, Londra dropped multiple stellar collaborations. Ed Sheeran featured in his love song “Noche De Novela” and hit-maker Bizarrap enlisted him for “BZRP Music Sessions #23.”

Londra is keeping the star power coming with his new version of “Nublado.” He re-recorded the song with Barker playing on the drums. Barker packs the Latin pop-punk anthem with the punch behind Blink-182’s classics. Londra sounds like he’s having a blast with the electrifying edge that Barker brings to their collaboration. In the video, Londra rocks out with Barker in a LA recording studio.

Londra’s songs with Sheeran and Barker will be included on Back To The Game, his first studio album in three years. His collaboration with Feid, “A Veces,” is also on the tracklist that he revealed earlier this week. Londra’s song with Timbaland, “Toc Toc,” will appear on the LP as well. Back To The Game will be released tonight at 7 p.m. ET.

Find the Back To The Game tracklist below.

1. “Chango”
2. “Plan A”
3. “Party En El Barrio” Feat. Duki
4. “Luces”
5. “Por Deporte”
6. “Noche De Novela” Feat. Ed Sheeran
7. “Nublado” Feat. Travis Barker
8. “A Veces” Feat. Feid
9. “Cansado” Feat. Joaqo
10. “Tenso”
11. “Ella”
12. “Julieta”
13. “Ojalá”
14. “Necio” Feat. Lit Killah
15. “Chance”
16. “Toc Toc” Feat. Timbaland

Back To The Game is out 11/23 via Warner Music Latina. Pre-order it here.

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