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Myles Turner has been a popular name among trade talks for the last couple of seasons. With the Indiana Pacers having kickstarted a new direction by trading All-Star big man Domantas Sabonis this past winter, rumors continue to swirl about Turner’s future in Indiana.

According to Marc Stein, however, Turner is expected to remain with the Pacers this summer.

“Myles Turner, every time I ask, the word I get back is that he’s likely to stay in Indiana,” Stein said during a recent Spotify Live session. “I don’t think that discourages teams from trying to get him, I’m sure the Pacers are getting calls on Turner. But every time I check, that’s kind of the word I get.”

Per usual, Indiana remains in an interesting spot as it pertains to a long-term direction. Tyrese Haliburton is already quite good. Veterans like Malcolm Brogdon, despite his unfortunate string of injuries, is quite good, as are Turner and Buddy Hield. Meanwhile, developing young players such as Isaiah Jackson, Oshae Brissett, Terry Taylor, and Chris Duarte are all in the fold. Plus, it’s not like the 22-year-old Haliburton is close to his prime.

Surrounding prospects with win-now players can certainly enhance development curves, so there’s merit to keeping those established rotation players around. But shifting to a full-fledged rebuild led by Haliburton is also reasonable and could produce the best long-term results. Regardless, it seems as though Turner will stay put, at least for the time being.

Anthony Edwards is rapidly becoming the most entertaining person in basketball. Yes, he is extremely good on the hardwood and is a major reason why the Minnesota Timberwolves emerged from the play-in tournament to make the playoffs this year. Off the court, Edwards has emerged as perhaps the best quote in all of basketball, as he somehow manages to say something extremely funny any time he is asked about anything.

As it turns out, he’s also got some pretty good acting chops. Edwards is one of the several current and former basketball players who appear in the film Hustle, which released on Netflix on Wednesday after having a limited theatrical release last week. While Juancho Hernangómez is the hooper at the center of the film, Edwards plays Kermit Wilts, his rival.

I have given you this information to prepare you for the following two clips from the movie, which feature Edwards playing basketball against Hernangómez and talking so much trash that he gets extremely mad at Ant (in the movie, of course, although I suppose I wasn’t on set to confirm or deny if this actually got under his skin).

At this point, it would be easier to make a list of things Anthony Edwards would not be good at.

Simu Liu used to appear in textbooks; now he’s written his own book. The Shang-Chi and the Legend of the Ten Rings star called his memoir, We Were Dreamers: An Immigrant Superhero Origin Story, “one of the most fulfilling experiences of my life,” but there was a moment in Philadelphia on Tuesday night that left him “shook.”

“Had a not great altercation at the end of my book event in Philly,” Liu tweeted. “Look, I’m trying to have a real moment with my audience. If you come to my events and harass me or make me or my fans uncomfortable, there’s no chance in hell I’m going to sign for you. Don’t cross that line.” The Barbie actor described the incident further:

“Best photo that I could get but these professional autograph seekers followed us out of the Philly event and then threw soda on our window. They then ran to their car to remove the front license plate so we couldn’t ID them. Thankfully we had someone at the event venue documenting so we will get them and file a report with authorities. Obviously everyone is fine but we’re just a bit shook that this could happen.”

Liu later added, “At the end of the day it was just a couple bottles of soda but it’s indicative of a really toxic culture of autograph seekers (not all, some) that are willing to cross personal boundaries just to make a buck. I’m not rewarding that behaviour.”

I’ve seen professional autograph seekers at most red carpet events I’ve covered for work, and they’re usually a) carrying an obscene amount of posters or DVDs or headshots, and b) obnoxious and pushy. They’re no better than adults who steal foul balls; in fact, they’re worse, because they’re selling a Renée Zellweger-signed copy of Shark Tale, or whatever, on eBay. Good on Liu for calling these bottom feeders out.

Yesterday, Dan Auerbach and Patrick Carney of The Black Keys took some time out of their afternoon to host an AMA (Ask Me Anything) on the r/indieheads subreddit. Reddit users came through with some good questions, which consequently got some solid answers from the duo.

Perhaps the most notable of them was one user who asked, “Pat recently said that y’all never stopped working after recording Dropout Boogie. Can we expect to hear another album next year?” The duo responded affirmatively, writing, “We like to think that is highly likely.”

Elsewhere, Auerbach and Carney revealed longtime Black Keys fans are getting a treat this year, as the audio from the duo’s first ever concert — which took place on March 20, 2002 at Cleveland’s Beachland Ballroom & Tavern for an audience of eight people — will be released this fall via Auerbach’s Easy Eye Sound label.

Meanwhile, it looks like Auerbach’s sporadically active solo career — his two solo albums are 2009’s Keep It Hid and 2017’s Waiting On A Song — could add another chapter in the not-so-distant future. Somebody asked if Auerbach is planning to release another solo album and he replied, “Hope sooner rather than later.”

The AMA has other good bits of trivia, too — like Carney’s favorite drummers and how the duo ended up appearing on Workaholics — so check it out here.

Streaming services have been struggling with keeping up the momentum of their most popular shows, which often get a week or so in the spotlight before the internet moves on to another weekly Netflix drop or Hulu debut. Remember when Inventing Anna was all anyone would talk about for six days, and then it disappeared and now nobody can even remember what it was about? Like that!

With weekly shows like Euphoria getting massive amounts of viewers every week during its season and always trending on Twitter, it would make sense for Netflix to want to cash in on that. If everything is released at once, it’s hard to keep up with the memes, which is especially evident with Stranger Things. Netflix might agree…but they probably won’t do it.

Peter Freelander, Netflix’s head of scripted series for U.S. and Canada, recently told Variety that the weekly model wasn’t going to work for the final season of their hit series Stranger Things, or any of their shows for that matter.”For the fans of Stranger Things, this is how they’ve been watching that show, and I think to change that on them would be disappointing,” Freelander explained, saying the “binge it all in one go” model is what works best for them, and what the fans are used to. “To not give them exactly what they’ve been expecting — which is Stranger Things is a seasonal experience, they go through that with them — I think that it would be an abrupt change for the member.”

Their compromise seems to be releasing their shows in “volumes” with one releasing just months before the other. “That’s what you see [with Stranger Things] and that’s what you see with Ozark. So we have had some experimentation in that space. But it’s also, you’re giving multiple-episodic-viewing experiences, it isn’t a standalone,” Freelander added. “So it really does, what we think, honors our relationship with our members and what their expectations are. There have been other types of launch cadences, but that’s connected to an unscripted approach or a competition approach.”

For a company that spent $30 million per episode of the sci-fi hit, and lost 200,000 subscribers this year alone, maybe switching up the approach wouldn’t be a bad thing? It’s a thought.

(Via Variety)

For someone who’s been one of the most prolific artists in rap music over the course of his 17-year career, Gucci Mane has been oddly quiet lately, containing his musical appearances mostly to a handful of singles and features on other artists’ projects. In recent months, he dropped “Rumors” with Lil Durk, “Blood All On It” with Young Dolph and Key Glock, “Serial Killers,” and “Mrs. Davis,” but one song a month — while an impressive output for anyone else — is a slow year for Guwop.

Fortunately, that may soon change with the announcement of So Icy Gang: The ReUp, which is due to drop on June 17. A deluxe edition of Gucci’s 2020 1017 Global Music compilation So Icy Gang, Vol. 1, the new album adds 13 new tracks to the original 19, which included contributions from 1017 signees BiC Fizzle, Big Scarr, BigWalkDog, Hotboy Wes, Enchanting, Pooh Shiesty, and Foogiano. The additional tracks include the ones named above, while the picks from Foogiano and Pooh Shiesty are welcome surprises considering their current situations (both men are locked up for separate crimes and facing serious prison sentences). The ReUp will be 1017’s fourth compilation release in just three years; in 2021, the label released both So Icy Boyz and a Christmas album titled So Icy Christmas. Now that’s consistency.

You can pre-save So Icy Gang: The ReUp here and stream it on 6/17 via Atlantic Records.

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

Not many artists can say they earned a major career success as a teen, but Bridie Monds-Watson isn’t most artists. The Irish songwriter, who adopts the moniker Soak, found overwhelming success with their 2015 debut album and became the youngest person ever nominated for a Mercury Prize. But with the massive accomplishment also came the immense pressures associated with it.

After crossing over into art-pop territory with their 2019 sophomore album Grim Town, Monds-Watson returns to their jaunty indie rock roots with their newest release, If I Never Know You Like This Again. Infusing contemplations on identity and isolation over cascading chords, Monds-Watson delivers a collection of dazzling and confessional songs. To celebrate the release of If I Never Know You Like This Again, Monds-Watson sat down with Uproxx to talk about enthusiastically rowdy crowds, Phoebe Bridgers, and listening to their gut in our latest Q&A.

What are four words you would use to describe your music?
Honest, self-depreciative, tears, funny?

It’s 2050 and the world hasn’t ended and people are still listening to your music. How would you like it to be remembered?
I like it to be remembered as intentional. That nothing I did was done without purpose.

What’s your favorite city in the world to perform?
You can always rely on a enthusiastically rowdy crowd in Dublin.

Who’s the person who has most inspired your work, and why?
Recently, Jeff Tweedy.

Where did you eat the best meal of your life?
This is literally an impossible question. A few years ago on a press tour I had a day off in Nashville and stood in line for hours alone to get one of those Nashville hot chicken sandwiches (that’s what they’re called right?). The pickle to lettuce ratio was perfect.

What album do you know every word to?
Tegan and Sara’s The Con.

What was the best concert you’ve ever attended?
I saw Bon Iver at Montreux Jazz festival a few years back and Julien Baker opened. The standing area at the venue was built on a slope so I could see super well. I wish all venues were build that way. The show was just *chef’s kiss.*

What is the best outfit for performing and why?
The baggier the better. Minimum effort, maximum result.

Who’s your favorite person to follow on Twitter and/or Instagram?
Phoebe Bridgers wins on all platforms.

What’s your most frequently played song in the van on tour?
If Tommy and James are in the van it’s likely to be anything by The Replacements.

What’s the last thing you Googled?
Why do all Americans have such good teeth?

What album makes for the perfect gift?
A good classic like I’m Wide Awake, It’s Morning by Bright Eyes or High Violet by The National.

Where’s the weirdest place you’ve ever crashed while on tour?
An abandoned cottage at the furthest southwest coast of Ireland. Or my car.

What’s the story behind your first or favorite tattoo?
My first tattoo is of Max from Where The Wild Things Are. I used to have my parents read me that book every night as a bedtime story and eventually started asking them to call me Max also.

What artists keep you from flipping the channel on the radio?
Any artist that’s telling the truth. You can tell instantly when someone means what they’re saying in music.

What’s the nicest thing anyone has ever done for you?
Recently an older lady who I’d never met before came up to me outside a bar to tell me she’d been watching me all night, that I had a kind face and that I had lit up the whole bar with my laughing. That was nice. Also my friends got me an air-fryer for my most recent birthday.

What’s one piece of advice you’d go back in time to give to your 18-year-old self?
Be authentic and let your gut guide you. Only take advice from people you respect, especially don’t just take people’s advice because they’re older than you.

What’s the last show you went to?
I was supporting Lucy Dacus on tour recently and watched her set on the last night from an opera box. It was legit.

What movie can you not resist watching when it’s on TV?
Not a movie but if The Office is on then the channel isn’t changing.

What’s one of your hidden talents?
When I was younger I thought I was a genius because sometimes I could predict the next line of pop songs that I’d never heard before. Now I know that’s not super unique and don’t think it’s so special anymore.

If I Never Know You Like This Again is out now via Rough Trade. Get it here.

Spending time outside and enjoying nature is something we all can appreciate. Whether you’re an avid adventurer or leisurely wanderer, visiting nearby parks, beaches, and other outdoor public spaces adds freshness to our everyday lives. While getting outside is an ingrained component of many of our weekly routines, this privilege isn’t accessible to everyone, especially those in underserved metropolitan areas and urban communities.

Many people within those communities don’t have easy access to parks in their own local area, with the larger state parks and national parks being even harder to get to. While this may seem daunting, there are organizations and resources taking action to shift the narrative.

Outdoor recreation brand REI has teamed up with Trust for Public Land — a non-profit organization that creates parks and protects land for people, ensuring healthy, livable communities for generations to come — to spark a conversation about park equity problems and the importance of communities having access to public parks.

If you’re ready to learn more about how REI and Trust for the Public Land are helping community members unlock the full potential of the outdoors, watch the video above. Environmental activists Kiana Kazemi and Brendan Shane, the Climate Director of Trust for the Public Land, discuss how you can be a part of the progress and support movements like this.

Taylor Swift has a lot of fans. That’s obvious enough without needing to prove it, but as evidence of that, note that all of her albums, save for her self-titled debut, have topped the charts in various countries around the world. As is the case with anybody who has reached that level of popularity, though, there are people out there who absolutely cannot stand Swift.

As for Robert De Niro, he falls somewhere in the middle of that spectrum.

In a new Variety interview, De Niro and fellow Tribeca Film Festival co-founder Jane Rosenthal talked about this year’s event, which will feature Swift’s “All Too Well” short film. De Niro declared (perhaps jokingly, based on the laugh and what he said next), “I have all of her albums [laughs].” He then continued, “I’m not not a fan. I probably hear her music and like it on the radio. My young daughter puts a station on, and it drives me crazy when they chat. When they have music, it’s OK. […] We have a deal that when the chatter goes on, we go to chill [music]. That’s the compromise. I go to spa [music] when I’m alone.”

Rosenthal also noted of Swift, “We’re always looking to show artists’ work to show what else they do — the interdisciplinary work. It’s always interesting to watch what artists do when they’re not doing what we think that they should continually do.”

Check out the full interview here.

For the past couple of years, the phrase “pop-punk revival” has been uttered and typed so many times that any meaning it could’ve ever possibly held has completely faded. We have Blink-182 drummer and powerhouse producer Travis Barker to thank for this exhaustion after he took on a slew of clients and offered them all the same sound with slightly different packaging. This ranges from longtime artists like Willow and Avril Lavigne to literal random dudes such as Iann Dior and Jdxn, but the most important (read: blameable) figure was none other than Machine Gun Kelly.

“I always wondered why people think this is so new for me,” MGK, real name Colson Baker, said in an interview, promoting the 2020 album Tickets To My Downfall, “when I spent half a decade on Warped Tour stages and covering songs by all different types of bands.” But it was obviously a different direction for his recorded music and he knew it would be a big deal, which is why he did it. Revamping a genre that hasn’t been mainstream since the early 2000s was a way to stay in the cultural conversation. Plus, he already had floppy hair, piercings, and a history of misogyny, so it was an easy switch (and it will also be an easy switch back, bye-bye MGK).

The term “pop-punk revival” understandably bred as much resentment as it did excitement, maybe even more. Fans of smaller pop-punk bands like The Story So Far, State Champs, Boston Manor, and newer, not-Travis-Barker-related acts such as Meet Me At The Altar and The Linda Lindas, just to name a few, were all wondering: What do you mean pop-punk is being revived? It never died in the first place. Slowly, the phrase “pop-punk revival” revealed itself to be nothing more than a marketing slogan. It succeeded as a result of nostalgia culture, and it was a route through which artists on major labels could rise. And it worked — it usually does. Emo Nite was successful from its inception, as is the new, mind-boggling When We Were Young Fest.

In a recent Rolling Stone article that reads more like an advertisement than an essay, Rob Sheffield writes about this whole resurgence: “It’s beautifully bizarre, since pop-punk was never about aiming for cultural significance.” But, it’s not “beautifully bizarre” that this time around pop-punk has achieved cultural significance; it was meticulously planned out by labels and teams. Maybe Sheffield thinks that the fact that this is all a marketing scheme doesn’t matter, and maybe that’s true — MGK inspiring young people to pick up electric guitars is an undeniably positive thing. But it’s disingenuous to act as if this all happened organically; it’s wrong to even call it a “revival” when it was incredibly forced. This commercialization of pop-punk is just another example of the uselessness of genres; they are tools used to manipulate audiences. This happens all of the time in the music industry, but perhaps this time it’s particularly dismal because this is all so blatantly antithetical to the DIY and anti-capitalist values that punk is historically rooted in. It feels cruelly ironic, and it takes the spotlight away from smaller bands who are doing much more interesting things.

And there are so many smaller bands doing much more interesting things! Something that is not being discussed right now, and will not be discussed by most of the media because it’s not as commercially successful, is the emo moment we’re having with the recent reunions of bands like Sunny Day Real Estate, Elliott, Algernon Cadwallader, and Pity Sex. The return of these beloved, cult-followed acts promises much more than nostalgia culture could ever give. It promises movement forward instead of backward, and it means the strengthening of tight-knit communities.

When I saw Machine Gun Kelly at SummerStage last year, the crowd stood in place, singing along and sometimes bopping their heads. Mostly I noticed nearly every person in the crowd holding their phone in the air, desperate to film for their Snapchat or Instagram story because appearing to be at an MGK show on social media was more important than actually being at one. Algernon Cadwallader, speaking to Spin about their comeback, recently said about playing shows: “Pedals were always an issue, getting kicked and unplugged and microphones bashed into my face because people were singing along. It was like a war out there. I think we were just like whatever, if that’s what y’all wanna do, that’s cool. It’s not gonna sound as good but I don’t think that’s the point.” The underground scenes often have more vibrance and fervency, where the point of being there is to experience absolute self-expression. It’s about fans connecting with themselves and everyone around them.

This is not a revival of any sort, since emo has been doing well as of late with bands such as Retirement Party, Joyce Manor, Ratboys, Prince Daddy And The Hyena, Worst Party Ever, and more. But this series of comebacks — which notably follow that of iconic early-2000s group My Chemical Romance — marks an exciting time for fans of the genre, especially oldheads who were into these bands when they were active. The ardor here is driven purely by love for the songs and the scene; these reunion shows will be packed rooms of vehement music appreciators, and that is as punk as it gets.