Obviously, Olsen understands that the MCU are designed to be more broad and aimed at general audiences as opposed to more arthouse fare, but that doesn’t mean they’re not incredibly creative projects made by talented people behind the scenes. Via The Independent:
“I’m not saying we’re making indie art films, but I just think it takes away from our crew, which bugs me,” she says. “These are some of the most amazing set designers, costume designers, camera operators – I feel diminishing them with that kind of criticism takes away from all the people who do award-winning films, that also work on these projects.”
Again, Olsen concedes that the Marvel films are a different flavor of cinéma, but she’s not going to sit back and let people disparage the hardworking crew.
“From an actor’s point of view, whatever, I get it; I totally understand that there’s a different kind of performance that’s happening,” Olsen said. “But I do think throwing Marvel under the bus takes away from the hundreds of very talented crew people. That’s where I get a little feisty about that.”
Jack Harlow is winning right now. His latest single, “First Class,” is his first solo No. 1 on the Billboard Hot 100, his new album, Come Home The Kids Miss You is out now and receiving warm reviews from fans on social media, and now, he’s headed off on his first headlining arena tour. His Come Home The Kids Miss You Tour is set to take off from Nashville, Tennessee on September 6 and run through Atlanta, Georgia on October 16 with opening artists City Girls joining him at all but one stop — Fenway Park in Boston. The title’s kind of fitting when you think about it. Naturally, tickets will be available here beginning on May 13 at 10 am local time. You can sign up for pre-sale access beginning on May 11 at jackharlow.us/tour. See the full list of dates below.
09/06 — Nashville, TN @ Nashville Municipal Auditorium *
09/08 — Irving, TX @ The Pavilion at Toyota Music Factory *
09/10 — Houston, TX @ 713 Music Hall *
09/11 — Austin, TX @ Moody Center *
09/13 — Phoenix, AZ @ Arizona Federal Theatre *
09/17 — San Diego, CA @ Viejas Arena *
09/20 — Inglewood, CA @ The KIA Forum *
09/23 — Seattle, WA @ WAMU Theater *
09/24 — Vancouver, BC @ Rogers Arena *
09/25 — Portland, OR @ Veterans Memorial Coliseum *
09/27 — Salt Lake City, UT @ Maverik Center *
09/28 — Denver, CO @ 1STBANK Center *
09/30 — Minneapolis, MN @ The Armory *
10/01 — Chicago, IL @ Credit Union 1 Arena *
10/02 — Detroit, MI @ Fox Theatre *
10/05 — Toronto, ON @ Coca-Cola Coliseum *
10/08 — Philadelphia, PA @ The Liacouras Center *
10/09 — Boston, MA @ MGM Music Hall at Fenway
10/11 — Washington DC @ The Anthem *
10/14 — Miami, FL @ PFL Solar Amphitheater at Bayfront Park *
10/15 — Tampa, FL @ Yuengling Center *
10/16 — Atlanta, GA @ State Farm Arena *
* with City Girls
Indie darling Angel Olsen announced her new album Big Time in March and has been unveiling dazzling singles and music videos since then. The “Shut Up And Kiss Me” singer stated that this album came after an intense period of her life, during which she was reckoning with her sexuality and then grieving the loss of her parents all at once. Today, she’s announced that Big Time will come with an accompanying film of the same title.
The film will be 28 minutes, premiering the night before the release of the album. It will stream on the Amazon Music channel on Twitch and via the Amazon Music App. This is what Olsen has to say about the film:
“At the time of my mothers passing I kept having these super visual dreams about time travel. Later on I decided I’d name the record Big Time, not only because of the song but also as a kind of wink to time expansion and change. When I approached Kimberly Stuckwisch about making these videos, I thought it would be cool to include the storyline of one of the dreams I’d had, and really use it as a way to tell the story of the songs. She added dialogue and events, some that are based in reality and others that haven’t happened, to create a story arc around my dream, to give it a thicker plot, using the music videos within and creating a larger film. I’ve always had a vivid imagination and it was really special to make these subconscious moments real, but it was also a really emotional and raw process and felt almost at times like a spiritual clearing, that by putting myself in the story and moving pieces of it around, I also personally had to re-examine my losses and find a new way to process the events that actually took place in my life. Though most of it is scripted, it is probably the most intimate work I have ever made and shared with the public […] and it serves as an homage to my mother. I only wish my mom was here to listen to the record, because something tells me that she would have really liked this one.”
Watch the trailer above.
Big Time is out 6/3 via Jagjaguwar. Pre-order it here.
It seems like Olivia Rodrigo just can’t miss as of late. The 19-year-old took home three Grammys at this year’s event, she’s popular among the masses, and now she’s blazing multiple stages on tour supporting her debut album Sour. Portland attendees were treated to a Veruca Salt and Avril Lavigne cover, only for Rodrigo to then bring Lavigne out to sing “Complicated” at her Toronto tour stop.
This past Friday in Philadelphia, the California native tried her hand at No Doubt’s 1995 record “Just A Girl” and the crowd seemed pleased. She moved back and forth across the stage with passion as she belted the lyrics over the backing of her band.
Olivia Rodrigo got her start in entertainment on television, appearing in Bizaardvark and High School Musical: The Musical: The Series. From there, she released her debut single “Drivers License” in 2020, which broke many records and is one of the best-selling songs of 2021. Her debut album Sour was a global chart-topper, earning her a Brit Award and three Grammys, most notably Best New Artist. Time named her 2021’s Entertainer Of The Year and Billboard selected her as 2022’s Woman Of The Year. Needless to say, life has been anything but sour for the artist.
Jethro Lazenby, the son of Nick Cave, has died at 31 years old. A cause of death has yet to be revealed. Per Pitchfork, Cave confirmed the news in a brief statement, saying, “With much sadness, I can confirm that my son, Jethro, has passed away. We would be grateful for family privacy at this time.”
Lazenby’s death came shortly after he was released from jail on May 6, according to Melbourne, Australia’s Herald Sun. Lazenby was jailed following an attack on his mother in March, according to Daily Mail.
In 2008, Cave noted of his relationship with Lazenby, “To my eternal regret I didn’t make much contact with Jethro in the early years. I now have a great relationship with him.”
Lazenby’s passing comes a few years after the death of Cave’s other son, Arthur Cave, who died in 2015 after falling off a cliff. He was 15 years old. The 2019 Nick Cave And The Bad Seeds album Ghosteen was written about Arthur.
Meanwhile, Cave is in the midst of promoting This Much I Know To Be True, his and Warren Ellis’ documentary that will “document the duo’s first performances of the albums and will feature a special appearance by close friend and long-term collaborator, Marianne Faithfull.”
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
Drake’s influence is all over Jack Harlow’s new album, Come Home The Kids Miss You. I don’t just mean in the sense that he appears on the album’s magnetic standout track “Churchill Downs,” on which Jack sounds almost exactly like his hero. But throughout the album, I couldn’t help but feel the same sense I did when I first popped Drake’s mixtape Comeback Season into my car’s CD player 15 years ago.
To be clear, this is a good thing. Harlow has been maligned over the years, perhaps somewhat unfairly, for being kind of, well, goofy. In hip-hop, there’s more or less always been the prevailing attitude that rappers should carry themselves with exaggerated coolness. Even throughout the “keep it real” era, nobody really wanted most rappers to be themselves. Look at who all was elevated to the culture’s upper echelons.
From The Notorious B.I.G’s mafioso raps to Eminem’s serial killer horrorcore, over-the-top personas have been the order of the day. In more recent years, the keep-it-real ethos has been completely blown away by characters like Rick Ross and Future, who couldn’t be realistically expected to live what they rap about and still be alive to rap about it. Tucked somewhere into the middle of all that stylistic evolution, the regular guys who exploded in the noughties were kind of exceptions to the rule.
Drake stood at the forefront of that movement and was its de facto face. When he dropped Comeback Season in 2007, he had yet to become the internationally recognized global superstar he is today or would become on his next tape, the breakout So Far Gone. He sat somewhere between the wordy headiness of his backpack rap heroes like Little Brother and Slum Village and the pop-reaching sensibilities of 106 & Park heartthrobs like Trey Songz and Pretty Ricky.
His rhymes were marked less by the belligerent boastfulness of 50 Cent and Lil Jon’s constellation of crunk associates than by a plainspoken earnestness. Drake just wanted to be successful, and he wanted to do it by making relatable, semi-sincere rap music about having his heart broken and chasing his dreams. Nary a gunshot was fired, not a kilo was sold. No one got stomped out in the club, and Drake himself had a relatively average success rate with women. He felt like an underdog but carried himself with the confidence that he wouldn’t be for long.
On Come Home The Kids Miss You, Jack Harlow bears the same sensibility. He’s sort of always had a similar outlook and an introspective approach. But now, his circumstances somehow match both the confidence and the humility. He’s got multiple No. 1s to his name, but he’s also an outsider in hip-hop (so much as rapping-ass white guys can still be considered outliers in a world where Eminem still tops the album chart and Lil Dicky makes poop jokes on a hit cable TV show).
So when Jack shoots his shot at pop stars as he does on “Dua Lipa,” which not only name-checks the British singer but also accurately predicts the inevitable Twitter backlash for doing so, it does give “heart-eye emojis in the comments” energy — but success doesn’t seem completely out of reach. When Jack titles one of the bouncier tracks “I Got A Shot,” you believe him.
The parallels to the prologue don’t stop there. With every successive generation reaching back a couple of decades for inspiration – Drake famously leaned heavily on ‘90s R&B samples throughout his oeuvre – it might be odd to think that it’s time for Gen Z rappers to begin mining the platinum era. But that time has come – sorry, fellow Millennials, you’re officially old now – as Harlow looks to 106&Park mainstays like Pharrell and Snoop Dogg’s “Beautiful” for “Side Piece,” Tweet’s “My Place” for “Lil Secret,” and Fergie’s “Glamorous” for his chart-topping single “First Class.”
In this, Harlow defies convention as much as his new mentor did with Comeback Season and So Far Gone. The defining sound of our modern era is very much “808s and trap breaks”; with Come Home, Jack signals what perhaps could be the next evolution of the sound for the still-young decade ahead – just like someone we know. He’s willing to take the risk of diverging from the mainstream with his glossy collection of synth horns harkening back to the days when T.I. and Bow Wow held radio in a chokehold. But he’s also perfectly positioned to be the one to spark this latest nostalgia wave, what with TikTok being deluged in 2000s hits and radio playing a song sampling Mariah Carey four times an hour.
In my review for Harlow’s debut album, That’s What They All Say (I love his penchant for wordy titles), I pointed to the Kentucky MC’s potential and obvious passion and love for the craft of rap. On Come Home, he certainly lives up to that potential – perhaps even exceeds it – by pairing it with ambition. Before, Jack was satisfied with walking in the footsteps of prior greats. Now, it looks very much like he intends to make some of his own.
Come Home The Kids Miss You is out now on Atlantic. Get it here.
Jack Harlow is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
It’s never a good sign when a company has two widely publicized incidents on its hands. Live Nation discovered as much in the wake of Astroworld Festival with the attack on Drakeo The Ruler at Once Upon A Time In LA just a month later, and now, the security company that worked Astroworld is learning the same lesson. According to Buzzfeed News, Contemporary Services Corp. is one of North America’s largest event-security companies — and may face added scrutiny after the recent Netflix Is A Joke Fest show where Dave Chappelle was tackled by an armed man during his set.
Even worse, Buzzfeed’s report found that CSC’s practices may have opened the door for these failures. Due to hiring inexperienced staff as independent contractors, CSC shields itself from liability at the expense of the overall safety of events. One staffer told Buzzfeed, “We were told there was going to be a big crowd and to get them in as fast as possible. There were no details on what that meant and how to do it — just get them in as fast as possible.”
Incidentally, just before he was tackled by the 23-year-old Isaiah Lee, who had a concealed knife on him (in the shape of a gun), Chappelle joked about “increased threats against comedians” as an oblique reference to the Oscars, where Will Smith slapped Chris Rock onstage. Chappelle had brought members of his own security onstage, and it was them who subdued Lee, although Chappelle later joked that he, Busta Rhymes, Jamie Foxx, and (lol) Jon Stewart had “stomped” Lee backstage.
Meanwhile, the venue, the world-famous Hollywood Bowl, is “reviewing its “existing procedures both internally and with the assistance of outside experts.” CSC, which also worked the Astroworld Festival and the Route 91 Harvest festival in 2017, is reportedly named in a number of lawsuits from event attendees and former staff, including those stemming from the Astrowold disaster. In 2020, CSC, along with MGM and Live Nation, settled a lawsuit with 4,400 people impacted by the mass shooting for $800 million.
The cutest and bravest good boy in Ukraine is over there saving lives every day, and he’s finally receiving the recognition that he deserves for fighting Putin-led atrocities. And hopefully some treats, too.
All due credit for a job well done is going out to a Jack Russell terrier named Patron, who has been out on the field with minesweepers since the Russian invasion began. All told, he’s busted over 200 explosive devices, and President Volodymyr Zelenskyy brought Patron out (as revealed in the above USA Today video) to recognize his devoted work in front of the whole world.
The BBC notes that Patron has been hailed as a “a national hero, a symbol of Ukraine’s resistance against Russia,” and Zelenskyy recognized the precious pup as “wonderful little sapper Patron.” He’s only two-and-a-half years old, but he’s getting it done, and look at that wagging tail! Patron also proudly posed atop a pile of neutralized explosives, and the world could really use some more frequent good news like this.
Patron deserves all of the belly rubs. There’s no word on whether he got those from Canadian Prime Minister Justin Trudeau, who was also on hand for the weekend ceremony. Ukrainian grandmas and dogs: we don’t deserve ’em.
Paul left his press conference early in an effort not to get fined and then sent out a tweet about the incident, still fuming over what happened. Not long after, word emerged of the incident, with some video of the aftermath coming out on Twitter and leading to further discussion about fans crossing the line with their words and actions towards players and their families. While the Mavs released a statement noting the fans in question were quickly removed from the arena when the incident was brought to their attention, the larger issue is that fans don’t seem to see an arena ban (which seems very difficult to actually enforce) as enough deterrent to keep them from crossing the line with their conduct.
The discussion made its way over to the TNT set, where Charles Barkley once again made his pitch for a solution to problems with fan conduct, in which they get brought to center court and have to say whatever they said from their seat directly to the player, who has five minutes to respond however he sees fit.
BARKLEY: “Just give me 5 minutes on the center court with him & say, ‘You ain’t gonna press no charges, nobody gonna be sued civilly, say what you just said to me right to my face, right here for these 5 minutes & Imma beat your a**.’”pic.twitter.com/XNSbWG3U16
While it’s not something that will ever happen, Barkley is right that if players were allowed to fully confront fans, you would probably see a sharp decline in these sorts of incidents taking place. Part of the issue right now from the players side — and one Paul noted in his tweet — is that they get fined for responding to fans with the same language they’re hearing, while fans aren’t beholden to the same standards. That is understandably frustrating, and until the league figures out how to enforce the same kind of no tolerance policy for fans, players will continue to grow tired of these incidents and wish privately (or in Chuck’s case, publicly) that they could handle things physically.
Keeping up with new music can be exhausting, even impossible. From the weekly album releases to standalone singles dropping on a daily basis, the amount of music is so vast it’s easy for something to slip through the cracks. Even following along with the Uproxx recommendations on a daily basis can be a lot to ask, so every Monday we’re offering up this rundown of the best new music this week.
This week saw Jack Harlow drop one of the year’s hottest rap albums and Taylor Swift dig back into the archives for a fresh rerecording. Yeah, it was a great week for new music. Check out the highlights below.
It’s Harlow’s world at the moment, as he’s fresh off his first No. 1 single with “First Class” (aside from his Lil Nas X collaboration “Industry Baby”) and the release of his second album, Come Home The Kids Miss You. The LP dropped a few days ago and with it came a new Drake collaboration, “Churchill Downs,” on which the two rightfully boast about just how well they’re doing.
Taylor Swift — “This Love (Taylor’s Version)”
Swift is firmly in the midst of the massive undertaking of re-recording all of her old albums. She’s making great progress on the front and made some more last week with 1989 highlight “This Love,” which was first teased in a movie trailer (a strategy she’s tried before). As is the case with her other “Taylor’s Version” recordings, Swift has again done a tremendous job of re-capturing the vibe of the original version, which she is of course uniquely qualified to do.
Doja Cat — “Vegas”
Fans who checked out Doja Cat at Coachella this year got a real treat when she debuted a new song, “Vegas.” Now the track isn’t exclusive to the festival grounds (and the fan-shot videos capturing it on stage), as she went ahead and dropped “Vegas,” which arrives as part of the soundtrack album for the upcoming Elvis biopic. It’s not exactly an Elvis-style song, but it does sample Big Mama Thornton’s “Hound Dog,” which works as a hook on the modern hip-hop tune.
Bad Bunny — “Moscow Mule”
Bad Bunny is having himself a moment, as it was recently announced he was tapped to play the lead in El Muerto, a new Spider-Man spin-off movie. He’s still making time for music, of course, as he’s also a few days removed from dropping his latest single, “Moscow Mule,” a warm tune that’ll help Bad Bunny dominate yet another summer.
Carly Rae Jepsen — “Western Wind”
The Canadian pop favorite (or “favourite,” as she may opt spell it) has been missed recently, as last week’s “Western Wind” is her first new song in a couple years. It’s a pleasing return, too, as it sees Jepsen’s feathery vocals float on the serene, vibe-setting pop tune.
Arcade Fire — “Age Of Anxiety I”
Arcade Fire’s previous album, 2017’s Everything Now, experienced a mixed reception. However, with their latest, last week’s We, Win Butler and company returned to an anthemic rock sound more reminiscent of their early material. The album opens with “Age Of Anxiety I,” which has a dynamic build-up that does a terrific job of setting the table for the rest of the LP.
Winona Oak — “Jojo”
The Swedish pop up-and-comer told Uproxx of her new single, “My name is Johanna, but I’ve always been called Jojo. I wanted to write a song to myself. It’s one of those songs reflecting on the time that we live in, and feeling confused and lost, and not knowing where to put these big emotions.”
Toosii — “Keeper”
Love is a common topic in a Toosii song, which is fair given he recently announced his longtime girlfriend Samaria Davis is pregnant with their first child. So he’s back in his bag on “Keeper,” which Upoxx’s Wongo Okon describes as “a tender release that Toosii uses to celebrate and praise a woman he plans on spending a lifetime with.”
ASAP Rocky — “DMB”
With all due respect to ASAP Rocky, whenever Rihanna is involved in something, she’s going to go ahead and be the star. So, when Rocky dropped a video for “DMB” and Rihanna featured in it prominently, naturally, that’s where the focus went. Let’s acknowledge, though, that this is a solid single that sees Rocky adopt a compelling lyrical rhythm over a lush backing track.
Black Star — “OG”
A true Black Star (Yasiin Bey and Talib Kweli) reunion has been a long time coming, as the pair’s first and last album was 1998’s Mos Def & Talib Kweli Are Black Star. It’s no longer accurate to call it their “last” album, though, as they finally released their sophomore album, No Fear Of Time (exclusively on the Luminary podcast network). Uproxx’s Adisa Banjoko notes of the album, “Tracks like ‘OG’ and ‘The Main Thing Is To Keep The Main Thing The Main Thing’ absolutely slap… in that Madlib fuzzed up kind of way. And the lyrics? They’re both on point and a departure, in the sense that Kweli and Bey are different people now living vastly different lives. With that said, insights and hard bars abound.”
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
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