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Donald Trump Jr. wants to be the next tech billionaire. And his plan to do just that isn’t by attempting to become the next Google or Apple, or even the next Facebook or Twitter—as his father has so desperately wanted with TRUTH Social (where he has posted exactly once). Nope, Junior wants to become the next… Matt Drudge?

Unless you watched Impeachment, the latest season of American Crime Story, you’re probably thinking: “Wait, who is Matt Drudge again?” He’s basically a blogger whose name became front-page news in the 1990s for breaking the news that Bill Clinton had engaged in a scandalous affair with a White House intern. Some additional scoops followed, but Drudge’s relevance in today’s 24/7 news and social media-led world is waning, and Junior’s hoping to swoop in and scavenge what’s leftover.

As Axios reports, his plan is to create a news aggregation app that mobile users in particular can keep handy to keep up with what’s happening in the news (or at least what they determine to be “news”). Called MxM News (for Minute-by-Minute), Axios writes that the company “is looking to disrupt the mobile news space similar to how Drudge disrupted web publishing and Fox News disrupted cable television in the 1990s.”

Wow—those are two terrible outlets to want to emulate, but to each his own.

Whether or not Junior fails, it’s hard to imagine that MxM News could be as abject a failure as TRUTH Social, the long-threatened social media network that Trump the Elder created and has attempted to launch on a few different occasions now, with each attempt seemingly more disastrous than the time before. It’s gotten so bad that not even the former president, who was permanently banned from Twitter more than a year ago over his role in the January 6th attacks on the Capitol, isn’t even using his own site anymore. Add TRUTH Social the very, very long list of failed Trump businesses—and maybe keep a space open for MxM News while you’re at it, just in case.

(Via Axios)

Tucker Carlson is back on his bullsh*t. It was less than three weeks ago, following President Joe Biden’s announcement that he had chosen Ketanji Brown Jackson to replace U.S. Supreme Court Associate Justice Stephen Breyer, whom Jackson had previously clerked for. Almost immediately, Carlson began asking questions about whether Jackson was actually qualified for the job, and demanded that the public be made privy to her LSAT scores.

Those scores were never shared, and while Jackson is in the thick of her confirmation hearings—hearings that have given viewers an even deeper insight into the rampant racism, and sexism, that runs wild through the halls of the Senate. When she wasn’t watching Lindsey Graham storm out of the hearing in a huff, Jackson was being asked to define what a “woman” is by Marsha Blackburn and whether babies are “racist” by total joke of a human being Ted Cruz. And she took it all in stride, which should tell us something about her temperament. Tet, on Tuesday night, Carlson was still demanding to see the results of Jackson’s LSATs—a test she would have taken 30 years ago, and clearly did well enough on to be accepted into Harvard Law School, where she was a supervising editor on the Harvard Law Review. But nope, none of that is good enough for Tucker!

“[Joe] Biden, sounding a touch defensive, has described Ketanji Brown Jackson as one of this country’s great legal minds. And we certainly want to believe that, for real, given that she’s going to probably be confirmed no matter what we think. The question is: Is it true? Is she really one of this country’s great legal minds? One way to know, one indication, would be her LSAT scores. The LSAT is not a knowledge test, it measures logic and reasoning ability, and no one doubts it’s an accurate measure of those things, which predict legal skills. And that’s why law schools have long used that test.

“So how did Ketanji Brown Jackson do on the LSATs? Sorry, you’re not allowed to ask. Because asking is racism.”

Well, yeah, it is. At least it is in Carlson’s case, as he’s suggesting that we don’t know Jackson’s LSAT scores because she has something to hide. But, as Ross A. Lincoln writes for The Wrap, “We don’t know the LSAT of any practicing attorney or judge, unless they choose to disclose it. That’s because LSAT results aren’t made public. The LSAT—the Law School Admissions Test—is only required to get into law school. It has no other impact on whether someone gets to become a lawyer. That will… depend on grades, class standing, and of course, passing the bar.”

Why else is it kind of racist when it’s Carlson asking the question? Well, because between 2017 and 2020, Donald Trump appointed three people to the Supreme Court—Neil Gorsuch, Brett Kavanaugh (who was accused of sexual assault, shouted throughout his hearing, and won the nomination anyway), and Amy Coney Barrett—and not once did Carlson think it was important that we know their LSAT scores (which would be the equivalent of an employer asking you for your SAT scores as a condition of employment, even when you have nearly 30 years of experience).

So, yes, Tucker: When you only seem to question the law school admission test score of the first Black woman nominated to the Supreme Court while blatantly ignoring her virtually sterling academic record, that is probably racist.

(Via The Wrap)

The days of “borrowing” your parents’ Netflix account might be coming to an end.

The streaming service is testing a feature that will make primary account subscribers pay a fee if they want to allow additional, outside-the-residence users to access the account. As Variety reports, “Customers will be able to add up to two Extra Member accounts for about $2-$3/month each, on top of their regular monthly fee.” The password-sharing crackdown test will be launched in Chile, Costa Rica and Peru, followed by a global rollout. If everything goes as Netflix hopes, the new feature will bring in an additional $1.6 billion in annual revenue.

According to estimates by Cowen & Co. analysts, if Netflix rolls the program out globally it could add an incremental $1.6 billion in global revenue annually, or about 4% upside to the firm’s 2023 revenue projection of $38.8 billion. The firm’s estimate assumes that about half of non-paying Netflix password-sharing households will become paying members; further, the model predicts that of those, about half will opt to sign up for their own paid account.

With an extra $1.6 billion lying around, maybe Netflix (which hasn’t ruled out ad-supported plans, either) can bring back The Baby-Sitters Club? Instead, it will probably go to funding 17 more Ryan Murphy shows.

(Via Variety)

When Rosalía entered mainstream consciousness upon the November 2018 release of her second album, El Mal Querer, she was hardly a known commodity outside of Spain and the region of Catalonia that she’s originally from. Her breakthrough album was essentially made on a shoestring at co-producer El Guincho’s Barcelona apartment and was Rosalía’s effort to illuminate to the world the sounds of flamenco, wrapped in a pop music bow. She has always been audacious and what began as her final project at the Catalonia School of Music soon went on to win the Latin Grammy Award for Album of the Year.

Now in 2022, audacity still very much defines Rosalía, a breed of popstar with a uniquely global approach to her music that we’ve hardly ever seen before. Motomami sees her pushing beyond the borders of her native Spain and venturing into the prevalent Spanish language music styles of the planet — particularly reggaeton — to create a world-sweeping sound and establish her as one of today’s boldest artists.

“In these last three years, I’ve wanted to focus my energy on giving this album a sense of risk and excitement… everything on this record was made from scratch,” Rosalía told Rolling Stone en Español. Rosalía executive produced all of Motomami while working with a core production team including Michael Ozuwuru, Frank Dukes, Tainy, Noah Goldstein, El Guincho, Dylan Wiggins, and multiple looks from Pharrell Williams. But don’t get it twisted, Motomami is entirely her own vision and aesthetic. Its title is an interplay of “moto” meaning strong and the diminutive “mami,” referring to women in Latin cultures — resulting in what she calls “a self-portrait of a feminine figure building herself.”

But for a Spaniard to enact reggaeton the right way, Rosalía had to go straight to the source. She set up camp in Miami in 2020 and soon traveled to Puerto Rico for the first time. There, she got in the studio with Urbano music titans like Rauw Alejandro and Lunay, recorded a remix of Sech’s “Relaçion” with Daddy Yankee, J Balvin, and Farruko, and appeared on Bad Bunny’s smash hit “La Noche De Anoche” — which they performed together on Saturday Night Live in March of 2021. Co-signs? Check.

Rosalía begins Motomami with “Saoko,” a nod to Daddy Yankee and Wisin’s 2004 reggaeton slap, “Saoco.” As she drops a vocal sample from the original on the track, she flips it all on its head into a furiously transformed thump. With reggaeton drums ever-present, she distorts a piano and is at her most vocally forwardly aggressive singing, “Me contradigo, yo me transformo. Soy to’a’ las cosa’, yo me transformo!” (Translation: “I contradict myself, I transform. I am all of the things, I transform.”) She said in a statement that the song is about “…celebrating that you are always yourself even though you are in constant transformation or even that you are you more than ever at the very moment you are changing.” It’s a powerful thesis that she establishes from the jump and each of the next fifteen steps from there is a different kind of thrill.

“Chicken Teriyaki,” is pure braggadocio with a catchy hook forged on a play on words. “El Delirio de la Grandeza” feels like digging through a vintage record collection, only to uncover the masterful late ’60s Caribbean salsa of Justo Betancourt. “Como Un G” is a gorgeous love song about cavernous desire and emotions. Her vocals are perfectly auto-tuned on “La Combi Versace,” one of Pharrell’s two production contributions to the album and featuring Dominican rapper on the rise, Tokischa. Everything seems to look towards the future, but with a respectfully placed foot in the past at every turn.

“La Fama” is perhaps the best expression of past and present, a bachata with flamenco pop panache and South Beach sensibility. Rosalía even corrals The Weeknd on the track to sing in Spanish for the first time in a sultry duet. She said when the single was released, that it was “taking as a reference the lyrics of Ruben Blades or Patti Smith and the songs of [Dominican-American group] Aventura.”

Rosalía’s trip through Latin America continues on “CUUUUuuuuuute,” which begins with drums straight out of a Brazilian Carnaval procession, nestled alongside a single electronic bass hit. It unfurls into a piano ballad showcasing her staccato at its absolute finest before her voice morphs into the beat of the drums, but now with a wholly electronic spin. It’s a dizzying exercise, teeming with palpable excitement for the sounds of the world that will surely rub off on anyone within an earshot.

Shortly before Motomami came out, Rosalía appeared on The Tonight Show. Typically, an artist like her would be performing a song, but instead, this was a sit-down conversation with host Jimmy Fallon. She was incredibly personable, teaching Fallon how to roll the “R” on her name, explaining the concept behind “Motomami energy,” sharing a funny story about texting with Harry Styles, and then a clip of her creating the beat for “Saoko.” Her diamond smiley piercing flickered as she radiated the entire time and it was a glimpse at what the modern mega pop star looks like: Insurmountably talented, culturally diverse, and with her sights set on continuing to explore the extraordinary power of all forms of Latin music from around the world.

Motomami is out now via Columbia Records. Get it here.

In a new track from Lykke Li, the Swedish singer longs for an ex-lover. “No Hotel” features Li singing, accompanied with nothing but a guitar. The minimalistic composition makes her crestfallen vocals all the more haunting.

“No Hotel” marks Li’s first taste of new material in two years. In 2020, she released a song called “Bron,” written and performed entirely in Swedish. She also share a cover of Gloria Gaynor’s “I Will Survive” and collaborated with Duran Duran on their 2021 album, Future Past. But until today, we hadn’t heard much from Li, in terms of new original material, since.

From the beginning of the song, Li is straightforward about missing her ex-lover. “There’s no hotel, no cigarettes, and you’re still in love with someone else,” she sings. By the song’s second verse she admits, “with every step, I’m not over you.”

“No Hotel” precedes Li’s upcoming album, Eyeye. Not much is known about the album, in a 2018 interview with The Fader, in tandem with the release of her last album, So Sad So Sexy, Li expressed her desire to not “take so long to work.” She said, “Now I really want to get into the consciousness of working and putting sh*t out and, like, making something in the moment and letting it go.”

Check out “No Hotel” above.

Eyeye is out 5/20 via Play It Again Sam/Crush Music. Pre-save it here.

Ana de Armas’ upcoming Marilyn Monroe biopic Blonde will get a controversial NC-17 rating, the first for a Netflix original film. The rating is due to “some sexual content.”

Blonde has been on the back burner for some time after production was completed in 2019. After countless delays, Netflix finally picked up the movie, and it will be the first of their original film to get that NC-17 stamp, though the streaming service does have a select few international titles with the rating.

The film stars Ana de Armas as the iconic Hollywood icon Marilyn Monroe. Directed by Andrew Dominik, the movie allegedly goes in-depth on the actress’s life, though the work is intended to be a fictional account. Dominik told ScreenDaily that the film was “demanding” but it had to be NC-17. “It’s an NC-17 movie about Marilyn Monroe, it’s kind of what you want, right? I want to go and see the NC-17 version of the Marilyn Monroe story.” He added, “It’s a demanding film. If the audience doesn’t like it, that’s the f***ing audience’s problem.”

As anyone who has forced an older sibling to bring them to a horror movie at some point in their lives knows, an “R” rating means you need a parent or guardian accompaniment, and NC-17 means nobody under the age of 17 can be admitted. In the age of streaming, though, it’s very hard to enforce those rules, as there is no way for Netflix to know who is actually on the account. So there will probably be a lot of kids logging on to their parent’s accounts to watch it, as long as they haven’t changed the password.

Either way, dirty movies are having a moment right now, so we might as well get used to it! Blonde currently does not have an expected release date.

Seán “Jacksepticeye” McLoughlin has 28.1 million subscribers on YouTube, is one of the most recognizable faces on the website, and spends much of his time playing video games. One thing in which he takes great pride is his charity work, like the charity drive supporting New Story in 2021 that raised $5,399,105. McLoughlin doesn’t just want to raise money, though — he wants to get his entire community to take part.

He’s largely done this with the help of an organization called Tiltify, which lets anyone who wants to make a charity drive get a site that’s already partnered with the organizations themselves. This allows events like McLoughlin’s Thanksmas to become a huge yearly money-raising event. Recently, Uproxx got to talk to McLoughlin about his charity work, Thankmas, and getting a community active.

When did you start doing charity streams?

I’ve been a part of live streams in the past where people have been raising money and I’ve always kind of been fascinated by it and I’ve seen other YouTubers do it before me. And I don’t know, I kept trying to think that I need to get into it, I need to do it, I wanted to help out. I wanted to get involved and I kept having this sort of big mental barrier in my head thinking that it was much harder to do. Because whenever people would do live streams, they would always talk about talking to the charity and organizing stuff. And I thought, “Oh man, that’s a lot of organizational work that I’m terrible at.” But when I got in touch with Tiltify they made it super easy and made it really, really straightforward, and a bunch of the charities we wanted to work with initially were already on Tiltify. It just made it so easy to plug into and go. So then kind of like 2018-ish, we started really hitting the charity live streams.

It’s always really interesting that these charity drives so often involve the gaming community, too, because it’s one of those things where — and I play tons of video games myself — but it’s impossible not to see some of the more negative labels that get attached to those communities. And then you have these events and there are amazing people in these communities that are willing to give so much to help people.

Yeah, it’s the same with any community, the bad stuff always gets highlighted anywhere you go and that’s sensationalism in a nutshell. But I think the root of people who like video games is just people who want to play games together. It’s such a tight-knit community, especially these days with so many multiplayer games that people can do. I think that idea of sitting down and playing a game with your friend on the couch was always a really big thing when I was younger, and I think now it’s even bigger because you can do it with people all across the world. It’s that sort of open connection now, with everybody, especially with YouTube becoming a thing and audiences having access to creators and vice versa. And you can interact with each other on a more personal level.

I think it’s amplified it all in such a positive way. It’s made things so much bigger and so much more accessible to do and everybody can have a voice on the internet now, whether good, bad, or indifferent. So, I think when you use that in a positive way, it tends to attract a lot of people who want to do good already, but feel like they don’t have a voice themselves. Then people flock to creators to be like, okay, you lead the ship and I’ll be on board and I’ll do whatever you need me to do.

So, what are some of your favorite moments from one of your events so far?

Man, I think the Thankmas ones have always been … they’ve just been getting bigger and bigger, and the one we did in December for New Story was not only the biggest one we’ve ever done, it’s one of the biggest charity fundraisers from a creator ever or from a single stream, and that just absolutely blew my mind. I couldn’t believe that because we were hitting so many milestones personally that we had never hit before and it was so wonderful to see the community come together. But to see it go even crazier, way beyond what I thought it would, seeing people’s faces and people’s reactions online, seeing the families that the houses were going to be built for, and the communities and everything. It’s always there, the human aspect behind it. All that warms my heart and makes you want to do it more and more. It’s so wonderful to just see how much a difference it can actually make.

What’s it like seeing other streamers trying to use their own platforms for good and similar ways?

I think it’s awesome. I’m always trying to encourage people to do it over and over again. That’s why we focus Thankmas now on putting power into the creator’s hands to be able to do it however they want, because I was trying for the longest time to just encourage people to do charity streams. Anytime anybody asks me, I tell them it’s way easier than you think to just jump in and have fun with it, because there’s no guidebook for it. There’s no rulebook or goal you’re supposed to hit or anything like that. It’s about whatever you want to do, you can do.

And then, we saw that we could enable that with Thankmas, and Tiltify made it so easy. Just make a website and then everybody just goes there and creates their own unique links. It’s one thing to do a stream, but to ask everybody to show up and come to it is a hard ask because people are busy, people have their own thing going on, or they’d rather do their own stream instead of coming to yours. There’s a ton of emotional politics involved in it, but if we create an event that has a good cause behind it and people believe in it, then you can just give the power over to them, and then they can do the stream however they want and make it their own thing, and it doesn’t even have to involve me. And I think that that’s sort of been the saving grace for Thankmas over the last couple of years, because it just gets more people involved.

Netflix darn well knows that spring has sprung, and they’re also springing back into action with the return of some wildly popular series. The return of Ozark for a final batch of Ruth Langmore’s rage (and Byrde family comeuppance) ride at the top of this month’s crop, but there are many more offerings, including some high-profile highlights. For example, have you caught up on Better Call Saul? Well, Season 5 is coming to this streaming service ahead of Season 6’s arrival on AMC. Fingers crossed for Kim Wexler.

In addition, Natasha Lyonne’s anti-fabulous Russian Doll is returning with more universe f*ckery, and there’s a guilty pleasure of a metal-loving D.B. Weiss/Tom Morello team-up coming your way, too. If you’re looking for some archive content to binge hard, the Blade trilogy and Sherlock Holmes movies are incoming, and if you’re a Dawson’s Creek fan, that’s fleeing the ether soon, so you’ve only got a few more weeks to re-live that one.

Here’s everything coming to (and leaving) Netflix in April.

Ozark: Season 4 Part 2 (Netflix series streaming 4/29)

Alright, one thing is certain: this season is gonna be violent and probably not end well for the Byrde family, who only wanna flee from their money-laundering adventures and go back to their cushy Chicago lives. Is that even possible at this point? Only these last episodes will tell that tale, and Ruth is hellaciously angry about losing almost everything in the world. She’s the centerpiece of the above teaser, and we’ll see if she can finally rise above that “cursed Langmore” status that she keeps clinging onto. There’s more cursed cookie jar, too, so we’ll see if she can rise above those ashes. She doesn’t seem too afraid to die, but please, don’t let that happen to her.

Better Call Saul: Season 5 (AMC series streaming 4/4)

Another character that cannot die, or the fans will rage: Kim Wexler. The anxiety for her runs high going into the final season (coming to AMC on 4/18) as the spinoff grows ever closer to the Breaking Bad timeline. And since she never surfaces in that flagship series, things feel very ominous, also because those finger guns and Saul Goodmanification do not bode well for her. But maybe she’ll show up in a Cinnabon scene. One can hope!

Russian Doll: Season 2 (Netflix series streaming 4/20)

Say it with me: what a concept. The close to perfect first season presented quite a dilemma, which is how to follow up the debut while believably upping Nadia and Charlie’s respective ongoing plights. Also, Charlie’s got quite a mustache now, and Annie Murphy has joined the cast while one of the show’s new YouTube revealed taglines is “The universe is back on its bulls@%t.” This season, there’s a time portal and hauntings from the past and, uh oh, more stairs.

Metal Lords (Netflix film streaming 4/8)

Game Of Thrones HBO co-creator D.B. Weiss wrote this little ditty while teaming up with Rage Against The Machine axeman Tom Morello as a love letter to the metal genre. The story revolves around two high-schoolers who seek the ultimate glory and win contests and be gods, and so on. Unfortunately, it’s hard to find a bassist when Black Sabbath isn’t as popular with the kids as Justin Bieber is. The struggle is real.

David Spade: Nothing Personal (Netflix comedy special streaming 4/26)

Netflix has slowly but surely been rebuilding up a stash of fresh comedy specials after the pandemic largely shut things down. Dave Chappelle will be back, of course, but for now, David Spade is making his Netflix comedy-special debut with a set featuring a multitude of rant topics. That includes, uh, crabs and how he tells people “no thanks” to drugs. Hmm.

Avail. TBA
Hold Tight
The Taming of The Shrew

Avail. 4/1
A Cinderella Story
Abby Hatcher: Season 2
Any Given Sunday
Apollo 10 1/2: A Space Age Childhood
Argo
Battle: Freestyle
Blade
Blade II
Blade: Trinity
The Blind Side
Blow
Bonnie and Clyde (1967)
The Bubble
Captain Nova
Catch and Release
Celeb Five: Behind the Curtain
CoComelon: Season 5
Delta Farce
Eagle Eye
Forever Out of My League
Four Brothers
Full Metal Jacket
Get Organized with The Home Edit: Season 2
Grown Ups
Heartland Season 14
Her
How to Train Your Dragon
Inception
Love Actually
Molly’s Game
Monster-in-Law
New York Minute
The Nut Job
Polly Pocket: Season 4: Part 1: Summer of Fun
Puss in Boots
The Rental
The Ring
Rumor Has It…
Saving Private Ryan
Sherlock Holmes
Sherlock Holmes: A Game of Shadows
Shrek Forever After
Something’s Gotta Give
The Last Bus
Tomorrow
Trivia Quest
We The Animals

Avail. 4/4
Better Call Saul: Season 5

Avail. 4/5
Ronny Chieng: Speakeasy

Avail. 4/6
Furioza
Green Mothers’ Club
Jimmy Savile: A British Horror Story
Michela Giraud: the Truth, I Swear!
The Ultimatum: Marry or Move On

Avail. 4/7
Queen of the South: Season 5
Return to Space
Senzo: Murder of a Soccer Star

Avail. 4/8
Barbie It Takes Two: Season 1
Dancing on Glass
Dirty Lines
Elite: Season 5
Green Eggs and Ham: Season 2
Metal Lords
Tiger & Bunny 2
Yaksha: Ruthless Operations

Avail. 4/9
My Liberation Notes
Our Blues

Avail. 4/10
The Call
Nightcrawler

Avail. 4/12
Hard Cell
The Creature Cases

Avail. 4/13
Almost Happy: Season 2
Our Great National Parks
Smother-in-Law
Today We Fix the World
The Ultimatum: Marry or Move On

Avail. 4/14
Ultraman: Season 2

Avail. 4/15
Anatomy of a Scandal
Choose or Die
Mai
One Piece Film Z
Strawberry Shortcake Berry in the Big City: Season 1

Avail. 4/16
LEGO Friends: Girls on a Mission: Seasons 1-4
Man of God
Ouija: Origin of Evil
Van Helsing: Season 5

Avail. 4/19
Battle Kitty
Pacific Rim: The Black: Season 2
White Hot: The Rise & Fall of Abercrombie & Fitch

Avail. 4/20
The Marked Heart
Russian Doll: Season 2
The Turning Point
Yakamoz S-245

Avail. 4/21
All About Gila
He’s Expecting

Avail. 4/22
Along for the Ride
Heartstopper
Selling Sunset: Season 5
The Seven Lives of Lea

Avail. 4/25
Big Eyes

Avail. 4/26
David Spade: Nothing Personal

Avail. 4/27
Bullsh*t The Game Show
The Mystery of Marilyn Monroe: The Unheard Tapes
Silverton Siege

Avail. 4/28
Bubble

Avail. 4/29
Grace and Frankie: Season 7 – The Final Episodes
Honeymoon with My Mother
Ozark: Season 4 Part 2
Rumspringa
YOUTH v GOV

Leaving 4/1
Star Trek: The Next Generation: Seasons 1-7

Leaving 4/2
Truth or Dare

Leaving 4/4
The Killing of a Sacred Deer

Leaving 4/5
The Florida Project

Leaving 4/8
House of the Witch

Leaving 4/15
About Time

Leaving 4/18
Miss Sloane

Leaving 4/24
King Arthur: Legend of the Sword

Leaving 4/25
The Artist

Leaving 4/26
August: Osage County

Leaving 4/29
El señor de los Cielos: Seasons 1-7
Hostel

Leaving 4/30
Dawson’s Creek: Seasons 1-6
Dear John
First Knight
Léon: The Professional
Moneyball
Snakes on a Plane
Snatch
Stripes
Superman Returns
The Shawshank Redemption
The Town

Young Thug‘s YSL Records artist T-Shyne drops his debut album Confetti Nights in two weeks, on April 1, but first, the New York rapper has shared the tracklist for the Kevin Durant-produced project. Coming in at 15 tracks, the album might be something of a departure for YSL Records, which is made up primarily of Thugger’s fellow ATLiens, but it manages to stay relatively close to home with its impressive guest list. Features on the album include 6lack, Dougie F, Gunna, JID, Meek Mill, Nav, Swae Lee, and of course Young Thug.

Of the 15 songs, five have been previously released: “Top 5,” “Feed The Fam,” “30 For 30,” “That Go! (which he previously performed on UPROXX Sessions),” and “Sugar Water” featuring Young Thug. Naturally, as T-Shyne’s benefactor, Thugger appears on the album three times, on “Fighting Demons,” “That Go!” and “Sugar Water.”

In a recent interview with AllHipHop, T-Shyne broke down the album’s concept, saying, “It’s that championship mentality. That feeling, that Mamba mentality. The story of Confetti Nights goes from a rookie going through the seasons. At first, he might not get no playing time. Eventually, you start doing your thing and then go on to win championships. The image I originally wanted for the cover was this picture of Kobe, it’s him with his hands up and all the confetti falling down. Rest in peace, Kobe.”

Confetti Nights is due 4/1 via YSL Records and 300 Entertainment.

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

Last month, Spoon reached a big career milestone by releasing their tenth album, Lucifer On The Sofa. The Texas favorites apparently saw a lot of potential for diversity with one of the album’s songs, the 2021 single “Wild,” as today, they’ve dropped the Wild EP, which features four versions of the song.

Aside from the original album version, a highlight is “Jack Wild,” a new version of the track produced by Jack Antonoff (who actually co-wrote the original song). Antonoff’s version of the song is a bit lighter than the more rocking album version. The percussion is less aggressive and the guitars are given less prominence in the mix, giving the song a more open feel overall.

Then there’s “Trashy Wild,” which goes in the opposite direction of Antonoff’s remix by amping up the rock elements. Also contributing to the EP is Dennis Bovell, a long-standing and revered figure in the dub and reggae community. His version of “Wild” gives the rhythm more prominence and adds texture via coyote howls and other noises.

Spoon’s Brit Daniel previously spoke about writing the song with Antonoff, telling Apple Music:

“Jack and I got together years ago. I feel like we worked on two songs — this one and ‘Can I Sit Next To You’, but nothing really happened with that. I don’t know how exactly to describe his signature other than there’s something about the chord changes that are a little more epic than usual. When you work with other people, you recognize how, when you’re writing on your own, you get locked into certain patterns. Even when you’re coming up with a brand new song, its new chords and its new changes and everything, there are certain patterns that just exist in your mind. So, when you work with other people, it’s so much easier to break out of those patterns. We just kind of got brought together — someone suggested we would enjoy writing together and I sure did.”

Stream Wild EP above.