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As much as hip-hop collectively loves mentioning Nascar (mostly because it rhymes with a lot of things, especially “fast car”), there’s another form of racing sport about which most rappers seem frighteningly uninformed: Formula 1. Part of that has to do with the fact that it just hasn’t caught on here the way it has in Europe; this resulted in a hilarious case of culture clash this past weekend as Houston rapper Megan Thee Stallion visited the F1 US Grand Prix this weekend in neighboring Austin and the world discovered that the unawareness can go both ways.

As she strutted the track with her entourage, Megan was approached by Sky News reporter and former driver Martin Brundle for an interview but as the rapper seemed to be in hurry, things got off to a bad start. Brundle was very nearly pushed away by Meg’s massive bodyguard (an absolute unit, that one), then, when addressing her, he noted that she is a “freestyle rapper” and wondered whether she had any “rap on F1.” Bursting into laughter, Megan politely declined to rap for the reporter as she kept it moving and he was left in the dust.

For what it’s worth, the awkwardness was probably a result of the generation gap as much as anything, as the older British reporter was clearly trying to turn a phrase and show off his own witty wordplay, which they’re quite fond of across the pond. However, nobody has used the term “rap” to mean “discuss” or “chat” in at least forty years. Sometimes you can get a little too clever, especially when it comes to so many degrees of separation (old, white, British man, meet 20-something, Black woman from Houston). Of course, some folks gave their own impressions of the hilarious incident on Twitter:

Seriously, though, people should stop asking Megan Thee Stallion about sports. It should be very clear by now that she is a big nerd and should only ever be asked about anime, video games, and hottie sauce. Check out Uproxx’s interview with Megan Thee Stallion about her iconic Mileena cosplay for Mortal Kombat 11.

There’s never a bad time to be Timothée Chalamet (have you seen his cheekbones?!?), but it was an especially good time to be Timothée Chalamet this weekend. After lengthy delays, Dune and The French Dispatch were both released on Friday. The former is his first attempt at a blockbuster, while he’s part of an ensemble cast in the latter, but Chalamet is excellent in both films. And both films had big debuts at the box office.

Dune opened to $40.1 million the North American box office, which is “the biggest three-day tally for Warner Bros. since the company began its day-and-date strategy on HBO Max,” according to Variety. Denis Villeneuve’s adaptation of Frank Herbert’s science-fiction novel has earned another $180 million overseas, good for a $220 million global total. Wes Anderson’s The French Dispatch won’t cross the $200 million mark at the box office (it also didn’t cost $165 million to make), but it is a certified hit in limited release.

The Searchlight Pictures movie grossed $1.3 million from 52 cinemas in 14 U.S. markets, or $25,000 per location. The previous best three-day opening weekend average of the pandemic era belonged to Venom: Let There Be Carnage ($21,309) and, before that, Black Widow ($19,400).

The French Dispatch has a ridiculously stacked cast, including Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Jeffrey Wright, Bill Murray, and Owen Wilson, and it’s Anderson’s best film in a long time. But it would be better if Venom was in it. The French Dispatch is technically a Disney movie; there’s no reason he can’t be in the bathtub with Timmy. Maybe in the director’s cut.

As for Chalamet, he will next appear in Adam McKay’s Don’t Look Up, followed by (sigh) Wonka.

(Via Variety and the Hollywood Reporter)

This past weekend turned out to be a big one for fans behaving badly at arenas. The Brooklyn Nets’ home season opener was disrupted by anti-vaccine advocates, forcing the arena to be temporarily locked down when some of them tried to force their way inside. However, that somehow wasn’t the only incident of totally batsh*t behavior inspired by a cult-like figure at an arena, with another example taking place thousands of miles away in a completely different context on Saturday night.

As noted by HipHopDX and documented by a slew of fan videos, the Playboi Carti Narcissist Tour stop at Houston’s NRG Park was canceled after fans raged out outside the arena, pushing over metal detectors, throwing down barricades, and trying to force their way inside after waiting hours for the concert to begin. According to Click2Houston, the show was canceled without warning after fans waited hours in the rain. According to one fan, when Houston police were called to the scene, some fans even kicked the police horses (these people should be flogged to within an inch of their lives).

Another fan, quoted by Houston’s ABC affiliate, tried to explain the chaos. “It’s a really intense, aggressive album,” they said. “People came to the concert really amped up and ready to go crazy. Maybe the people at NRG weren’t prepared for that.” NRG Park released a statement as well, explaining that, “Last night in the interest of public safety and on the advice from the Houston Police Department, the Playboi Carti concert scheduled for NRG Arena was canceled. The safety of all guests, staff, and artists is our highest priority.”

There is still no official word on why the concert was canceled, nor has Carti himself responded, although his Sunday tweet of “Cult” could be considered an apt description of the events to follow. Check out more videos below.

Exhibiting all the poise and class of his father, Donald Trump Jr. is already selling T-shirts that shamelessly mock Alec Baldwin for the accidental shooting death that occurred on the set of Rust not even four days ago. Sometime in the past 24 hours, Don Jr. took to his Instagram Story to promote the shirt, which reads “Guns Don’t Kill People, Alec Baldwin Kills People” and is currently for sale on his official website for $27.99. Junior also tried to get ahead of the understandable backlash that’s about to ensue. Via The Daily Beast:

Donald Trump Jr. seemed to anticipate the completely justified criticism coming his way over his tacky merchandise sale, writing in a later Instagram post: “Screw all the sanctimony I’m seeing out there. If the shoe was on the other foot Alex Baldwin would literally be the first person pissing on everybody’s grave trying to make a point. Fuck him!”

You can see the shirt below, which is for sale on one of Don Jr.’s sites (and linked to his Instagram account):

Like many things Trump, the T-shirt is a low blow and fails to grapple with the reality of the situation. As the investigation into the shooting that left cinematographer Halyna Hutchins dead continues, Baldwin’s involvement is shaping up to be a tragic accident where several safety protocols failed to prevent him from firing a gun with a live round in it during a rehearsal. Most notably is the latest revelation that Baldwin was reportedly told by the assistant director that the gun was “cold” after he retrieved it from the armorer. A “cold gun” means it has no round in it, blank or otherwise.

However, the gun was not cold, and worse, it reportedly contained a live bullet, which should never have been the case. As for how that happened is the focus of the investigation, and Baldwin is fully cooperating with authorities.

(Via Donald Trump Jr.)

The Boys is known for relishing ultra-violence, and that’s putting it mildly. Heads have literally exploded on the show, both spontaneously and as part of sex act, with more expected to come from the third season premiere. The show never shies away from overdoing everything, and that includes taking aim at the fetishization of gun violence. Showrunner Eric Kripke has showed off a satirical ad (for an upcoming episode) that plays on Cyndi Lauper’s “Girls Just Want To Have Fun,” only it’s “Girls Just Want To Have Guns.” When it comes to actually using guns during the filming of episodes, however, Kripke is declaring that he’s drawing a line.

This announcement arrives after the fatal shooting of Halyna Hutchins on the set of Alec Baldwin’s Rust. All indications were that the film has seen a very troubled production, and given that this situation happened years after Hollywood aimed to take the issue more seriously (following Brandon Lee’s death after being hit by a blank during The Crow), clearly, something must be done. Kripke is taking action (The Boys‘ Soldier Boy actor Jensen Ackles, a longtime Kripke collaborator, also stars in Rust) by straight up vowing to ban “guns with blanks” on his sets. He’s calling this a simple, easy pledge: “We’ll use VFX muzzle flashes.” He added, “Who’s with me?”

Mare Of Easttown director Craig Zobel is with him. “There’s no reason to have guns loaded with blanks or anything on set anymore,” he tweeted. “Should just be fully outlawed. There’s computers now. The gunshots on Mare of Easttown are all digital. You can probably tell, but who cares? It’s an unnecessary risk.”

In addition, ABC’s The Rookie has banned live weapons on set, and on a related note, The Boys star Jack Quaid has reposted an Ackles Instagram entry, which asks people to donate money for a Halyna Hutchens scholarship fund.

It’s been about six decades since The Beatles established themselves as an international force, one that has maintained significant popularity even after all this time. Consequently, Paul McCartney is one of the most admired people in music history, and therefore, he gets asked for autographs a lot. Now there’s some bad news for signature seekers, though: McCartney is done signing autographs.

He recently explained his reasoning for that to Reader’s Digest (via Contact Music), saying, “It always struck me as a bit strange: ‘Here, can I write your name down on the back of this till receipt please?’ Why? We both know who I am.”

McCartney is also not huge on selfies, as he continued, “What you’ve usually got is a ropey photo with a poor backdrop and me looking a bit miserable. Let’s chat, let’s exchange stories.”

Around this time in 2008, McCartney’s Beatles bandmate Ringo Starr also took a stand against autographs. In a video, he warned his supporters that he would no longer be signing things sent to him in the mail, saying, “Nothing will be signed after the 20th of October! If that has a date on the envelope, it’s going to be tossed. I’m warning you with peace and love. I have too much to do, so no more fan mail! And no objects to be signed. Nothing! Anyway, peace and love, peace and love.”

Phoebe Bridgers‘ music wasn’t designed for big stages. Her voice is as intimate as can be, often breathy and hushed, its delicacy providing a foil for her often funny, sharp, and poignant lyrics. But, as two sold-out nights at the Greek in her hometown of Los Angeles can attest — as well as near-immediate sellouts at similar venues across the country — large venues are where she’ll find herself for the conceivable future. But when everyone is on your side, even the largest spaces can feel like a living room, with Bridgers’ devoted fanbase turning the Greek into a safe space for laughter, tears, and lots of singing on Thursday night.

It’s all a testament to what Bridgers has built over the last five years. These fans didn’t fall out of the sky, they have been drawn through a steady stream of both solo work and group offerings with Boygenius and Better Oblivion Community Center. The worldview she shares, both in her music and on her very active — and very good — social media platforms, advocates for decency and goodness in the music biz, as well as in the world at large. It’s the kind of stuff that’s contagious, and surrounded by more than 6000 like-minded people can feel almost intoxicating. When Bridgers looks out into the crowd and sees fans shouting back her words, you can tell that the majesty of the experience is still not lost on her. She can’t hide her smiles — you can tell she’s as blown away as the audience.

As a concert, Phoebe Bridgers is more than just doing justice to her pair of great albums, Stranger In The Alps and Punisher. She’s presenting them in a fully realized state, with a robust backing band that can often expand on her spare album arrangements. Her most full-band-sounding work, be it “Motion Sickness” or “ICU” or “Kyoto,” thrives under such conditions, but even a more gentle tune like “Graceland Too” can feel like its unlocking new dimensions in its widescreen glory. In short, Bridgers is easily slotting into a tradition of indie greats that came before her, that moved to big rooms with comfort. The sturdiness of her songwriting is holding up to the new challenges.

But the lasting emotions that come from seeing Phoebe Bridgers at this moment aren’t really about the performance or the songs or even Bridgers. It’s the community she’s cultivated. Certainly, her fans are not a monolith and range from grandparents to children, but it’s hard not to notice the young women who flocked to the show. Many came in groups, dressed in their own skeleton costumes or Bridgers’ distinct fashion sensibilities, with the wide-eyed wonder of a five-year-old on their first trip to Disneyland. The merch lines were massive and joyous, masks were worn proudly and respectfully, the eventual Black Eyed Peas entrance music cueing thousands to acknowledge how good of a night they were all about to have. I was reminded of similar young fanbases that I’d witness absolutely losing their shit at Lorde and BTS shows over the last several years, where you’d almost feel like an outsider — if they weren’t so damn welcoming — and if their enthusiasm wasn’t so inspiring.

Go to enough shows over enough years and it’s easy to understand how special the Phoebe Bridgers fanbase is. It’s not common to feel such support and positivity, so much so that it rubs off on you, that your faith in the world can be boosted, if at least temporarily. Gestures like shining your phone light in the air or clapping along to the beat or screaming the conclusion of “I Know The End” feel like no one else had ever thought to do that at a concert — like you’re witnessing the invention of the wheel in real-time. Often, observing the reaction to the music was as captivating as the music itself, like when “I Know The End” begins its tempo shift and groups of young fans started locking arms and sharing knowing, beaming grins in the anticipation of the grande finale.

The next night, I was driving through Los Feliz when Bridgers’ second Greek show was getting out, and the streets were crawling with teenagers in skeleton costumes. It was undoubtedly frightening to those not in-the-know, but for those that got it, it was a quick reminder of how bright the future can be, of what good hands we’re in with Phoebe Bridgers leading the charge.

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 Lana Del Rey keep her momentum going with a quick new album turnarond and The Weeknd’s long-awaited Swedish House Mafia collaboration. Yeah, it was a great week for new music. Check out the highlights below.

For more music recommendations, check out our Listen To This section, as well as our Indie Mixtape and Pop Life newsletters.

The Weeknd and Swedish House Mafia — “Moth To A Flame”

Last month, Swedish House Mafia and The Weeknd included a new snippet of The Weeknd vocals in their VMAs set that set speculation ablaze. The two quickly all-but-confirmed a collaboration was on the way, eventually setting it in stone. Now, “Moth To A Flame” is out, and it’s a thumping electronic number that builds nicely off The Weeknd’s After Hours era.

Lana Del Rey — “Blue Banisters”

So far, 2021 has offered a Lana Del Rey for almost all seasons. In March, she dropped Chemtrails Over The Country Club, and last week, she made a rapid return with Blue Banisters. A few days ahead of the album, she dropped the video for its title track, which supports the characteristically vivid imagery of the song.

Elton John, Young Thug, and Nicki Minaj — “Always Love You”

During the early pandemic, a lot of artists found their way through by hunkering down and get to work. That includes Elton John, who, based on how much collaborating he did, found solace in company. In fact, he linked up with so many artists that he got a whole album, The Lockdown Sessions, out of it. The album’s out now, and he worked with folks from multiple genres, including a pair of hip-hop’s finest on “Always Love You.”

Wale — “Light Years” Feat. Rick Ross

In a recent Uproxx cover story, Wale said of his new album Folarin II, “I feel like the process on this one was pretty much, as soon as I got into the mode, it just started feeling like, ‘You know what? Where I am, how I feel, how I know who I am, regardless of what anybody’s talking about,’ it started just speaking to me more. I was like, ‘This is Folarin II.’ Folarin is when I started really coming into my own. I really was in that space. I was just singing with my chest. I think that’s what’s happening now. […] Folarin II is its own thing, but it’s just the same intentions and the same feeling that I had when I made Folarin.”

Big Sean and Hit-Boy — “What A Life”

Big Sean got a big assist on his 2020 album Detroit 2 from Hit-Boy, as Hit-Boy served as executive producer of the effort. Last week, the pair reunited on “What A Life,” which Uproxx’s Wongo Okon notes “finds the Detroit rapper reflecting on his best moments and the hardships he got through over a quick-paced beat supplied by Hit-Boy.”

Khalid — “Present”

This summer, Khalid admitted that he is having a rough time working on his next album. Still, he has given fans plenty of advance singles to enjoy while he wraps things up, the latest being “Present.” While the track is a gift, the title is more about the singer making a conscious effort to give a special somebody his full attention.

Sean Paul and Sia — “Dynamite”

“Cheap Thrills” was a huge collab for Sia and Sean Paul, as the 2016 single gave Sia her first No. 1 song and Paul his first in a while. Now, the pair is hoping for more magic as they reunite on a new single, “Dynamite.” Of the song, Uproxx’s Adrian Spinelli notes, “It’s the kind of song that no matter where you’re listening to it, you might as well be transporting yourself to a beachside discotheque.”

Coldplay and BTS — “My Universe (Suga’s Remix)”

Coldplay and BTS’ hit collaboration “My Universe” didn’t need any help, but BTS’ Suga remixed the track and managed to add something to it. While Music Of The Spheres as a whole sees Coldplay really embracing a pop sound. Suga’s re-work of the song takes things even further in that direction with subtle but noticeable tweaks.

Jack White — “Taking Me Back”

Jack White is famously old-fashioned, but he’s been full of surprises in recent days: He’s into NFTs and he’s sporting blue hair now, for example. Another surprise came last week: His first new single since 2018. The song, “Taking Me Back,” was premiered in a new trailer for Call Of Duty: Vanguard, and as for the track, it’s not too far outside of White’s rocking wheelhouse.

Majid Jordan — “Forget About The Party”

Majid Jordan are trying things with their latest batch of music, which is extremely evident on the acoustic “Forget About The Party.” The duo’s Jordan Ullman recently told Uproxx the song is “at the center of who we are as musicians” before continuing, “I think it makes people remind themselves of a time in their lives. Anytime I listen to that, it really makes me go into a world of myself and memories.”

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

Swedish singer Snoh Aalegra continues the rollout for her third studio album Temporary Highs In The Violet Skies with its third music video, tapping Tyler The Creator to appear in a fun, throwback clip for “Neon Peach.” Playing around with uptempo pop, the song encourages the listener to let go of the past and move on from a prior, stalled relationship. In the video, Snoh and Tyler perform in surreal scenes, including a bizarre science lab and a western tableau, and perform in front of a white backdrop with a throwback fish-eye lens effect.

In addition to helping Snoh Aalegra promote her new album, Tyler The Creator’s busy year has included some big wins, including being given the Rock The Bells Cultural Influence Award at the 2021 BET Awards, appearing on Maxo Kream’s new album (on the single “Big Persona“), announcing his Call Me If You Get Lost tour with Vince Staples and Kali Uchis, and directing a new commercial for Converse with some of his favorite artists and entertainers. His own new album, Call Me If You Get Lost, became his second No.1-charting album, as well.

Watch Snoh Aalegra’s “Neon Peach” video featuring Tyler The Creator above.

Temporary Highs In The Violet Skies is out now via Atrium Recordings/Roc Nation Records. Get it here.

Cinematographer Halyna Hutchins was fatally struck by a bullet from a prop gun fired by Alec Baldwin on the set of the Western movie Rust. In the days since the incident, we have a clearer sense of how the tragedy happened — and how it could have been avoided.

In the hours before the shooting, many crew members walked off the set in protest of terrible working conditions, including “long hours, long commutes, and waiting for their paychecks” and numerous accidental prop gun discharges. A search warrant obtained by the Los Angeles Times also revealed how the gun came into Baldwin’s possession.

[Director Joel] Souza said three people were handling the gun for the scene: armorer Hannah Gutierrez Reed, then assistant director Dave Halls, who handed the gun to Baldwin, the affidavit said. Halls had taken one of three prop guns set up by Gutierrez Reed on a cart left outside the structure because of COVID-19 restrictions, the affidavit said. Halls did not know live rounds were in the gun when he handed it to Baldwin, and Halls yelled “cold gun,” according to the affidavit.

“Cold gun” is an on-set term intended to indicate that the weapon did not have any live rounds, but “as far as [Souza] knows, no one gets checked for live ammunition on their person prior and after the scenes are being filmed,” the affidavit read. “The only thing checked are the firearms to avoid live ammunition being in them.”

Following a lunch break, the crew and cast returned to set, and as Baldwin was explaining how he was going to draw his gun (which may have “previously been used by crew members for target practice off-set, using real bullets”) and “where his arm would be when he pulled the gun from the holster, it discharged,” according to the Times.

Souza was shot in the shoulder, Hutchins in the chest. She was pronounced dead at the University of New Mexico Hospital.

(Via the Los Angeles Times)