Ahead of her sold-out residency at the Roxy Theatre in Los Angeles next month, Suki Waterhouse has released a new song. “Dream Woman,” which was written by Waterhouse and Natalie Findlay, starts off sounding like a heavenly, well, dream — there’s even a harp. But once the assertive chorus hits, you bolt wide awake to Waterhouse repeating “I can be your dream woman.”
“When I’ve finished [writing a] song and feel like it rings so truthfully, there’s such an excitement for me in that I know it’s going to be shared,” Waterhouse told Uproxx last year. “There’s that dream that it connects with everyone else, and then you kind of get to throw this party, which is going on tour, and everyone comes together, and it’s not really my song anymore. It’s everybody else’s. When you get a song that connects to other people, and then you get to be the host of this place where you just get to exorcise those feelings together, I’m always like, this is the coolest job ever.”
Watch the video for “Dream Woman” above. Below, check out Waterhouse’s upcoming live dates.
Suki Waterhouse’s 2025 Tour Dates
03/03 — Los Angeles, CA @ The Roxy
03/04 — Los Angeles, CA @ The Roxy
03/05 — Los Angeles, CA @ The Roxy
03/07 — Austin, TX @ Coca-Cola Sips & Sounds Festival
05/18 — Salt Lake City, UT @ Kilby Court Block Party
08/15-08/17 — Biddinghuizen, NL @ Lowlands Festival
08/15 — Charleville-Mézières, FR @ Cabaret Vert Music Festival
08/20 — Paris, FR @ Rock En Seine Festival
08/22 — Leeds, UK @ Leeds Festival
08/24 — Reading, UK @ Reading Festivals
08/30-08/31 — Munich, DE @ Super Bloom Festival
The days after the All-Star break are a particularly slow time in the world of NBA news. The trade deadline has passed and there aren’t games for a few days, which means there’s a lot of time to fill on podcasts and in columns and you can only spend so much of it coming up with ideas to make All-Star weekend better.
That can mean unloading the notebook for reporters and insiders, and this weekend Howard Beck of The Ringer dropped a brief nugget on the Real Ones podcast that got a lot of traction. Beck said an executive told him to “keep an eye on” Ja Morant this summer if the Grizzlies were to have another early exit from the playoffs, indicating there was at least some belief Memphis could look to move the former All-Star guard.
With nothing else going on the last couple of days, that has been a point of conversation in the NBA as folks are always wondering who will be the next star to hit the market. In Memphis, that wasn’t something people were very happy about, and Grizzlies GM Zach Kleiman gave a statement to Drew Hill of the Daily Memphian that made it very clear that Morant was not going to get traded, calling it a “fantasy” of other executives.
“I can’t blame other “executives” for fantasizing about us trading Ja,” Kleiman said. “But it’s just that – fantasy. We are not trading Ja. Continue to underestimate Ja, this team and this city, and we will let our performance on the floor speak for itself. I’m not going to give this nonsense further oxygen and look forward to getting back to basketball.”
It’s smart of Kleiman to shut this down, and unlike Pat Riley’s statement from earlier this year about the Heat not trading Jimmy Butler, this is not a situation where there’s a trade request battle going on behind the scenes. A “no comment” would’ve only made things worse, so Kleiman does a good job of making it clear these rumors came from other teams — noting why they’d want them to be true in the process — and then shut down the idea and says they’re going to move on.
After what happened in Dallas with Luka Doncic, I think everyone around the league is curious to see if there is a real shift in how teams look at who is a max guy. Morant has three more years on his contract after this one, so unlike Doncic, there’s not a looming extension decision in the immediate future, but I also think people have been a bit too quick to point to the Luka trade as the beginning of a league-wide trend rather than considering it just might be a wildly erratic decision by a relatively new GM and ownership group.
Back in 2010, Lady Gaga and Beyoncé had a major pop moment when they collaborated on “Telephone” from Gaga’s The Fame Monster. For years, fans have wondered if there would be a sequel, and now Gaga has confirmed it.
Gaga took a lie detector test for a new Vanity Fair video, and in it, she was asked if she still plans to continue her and Beyoncé’s “Telephone” video, since it ends by saying “to be continued.” She said she does, but she’s not sure when. Then she was asked if Beyoncé will be in the video. She smiled and said simply, “Maybe.”
This follows some 2024 speculation that a “Telephone” sequel was on the way. In a Cowboy Carter teaser video, Bey was seen riding a taxi through a desert, which reminded some of the end of the “Telephone” video, which sees Gaga and Beyoncé leaving in a getaway car.
Ultimately, though, Gaga didn’t end up contributing to Cowboy Carter. But, there was a line from the album that might be considered a “Telephone” nod: On the “Dolly P” interlude, Dolly Parton refers to Beyoncé as “Miss Honey Bee,” and Honey Bee was the name of Beyoncé’s character in the “Telephone” video.
However, in the opener, the Americans torched the Serbian side led by Nikola Jokic and Bogdan Bogdanovic, with Kevin Durant making quite the statement in his first game playing with Team USA. Durant scored 21 points in the first half and didn’t miss a single shot, as Serbia simply had no answers for the future Hall of Famer.
On Netflix’s “Court of Gold” documentary, we got a behind-the-scenes look at the Serbia locker room at halftime, where Jokic and the Serbian coach were absolutely ripping into their team about how they were covering Durant.
It’s a pretty incredible look at the team dynamics in the Serbian locker room, with Jokic pleading with his guys to ignore Bam Adebayo if he’s out on the perimeter if it’s a choice between defending Bam or KD. Once the coach steps in, he didn’t mince words at all when getting after his guys, eventually saying “it was my bad, I should’ve assigned a different player to guard Durant,” which had to cut deep for the poor guy that was getting torched.
While they didn’t make a real charge in the second half in what became a blowout for the Americans, they did seem to learn something from the opener in group stage and nearly pulled off the upset in their semifinal rematch. Unfortunately for the Serbians in that game it was Curry, not Durant, that they couldn’t figure out how to contain.
Chloe Moriondo has a new album coming out soon. The indie-pop star is “f*cking ecstatic” for you to hear it.
Oyster is the “Fruity” singer’s first full-length effort in three years, and as Moriondo said in a statement, “I’m so f*cking ecstatic for this album to be out. I’ve been yearning to release it since its conception and I’m bursting at the shell trying not to leak it all now. It’s full of vulnerability, frivolous crushes, despair, parties, and 17 billion tons of salt water.” She added, “The world is my oyster, and soon it will be yours, too!”
Along with the album announcement, Moriondo also shared the video for her alluring new single “Hate It.” Don’t let the title fool you: you will love it.
You can watch the “Hate It” video above, while the Oyster album cover and tracklist and Moriondo’s 2025 tour dates can be found below.
04/24 — Detroit, MI @ El Club
04/25 — Chicago, IL @ Bottom Lounge
04/26 — Minneapolis, MN @ Fine Line
04/29 — Denver, CO @ Bluebird Theater
05/01 — Salt Lake City, UT @ Soundwell
05/03 — Seattle, WA @ Neumos
05/04 — Portland, OR @ Aladdin Theater
05/06 — San Francisco, CA @ The Independent
05/08 — San Diego, CA @ Soma SideStage
05/09 — Los Angeles, CA @ Echoplex
05/10 — Phoenix, AZ @ Crescent Ballroom
05/12 — Austin, TX @ Antone’s
05/13 — Dallas, TX @ Club Dada
05/15 — Atlanta, GA @ The Masquerade
05/16 — Carrboro, NC @ Motorco
05/17 — Washington, DC @ The Atlantis
05/18 — Philadelphia, PA @ The Foundry
05/20 — New York, NY @ Bowery Ballroom
05/21 — Boston, MA @ Paradise Rock Club
05/23 — Toronto, ON @ Velvet Underground
Oyster is out 3/28 via Public Consumption/Atlantic Music Group. Find more information here.
Last night, ASAP Rocky received some good news in the form of a not guilty verdict in the assault trial stemming from his alleged shooting of fellow former ASAP Mob member, ASAP Relli. While fans await word of Rocky’s frequently delayed album, Don’t Be Dumb, one of Rocky’s collaborators in a different medium offered a promising look at another of the Harlem rapper’s upcoming projects.
Spike Lee, who directs Rocky’s upcoming starring role in Highest 2 Lowest, celebrated the rapper’s legal victory by sharing a look at the star in the film. “Thanks To The Judge And Jury For The NOT GUILTY VERDICT,” he wrote on Instagram. “A$AP And DENZEL WASHINGTON Are In HIGHEST 2 LOWEST. DA New SPIKE LEE JOINT This SUMMER. And DAT’S DA” 40 ACRES AND A MULE” TRUTH,RUTH.,YA-DIGSHO-NUFF.”
Highest 2 Lowest is described as an English-language reinterpretation of Akira Kurosawa’s 1963 Japanese film High And Low, with Lee stressing that the film is “not a remake.” In the announcement for the film, Spike said, “In Kurosawa’s film, Toshirō Mifune is a shoemaker. In our film Denzel Washington is a music mogul with his own label and his reputation as the best ears in the business. So, this is the fifth film with the dynamic duo.”
The film will be released in theaters by A24 before premiering on Apple TV+. It also stars Jeffrey Wright, Ice Spice, and Mr. Mayhem himself, Dean Winters.
If the only two things in life that are certain are death and taxes, allow us to propose a third: industry plant accusations. These days, it seems any artist with a handful of viral moments — or even just one really big one — get tagged as so-called “industry plants,” a derogatory term used to demean artists for receiving an unfair, undeserved advantage, courtesy of recording industry institutions.
Doechii, the Grammys’ reigning Best Rap Album recipient, has receiving these accusations since the release of her fan-favorite mixtape, Alligator Bites Never Heal. Some listeners have used the resulting string of buzzy social media moments — her performances for The Late Show, NPR’s Tiny Desk Concerts, and Genius’ Open Mic — as evidence that Doechii’s label, Top Dawg Entertainment, “pushed the button” and that all the attention is the result of media manipulation rather than genuine fan interest.
Doechii isn’t sweating those acusations, though; in a new interview with The Cut, Doechii said, “When people aren’t familiar with the history of an artist these days, they get suspicious. I’m pretty detached emotionally from it because I understand where it’s coming from. And to be honest, once you get any conspiracies around your career, that’s just confirmation that I’m going somewhere, and I’m doing something right.”
Doechii has also been accused of lip-syncing her eye-popping Grammys performance, but she also shot down that rumor, telling fans she not only performed live, but did so while suffering the effects of bronchitis. For what it’s worth, kids, don’t do stuff like that. No amount of industry planting can save you from working yourself into an early grave — knock on wood.
There is just one game on the NBA schedule tonight, as the Los Angeles Lakers play host to the Charlotte Hornets in a makeup game after their originally scheduled game in L.A. was postponed due to wildfires.
The Lakers are heavy favorites and there wouldn’t normally be much intrigue to a standalone 10 p.m. ET Hornets-Lakers tilt given Charlotte is 13-39 this season, but there’s a rather fascinating subplot to this game. The night before the trade deadline, the Lakers traded for Hornets center Mark Williams, sending a package centered on Dalton Knecht and picks back to Charlotte. That trade only lasted a couple of days and neither Williams nor Knecht ever played for their new teams because the Lakers failed Williams on his physical, finding enough red flags to rescind the trade.
That sent Williams back to Charlotte, Knecht back to L.A., and makes for a very rare revenge game situation on Wednesday night, as Williams (who hasn’t played since Feb. 5) is listed as probable. We often see players get revenge games after being traded or not re-signed — the most anticipated game of this season will be Luka Doncic’s return to Dallas on April 9 — but it’s not every day you see a rescinded trade revenge game in action.
Over his last 10 games played, Williams is averaging 20.0 points, 12.1 rebounds, and 1.5 blocks per game as he’s been a bright spot for Charlotte, and that level of play was part of why the Lakers traded for him in the first place (along with Luka Doncic reportedly handpicking Williams as his preferred target). While the Lakers decision to rescind the trade was out of long-term concern for Williams staying healthy, the big man will undoubtedly be looking to send a message with his performance on Wednesday night — and should have a good chance of having a big night given L.A.’s still-thin center rotation.
Last August, Uproxx’s own Wongo Okon called the announcement of Drake’s then-upcoming joint album with fellow Torontonian PartyNextDoor “the perfect next move.” As happens so often, Wongo was right… but this time, only in the meta sense.
Obviously, in the context of the announcement itself, it was absolutely a great way for Drake to regain some control of the spiraling narrative. But Some Sexy Songs 4 U, the ultimate result of those plans, is yet another entry in the ever-growing string of middling efforts that led to the circumstances for Drake’s thrashing at the hands of an artist who has long put quality before quantity.
Throughout the latter half of 2024, hardcore Drake fans and detractors alike could look forward to his next project, even as the embarrassments racked up. Kendrick swept the Grammys, bringing Drake’s own lyrics during their war of words boomeranging back into his face. Kendrick headlined the Super Bowl Halftime Show, grinning devilishly into the camera as he taunted his foe, turning a two-word missive into the most recognizable catchphrase since Steve Urkel harassed the Winslow family into grudging acceptance of his nasal intonations.
But there was always the hope that Drake could right the ship, that in linking up with his longtime partner-in-melody and protégé Party, he’d rediscover some of the magic that made him the paragon of pop culture for the past decade and a half. Songs like “Recognize,” “Come And See Me,” and “Loyal” had long been favorites of both artists’ catalogs, tapping into a cool Canadian chemistry that both drew from the zeitgeist and guided it; it was R&B music for the online-dating, social-media-subliminal-posting generation.
Here’s the thing, though; that worked when Drake and Party were 26-year-old neophytes, newly endowed with wealth and status, indulging in the unfamiliar deluge of new opportunities for a couple of guys who… let’s face it… were probably dorks in high school (even if Drake’s high school experience primarily took place on TV). Their calculating, cunning approach to the world of bottle service gyals from the west end of Toronto worked because they were still relatively young and still figuring things out.
That was before Drake took a hard left turn into courting red-pill content and corny streamers, delivering dismissive projects like For All The Dogs. The thing is, Drake’s always written about love and sex like a 14-year-old boy — a large part of the reason for his longevity. There are always new 14-year-olds. But Drake is approaching 40. He’s a dad. His kid is old enough to start grade school. At this point, it’s a little, well… pathetic. Why is he still chasing bottle girls and department store clerks at his age?
Setting aside the overarching trend of Millennials’ eternally suspended adolescence (through very little fault of our own), you’d think Drake would, y’know… grow up. Especially after spending the last nine months getting whipping from pillar to post over his juvenile content, the true crux of Kendrick Lamar’s seemingly endless string of complaints about his onetime benefactor.
Putting it another way: Drake’s biggest hits to date were songs celebrating women or exhorting them to wind it up on the dance floor: “One Dance,” “Nice For What,” “Passionfruit,” “In My Feelings,” “Hotline Bling” (the sole petty anthem, and still a lot nicer than his recent output), and “Toosie Slide.” But somewhere along the way, he let all those grouchy old-head complaints about his supposed softness get to him.
Now, we get bitter anthems like the spiteful “Spiderman-Superman,” “Gimme A Hug,” and “Greedy.” While Some Sexy Songs is billed as a joint album — with Party given the lead credit, no less — it sounds like a Drake album, with some Party sprinkled in for atmosphere. He does a lot of background vocals, he takes a few choruses, and issues some horny come-ons in his scattered verses, but mostly, we’ve got a CVS receipt-length list of Drake’s grievances. On “Celibacy,” Drake addresses the response to his Kendrick tiff, but ignores the substance.
He makes it almost impossible to judge his latest without comparison to his foe’s; Kendrick’s GNX is a concise, focused effort, clocking in at just 12 tracks — and yet, it also covers more novel and fertile narrative ground than Some Sexy Songs 4 U, which retreads the same three complaints about women from Drake’s last SIX efforts. It’s no wonder the collective casual listening audience and two-thirds of Rap Twitter turned on him — of all the accusations levied against him by his Comptonite nemesis, the most damage might come from something Kenny himself never even mentioned: Drake has become boring.
Even Honestly, Nevermind, his experiment in reclaiming EDM for its originators, was less propulsive or surprising than you’d expect such an effort to be — less than a month after its release, Beyoncé dropped Renaissance, doing essentially the same thing on a much grander scale. Drake’s new problem is the opposite of his old problem; while he caught ridicule for being too far afield of rap’s most common tropes and themes — he was not Hard, not From The Streets, he rapped for women, he sang too much, etc. — he was always innovating in some way. Here, he just plays his own hits, only they’re watered down and so self-referential as to be rendered completely toothless (there’s literally a sample of his own Take Care song “The Real Her” in “Spiderman-Superman,” which… come on, dude).
He’s no longer leading the zeitgeist: He’s being consumed by it, which is kinda terrifying, considering how much of his apparent target demo appears to be neck-deep in online incel content. Maybe that’s a function of his aforementioned tendencies to approach romance as a means to an end and women as props in his narcissistic mythmaking. After all, nobody is more self-centered than a heartbroken teen. But with so many dents in his armor, you’d think Drake would look at his newly vulnerable state as an opportunity to pivot, to try something new. Instead, like so many of the poor saps suckered in by Drake’s latest set of sponsors, he’s doubled down on a losing proposition.
If looking back isn’t working for him, and looking around isn’t working for him, you’d hope he figures out how to look forward (although the current streaming projections for SSS4U suggest he won’t be prompted to at all). Take a break, give the fans a chance to miss you. Come back with a clearer purpose than getting back at the broads who wronged you. Figure out how to edit your projects — enough of this “20 tracks and only five are memorable” nonsense. Heck, take Kendrick’s advice: Make songs for literal partying — and not the pity kind. Bring back the Drake who led with love, not this grumpy guy who can’t get over his grievances.
Some Sexy Songs 4 U is out now via OVO Sound/Republic Records. Find more information here.
Director/actor Eli Roth has a passion for Italian “sexploitation” films of the ’70s and ’80s, so much so that he’s curated a new collection of his favorite music from them. The result is Eli Roth’s Red Light Disco: Dancefloor Seduction From Italian Sexploitation Cinema, which is set for release on March 21.
As Roth explains in a statement, a lot of the songs on the funk and disco collection haven’t been heard since their original film releases:
“When I first heard the music of the Italian genre films of the 1970s, these tracks were impossible to find outside of the films themselves. I would rip the music from the DVDs or VHS tapes, often with the dialogue, because I couldn’t find them anywhere else. When CAM Sugar asked me to curate this collection, it was not only a thrill for me as a film fan, it was a dream as a director too, because they opened the archive to thousands and thousands of previously unreleased tracks. Songs that have not been heard since the original film releases, all pristine as if they were recorded today. I wanted to curate a party, a very cool, very groovy 1970s Italian disco party, as if we were all in a scene from one of these movies. There were so many songs to choose from that we wound up with a double album, and these are just the final selections. Horror and Italian genre fans will recognize some of them and now have perfect recordings. It’s a party from start to finish.”
Check out the Red Light Disco album art and tracklist below.
CAM Sugar/UMe
Eli Roth’s Red Light Disco: Dancefloor Seduction From Italian Sexploitation Cinema Tracklist
1. Alfonso Zenga, Paolo Gatti — “Sparklin’ Conversation” (from OST Sensi Caldi (1980))
2. Gianni Ferrio — “La musica è” (from OST L’infermiera Di Notte (1979))
3. Carlo Savina — “Una vergine in familia” (from OST Una Vergine In Famiglia (1975))
4. Franco Campanino — “Disco – Avere vent’anni” (from OST Avere Vent’anni (1978))
5. Gianni Ferrio — “Quando vuoi con chi vuoi” (from OST La Liceale Seduce I Professori (1979))
6. Don Powell — “Giochi erotici nella terza Galassia (Titoli) – Amori stellari” (from OST Amori Stellari – Giochi Erotici Nella Terza Galassia (1981))
7. Nico Fidenco — “I’m Number One” (from OST Eros Perversion (1979))
8. Nico Fidenco — “Sexy Night” (from OST Porno Holocaust (1981))
9. Pulsar Music Ltd. — “Taxi Girl (Ritmico Disco)” (from OST Taxi Girl (1977))
10. Vasil Kojucharov — “Nude Odeon (Ritmico Funk)” (from OST Nude Odeon (1979))
11. Riz Ortolani — “L’erotomane (Beat)” (from OST L’erotomane (1980))
12. Stelvio Cipriani — “What Can I Do” (from OST La Supplente Va In Città (1979))
13. Bruno Nicolai — “Servizio fotográfico” (from OST La Dama Rossa Uccide Sette Volte (1972))
14. Franco Campanino — “Do It With The Pamango” (from OST Una Moglie, Due Amici, Quattro Amanti (1980))
15. Gianni Ferrio — “La settimana bianca” (from OST La Settimana Bianca (1980))
16. Giuseppe De Luca — “Studio X” (from OST L’altra Faccia Del Peccato (1969))
17. Giuseppe De Luca — “Studio Z” (from OST L’altra Faccia Del Peccato (1969)
18. Giacomo Dell’orso — “Versione coro — I’m So Young” (From OST L’infermiera Di Mio Padre (1981))
19. Daniele Patucchi — “Runnin’ Around” (from OST Bionda Fragola (1980))
20. Stelvio Cipriani — “Finale – Il sesso del diavolo” (from OST Il Sesso Del Diavolo (1971))
Eli Roth’s Red Light Disco: Dancefloor Seduction From Italian Sexploitation Cinema is out 3/21 via CAM Sugar/UMe. Find more information here.
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SHO-NUFF.”
