One of the many enjoyable aspects of Phora’s artistry is the meticulous approach to his songs. They’re crafted with care and an understanding of the emotional burden they carry, both for himself and the awaiting listener who relates to his creations. Let it be known that these bodies of work aren’t emotional dumps that leave his fans overwhelmed and sprinting towards the nearest source of happiness. Instead, you’re slowly reeled into the Anaheim native’s works of art thanks to his patience with delivering his pain at a digestible rate.
This pain is derived from both Phora’s past and present, becoming a foundational piece to his music. Every year for the past eight years, he’s returned with a new project that finds him depicting his world for fans, one filled with ailments caused by love, the natural bane of the world, and more. Replicating the concept he put forth on his 2016 project, With Love, Phora makes his mark in a new decade with its sequel.
Prior to the release of With Love in 2016, Phora sent a message to fans on Twitter, which read in part, “Guaranteed to get u through what ur going thru, and let u know I’m with u.” This olive branch of support and comfort is once again offered on With Love 2 and it doesn’t take him long to deliver it on the new album. With support from rap newcomer Toosii, he and Phora allude to the triggers they suffer from following traumatic experiences in their lives. “Traumatized from the past and the pain is the only thing I run from,” Phora says on the song’s chorus. Shortly after, he adds a brief message of perseverance singing, “But I’m ten toes down, and I won’t let it break me.” Rather than drown in these struggles, the Anaheim native thugs it out knowing that his success will motivate someone else’s.
The uplifting reminders continue all throughout the album. “This Weekend” with Ty Dolla Sign offers a moment of relaxation and intimacy that only two lovebirds can indulge in when their respective guards are down. “Stars In The Sky” with Jhene Aiko and “Love Yourself 2” are additional tracks that present Phora as a man who has momentarily broken out the thick webs of depression, anxiety, and trauma — topics he has often mentioned in his work over the years. The latter track boasts a comforting pair of lines that says, “Music reminds me that pain is temporary / Flowers remind me that rain is necessary.” The vibrant beauties of Phora’s world helped him realize that the gloomy clouds that frequently sat above him were nothing more than temporary.
While an optimistic view towards life is certainly part of the goal on With Love 2, it’s not approached in a way that is blind or ignorant to Phora’s struggles and ill moments. From the pain that haunts him after the love of his life departs on “Destiny’s Song” to the suicidal thoughts that takeover his mind on “Sinner Pt. 4,” Phora is oftentimes staring over a cliff’s edge on the project. Every flight has a landing and unfortunately for him, these landings tend to err on the rough side of things. Despite this, Phora’s moment to take off and return to the highs of life is just around the corner. For the time being, however, all he can do is tend to the present and push through it in preparation for the future.
“I learned that it’s not over when you lose, it’s only over when you quit.” These lines on “Love Yourself 2” aren’t delivered in a championing sentiment that allows Phora to pat himself on the back after defeating his demons. No, it’s for you the listener who drowns in the heavy and overwhelming pile of bullsh*t that life has to offer. French novelist Gustave Flaubert once said, “One can be the master of what one does, but never of what one feels,” and Phora’s new album embodies that quote to a T. Attempting to control these outside forces is like trying to grab air with your bare hands; no matter how many times you try, your attempts will always come up empty-handed. Phora has no power over the things, good or bad, that come his way. Instead of trying to gain this power, he puts his energy towards the people around him who experience his struggle. The Anaheim native tries day in and day out to conquer his demons, just like the rest of us, and it’s a comforting thing to know this battle isn’t a solo effort.
Christopher Osburn has spent the past fifteen years in search of “the best” — or at least his very favorite — sips of whisk(e)y on earth. In the process, he’s enjoyed more whisk(e)y drams than his doctor would dare feel comfortable with, traveled to over 20 countries testing local spirits, and visited more than fifty distilleries around the globe.
The most exciting aspect of being a bourbon fan in 2020 is that a new, intriguing, delicious bottle is always right around the corner. Sure, this refers to the bottles currently sitting on shelves that you haven’t had a chance to taste yet, but it also reminds us of the special releases dropping on a regular basis.
With the end of the year coming up, I decided to crack open my tasting notebook again and share six of my favorite bourbon releases from the past two years. Check them out and try a few for yourself… if you can find them, that is.
The late Booker Noe gave Freddie Noe (8th generation Beam family member) the nickname “Little Book.” When it was time to make whiskey of his own, Freddie looked to his grandfather for inspiration. The four unfiltered and uncut bourbons are blended to pay tribute to the original Small Batch Bourbon Collection brands (Basil Hayden’s. Knob Creek, Booker’s, and Baker’s).
Tasting Notes:
Freddie worked hard on this, so give it the nosing it deserves. If you do, you’ll be met with aromas of sweet brown sugar, charred oak, subtle herbal hints, and sweet caramel. The first sip yields subtle cooking spices, rich cream, butterscotch, and sweet heat. The finish is long, warming, and filled with spicy pepper and pleasing cinnamon.
Bottom Line:
Since each Little Book offering is unique, they should be treated that way. Sip on this one slowly in a rocks glass over one solitary ice cube.
First released in October of 2019, this bottle replaces Heaven Hill’s 6-year-old bottled in bond bourbon. Who knows why they did it, but the old bottle is retired and this one was aged for one more year. Now officially the flagship bourbon of the distillery, it sports a high corn content (78%) and is exceedingly mellow, subtly spicy, and highly sippable.
Tasting Notes:
On the nose, your nostrils will be filled with hints of charred oak, sweet caramel, and rich clover honey. The first sip is very dry and brings forth subtle cinnamon followed by smoky tobacco, toasted oak, velvety vanilla, and toasted marshmallows. The finish is long, warming, and filled with baking spices and ends with a final flourish of creamy caramel.
Bottom Line:
This bottle is a bargain at under $40. You can feel comfortable mixing with it, but it shines neat or on the rocks.
Elijah Craig Toasted Barrel
ABV: 47%
Price: Was $50, now $100
The Story:
Released in September 2020, this bourbon consists of fully matured Elijah Craig Small Batch that is matured for a second time in toasted new oak casks that were air-dried for 18 months before toasting and flash charring. The result is a unique bourbon with extra notes of charred oak, caramel, and vanilla.
Tasting Notes:
This bourbon was matured a second time to impart extra flavors. That alone should be enough for you to spend a few moments nosing it. You’ll be met with hints of charred oak, toasted caramel, spicy cinnamon, and dried cherries. The first sip delivers peppery spice followed by sticky toffee, creamy vanilla, and cocoa. The finish is medium in length, warming, and filled with peppercorn spice and mellow caramel.
Bottom Line:
While this isn’t the most expensive bourbon, it’s high quality enough to be sipped slowly on a cool fall evening.
Weller Full Proof
ABV: 57%
Price: was $50, now $475
The Story:
Back in June of 2019, Buffalo Trace dropped Weller Full Proof. A new addition to the Weller lineup that includes Antique 107, Special Reserve, 12 Year, Single Barrel, and C.Y.P.B, this offering was bottled at 114 proof, the same alcohol level the distilled whiskey was when it began aging. Like all of Weller’s offerings, this one is limited-edition and will likely be offered every summer.
The expression once carried a palatable price tag of $50, but due to its limited availability, the aftermarket price has soared.
Tasting Notes:
If you give this offering a nosing, you’ll be met with caramelized sugar, sweet vanilla, and fruit cake. The first sip yields toasted oak, mouth-watering caramel, subtle cinnamon, and just a hint of peppery spice. The finish is long, filled with pleasing heat, and ends in a final crescendo of cinnamon warmth.
Bottom Line:
If you can manage to get your hands on a bottle for a reasonable price, good for you. Don’t waste it by mixing it. You can use the brand’s flagship Buffalo Trace Bourbon for that. Sip this one slowly and discover the rich flavors.
This high corn (68%), high wheat bourbon doesn’t carry an age statement, but it’s assumed they range in age from 6 to 8 years old. It’s non-chill filtered and bottled at cask strength. The most exciting aspect is that this barrel proof bourbon is released three times per year (January, May, and September) and each offering is different, using different small-batch bourbons.
Tasting Notes:
On the nose, you’ll be treated to aromas of spicy cinnamon, charred oak, sweet vanilla, and the smell of the rickhouse itself. The first sip brings with it caramelized sugar, pleasing honey, cooking spices, and dried fruits. The finish is long, warming, and ends in a combination of spicy cinnamon and sticky toffee.
Bottom Line:
This high proof bourbon works well in your favorite cocktails, but if you’re going to spend over $50 for a bottle, we suggest you at least try it neat or on the rocks.
Maker’s Mark Wood Finishing Series 2020
ABV: 55.4%
Price: $59.99
The Story:
This limited-edition bourbon is something truly special. It’s wood finished, meaning that after maturation, the brand’s beloved Cask Strength Bourbon is added to barrels that contain Maker’s Mark’s specially designed wooden staves made from French oak and American oak. The bourbon is then rested with these wooden staves. The result is a complex whiskey that melds old and new aging techniques.
Tasting Notes:
On the nose, you’ll find the aromas of rich, salted caramel, toasted oak, and creamy, sweet vanilla. The first sip brings brown sugar, rich almonds, dried cherries, and toasted vanilla beans. The finish is long, warming, and loaded up with mellow caramel and faint cinnamon.
Bottom Line:
This limited-edition bourbon is well suited as a sipper on a chilly fall evening. Sip it over ice to let it bloom as you sit on a porch with a blanket on your lap, enjoying the crisp air.
It was not lost on both of us that of all Jan de Bont’s films – in which many are pop culture canon like Speed and Twister – that the focus of the interview would be on his 1999 horror film, The Haunting. (The reason being is because Paramount has released a nifty new Blu-ray.) When talking to de Bont, you can tell his feelings on the film are a mixed bag. But, like a lot of people, his admiration for the film over the years has grown. At the time, even though it made a lot of money, it was derided for too much CGI. Also, not much attention was given to the cast, but now, retroactively – Liam Neeson (before he was really an action star), Lili Taylor, Catherine Zeta-Jones, Owen Wilson, and even a cameo from a creepy Bruce Dern – it’s an all-star cast. (With a crazy sequence involving a statue of a lion eating Owen Wilson’s head, which de Bont walks us through ahead.
But then, in 2003, de Bont film Lara Croft: Tomb Raider – The Cradle of Life … and that was it for him. It’s been 17 years since the director of Speed has made a film. And ahead, he explains the experience on that film was so bad it turned him off of Hollywood filmmaking. But, with streamers at the forefront today, he does hint that, maybe, he’d be open to a return.
In the pantheon of movies you’ve done, where The Haunting rank for you? I am surprised of all your movies, this one is the focus.
Yeah, I understand. It doesn’t relate too much to the other projects I’ve worked on, of course. It relates to some other movies I worked on as a cinematographer. Maybe it might be more clear to you when I explain that this project was developed by Spielberg.
Right.
I was working on that film, Minority Report, which I was really excited about. And before I was working still on Twister, the post production. And Spielberg got Tom Cruise to work on Minority Report. Then he said, “Why don’t you take the movie I was going to do, The Haunting, and I can do this with Tom Cruise when he’s available for his scheduling.” And so it is kind of… I would have probably not chosen it if it was coming out of nowhere.
I see.
But because we could have lost Minority Report and he wanted to make it, and he wanted Tom Cruise. so basically that’s how I got involved in The Haunting. But I said I liked it. It’s not, like you said, it wouldn’t be top of my list to working on, but I thought it was intriguing because I like the idea of the vulnerable kind of innocent, believing young girl coming to this place. Then there’s a whole different and darker side to that house, but she refuses to see that, and she refuses to really believe there’s evil in the house. So I thought it was interesting to do that.
I get the impression more people like this movie now than they did then.
Yeah. You’re exactly right, because I had experienced the same thing. Because I go to Europe and meet film students, and journalists, and they liked the movie, too. Because the initial reaction in the United States was really looking at The Haunting more as a remake of the old black and white movie. And of course, it’s nothing even close to that. And they see it much more as a separate movie that’s a totally different interpretation.
I have two theories why. The first is, people then seemed to complain about the CGI. I don’t think anyone would watch this today and go, “What’s all this CGI?” I think people would just go, “Oh yeah, this is a normal movie.”
Yeah, exactly. In hindsight, I have to say, I don’t mind the CGI when he appears, because that you cannot do it for real. But it could have been more mysterious, like if you really don’t quite know if it moved, but it did move, but maybe you might’ve mistaken interpreting it that way. And you’re right. And now everybody’s so used to seeing all those things in a big effect movie, or an action movie.
The other thing is, and I don’t know if you’ve thought about this, you retroactively have this amazing cast that probably was not appreciated then. Even Liam Neeson. Obviously he was very famous. He had just been in Star Wars before this came out. But people didn’t really know him as the action star from Taken yet.
Yeah, exactly.
People weren’t used to him in this more action-y role. And you’ve got Owen Wilson before he’s famous. Catherine Zeta Jones. People just knew her from Mask of Zorro. So you have all these big name stars in it that weren’t quite where we think of them today.
Well, actually, I loved casting at the time. But to me, it is such a big danger casting a star in a movie that depends on a lot of actions and reactions. And if you see, let’s say, Julia Roberts. If she would have been in this movie that, for instance, you always will see Julia Roberts reacting to something. You’d never see the character. And that would be devastating for the movie. With Lili Taylor, nobody knew Lili Taylor, or barely. She had only been in independent movies. But she’s such an amazing actress. And she was completely great. And so was Owen Wilson. And so was Catherine Zeta Jones. Completely different characters that hadn’t been seen yet, too much.
Probably Say Anything, right? Most people knew her from that?
Yeah, exactly. Exactly. Yeah. That’s it. In hindsight, it looks like a cast that people remember.
Rewatching, I completely forgot Owen Wilson was in this. Also I love that his character’s name is Luke, which is his brother’s name.
And I liked him for the part because he could put a little lighter moments in it to take the scare, or some of the fear factors, out. And I think he’s perfect for this movie. He makes me laugh, but not like a big broad laugh. He makes me smile a little bit. And that’s really good if you can achieve that in a movie like this.
He has an amazing death scene. He gets his head bitten off by a lion statue.
[Laughs] That doesn’t happen all the time.
Paramount
I made an audible reaction.
Yeah, and actually, it was a scene that we had to make a copy of his facial expressions. So you have to act an expression, a reaction, that you don’t know if he would ever do that in real life. And so you have to be really careful it’s not too big, or it’s not too little. Because in real life, if you see that lion’s head come at you the reaction would be there. And then it would be in total shock and total fear. So we had to kind of pick something in the middle. And it was kind of, some of the takes it worked. And with other takes it didn’t work so well. And we had to kind of darken it a little bit.
Bruce Dern is in this movie, briefly. How did that happen?
I had met him once before, and I thought it needed a guy that we can put down fairly quickly what he’s all about. And, of course, you know how he acts.
I do.
And how expressive he is in this in his face. So the very first time you see him, and she meets him at the gate, and you know right away, there’s something really not quite right with him. You know? And that is so good that he can do that, almost in one or two shots. And he can do that. He’s perfectly right for that.
During the pandemic I’ve re-watched a lot of your movies…
Oh, really?
Obviously I watched Speed for the first time in five or six years. And Twister. I am curious, what have you been doing? After Laura Croft: Tomb Raider – Circle of Life you stopped making movies.
Yeah. It was not such a great experience. But more from the reason how the studio tried to really interfere with it in a way. And the thing itself is that the makers of the game were also involved. And they never told me that they, also, have a say in the story.
Right…
Suddenly there were all these changes that have taken, and who had to be what, and what cast. And then suddenly it became such a big scene. Everything was a big deal. And then the very first day of shooting, it was in Greece, on the Island. The very first day, we got a call, “Oh, I want to congratulate you on your first day. And by the way, you have to cut $12 million out of your budget.” The very first day! And in those days, $12 million, that’s like four scenes.
Of course.
And I said, wait a second. So what happens to the storyboard? You’re going to create massive gaps in this story. And then how do you fill it? What are you going to replace it with? And then that kept following us. It was really … it’s a pity. I kind of like working with her [Angelina Jolie], and she’s a character, but I thought she was a very interesting character to work with. She’s definitely very opinionated. But not in a negative way, I feel. She was difficult to work with, but for me it was, probably, not a problem. I didn’t really see anything negative at that time. And I really ended up liking her very much, so.
And then basically you say, wait a second, every movie’s going to be like this? Where the studio has a say in what will be done, what scenes have to be in, and even what kind of shirts somebody has to wear at one point? They didn’t like the buttons on one shirt! I still remember, I got a call, “I didn’t like the buttons on the shirt.” I don’t even remember. What was the guy’s name? The male lead in that movie? Man, I forgot his name. But then, “Wait a second. You’re calling me because you don’t like the buttons on the shirt?” That was so absurd. Really. And then also having to really constantly deal with budget issues.
I’m guessing Ciarán Hinds?
There were films that I wanted to work on, and unfortunately they also did not get made. None of them got made. I said, wait a second, is this too much work? This is too difficult. Because I felt this wasn’t a traditional period, where studios were taking a much bigger part in the making of the movie. And it became… that’s not worth it. You know?
But with Netflix and all the streaming services, it seems like little interference, comparatively.
Oh, there is hardly any. They like the script and that’s it. And then go and make it, you know?
Well, you should do that. I want to see another movie from you.
Yeah, yeah, yeah. I have to say that I did like some of those series a lot, and I’ve followed them from A to Z, all the episodes, and I cannot stop watching until it’s over. So, who knows. I don’t know.
The Xbox Series X and smaller, digital only Xbox Series S made their wide release in the United States on Tuesday as the first of the next-generation consoles to hit the market — the PlayStation 5 will arrive on Thursday. It was an exciting day for those who had gotten through the pre-order process successfully and their new console arrived at their doorstep for release day.
For those that didn’t get one yet, they’re currently out of stock at all of the major retailers, but will surely be returning in the relatively near future. However there still is one way to get one — and it’s not just any regular console.
Bojangles, the beloved chicken and biscuits chain in the southeast, announced on Twitter that they had partnered with Microsoft to create the Bo Box, an Xbox Series X that looks like a Bojangles box. This is not a joke, as they make sure to note in the tweet, and they’re giving it away to one of their followers who retweets the below tweet.
Ok, we’re really doing this. Retweet & follow for a chance to win a Big Bo Xbox Series X. (Yes, seriously) pic.twitter.com/mzzUUa2d4l
It’s hard to express how much my Georgia soul adores the Bojangles Xbox, with a controller that looks like the crispy exterior of fried chicken. One can only hope that the winner of this 1-of-1 Bo Box will also be treated to the most elite of fast foods as well: the Bojangles pork chop biscuit that only arrives on the menu every so often.
Indie music has grown to include so much. It’s not just music that is released on independent labels, but speaks to an aesthetic that deviates from the norm and follows its own weirdo heart. It can come in the form of rock music, pop, or folk. In a sense, it says as much about the people that are drawn to it as it does about the people that make it.
After releasing their first and only collaborative album in 2013, Nicolás Jaar and Dave Harrington toured heavily for the better part of a year under their moniker Darkside. Although the duo split up shortly thereafter, they recently unearthed a discarded recording of one of their last-ever shows, a document of a band burning brighter than ever, ready to explode.
Record Setter – I Owe You Nothing
On their new LP, this Denton, Texas screamo band is candid as candid as ever. I Owe You Nothing is emotional, raw, and thrashing in its delivery, making for one of the most instantly invigorating and vital records of 2020.
Donovan Woods – Without People
Written and recorded during the throes of quarantine, Donovan Woods’ new album puts on full display the songwriter’s charming rustic aesthetic. Each song is more evidence that Woods could be an “updated version of Gordon Lightfoot,” as Steven Hyden wrote in our latest Indie Mixtape newsletter.
Miley Cyrus – “Edge Of Midnight (ft. Stevie Nicks)”
Miley Cyrus has been on a classic rock roll lately. Her latest solo “Midnight Sky” was already good, but the track’s cool factor goes up exponentially on the new remix, which opens with the instantly familiar guitar riff that prefaces Stevie Nicks’ solo hit “Edge Of Seventeen,” and features interpolated Nicks and Cyrus harmonizing throughout. It’s really awesome.
Big Red Machine – “Wise Up” (Aimee Mann cover)
Big Red Machine’s latest release is an Aimee Mann cover that comes as part of Justin Vernon’s For Wisconsin initiative, which has given performances and hosted conversations to implore more residents from his home state to vote in the 2020 election. Aaron Dessner takes the lead vocals on the cover, while Vernon provides backing support and handles some of the production.
St. Vincent – “Piggy” (Nine Inch Nails cover)
To celebrate Nine Inch Nails’ long-awaited induction into the Rock And Roll Hall Of Fame last weekend, St. Vincent gave an electrifying cover of the group’s track “Piggy” from their 1994 album The Downward Spiral. The cover is a good reminder of St. Vincent’s never-ending musical versatility, composed atop an industrial backbone but showcasing her haunting vocals.
ManDancing – “Wall Spot”
ManDancing sound bigger than ever on the latest single from their new album The Good Sweat. “Wall Spot” is a slow burner that builds to a cinematic, Manchester Orchestra-inspired finale, where Stephen G Kelly’s vocals at times evoke the earnestness and drama that imbued the best of Gerard Way’s My Chemical Romance days.
Phoebe Bridgers debuted her highly-anticipated sophomore record Punisher earlier this year and while the album has only been out for a few months, the singer is gearing up for a new project. Bridgers announced she’s just a few weeks away from releasing the EP Copycat Killer, which boasts alternate versions of several Punisher songs. Teasing the new project, Bridgers shares a transcendent rendition of her track “Kyoto.”
While the alternate version of “Kyoto” still holds the integrity of the original, Bridgers tapped Grammy Award-winning composer Rob Moose to lend a hand on the instrumentals. On the new track, Moose expertly blends soothing samples with atmospheric synths and heart-tugging strings as Bridgers gently delivers her earnest ballad.
Ahead of the album announcement, Bridgers spoke to Uproxx to offer some meaning behind her Punisher tracks. Revealing that “Kyoto” is a commentary about her mental health, Bridgers said: “I think you’re stealing from yourself if you don’t go to therapy, basically. I thought for a lot of my life I could just kind of bulldoze through my own mental health issues and just live my life anyway. And it works sometimes, but then in quiet moments by a f*cking river in Japan when you’re thinking about your f*cking … or you’re not thinking about anything and your thoughts become weird, gray matter. You’re like, ‘Damn, maybe I should examine why my brain does that.’ That’s mostly what it’s about.”
Listen to her alternate version of “Kyoto” above and see Bridgers’ Copycat Killer album art and tracklist below.
This past weekend’s SNL was an eventful one. Dave Chappelle hosted, Foo Fighters was the musical guest, and, oh yeah, it was the first episode since Joe Biden won the election against Donald Trump, finally ending the wheezing Alec Baldwin-as-the-president-era. Put it all together, and you had the show’s best ratings in over three years.
SNL scored a 2.6 rating among the all-important adults 18-49 demographic, “its best since May 2017 and the best for any comedy telecast on Nielsen-measured TV since the series finale of The Big Bang Theory 18 months ago,” according to the Hollywood Reporter. “It also drew 9.06 million viewers, the most since a December 2019 episode with host Eddie Murphy (9.96 million).” The last episode to do so well in the 18-to-49 age group was in May 2017 when Melissa McCarthy hosted. Turns out having funny people host — Chappelle, Murphy, McCarthy — makes for quality television. Who knew?
Vs. the comparable 2016 post-election SNL (8.691 million, 3.15 18-49 rating), also hosted by Chappelle, this year’s show was +4 percent in total viewers and off a bit in 18-49. The 2.62 rating in 18-to-49 doubles SNL’s November average from last season (2.62 vs. 1.28, +105 percent). In total viewers, the increase is +3.031 million viewers or +50 percent (9.064 million vs. 6.033 million).
The most-watched clip from the episode on YouTube is the cold open.
There’s an old saying that we become whatever we fight against. In the case of music, it’s especially true; the artists who were once chastised for pushing the boundaries of social norms become the ones berating their successors for doing the same thing. Once upon a time, the English heavy metal band Black Sabbath left conservative observers clutching their pearls due to their dark content and “offensive” presentation. Now, ironically, one member of the band has some heavy criticism for one of today’s edgiest stars.
In a new interview with Kerrang!, original Black Sabbath bassist Geezer Butler explained the above-mentioned phenomenon, using his own feelings about Cardi B’s hit single “WAP” as an example. “Whatever new music comes out, it’s viewed as the devil’s music,” he explained. “I remember when Elvis came out everybody said he was Satan. And then in the ’60s and ’70s he became America’s national treasure. It happens with every new wave of music. Like metal, obviously. The Christians were going mental when Sabbath came about. And then when rap came about, people were up in arms about that and certain words that rappers were using.”
However, he says, he’s now fallen victim to this mentality himself, thanks to Cardi B’s ode to her genital juiciness. “I have to say, though, that Cardi B pisses me off with that ‘WAP’ song,” Butler continued. “It’s disgusting! But there you go. A friend of mine didn’t know what the song was about but his 10-year-old girl was singing it! I was like ‘What?!’ To put it on the album, fair enough. But to put it out as a single? That’s a bit much.”
Butler did leaven his criticism with a little self-deprecation. “Then again, I’m 71,” he joked. “A bloody old goat!”
“WAP” has drawn its fair share of critics outside of Butler though, from Ben Shapiro to some of the forefathers of rap. None of that stopped it from becoming one of the most successful singles of all time.
Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
The death of Alex Trebek caught the world by surprise on Sunday, as news of the beloved Jeopardy! host succumbing to his battle with pancreatic cancer arrived on the heels of Joe Biden winning the 2020 presidential election. It was an emotional time for fans of the classic TV quiz show and Trebek’s comforting presence that anchored each episode of Jeopardy! for over 30 years. As tributes poured in, fellow Canadian Ryan Reynolds issued a heartfelt note of thanks to the late host, who graciously took the time to appear in Free Guy even while undergoing cancer treatment. Via Twitter:
“Alex Trebek was kind enough to film a cameo for our film Free Guy last year despite his battle. He was gracious and funny. In addition to being curious, stalwart, generous, reassuring and of course, Canadian. We love you, Alex. And always will.”
Alex Trebek was kind enough to film a cameo for our film Free Guy last year despite his battle. He was gracious and funny. In addition to being curious, stalwart, generous, reassuring and of course, Canadian. We love you, Alex. And always will.
A brief preview of Trebek’s cameo can be seen in the second trailer for Free Guy, which racked up an impressive amount of views shortly after its release. In the short clip, Trebek is hosting an episode of Jeopardy!, which includes a question about Reynolds’ character, who is in the middle of dramatically altering the game world he lives in after falling in love with Killing Eve‘s Jodie Comer.
You can watch the second Free Guy trailer below:
While Trebek’s death was a shock as he seemed to be doing well with his experimental treatment for pancreatic cancer, the host can still be seen on Jeopardy! for a little while longer per his final wishes. On Monday night, producer Mike Richards aired an emotional cold open where he honored Trebek and revealed that the late host had filmed episodes as recently as two weeks ago. “We will air his final 35 episodes as they were shot. That’s what he wanted,” Richards announced.
Now that Rico Nasty‘s debut album Nightmare Vacation has an official release date, she and her team have turned the dial on the album’s promotion up to full. Following up “Don’t Like Me” with Don Toliver and Gucci Mane, Rico shared her latest single, “Oh Fr?,” debuting the new track on Apple Music Radio.
Of the new track, Rico told Apple Music’s Zane Lowe working with 100 Gecs again was “so natural… As soon as I heard the beat, I heard eight seconds and I just went right in there. Just like the other ones. I love it.” She also credited her A&R with introducing her to the genre-bending duo, saying, “I heard about 100 Gecs from my A&R. I’m always asking him to put me on to weird sounding sh-t. I was looking for something. I like ear orgasms. I like stuff that might be normal to another person to listen to, but it just tickles my fancy.”
She also revealed more about the process of making Nightmare Vacation while in quarantine. “I had my ego shot down a little bit by quarantine and just by growing up in general,” she said. “I just think this whole project, it was made during the time where this is probably the first time in my life where I wasn’t on ’10,’ as far as confidence. Within myself, my personal life, normally everything’s great. And making this album just started getting real tricky balancing life.”
“That’s why I named it Nightmare Vacation because all the sh*t that I was scared of at one point, scared to do and scared to say, it just became my second nature,” she elaborated. “I want to say that sh*t, I don’t care if I hurt somebody’s feelings. I’m going to wear it. I don’t care if I get dirty looks. Just et cetera, et cetera, it goes on and on. Nightmare Vacation is really just about being yourself, your truest self, going through things that people tell you you can’t get out of and getting out of them, coming out a rockstar.”
Nightmare Vacation is due 12/4 via Atlantic Recordings.
Rico Nasty is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
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