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The “Hawk Tuah” girl is making the most of her 15 minutes of fame. Last month, Hailey Welch went viral when she appeared in one of those “guys with microphones stand outside of bars and ask drunk people silly questions” videos. When asked by Tim & Dee TV for one move in bed that makes a man go crazy every time, she replied, “You gotta give ’em that ‘hawk tuah’ and spit on that thang” (you really need to watch the video for the full effect). Since then, the “Hawk Tuah” girl, as she’s been dubbed, has sold thousands of dollars in merch and supposedly been courted by Hollywood talent agencies.

Welch also joined Zach Bryan during the Nashville stop on his The Quittin Time Tour over the weekend. She performed “Revival,” a song from the country star’s 2020 album Elisabeth, and even gave the crowd an enthusiastic “hawk tuah!” before leaving the stage. You can watch the video below.

Bryan is making a habit out of big-name guests, having performed live with everyone from Bruce Springsteen to Sexyy Red. Here’s another: earlier in the Nashville show, he and Kacey Musgraves performed the lovely “I Remember Everything” together — Kacey did not walk off with a catchphrase.

Paul George will be heading back to the Eastern Conference for the first time in eight years, as he will join Joel Embiid, Tyrese Maxey, and a refreshed Sixers roster next season. Adrian Wojnarowski of ESPN broke the news that George will get four years and $212 million to join the Sixers, with Shams Charania of The Athletic confirming.

All the way up until Sunday evening, George’s future seemed very much in the air. First was a strong pursuit of the star by the Golden State Warriors, with George apparently signing off on a deal to the Warriors only for their offer to be shot down by the Clippers. From there, his first meeting of free agency was with L.A., but the two sides couldn’t get close on a deal and the Clippers released a full statement thanking George for his time and confirming he would not be back with the team before he even signed with anyone else.

With Orlando signing Kentavious Caldwell-Pope and Oklahoma City chasing Isaiah Hartenstein, that left the Sixers as the only cap space team that made any sense for George, and the two sides met in Los Angeles to work out a deal. The result was a 4-year, $212 million max deal that gives George the financial commitment he was seeking that L.A. wouldn’t offer — they held firm at the same deal Kawhi Leonard signed last season.

George joined the Clippers ahead of the 2019-20 season as part of a package deal with Kawhi Leonard. The pair had aspirations of winning a championship in Los Angeles, but injuries have frequently derailed the team’s effort of winning the Larry O’Brien trophy for the first time in franchise history — the Clippers only made the conference finals one time in the five years since George and Leonard came to town.

George is coming off of an All-Star campaign in L.A., one in which he averaged 22.6 points, 5.2 rebounds, 3.5 assists, and 1.5 steals in 33.8 minutes per game on 47.1 percent shooting from the field, 41.3 percent shooting from three, and 90.7 percent shooting from the free throw line. Now he’ll slot in between one of the most potent two-man combos in the league from a year ago in Embiid and Maxey, and look to provide them with the support they haven’t been able to get to make a real push in the Eastern Conference Playoffs.

The Sixers also signed Eric Gordon and Andre Drummond to open free agency, as they work to fill out their roster around their triumvirate of stars.

In 2019, Lizzo played the Austin City Limits Music Festival. Now, she would be one of the bold-name headliners, but she was booked before her positivity anthems like “Truth Hurts” and “Juice” made her famous enough to eventually get mocked on South Park, so she was scheduled for an early evening set on one of the festival’s mid-sized stages. This proved to be a miscalculation of her popularity. By the time her set neared, Lizzo’s crowd was big enough that it swelled into the small-by-comparison camp (including me) waiting for iconoclast Robyn’s headlining performance at an adjoining stage. The mass of people was so large, there were genuine safety concerns.

Something similar is happening with Chappell Roan.

The “Red Wine Supernova” singer and burgeoning queer-pop icon reportedly pulled in larger crowds than headliner Ed Sheeran at last month’s Boston Calling. She was also the biggest story at New York’s Governors Ball, where she came out dressed as the Statue of Liberty. To prevent a Lizzo-like incident, Bonnaroo — arguably the second most influential music festival in the country, after Coachella — moved Roan from a tent to the much-larger Which stage. She’s gotten so big, so fast, that she’s turning down invitations to perform at the White House (although that was also an act of protest against the Biden administration for failing women, trans folks, and “all oppressed people in occupied territories”) and publicly expressing her struggles with her fame.

“I guess I just want to be honest with the crowd,” she said at a recent concert in Raleigh, North Carolina. “I just feel a little off today ‘cause I think that my career is going really fast and it’s really hard to keep up. So I’m just being honest that I’m just having a hard time today. So sorry that — I’m not trying to give you, like, a lesser show. It’s just, there’s a lot… Thank you for understanding. This is all I’ve ever wanted. It’s just heavy sometimes, I think.”

It’s not the kind of thing that you would expect to hear from someone in a profession that demands constant ascension, but little about Roan’s charting-in-dozens-of-countries rise has been predictable.

Born in 1998 in Willard, Missouri, Roan (real name Kayleigh Rose Amstutz) grew up in a strict Christian household, but, as she explained in a 2023 interview with Variety, “I had this part of me that wanted to escape so bad. I just wanted to scream. I snuck out a lot, but I still went to church three times a week, you know what I mean? So it was just this dichotomy of trying to be a good girl, but also wanting to freaking light things on fire.”

Roan found her creative outlet on YouTube, where she caught the attention of Atlantic Records. She was signed at 17 years old, and made her stage name Chappell Roan in honor of her late grandfather (Dennis K. Chappell) and his favorite song (“The Strawberry Roan” by singing cowboy Curley Fletcher). In 2017, Roan released the folk-tinged EP School Nights, but “I just wasn’t ready,” she admits now. “It’s so cliché, but one weekend I was playing coffee shops and the next weekend I was signed to Atlantic Records. It was very, very unhinged… I just genuinely didn’t know what I was doing, and I didn’t feel like I had a lot of help.” Roan felt disconnected from the music she was making, but there was enough momentum that she moved to Los Angeles in 2018. “That changed everything,” she told Rolling Stone. As did a visit to a gay bar.

“Pink Pony Club,” the first song of Roan’s that sounds like it was made by Chappell Roan, not Kayleigh Rose Amstutz, was inspired by a night at Los Angeles institution The Abbey. “I grew up thinking being gay was bad and a sin. I went to the gay club once, and it was so impactful, like magic. It was the opposite of everything I was taught,” she said. The dreamy single — produced by Dan Nigro, who also worked on Olivia Rodrigo’s Sour, Sky Ferreira’s Night Time, My Time, and Carly Rae Jepsen’s best-pop-album-of-the-2010s E•MO•TION — made some noise, especially in gay clubs, but it didn’t catch on enough for her label. Roan was soon dropped by Atlantic. This was during the pandemic, and she ended up moving back home to Missouri to save money by working at a coffee shop, among other odd jobs. She was also going through a break-up with a long-term partner. It must have been miserable at the time, but it proved to be a fruitful experience for her songwriting.

Fast forward to 2022. Roan is out of the Midwest and back in Los Angeles, where she lands a publishing deal. She starts transforming herself into “a thrift store pop star,” which allows her to crack her naturally introverted shell and sing about getting freaky and kinky and making the bed get squeaky. The viral Tiny Desk Concert and support from the queer community and The Tonight Show appearances would soon follow. “I think Chappell’s a drag-queen version of me because it’s very larger-than-life,” she explained about finding herself to Vanity Fair. “Kind of tacky, not afraid to say really lewd things. The songs are kind of the fairytale version of what happened in real life.”

Whether real or not, the songs on Roan’s funny, vulgar, and honest debut album, The Rise And Fall Of A Midwest Princess, are undeniable. Opener “Femininomenon” begins with lovely strings before a self-aware Roan asks “um, can you play a song with a fucking beat?” and the bubbly energy jumps from a ! to !!!; the bratty “Red White Supernova” keeps the enthusiasm going with an ode to drinking and smoking and f*cking. Later, on the throbbing “Casual,” Roan asks, “Knee deep in the passenger seat and you’re eating me out / Is it casual now?” She even has her own calling-card dance with “Hot To Go!” The Rise And Fall Of A Midwest Princess sounds like the work of a pop-star lifer, not someone who was making coffee in Missouri two years ago.

Roan is one the biggest success stories of 2024. In June 2023, she was getting 130,000 daily streams on Spotify; a year later, she’s up to 16 million. “Good Luck, Babe!” is expected to hit No. 10 on the Billboard Hot 200 next week, which would give Roan her first top-10 hit, and her social media accounts (Roan’s TikTok is full of gems like this) are showing “explosive growth.”

There are a lot of factors to explain Roan’s rise to the pop star major leagues: her obvious talent, her opening slot for Olivia Rodrigo on the Guts tour, her work ethic, her Lady Gaga-like theatricality, her decision to “stop trying to impress the music industry and start trying to impress gay people.” But the biggest reason is also the simplest: her songs are fun! With big hooks! And melodies you can hum! People want to dance and sing and dress up in pink (Chappell Roan is Barbie for people who watch RuPaul’s Drag Race), and she provides an outlet for a good time. Hopefully for a long time.

Swerve Strickland retained his AEW heavyweight championship against Will Ospreay at Forbidden Door in New York.

While Ospreay paid tribute to the legendary Hayabusa during his entrance, Strickland continued his entertainment meets pro wrestling crossover by bringing out Dipset founding member and New York native Jim Jones to introduce him.

Jones hit the top of the entrance ramp holding the AEW championship and said he swerves when he drives before the champ’s music hit. Strickland greeted Jones at the top of the ramp, put the belt over his shoulder and made his way to the ring.

Once the bell rang, Strickland and Ospreay set a rapid pace right from the beginning. While the challenger had the early advantage, Strickland found his opening and gained some momentum. Strickland looked to be in momentum after hitting a Swerve Stomp onto the announce table.

After the referee took an errant hit from Ospreay, Don Callis arrived at the ring and handed Ospreay a screwdriver. Prince Nana took out Callis and Ospreay decided against using the screwdriver. Strickland took out Ospreay when he climbed into the ring, then hit the Swerve Stomp for two. He hit the House Call for two again.

Strickland hit a House Call again before hitting Big Pressure for the pinfall victory.

After a week of trades, the Draft, and teams signing current players to extensions and new deals, NBA free agency finally got started at 6 p.m. ET on Sunday. Typically there is flurry of action as soon as the moratorium period opened up, as teams don’t want to wait long to lock up top targets and players don’t want to wait too long to miss out on cap/exception space that often dries up quickly around the NBA.

However, this year it took longer than usual for things to get warmed up. For one, teams could agree to deals with their own free agents as soon as the Finals ended, which meant a lot of the deals that used to get held for 6:01 p.m. (or 12:01 a.m.) could just get locked in over the past two weeks. We saw that with guys like Pascal Siakam, OG Anunoby, Immanuel Quickley, and others, taking away some of those handshake deals to re-sign guys we usually get the first night. Along with that, teams at least pretended to be better about playing along with the league’s rules about not contacting other players outside their rosters. There were a handful of deals that teams got done on Sunday prior to free agency opening to keep their own players in town, and then about an hour after free agency finally started to open up and deals began rolling in.

Still, it was a pretty quiet night, largely due to Paul George still not being officially locked in — even though the Clippers publicly announced he wouldn’t be back in Los Angeles. With the biggest name taking his time in meeting with the Sixers, things were held up a bit, while the newly increased salary cap apron penalties put a real damper on teams enthusiasm for being aggressive early on.

Here are the 15 deals that got agreed to on Sunday, including those that re-signed with their current team prior to free agency opening.

Patrick Williams (Bulls)

Sunday’s action started with the Bulls and Patrick Williams agreeing to a 5-year, $90 million deal just after midnight to keep the young forward in Chicago.

Obi Toppin (Pacers)

Elsewhere in the Central, the Pacers beat the clock to lock up Obi Toppin on a long-term deal for 4 years, $60 million to keep him from hitting the open market, giving him just above the mid-level to stay a couple hours prior to free agency.

Max Christie (Lakers)

An hour before the market opened up, the Lakers got a deal done with Max Christie to keep him in L.A. for the next four years (including a player option) and $8 million per year.

James Harden (Clippers)

From there, James Harden got a new 2-year, $70 million deal done to stay with the Clippers just before free agency started and let L.A. focus their efforts on Paul George’s free agency once the clock hit 6 p.m. ET.

Luke Kornet (Celtics)

As free agency began, Luke Kornet re-signing with the Celtics was the first deal on the board, as Boston looks to run it back in their title defense.

Kevin Love (Heat)

The deals to re-sign guys continued with Kevin Love returning to the Heat on a 2-year, $8 million deal.

Andre Drummond (Sixers)

Finally, an hour after free agency opened, we got our first signing that saw a player change teams, with Andre Drummond inking a two-year deal with the Sixers to backup Joel Embiid.

Kevin Porter Jr. (Clippers)

The Clippers signed Kevin Porter Jr. to a two-year deal (with a player option) after he missed all of the 2023-24 season after getting charged with harassment and third-degree reckless assault of his then-girlfriend at a New York City hotel, reaching a plea agreement in January.

Kentavious Caldwell-Pope (Magic)

The first truly big signing of the day came when the Orlando Magic struck a new three-year, $66 million deal with Kentavious Caldwell-Pope. Orlando fills their need for a veteran presence and three-point shooting with the move, while Denver loses a key contributor for a second straight year (but this time could’ve matched the offer and chose not to).

Eric Gordon (Sixers)

The Sixers continued making moves around the periphery, signing Eric Gordon to a vet minimum deal.

Chris Paul (Spurs)

The Spurs made their first move of free agency by bringing in a needed veteran point guard presence with Chris Paul on a 1-year, $11 million deal to provide some stability on offense and create a very fun pick-and-roll pairing with Victor Wembanyama.

Jonas Valanciunas (Wizards)

The Wizards got in on the action by signing Jonas Valanciunas to a 3-year, $30 million deal to bolster their frontcourt alongside No. 2 overall pick Alex Sarr.

Mason Plumlee (Suns)

The Suns made their first signing outside their roster last year adding some frontcourt depth in the form of Mason Plumlee.

Naji Marshall (Mavericks)

The reigning West champs made their first move of free agency by signing Pelicans wing Naji Marshall to add another much-needed 3-and-D wing to their rotation.

Derrick Jones Jr. (Clippers)

With the Mavs going in a different direction with their mid-level, Derrick Jones Jr. was left to find a new team and landed a 3-year, $30 million deal with the Clippers as they pivot away from Paul George.

Tonight (June 30), the 2024 BET Awards was about giving entertainers their flowers. The most notable honorary of the evening was Usher. As the Lifetime Achievement Award recipient, several other musicians joined in on the celebration.

Uproxx cover star Chlöe, Childish Gambino, Keke Palmer, Coco Jones, Tinashe, Teyana Taylor, and more paid tribute to Usher with special performances of his greatest hits. Despite the jammed-packed lineup, following the set, users online shared their mixed reviews of what they witnessed.

The biggest gripe folks had on Twitter was the actual acts selected to take the stage. Continue below to read a few of their responses.

“Hopefully Usher gets a better tribute at the #GRAMMYs cause this wasn’t it. #BETAwards,” wrote one user.

https://twitter.com/HoeAssMrB/status/1807611328137175546

“Usher deserved BETTER. Teyana Taylor was the only good one,” penned one user.

“I just don’t understand who dropped the ball for the KING OF RNB LIKE THIS?!?!?! SHOW YOURSELVES,” wrote another.

“Soooo Luke James, Tank, Vedo, Eric Bellinger, Trevor Jackson, Baby Face, Tevin Campbell, Miguel, etc weren’t available for this Usher tribute?,” added another.

View the full Usher Lifetime Achievement Award tribute performance below.

Usher has had one hell of a 2024. He’s got a new album, he’s headed on tour, he performed at the Super Bowl, and now, he’s been honored with a BET Lifetime Achievement Award. However, we aren’t sure how he feels about it, because BET’s infamously touchy censor weighed in pretty heavily during Usher’s acceptance speech after he let some colorful language fly in reference to his absentee father. The speech ended up sounding a bit like the radio edit of Snoop Dogg’s “Ain’t No Fun (If the Homies Can’t Have None),” only without the fly instrumental. Fans were quick to let their own commentary off the chain on Twitter.

Despite this, the mics were indeed on during the tribute performance honoring Usher, which featured an all-star roster of nearly all women singers covering hits from across Usher’s near-30-year run of hits. Included in the performance were Childish Gambino (“U Don’t Have To Call”), Keke Palmer (“You Make Me Wanna”), Summer Walker (“Good Good”), Coco Jones (“There Goes My Baby”), Marsha Ambrosius (“Confessions Pt.2”), Chlöe (“Good Kisser”), Tinashe (“Nice & Slow”), Teyana Taylor & Victoria Monét (“Bad Girl”), and Latto (“Yeah!”).

This isn’t the first time the BET Awards have had censor issues — it’s a tradition going back decades at this point. Nor is this the first time this month Usher has had technical difficulties on the mic, after Latto had to help save his performance at her Birthday Bash in Atlanta a couple of weeks ago. Check out his speech… in all its censored glory… above.

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It was a big year for Usher, who completed his Vegas residency, then released his new album Coming Home just as he performed in the Super Bowl Halftime Show. It was as good a year as any to give him the Lifetime Achievement Award, which was presented by none other than legendary producers Jimmy Jam and Terry Lewis.

With his new multimedia project Bando Stone And The New World on the way, and his album Atavista already out, Donald Glover — aka Childish Gambino — was the first to hit the stage at the 2024 BET Awards to pay homage to Usher with a fluttering falsetto performance of Usher’s 8701 hit, “U Don’t Have To Call,” with Keke Palmer. Palmer picked up the torch to perform his breakout “You Make Me Wanna,” then his “Good Good” collaborator Summer Walker hit the stage to perform their collab.

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Coco Jones was the next star to emerge — from the crowd, no less — to sing “There Goes My Baby” with some audience participation that would make Usher himself proud. “Confessions Pt.2” was performed by Marsha Ambrosius — and yes, she did hit that run — as she was encircled by laser beams. Chlöe popped out next to perform “Good Kisser” in a glittering bodysuit, followed by Tinashe, who performed Usher’s first No. 1, “Nice & Slow.”

Next up was Teyana Taylor and Victoria Monét, who performed a sexy duet dance routine to “Bad Girl.” Latto then joined a fleet of dancers to remake the “Yeah!” video onstage, with her performing Ludacris’ iconic verse ahead of the finale, during which all the other women returned to the stage.

You can watch the performance above and find the full list of 2024 BET Awards nominees and winners here.

Tyla’s self-titled debut album has received raved reviews, from fans and Uproxx alike. Unfortunately, supporters weren’t album to enjoy any of the songs from the project after she was forced to cancel her supporting tour.

But tonight (June 30), supporters from around the world were able to witness what could’ve been. Alongside her collaborators, Gunna and Skillibeng, Tyla performed her single, “Jump.” To pay homage to her South African heritage (as shown in the track’s official video), the set was filled with nods to the motherland.

There was no water to be found, but there was plenty of nature element. Surrounded by a mock safari display, Tyla’s background dancers even assumed the role of lioness trapped in a cage with NSFW body art. But even the box couldn’t hold Tyla’s slithery dance moves.

Tyla found viral success thanks to her liquid and booty jump combination seen in the official video for “Water.” But she has much more than one-legged twerking in her choreography bag. She can wine, twerk, but most importantly sing live. As the budding amapiano pop crossover princess, Tyla’s vocal ability can’t be ignored. Earlier in the evening, Tyla took home the awards for Best New Artist and Best International Act, so it certainly didn’t go unnoticed.

Watch clips Tyla’s 2024 BET Awards performance above.

Ice Spice has undoubtedly been one of hip-hop’s biggest rising stars of the past couple years. The whole time, along with her undeniable bars, she has made use of her sex appeal. A combination of both factors fueled her 2024 BET Awards performance.

The performance opened up with “Phat Butt” and Ice made the moment all about the song’s namesake on a gas station set. She then kept things in backside territory by moving onto “Think U The Sh*t (Fart)” to wrap up her two-song medley.

Ice is about a month away from the release of her upcoming album, Y2K, the cover art of which saw a bit of criticism. Starting in a few days, she’ll also be heading out on tour in support of the album, alongside Cash Cobain. This is all going down as she gears up to star alongside Denzel Washington in an upcoming movie.

Ice Spice has three nominations at this year’s awards. Her and Nicki Minaj’s “Barbie World” is up for Best Collaboration, Ice herself is up for Best Female Hip-Hop Artist, and “Barbie World” is also up for Video Of The Year.

Check out the performance above and find the full list of 2024 BET Awards nominees and winners here.