Categories
News Trending Viral Worldwide

Jae Crowder Can Be An Unlikely Difference Maker In The Eastern Conference Finals

Jae Crowder isn’t on the short list of the most prominent players involved in the Eastern Conference Finals. Even in a series against one of his former teams in the Boston Celtics, Crowder is a role player, albeit a valuable one, and there is only so much oxygen in a series that features Jimmy Butler, Jayson Tatum, Bam Adebayo, Kemba Walker, Goran Dragic, Jaylen Brown and Gordon Hayward, among others. With that said, Crowder’s contributions are exceptionally valuable to the Miami Heat and, in looking back in the not-too-distant past, it isn’t clear that he was always supposed to be a key cog for his new team.

When the Heat acquired Crowder in early February, he arrived alongside Andre Iguodala in a multi-player swap that saw Memphis take on Justise Winslow’s long-term money and Miami ink Iguodala to a lucrative extension. In the moment, the focus was largely on Iguodala, with his exit from Memphis as the top story, even before he earned some extra security via the extension. In fact, Crowder was largely viewed as a throw-in, even with most acknowledging that he could have value as a supporting player on a $7.8 million expiring contract.

Fast-forward to the playoffs, though, and it is Crowder, not Iguodala, that has been the centerpiece of the deal through the prism of 2020. In the 108 minutes with Crowder on the floor against the Celtics, the Heat boast a +7.8 net rating, while Miami falls off a cliff to the tune of a -18.9 net rating in the 41 minutes with Crowder on the bench. There is, of course, some small sample size theater to go along with the noise of individual net rating involved in those numbers, but Crowder is unquestionably a prominent part of Miami’s rotation, starting each of the team’s 12 playoff games and averaging more than 34 minutes per game in the last two series combined.

Iguodala has faded into the background amid whispers of injury issues but, in some respects, Crowder is more prominent than ever. The Celtics, who know his game well from a multi-year stint in Boston, are game-planning away from Crowder and, frankly, they are likely right to do so.

Miami deploys lineups that are sometimes overflowing with quality offensive options, especially when Crowder is playing the 4 next to Adebayo and a trio of high-powered perimeter options including Dragic, Butler, Tyler Herro and Duncan Robinson. As such, the Celtics are often “letting” Crowder beat them from three-point distance and, in Game 3, the 30-year-old forward wasn’t able to make Boston pay.

Crowder converted only 2-of-10 attempts from three-point range in that contest, perhaps experiencing some regression from a scalding hot playoff run. After a 29.3 percent three-point clip for Memphis in 45 games this season, Crowder knocked down 44.5 percent of his threes (on 6.4 attempts per game) for Miami down the stretch of the regular season and leading into the Orlando bubble. In the playoffs, Crowder has continued his marksmanship, converting 38.5 percent of his three-point attempts (even including the shaky shooting in Game 3) and his volume has increased to 8.7 attempts per game in the postseason.

Finding the baseline with Crowder’s shooting is a tough exercise, simply because he has experienced some lofty highs and some maddening lows with his three-point efficiency in the past. In his first four NBA seasons, Crowder shot only 32.4 percent from three-point range on relatively low volume. From there, he experienced a career renaissance in 2016-17, burying 39.8 percent of his threes for Boston and earning the reputation as one of the best bargains in the NBA on a (very) reasonable contract. Once he left the Celtics, though, Crowder cratered in Cleveland and Utah, shooting just 32.8 percent in the next 160 regular season games, and those hiccups continued in Memphis.

The NBA Playoffs are, by their nature, a small sample size endeavor and, at the moment, Crowder is playing with the confidence to let it fly. That bodes well for the Heat, especially when he converts open opportunities, because Boston is likely to continue scheming away from Crowder and he must continue to fire away. In fact, the Celtics have been putting Kemba Walker and other sub-optimal defenders on Crowder, leading to some rumblings that the Heat could have adjustments in the offing to take advantage.

While changes could be coming, the Celtics are essentially betting against Crowder’s shooting, while the Heat need him to convert. That isn’t the only pivot point in a series full of stars, but Crowder’s defensive contributions are well-documented in that he is switchable, physical and competitive in a number of match-ups. He can be a highly valuable player even with just average (or even below-average) shooting but, in the crucible of the playoffs, Crowder’s shooting could play a significant role in determining the winner of a series that is now back to toss-up territory after Boston’s Game 3 win.

Categories
News Trending Viral Worldwide

Post Malone And Lil Nas X Dominate The Full List Of 2020 Billboard Music Awards Nominees

The 2020 Billboard Music Awards were set to take place back in April, but the coronavirus pandemic necessitated that the ceremony be delayed. It was postponed to October 14, and today, about a month in advance, the nominees have been announced. Well, nominees for all categories except for Billboard Chart Achievement, Top Social Artist, and Top Collaboration, which are fan-voted categories. Voting for those will open on October 1.

Post Malone is the most-nominated artist with 16 nods, followed by Lil Nas X’s 13 nominations. Other artists to receive more than one nomination include Billie Eilish, Khalid (12 each), Lizzo (11), Kanye West (9), Taylor Swift (6), and Justin Bieber (4).

This year’s awards are based on the chart period of March 23, 2019 through March 14, 2020, meaning that some older tunes have found their way into the nominations, more so than usual considering the event was pushed back almost half a year. For example, Post Malone and Swae Lee’s “Sunflower” has racked up multiple nominations, and it was originally released in October 2018.

Check out the fill list of nominees below.

Top Artist

Billie Eilish
Jonas Brothers
Khalid
Post Malone
Taylor Swift

Top Billboard 200 Album

When We All Fall Asleep, Where Do We Go, Billie Eilish
Lover, Taylor Swift
Free Spirit, Khalid
Hollywood’s Bleeding, Post Malone
Thank U, Next, Ariana Grande

Top Hot 100 Song

“Someone You Loved,” Lewis Capaldi
“Bad Guy,” Billie Eilish
“Old Town Road,” Lil Nas X Feat. Billy Ray Cyrus
“Truth Hurts,” Lizzo
“Señorita,” Shawn Mendes and Camila Cabello

Top Male Artist

DaBaby
Khalid
Lil Nas X
Post Malone
Ed Sheeran

Top Female Artist

Billie Eilish
Ariana Grande
Halsey
Lizzo
Taylor Swift

Top Duo/Group

BTS
Dan + Shay
Jonas Brothers
Maroon 5
Panic! At The Disco

Top New Artist

DaBaby
Billie Eilish
Lil Nas X
Lizzo
Roddy Ricch

Billboard Chart Achievement Award

Mariah Carey
Luke Combs
Lil Nas X
Harry Styles
Taylor Swift

Top Billboard 200 Artist

Drake
Billie Eilish
Khalid
Post Malone
Taylor Swift

Top Hot 100 Artist

DaBaby
Billie Eilish
Khalid
Lil Nas X
Post Malone

Top Streaming Songs Artist

DaBaby
Billie Eilish
Lil Nas X
Post Malone
Travis Scott

Top Song Sales Artist

Billie Eilish
Lil Nas X
Lizzo
Post Malone
Taylor Swift

Top Radio Songs Artist

Jonas Brothers
Khalid
Lizzo
Shawn Mendes
Post Malone

Top Social Artist

BTS
Billie Eilish
EXO
GOT7
Ariana Grande

Top Touring Artist

Elton John
Metallica
Pink
Rolling Stones
Ed Sheeran

Top R&B Artist

Chris Brown
Khalid
Lizzo
Summer Walker
The Weeknd

Top R&B Male Artist

Chris Brown
Khalid
The Weeknd

Top R&B Female Artist

Beyonce
Lizzo
Summer Walker

Top R&B Tour

B2K
Janet Jackson
Khalid

Top Rap Artist

DaBaby
Juice Wrld
Lil Nas X
Post Malone
Roddy Ricch

Top Rap Male Artist

DaBaby
Lil Nas X
Post Malone

Top Rap Female Artist

Cardi B
City Girls
Megan Thee Stallion

Top Rap Tour

Drake
Post Malone
Travis Scott

Top Country Artist

Kane Brown
Luke Combs
Dan + Shay
Maren Morris
Thomas Rhett

Top Country Male Artist

Kane Brown
Luke Combs
Thomas Rhett

Top Country Female Artist

Maren Morris
Kacey Musgraves
Carrie Underwood

Top Country Duo/Group

Dan + Shay
Florida Georgia Line
Old Dominion

Top Country Tour

Eric Church
Florida Georgia Line
George Strait

Top Rock Artist

Imagine Dragons
Panic! At The Disco
Tame Impala
Tool
Twenty One Pilots

Top Rock Tour

Elton John
Metallica
Rolling Stones

Top Latin Artist

Anuel AA
Bad Bunny
J Balvin
Ozuna
Romeo Santos

Top Dance/Electronic Artist

Avicii
The Chainsmokers
DJ Snake
Illenium
Marshmello

Top Christian Artist

Lauren Daigle
Elevation Worship
for KING & COUNTRY
Hillsong UNITED
Kanye West

Top Gospel Artist

Kirk Franklin
Koryn Hawthorne
Tasha Cobbs
Sunday Service Choir
Kanye West

Top Soundtrack

Aladdin
Descendants 3
Frozen II
K-12, Melanie Martinez
The Dirt, Motley Crue

Top R&B Album

Homecoming: The Live Album, Beyonce
Changes, Justin Bieber
Indigo, Chris Brown
Free Spirit, Khalid
Over It, Summer Walker

Top Rap Album

Kirk, DaBaby
Death Race For Love, Juice WRLD
Hollywood’s Bleeding, Post Malone
Please Excuse Me For Being Antisocial, Roddy Ricch
So Much Fun, Young Thug

Top Country Album

Experiment, Kane Brown
What You See Is What You Get, Luke Combs
Girl, Maren Morris
Center Point Road, Thomas Rhett
If I Know Me, Morgan Wallen

Top Rock Album

III, The Lumineers
We Are Not Your Kind, Slipknot
The Slow Rush, Tame Impala
Fear Inoculum, Tool
Father Of The Bride, Vampire Weekend

Top Latin Album

Oasis, J Balvin and Bad Bunny
Gangalee, Farruko
11:11, Maluma
Utopia, Romeo Santos
Suenos, Sech

Top Dance/Electronic Album

TIM, Avicii
World War Joy, The Chainsmokers
Ascend, Illenium
Marshmello: Fortnite Extended Set, Marshmello
Different World, Alan Walker

Top Christian Album

Victory: Recorded Live, Bethel Music
Only Jesus, Casting Crowns
People, Hillsong United
Victorious, Skillet
Jesus Is King, Kanye West

Top Gospel Album

Long Live Love, Kirk Franklin
Goshen, Donald Lawrence & The Tri-City Singers
The Cry: A Live Worship Experience, William McDowell
Jesus Is Born, Sunday Service Choir
Jesus Is King, Kanye West

Top Streaming Song

“No Guidance,” Chris Brown Feat. Drake
“Bad Guy,” Billie Eilish
“Old Town Road,” Lil Nas X Feat. Billy Ray Cyrus
“Ransom,” Lil Tecca
“Sunflower (Spider-Man: Into The Spider-Verse),” Post Malone and Swae Lee

Top Selling Song

“Someone You Loved,” Lewis Capaldi
“Bad Guy,” Billie Eilish
“Old Town Road,” Lil Nas X Feat. Billy Ray Cyrus
“Truth Hurts,” Lizzo
“God’s Country,” Blake Shelton

Top Radio Song

“Someone You Loved,” Lewis Capaldi
“Sucker,” Jonas Brothers
“Talk,” Khalid
“Truth Hurts,” Lizzo
“I Don’t Care,” Ed Sheeran and Justin Bieber

Top Collab

“No Guidance,” Chris Brown Feat. Drake
“Old Town Road,” Lil Nas X Feat. Billy Ray Cyrus
“Señorita,” Shawn Mendes and Camila Cabello
“Sunflower (Spider-Man: Into The Spider-Verse),” Post Malone and Swae Lee
“I Don’t Care,” Ed Sheeran and Justin Bieber

Top R&B Song

“No Guidance,” Chris Brown Feat. Drake
“Juicy,” Doja Cat and Tyga
“Talk,” Khalid
“Good As Hell,” Lizzo
“Heartless,” The Weeknd

Top Rap Song

“Old Town Road,” Lil Nas X Feat. Billy Ray Cyrus
“Ransom,” Lil Tecca
“Truth Hurts,” Lizzo
“Sunflower (Spider-Man: Into The Spider-Verse),” Post Malone and Swae Lee
“Wow,” Post Malone

Top Country Song

“10,000 Hours,” Dan + Shay with Justin Bieber
“The Bones,” Maren Morris
“One Man Band,” Old Dominion
“God’s Country,” Blake Shelton
“Whiskey Glasses,” Morgan Wallen

Top Rock Song

“Bad Liar,” Imagine Dragons
“I Think I’m Okay,” Machine Gun Kelly, Yungblud, and Travis Barker
“Hey Look Ma, I Made It,” Panic! At The Disco
“Chlorine,” Twenty One Pilots
“The Hype,” Twenty One Pilots

Top Latin Song

“China,” Anuel AA, Daddy Yankee, Karol G, Ozuna, and J Balvin
“Callaita,” Bad Bunny and Tainy
“Con Calma,” Daddy Yankee Feat. Snow
“No Me Conoce,” Jhay Cortez, J Balvin, and Bad Bunny
“Otro Trago,” Sech Feat. Darell, Nicky Jam, Ozuna, and Anuel AA

Top Dance/Electronic Song

“Ritmo (Bad Boys For Life),” Black Eyed Peas and J Balvin
“Close To Me,” Ellie Goulding and Diplo Feat. Swae Lee
“Good Things Fall Apart,” Illenium and Jon Bellion
“Higher Love,” Kygo and Whitney Houston
“Here With Me,” Marshmello Feat. Chvrches

Top Christian Song

“Raise A Hallelujah,” Bethel Music, Jonathan David Hesler, and Melissa Hesler
“Nobody,” Casting Crowns Feat. Matthew West
“Rescue,” Lauren Daigle
“God Only Knows,” for KING & COUNTRY
“Follow God,” Kanye West

Top Gospel Song

“Love Theory,” Kirk Franklin
“Closed On Sunday,” Kanye West
“Follow God,” Kanye West
“On God,” Kanye West
“Selah,” Kanye West

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

Categories
News Trending Viral Worldwide

DaBaby Is Being Sued By The LA Hotel Employee He Pushed Over A Selfie

Before 2020 ensured that his public appearances were kept to a minimum, DaBaby was developing a steadfast reputation for being physically unable to avoid altercations. That penchant for pugilism may soon cost him, as according to TMZ, the North Carolina rapper is being sued by one of the many people he beat up over his past year in the spotlight.

An employeed at AC Hotel by Marriott in Beverly Hills filed a lawsuit against the rapper after a December 2019 incident in which DaBaby allegedly assaulted chef Cristopher Pocasangre. A surveillance video shows DaBaby pushing Pocasangre into a chair while appearing to have an argument before leaving the building. The altercation was apparently over a photo the chef took of the rapper, which DaBaby noticed and demanded he delete. It’s worth noting that the employee first asked the rapper for a photo, which DaBaby denied, and instead took a selfie with him in the background. Now, Pocasangre is suing DaBaby for assault, battery, infliction of emotional distress, and is seeking unspecified damages.

Shortly after the incident, DaBaby noted in an Instagram post that he had rejected the request because he was with his daughter. Pocasangre then tried to film him despite him holding his daughter, despite DaBaby’s repeated requests to stop. “I calmly and respectfully said no and explained to him that him posting a video of me at the time would compromise the safety of me and my child by letting social media know where we were staying,” he explained.

DaBaby’s history of (partially) justified violence goes back to before he blew up in 2019 with DaBaby On Baby. At the end of 2018, he shot a man in self-defense, avoiding serious charges in 2019. He was later sued by the family of a man his security allegedly beat into a coma at a show, and this year, drew backlash for punching a woman while blinded by her camera flash when she took a picture of him at a club.

Categories
News Trending Viral Worldwide

Sylvan Esso Share A Simple And Beautiful Video For ‘Free’

Sylvan Esso are just days away from dropping their new album, Free Love, which come out at the end of the week. Ahead of then, though, they’re back with what will presumably be the final preview of the album before its release, a video for “Free.”

It’s a simple, simple song, featuring not much more than simple keyboard chords and Amelia Meath’s gentle vocals. The video is appropriately stripped down as well, as it just shows Meath sitting between two vertical light bars.

Amelia Meath says of the song, “‘Free’ was written all in one go — one of those magical moments of songwriting that happens once every hundred songs. Nick knew it was the center piece of the record the minute I showed it to him. ‘We should call the record Free Love.’ It’s the center of the record — a song about being obscured by someone’s loving impression. A mirror on a mirror.”

Meanwhile, Nick Sanborn recently told Uproxx of the new album, “We actually got to the place that you always say about yourself, ‘I just want to make something that I think is good.’ I feel like we actually got there this time. The WITH tour was the final nail in the coffin. I was able to see our band from the outside, almost, for the first time. It gave me this huge sense of confidence in what we’re doing. If the two of us make something, it will be the band. The band is just this byproduct of how much we like hanging out.”

Watch the “Free” video above, and read our interview with the duo here.

Free Love is out 9/25 via Loma Vista Recordings. Pre-order it here.

Categories
News Trending Viral Worldwide

Netflix’s Animated-Musical ‘Over The Moon’ Trailer Comes From A Disney Legend

In celebration of China’s Mid-Autumn Festival, Netflix has released a new trailer for Over the Moon, an animated movie about a young girl who builds a rocket ship to visit the moon goddess, Chang’e. The gorgeous-looking film is directed by Disney icon Glen Keane — who brought to animated life Elliott the Dragon in Pete’s Dragon, Professor Ratigan (a top-five Disney villain) in The Great Mouse Detective, Ariel in The Little Mermaid, the Beast in Beauty and the Beast, as well as the titular characters in Aladdin and Pocahontas — and written by Audrey Wells (The Hate U Give), who died in 2018.

“She had written this script as a love letter to her daughter and her husband with a very wonderful message about what happens when you lose someone, that the love that you share lasts forever,” producer Peilin Chou said about Wells’ screenplay. “It was something she really wanted her daughter to have and know.”

Here’s the official plot synopsis:

Fueled with determination and a passion for science, a bright young girl builds a rocket ship to the moon to prove the existence of a legendary Moon Goddess. There she ends up on an unexpected quest, and discovers a whimsical land of fantastical creatures.

Over the Moon, featuring the voices of Cathy Ang, Phillipa Soo, Robert G. Chiu, Ken Jeong, John Cho, Ruthie Ann Miles, Margaret Cho, Kimiko Glenn, Artt Butler, Irene Tsu, Clem Cheung, Conrad Ricamora, and Sandra Oh, premieres on Netflix on October 23.

Categories
News Trending Viral Worldwide

Jimmy Kimmel Reflected Upon His ‘Strange’ Emmys Experience While Returning To His Late-Night Studio

This year’s post-Emmys TV hangover included multiple talk-show returns on Monday, including Ellen DeGeneres returning to address those allegations of fostering a toxic workplace. The Emmys host, Jimmy Kimmel, also returned to late night after a months-long hiatus, and of course, he used the monologue to address the news of the day, which was the Emmys. Fortunately for all, Kimmel had forecast a “beautiful disaster” for the event, so not much was a surprise for him. Probably not even that fire.

Kimmel had also fully anticipated lower ratings for the event — which makes sense because people are burned out on Zoom panels and may have expected as much — so he took the report of a 12% tumble (to 6.1 million viewers) from last year in stride: “Well, we set a record let’s just say that.” In much better news, though, the Emmys raised $2.8 million for the No Kid Hungry charity, something that’s sorely needed during these pandemic days.

The host also addressed the eeriness of emceeing an empty event (while joking about how “the only person social-distancing in Zendaya’s house was Zendaya herself”), along with the lack of afterparties:

“The weirdest part of hosting this show was – when it was over – there are usually parties – and everyone is carrying their Emmys around. Everyone’s happy, everyone’s celebrating. This year, the show ended – and it was like ‘well, I guess I’ll go into my car – and drive home.’ Doing an awards show – where all the winners are at home – is a strange experience. It was probably the first time in history that someone won an Emmy – and then, ten minutes later put a load of laundry in the dryer.”

Although Kimmel also included several tweets of people (who didn’t realize that old footage was used for the live-audience effect) who bashed him during the show, the event was actually pretty fun to witness. It was truly a highlight of 2020 and pretty darn successful, given the tough circumstances. Where else can you see John Oliver in a hoodie? C’mon.

Categories
News Trending Viral Worldwide

A Third Of Musicians Surveyed May Leave The Music Industry Due To Pandemic Struggles

The pandemic has hit a lot of industries hard, and that’s especially true of the music industry. Live entertainment and music-related consumer goods are a luxury for most people, an expense they can cut from their budget when times get difficult. On top of that, the coronavirus has forced most live performances to be postponed or canceled. Subsequently, a lot of musicians are having a tough time right now, and it looks like a good number of them may be forced to leave the industry.

That has been indicated by a new study, which says that 34 percent of musicians are considering leaving the music industry because of pandemic-caused losses. This data comes via the Musicians’ Union (via NME), a UK organization founded in 1893 that describes itself as “a community of around 32,000 musicians working to protect our members’ rights and campaign for a fairer music industry.”

Meanwhile, nearly half of Musicians’ Union members have been forced to seek alternative work, and about 70 percent of them are currently doing less than a quarter of their regular work.

In a statement regarding the data, Musicians’ Union General Secretary Horace Trubridge called for the UK government to support musicians and noted, “These figures are devastating and show how many musicians are struggling financially and at real risk of leaving music for good. In better times, our members drive a £5bn music industry with their talent. One artist’s gig will create a domino effect of jobs – from lighting technicians to ticket sellers. If one musician is out of work, you can be sure many others will be affected, too.”

Categories
News Trending Viral Worldwide

Tucker Carlson Is Being Called ‘Truly Sick’ For Thinking Ruth Bader Ginsburg’s Dying Words Are ‘Pathetic’

Tucker Carlson has said a lot of offensive things over the years, like the time he praised a “brave” White college student for Photoshopping his face onto a cracker, but he may have reached a new low on Monday. During an episode of Tucker Carlson Tonight, the host described Supreme Court Justice Ruth Bader Ginsburg’s dying wish, to not “be replaced until a new president is installed” in 2021, as “pathetic.”

Carlson’s remarks followed Donald Trump appearing earlier that day on Fox News, where he called into question of whether RBG said what she said (she did). “I don’t know that she said that, or was that written out by Adam Schiff or [Chuck] Schumer and [Nancy] Pelosi? I would be more inclined to the second. That came out of the wind, it sounds so beautiful, but that sounds like a Schumer deal or maybe Pelosi or shifty Schiff,” the president said. Carlson, ever a loyal stooge, echoed Trump’s remarks.

“We don’t really know actually what Ruth Bader Ginsburg’s final words were,” Carlson bloviated. “Did she really leave this world fretting about a presidential election? We don’t believe that for a second. If it were true, it would be pathetic because life is bigger than politics, even this year. We wouldn’t wish final words that small on anyone so we’re going to again choose to believe that Ruth Bader Ginsburg didn’t actually say that, that in real life she was thinking at the end about her family and where she might be going next. Human concerns, not partisan ones.” He continued:

“She was not God. Yet according to the left, Ginsburg was all we had. We must obey her dying words as if they were a religious text. Her final wish supersedes our founding documents.”

Many on Twitter are responding to Tucker’s characterization of Ginsberg’s wish, with one user calling him “truly sick.”

Go back to talking to the cracker kid, Tuck.

(Via the Daily Beast)

Categories
News Trending Viral Worldwide

Fleet Foxes’ Robin Pecknold Tells Us What Went Into Their Surprise Fourth Album, ‘Shore’

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.

Of all the qualities that make a Fleet Foxes song instantly recognizable, Robin Pecknold’s voice is chief among them. So when their unexpected fourth album, Shore, opens with an unknown vocalist, the effect is almost shocking. The two-minute intro, “Wading In Waist-High Water,” is sung by relative newcomer, 21-year-old Uwade Akhere, and it’s nothing short of majestic; a sweet folk lullaby erupts into thundering, joyous triumph before winding back down again, a mythic emotional crescendo, like finding a baby in a river. It sets the tone for an album purposefully designed to warm and comfort the listener, immediately establishing that though Fleet Foxes may be back, the band is continually growing and evolving.

Crack-Up was a super personal album,” Pecknold explained over the phone in an interview late last week. “I had a really specific idea of what I wanted it to be, and the songs were from a pretty specific emotional time. On this record, I wanted the first line I sang to be for someone else, like ‘For Richard Swift.’” So, that dedication to the late indie-rock icon is when Robin’s voice first appears, singing this lyric to open the album’s highlight, “Sunblind,” which also happens to be the single greatest entry into the Fleet Foxes catalogue to date.

Both an homage to the great artists who have passed before their time, and a distillation of the joy that fills one perfect day, “Sunblind” represents how grief and despair can double back and lead us toward the profound act of living simply with all our might. Despite this tender sentiment, there’s nothing naïve about Shore — a label that was perhaps correctly assigned to early Fleet Foxes material, and also part of what made it great — and these 15 tracks are the work of an artist taking in everything dark and corrupt about this year, and choosing to craft an artifact of hope. Though the majority of the music was composed and recorded in 2019 and early 2020 before the pandemic, nearly all of the lyrics were written as recently as June of 2020.

This means that musically, the album is as meticulous as Pecknold’s perfectionist streak has ever driven him to be, but lyrically, it has a new sense of openness. From the litany of invocations on “Sunblind” to the aching Neon Bible melodrama of “Can I Believe You?” and the loping determination of “Maestranza,” Shore is more aware of the current moment than any other Fleet Foxes album, but speaks to it with hard-earned wisdom and a sense of respect for the necessary dismantling 2020 ushered in. Recorded across five different studios, and engineered and mixed by Beatriz Artola, who Pecknold describes as “essential” to the record, this fourth album is a triumph from an artist who is rarely, if ever, satisfied with his own offering.

Perhaps he, too, can finally dig his feet into the sand: Shore is a fine epic, a mesmerizing continuation of a band who helped define the 2010s, and proof that, for many more decades, Pecknold’s voice will be an imperative entry into the American songwriting canon — whether he’s the one singing, or not. Along with the album and in lieu of formal music videos, a 16 mm road movie of the same name by Kersti Jan Werdal is available to watch here. Below is a condensed, edited version of a nearly hour-long conversation we had about the circumstances surrounding Shore and beyond.

You have such a signature voice that’s instantly recognizable. But on Shore, someone else’s voice opens the record. Why did you decide to make that shift?

I wanted the first lyric to be this outward looking thing. Then, I had this “Wading In Waist-High Water” song that I didn’t know how to sing. Because I had the lyrics and the melody I liked, but it felt wrong with my voice. Once a friend sent me a clip of Uwade [Akhere] singing, I was obsessed with the tone of her voice and how easy and textured it is. It felt like having someone else open it up, having someone else sing at the top of the album felt like an extension of the ‘For Richard Swift’ line. These other people at the very top to establish that as a theme or an overall feeling on the record.

How did you get connected with Uwade?

A friend of mine just sent me an Instagram clip of her covering the Fleet Foxes song, “Mykonos.” That was the first I’d heard of her, and then they said she was a Columbia student but doing a semester abroad at Oxford, and we happened to be recording in France. She was happy to take the train to come record with us for a day. She’s amazing, she’s a really cool person.

“Sunblind” is an homage to so many artists from the past, and it also feels fitting to have Kevin Morby singing on it with you because he’s another legend of our current time. When did you decide to have him involved in that song?

There was a moment when I thought it would be cool to have a gang vocal with a ton of people singing on it, but then that started to seem a little too “We Are The World” or something. But I really wanted Kevin on there, so I asked him just a few weeks ago. One of the small upsides of the lockdown situation is that everyone has the home recording situation pretty dialed in. And Kevin was really close with Richard Swift, Joshua Jaeger played drums on this song, and Homer Steinweiss plays drums on this song as well — and he played drums with Richard in The Arcs. I wanted to involve people who knew those guys, and that were a little younger than me. Mentioning a bunch of people that had passed that were our heroes, and then to include the guys that were younger than me, in a way keeping that memory alive.

Your lyrics are often so imagist or opaque, and this song with all the very specific name references felt different. Why was that important to you?

On Crack-Up, those lyrics meant a lot to me, but I was a little bit afraid of what I was talking about, so I was couching it and obscuring it. I thought for this time, I wanted it to be really specific lyrically. And I couldn’t get more specific than people’s names, and then use that as a jumping-off point for exploring different specific, clear themes.

Well I love the song, it’s probably my favorite song off Shore.

Me too! Thank you. It was the last one that came together and I was really happy that it did.

Really? It feels like the center of it.

I know. It totally is the center of it, to me. It was a huge question mark right up until a few weeks ago and I finally unlocked it. It was one of those things where we’ve been working on this album for a year and spending all this time and money, but this wasn’t there? And it’s so central to it, now. The same with “Featherweight,” that one came together super late too, and it was like wow, I can’t believe this was missing. We were excited about this album before but all these really key pieces were missing.

“Featherweight” was the first song you shared with fans and everyone off this record, in a livestream. Why was that the one you wanted to introduce the album with?

Part of it was it was just the easiest one to come across well with that limited setup. And I knew it was going to be easy enough to sing it in one live take and not go terribly wrong. That’s an important song for me on the record, too. Because of the melancholy nature of the music, I think the lyric could’ve gone that way, but to have the lyric be a little more about gratitude, or letting go of old personal battles, with all these descending melodies. I had a big roadblock with lyrics on this record because I wasn’t able to find the point of view, and that was the first song lyrically that I found the point of view for that bled into the rest of the lyrics.

I almost didn’t think it was you singing it. At least on the record, your vocals sound really different, even rhythmically, than you usually sing.

The lyric is so much about letting go of grasping for something and trying to find an ease. So I wanted the vocal to be completely affectless. I tried to sing it as quietly as I could and as easily as I could, and then layered that four or five times, trying to match it perfectly to each other. Not harmonizing, just singing in unison. It was a different character, trying to express no strife.

It reminds me of Elliott Smith.

Yeah, Elliott Smith, or Arthur Russell. Or honestly, like Billie Eilish, how those vocal productions sound.

Well I know that Beatriz Artola had a huge impact on the album as the engineer and mixer. I’d love to hear more about how you guys started working together.

She was essential. Absolutely essential. She worked on Crack-Up for one day when we recorded strings, but I didn’t know her before that. And then she mixed some live stuff from the Crack-Up tour, and I always thought it came out really powerful and strong-sounding. She was always so fun to work with and I just really liked her as a person. I wanted Shore to be engineered from the ground up by a professional. She ended up being a great sounding board for ideas and has an incredibly encyclopedic memory.

When we would record, she was taking notes of every tape we were doing of every musician we recorded. She has all of these notebooks full of her notes on the tapes, and which were the good ones and which one had minor differences. So this last month when we were mixing, we were able to refer to her notes and pull up old performances from eight months ago, and she knew exactly what performance I was talking about, and where it was in the session. We were on a similar wavelength all the time of wanting to work really hard, and what tracks were made where. It was a great experience.

The entire music industry is dominated by men, but I’ve interviewed some female engineers and mixers in the past about how that’s even more true on their side of things. Do you have any thoughts on that aspect?

One thing I want to address, whenever there’s a chance to tour again, is the kind of boys club nature of touring. Even if you love everyone on the tour, if it’s mostly men it’s just going to take on a certain tenor. It’s just a little fratty. So for me, when Beatriz would show up, sometimes she would come out to help with a livestream at a festival, it was always a breath of fresh air to see her on tour. I want to have a more diverse set of energies on tour. But for Beatriz, all of her technical abilities and even her personality, she’s the best in the world. That’s true regardless of her gender.

What was the significance of releasing the album on the Autumn Equinox? And without any notice?

It’s good to get a three-month lead sometimes, it’s good to get people’s attention. I’m hopeful that we can get the word out about the album in this short period of time. It just feels like a good moment to try a no BS “here you go” vibe. I feel sick of reading the news a little bit, and I’m keeping up with what’s going on, but it’s not the least exhausting part of my day. So I didn’t want to feel like I was trying to garner attention over a three-month album cycle. Especially when the album was ready… and it’s not really a winter album. It’s kind of a summer-to-fall album, and I would like to capture that moment of transition.

And I also didn’t want to sit on it for a year and wait until next summer. I was prepared to just Bandcamp it, and then Anti— was super supportive of the idea and came onboard to help with it and they’ve been awesome. The first line of the album is “summer all over” and the last line is “now the quarter moon is out,” and that’s the phase the moon will be entering after the equinox. And those were coincidences, but I was in this heightened period of taking coincidences seriously. So It became inevitable to me in some way.

Recording for this album began at Aaron Dessner’s Long Pond studio in upstate New York. Obviously he works with so many artists, but has been something of a catalyst for new albums from both you and Taylor Swift this year. How would you describe his presence in the music industry?

Yeah, and he makes such great music solo, and with Justin, and that whole team together. They’re really actualizing the promise of this post-genre internet world. Bridging gaps. Being from Seattle, every aesthetic choice was politicized. And it’s cool to see the benefits of not thinking in those terms, and how many different things he’s been able to have his hand in, and genres he’s been able to meld. He was super sweet to let us use the studio, I don’t know him super well but I’m very, very grateful to him for that.

Both this record and Folklore came with almost no announcement, and were finished in quarantine. I think it’s hard for anyone to talk about modern folk music without referencing Fleet Foxes. Do you think about the impact your music might’ve had on Taylor?

Oh, I wonder if any? I don’t know. I’m not sure, I wouldn’t presume to know she’s even heard it. And I love what they did. Because, listening to that album it’s this cool other thing. There’s something placeless about the tracks Aaron produced, and there’s obviously her perspective is very singular and no one can copy that. It’s cool, it’s a real meeting of the minds that created something totally distinct. Because it’s not just like a folk album, it’s something else.

People tend to have really strong feelings about orchestral folk or this style of folk music. Some have a very negative reaction that’s rooted in stereotypes, or often, not even listening to the music. What do you think is the biggest misconception about Fleet Foxes?

The biggest misconception? I think it might be easier for me to even discuss this idea of orchestral folk. That reminds me of listening back to Shore with Homer Steinweiss for the first time. He said “I love when an album sounds like a symphony but you’re just using rock instruments.” And I was like, “Oh yeah, that’s exactly what I’ve always wanted to do.” Because I haven’t really used strings, there’s some horns and voices, but there’s this fine line to walk. Once you ask a guy to do an orchestral arrangement and you hire the London Symphony Orchestra, then it’s just that. There’s something more charming and grounded or a bit more of a magic trick to pull that off without using those resources. Even if you could have access to them.

Even just a clip of Brian Wilson layering his voice seventeen times until it’s this whole world to escape into. That’s super egalitarian and it doesn’t cost a dime, there’s nothing bougie about that. Pulling off really complex arrangements or really interesting sounds, but not dropping fifty grand on some insane session is also slightly egalitarian to me. Music that felt accomplishable to me always resonated more. Accomplishable in terms of when I was a teenager, I could be good enough at guitar in my room to pull off Elliott Smith and learn these songs. I think being from the Northwest, that kind of thing will always mean more to me.

It was almost surprising to me when I realized this was only your fourth album. How are you feeling now about the entire Fleet Foxes discography and how Shore fits into that?

It used to seem like a flex to me if it was like a Talk Talk vibe. I used to think about it in those terms. After Helplessness Blues I was like well maybe that was my music career, and it was kind of an awesome experience. I’ll come back and think one day about this wild time where I made this. But now, I’m like “I can’t believe there’s only four albums, this has been my entire adult life and it’s like, three hours of content. I’m so lazy.” [Laughs]

I really do write a lot more than I’ve been able to release. After the first album, what I thought those releases needed to be really limited my output. I don’t really have that concern anymore, and it feels like I can move into the future in a much more productive, prolific way, and not have some of those same hang-ups I used to. And I think I’m young enough that I’m not delusional to think that I’ll still have some good collaborations and work left to do.

Shore is out now via Anti-. Get it here.

Categories
News Trending Viral Worldwide

Irv Gotti Explains When And Why Tupac And Jay-Z’s Feud Began

The hip-hop world can get contentious, as it was for Jay-Z in the ’90s. After Tupac’s release from prison and signing to Death Row Records, the rapper went after Jay-Z. Now Irv Gotti has explained when and why that feud began.

Guesting on Fat Joe’s The Joprah Show, Gotti was talking about Jay’s involvement in Notorious B.I.G.’s “Brooklyn’s Finest,” naming the track as the reason why Tupac developed an animosity towards Jay-Z: “That’s why ‘Pac was sh*tting on Jay, because of ‘Brooklyn’s Finest.’ […] Jay’s on the record with him, so now he’s like, ‘F*ck you, ain’t no n**** like me, f*ck Jay-Z,’ and he starts bombing on Jay.”

This mirrors what Napoleon, a member of Tupac’s Outlawz group, said in an interview earlier this year: “Biggie was on a Jay-Z album where Biggie was like, ‘If Faith [Evans] had twins she would have two ‘Pacs,’ get it, remember that? Like ‘Tu Pacs.’ So he was taking shots at ‘Pac on Jay-Z’s album. So, ‘Pac looking at it like, ‘I don’t give a heck, man. If you letting this dude on your album take shots at me, your my enemy now.’”

As for Jay, he didn’t just sit back and take it. In 2015, Jay-Z collaborator DJ Clark Kent confirmed the existence of a Tupac diss track from Jay, which was never released out of respect for Tupac’s death. Kent said, “It never came out, out of respect for the fact that he died. Jay did a record going at Pac, but right as it was about to come out, son died. We performed it, though, at the Apollo — the chip on Jay’s shoulder is so crazy that he had to perform it.”