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The Roots’ Questlove And Black Thought Are Teaming With Disney Junior For An Animated Short Series

Questlove and Black Thought both keep themselves plenty busy outside of The Roots, and now the pair is teaming up for yet another new endeavor. This time, it’s Rise Up, Sing Out, a series of animated shorts they’re making with Disney Junior.

The series, which is set to premiere later in 2021, will feature music from the pair. Press materials describe the show, “Presenting important concepts around race, racism and social justice for the youngest viewers, the series consists of music-based shorts that are designed to provide an inspiring and empowering message about noticing and celebrating differences and providing a framework for conversation.”

In a joint statement, Questlove and Black Thought said, “It is an honor to work with the Disney Junior team to help create a series of shorts that will empower and uplift the future generations in the way we know best, through music. We hope these shorts will encourage the young audience to recognize and celebrate our differences as human beings while learning the tools to navigate real-world issues of racial injustice.”

Joe D’Ambrosia — senior vice president, Original Programming and general manager, Disney Junior — also said, “We recognize that many kids are experiencing a multitude of feelings around what’s happening in our world today and know that many families are struggling with how to discuss sensitive issues around race. Our goal with these shorts is to open up the conversation and provide families with the tools and knowledge to address these important topics with their preschoolers in an age-appropriate manner through music and relatable kid experiences.”

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Mischa Barton Felt ‘Unprotected’ And Faced ‘Bullying’ From Men On ‘The O.C.’ Set Before Her Shocking Exit

Some people watched The O.C. for Sandy Cohen’s fatherly advice and glorious eyebrows (me), others watched it for the wildly entertaining teen drama (everyone else). And much of that drama came from Marissa Cooper, the prototypical Southern California rich girl played by Mischa Barton. Marissa was one of the show’s core four characters, along with Ryan (Ben McKenzie), Seth (Adam Brody), and Summer (Rachel Bilson), until — mmm, whatcha say? I say SPOILER ALERT — the season three finale when she was killed off. That episode aired 15 years ago today on Fox, and in honor of its anniversary, Barton discussed what led to her exit.

“It’s a bit complicated. It started pretty early on because it had a lot to do with them adding Rachel [Bilson] in last minute as, after the first season, a series regular and evening out everybody’s pay — and sort of general bullying from some of the men on set that kind of felt really sh*tty,” Barton told E! Online. She still loved the show and the character, however, so she built “up my own walls and ways of getting around dealing with that and the fame that was thrust specifically at me… I just felt very unprotected.”

Looking back now, Barton feels things started to fall apart during season two, “when we started doubling up on episodes and shooting [became] so much harder… I look back on it pretty fondly, but there’s stuff I think people did wrong and the way they handled it.” Barton didn’t “feel I could keep going,” so she was given an option:

“The producers were like, ‘Well, do you want your job and to sail off into the sunset and potentially you can come back in the future in some bizarre TV scenario or we can kill your character off and you can go on with your career that you want and what you want to do?’ I was getting offers from big films at the time and having to turn them down. I had always been supporting in The Sixth Sense and any of those things. My dream was to be offered those lead roles, so that’s what happened. It just felt like it was the best thing for me and my health and just in terms of not really feeling protected by my cast and crew at that point.

Barton did not have the easiest time while on The O.C., but she’s happy that Marissa was given “this epic death and that it ended like that because it’s memorable and it’s not just another flash in the pan.” You can read the rest of the interview here.

(Via E! Online)

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Black Country, New Road’s ‘Track X (The Guest)’ Is An Acoustic Version Of Their Biggest Song

London, UK seven-piece band Black Country, New Road turned heads with their jazz-infused experimental indie rock sound. After releasing their debut album For The First Time back in February, the band now shares a very stripped-down version of the album opener “Track X.”

“Track X” is Black Country, New Road’s most-streamed song off their debut album with over 1.3 million plays on Spotify alone. Their new version, titled “Track X (The Guest),” takes the song back to it’s origin with a warm-toned acoustic guitar and wavering vocals.

Describing why they’ve chosen to share the alternate version of the track, Black Country, New Road vocalist Isaac Wood says the acoustic version is how the song was originally written:

“This version is where the lyrics for ‘Track X’ originally came from. It’s an old story, with some simple guitar playing and has the extra lyrics in the chorus. It’s ‘The Guest’ version, written about 2 years ago in this format and we thought it would make for a good accomplice to the album.”

“Track X” is the first song Black Country, New Road ever worked on when they formed in 2018. Despite it’s popularity, “Track X” never made it into their live performances, but they decided to rework it into a fuzzy experimental track in the studio while recording For The First Time.

Listen to “Track X (The Guest)” above.

For The First Time is out now via Ninja Tune. Get it here.

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Kumail Nanjiani Will Portray The ‘Chippendales’ Founder In A Hulu Limited Series

Kumail Nanjiani’s all about being ripped these days for Marvel Studios’ The Eternals, but he’ll be able to focus on other people’s muscles while portraying the founder of the Chippendales. Hulu’s doing up a limited series to chronicle the dubious adventures of Somen “Steve” Banerjee, an Indian-American entrepreneur who built a male-revue empire. He did, eventually, veer way downhill with Banerjee being indicted for allegedly orchestrating the late 1980s murder of Chippendales choreographer Nick De Noia. While awaiting sentencing, Banerjee apparently killed himself, so it’s all ultimately a very dark story, but it’s being labeled as a “darkly comedic” endeavor by Hulu.

In a press release, the streaming service announced that the Robert Siegel (creator of Pam and Tommy, currently filming with Sebastian Stan and Lily James looking far too realistic) and Kumail have teamped up to executive produce the eight-episode series, titled Immigrant, which is described as an “insane, darkly comedic, crime-ridden story behind the unique male revue that became a cultural phenomenon.”

Also onboard to executive produce is Kumail’s wife, Emily V. Gordon (the pair previously worked on The Big Sick together and are pairing up for another project from It director Andy Muschietti). Interestingly enough, this isn’t the only Banerjee-focused project in the works. Back in 2017, Dev Patel signed on to play the entrepreneur in Chippendales, which officially decided to move forward in late 2020 with a release date unknown. That movie’s already been in development for over 20 years, so clearly, Hollywood wants some more Magic Mike vibes. They need to get some lawbreakers up in that house, too.

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Giannis Antentokounmpo And The Bucks Have Tweaked Their Offense To Be Better Prepared For The Playoffs

Ever since Giannis Antetokounmpo and the Milwaukee Bucks fell in the 2019 Eastern Conference Finals, much of the conversation surrounding him has centered on how he, individually, needs to improve. Acquire a jumper, develop a mid-range game, holster counters when your path to the rim is barricaded. None of this is inaccurate. He and the Bucks would benefit from him incorporating those wrinkles into his arsenal. The final point has already come to fruition this year.

Yet, simultaneously, too much of the focus rests on how Giannis must grow and not enough of the focus rests on how the Bucks can facilitate that growth or how they’ve fallen short structurally. Saying they failed him would be hyperbolic, but for long stretches of the last two years, his offensive usage has been detrimentally rigid. The 4-out approach around him, with shooters on the perimeter, has validity, though the degree to which it was relied upon was thorny; Giannis’ deficiencies against timely help and strong, long defenders exacerbated the issue.

An obvious and fruitful tactic is to leverage his finishing as a roller in ball-screens. But Milwaukee has discovered alternative scoring paths that still feature Giannis’ self-creation, while also deploying him in creative ways off the ball to spotlight his length and rim acumen. Between schematic tweaks and internal refinement, he and the Bucks are better prepared offensively for the postseason. Rather than rack up league-leading win totals during the regular season, they spent much of this year priming themselves for the playoffs by experimenting with varying usage. Giannis, in tandem with the coaching staff, has expanded the depths of his offensive exploits, whether it be as a scorer or distributor.

Although he is not a long-range threat, he’s quite scalable and versatile. He can be utilized as a roller or driving off the catch, thriving once others enact advantages. The Bucks have anchored him on the wing during side pick-and-rolls significantly more this season; whereas it arose organically last year, there’s concentrated effort to explore this avenue nowadays. With a few capable secondary handlers, typically Jrue Holiday and Khris Middleton, in the fold, Giannis has more freedom to relinquish some of his on-ball burden and still assert himself offensively.

When passes are pinged toward him, he’ll attack from the slot, spanning swaths of space in a flash to convert inside. Sometimes, he’ll begin at the elbow instead of beyond the arc, either as an off-ball screener or just as a means of keeping him closer to the rim. Defenders aren’t concerned with his spot-up shooting, so Milwaukee’s retort is to simplify the options and guide him toward the basket as seamlessly as possible.

Slowing him once he’s built any head of steam is a difficult proposition, let alone when defenses are caught in rotation and not meticulously positioned to wall him off. The Bucks have come to that realization and the results are profitable. The lack of perimeter respect is a runway for him to overwhelm opponents.

On the ball, his anti-gravity is also parlayed into efficient possessions. The addition of Bryn Forbes, a premier off-ball shooter, has coaxed Mike Budenholzer and Co. to draw up more dribble hand-offs, where Giannis flows from initiator to screener. Forbes is his most common partner, but he’ll run a similar action with Holiday, Middleton and Connaughton (and sometimes Donte DiVincenzo). When his man is anchored in or near the paint, Giannis applies his size to carve out shooting pockets or driving lanes.

This is the most prevalent combatant to the “put your big man on Giannis and sag off” strategy defenses consistently attempt. When teams employ this gambit — and even regularly when they don’t — they’ll load up help from the wings, easing how ball-handlers gain separation for these plays. Such a philosophy is not particularly effective at this juncture and the increased volume of dribble hand-offs factors into that.

If Giannis transitions the space extended his way into a dribble hand-off and sets a disciplined pick, he’s likely generating a clean look for a good shooter. Middleton and Holiday can also manufacture offense off the bounce with Giannis loitering near the paint/rim or functioning as a roller, often against a mismatch.

Last season, George Hill or Kyle Korver and Giannis experimented with inverted pick-and-rolls. This season, it’s become a mainstay for Forbes and Giannis. The key to a successful inverted pick-and-roll, beyond the requisite personnel, is a punishing screen to force a compromised decision from the defense. Forbes sets those. When he does, he twists the opposition into a bind. They must either track a dynamic off-movement gunner like Forbes or protect the paint from Giannis’ locomotive-powered slashes.

With Forbes standing at 6’2″, defenders who might find themselves attached to Giannis in the event of a switch are ill-equipped to handle him. Pre-switching and proactively tinkering with assignments is the best idea to limit the action. Even then, that likely sparks a mismatch elsewhere, a risky proposition if Middleton or Holiday are on the floor and primed to pounce. The synergy Giannis and Forbes have fostered, in conjunction with Forbes’ gumption as a screener, leads to favorable outcomes.

While these dribble hand-offs and inverted pick-and-rolls formulate at the top of the key, an area Giannis routinely orchestrates offense dating back years, he’s enabled to conduct possessions from other optimal spots on the floor in 2020-21. Most notably, he’s functioning at the pinch post/free-throw line and mid-post, the inklings of which originated late last season (intermittently). In prior years, he still received post touches, but they usually came with his back to the basket following flex or cross screens. Now, he’s facing up, which is a more prudent implementation of his skills and physical tools.

Whether it’s adequate spacing or cleverly designed actions, Milwaukee does an excellent job clearing out the strong-side for him and letting him target guys one-on-one. If anyone is on the strong-side, it’s a credible shooter acting as an outlet or someone lurking in the dunker spot for drop-off passes, the latter of which is a new emphasis of the Bucks’ offense this season. They do not go 4-out around him every possession anymore. They’ve mixed it up with a 3-out alignment, placing the fourth teammate in the dunker spot.

Given his length and strength, all he requires is a couple space-consuming dribbles to reach the rim when his starting point is at or inside the free-throw line. He’s much more patient this year, too, seeking openings in a controlled manner. Trying to constantly blend strength and acceleration can steer him into trouble, so he’ll rely on brawn and his elastic limbs, burrowing into slivers of space and winding around defenders.

The merit of this change is amplified by Giannis’ own maturation. He’s more methodical and wired to achieve success. If Plan A stumbles, he’s comfortable turning to other choices. The pivot foot has become his best friend. If the paint is initially walled off, he’ll retreat and persist. He is not plowing into the lane and burping up hurried, off-balance shots or picking up as many charges on planted defenders. He drives and decelerates to a stop on two feet. Power and finesse are present, not just power, and the difference is evident.

Holistically, the shift for Giannis is Milwaukee commonly treating him as a big with ball-handling equity as opposed to primarily a jumbo-sized wing and perimeter initiator. There are more play calls to maximize the value of his mobility, length and strength on the interior that do not demand he be the catalyst of everything. After the All-Star Break, the alterations really clicked for him, when he averaged 27 points on 65.6 percent true shooting in 26 games. The 4-out attack that squeezed players into specified roles is not the bedrock of the offense; flexibility on a possession-by-possession basis has broadened and everyone gains from it.

These adaptations, both from him and the team, figure prominently into why he shot a preposterous, career-high, NBA-best 81 percent at the rim this season (min. 50 attempts), despite being assisted on a career-low 42 percent of those makes, per Cleaning The Glass. They’re also why Giannis and the Bucks are less susceptible to a playoff burnout. They’ve assessed their flaws and adjusted the offense. That should set them up well to reach their goals. Now, the time to deliver on these goals has arrived, with the perfect chance to show how much they’ve changed against the team that bounced them out of the playoffs last year.

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A Rapper Is In Trouble After Attending The Capitol Riot And Taking A Photo For An Album Cover

People who were at the infamous Capitol riot earlier this year have been getting exposed, and now a rapper has found himself in trouble after showing up to the Capitol, taking photos, and using one of them on an album cover.

Newsweek reports that Virginia-based rapper Bugzie The Don (real name Antionne DeShaun Brodnax) was pictured sitting on top of a SWAT truck as rioters stormed the Capitol building behind him. The image was used as the cover art for his album The Capitol, which was released in March.

Bugzie told the FBI that he was in DC on the day of the riot to shoot a music video. He also said he followed protestors and entered the building, but did so peacefully. He walked around, took photos and videos inside, and said he did not enter any office or chambers, nor did he engage in any violence or theft. He also noted that while inside, he received messages from friends informing him that video of him walking around was broadcast live on CNN.

In March, the rapper was charged with entering and remaining in a restricted building or grounds; disorderly and disruptive conduct in a restricted building or grounds; parading, demonstrating, or picketing in a capitol building; and disorderly conduct in a Capitol building.

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A Sikh man becomes the first fan ever inducted into the NBA Hall of Fame

Nav Bhatia’s name was immortalized over the weekend when he joined the ranks of Michael Jordan, Kobe Bryant, and Wilt Chamberlain in the Naismith Memorial Basketball Hall of Fame. While some make it to the HOF for their jump shot or coaching skills, Bhatia is the first to be enshrined for being a fan.

“In the greatest building basketball has, the name Superfan Nav Bhatia will be immortalized,” Bhatia said in a tweet. “There is now a turban and the first fan honoured within Naismith Basketball Hall Of Fame. I am overcome with emotions today.”


Bhatia bought a pair of tickets to the Toronto Raptors’ first game during their inaugural season in 1995 on a whim and has attended every home game since. He’s known for sitting courtside, just below one of the nets.

Rival Milwaukee Bucks power forward Giannis Antetokounmpo once called Bhatia the Raptors “most annoying fan.”

But to Raptors fans, he’s quite the opposite. In fact, he was awarded a championship ring after the team won the NBA Finals in 2019.

But Bhatia’s fandom is about a lot more than just aggressively cheering for his team. According to his website, his goal is to “unite people of all ages and backgrounds through the game of basketball so they don’t have to face the discrimination [he’s] faced as a visible minority.”

He came to Canada from India in 1984 to escape religious persecution. When he arrived, he had a hard time getting in a job with his mechanical engineering background because of the way he looked.

Bhatia was able to land a job as a car salesman where he excelled, eventually making his way through the ranks. Now, he now owns two of the most successful Hyundai dealerships in Canada.

In 2018, he received a Royal Bank of Canada Top 25 Canadian Immigrants Award, an honor given to those who contribute to the Canadian economy, to Canadian society, and to Canada overall.

His experiences as an immigrant led him to create the Nav Bhatia Superfan Foundation dedicated to raising money to build basketball courts and camps for kids in Canada and across the globe.

The superfan’s belief in charity mirrors those of his Sikh faith, which put an emphasis on charitable giving. “A wise man said — the true measure of a man is not his intelligence or how much he amasses,” Bhatia writes on his site. “No, the true measure of a man is how quickly can he respond to the needs of others and how much of himself he can give.”

As a World Vision ambassador, Bhatia helped raise $200,000 to build restrooms for female students in northern India.


Changing perceptions — from Sikh to superfan | Nav Bhatia | TEDxToronto

www.youtube.com

Bhatia’s fandom is also about changing perceptions of Sikhs in Canada and abroad. “As I stand before you today, what do you see?” he asked the audience at his 2014 Ted Talk. “Someone who makes you uncomfortable on your flight? Your convenience store worker? Your gas station attendant? You see my turban and my beard.”

After a man mistook him for a cab driver, he realized that he needed to do something to change the narrow perceptions of Sikhs. So he decided to do so through his love of basketball.

“I went to every game. I cheered the most. Everybody noticed this turban guy cheering on the team the loudest. Even the opposing team noticed that,” he added. “All of the sudden, this turban guy became the face of the Toronto Raptors.”

Bhatia’s story is a wonderful example of the power that sports fandom has to bring people together across ethnic, religious, and socioeconomic divides.

“This is what basketball does—it gives us the opportunity to bring the world together,” he said.

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Pooh Shiesty Explains When He Knew ‘Back In Blood’ Was A Hit For Uproxx’s ‘How I Blew Up’

Memphis native Pooh Shiesty is in the midst of a massive career breakout thanks to the viral success of his hit single “Back In Blood,” a star-making co-sign from trap rap godfather Gucci Mane, and his recently released debut mixtape Shiesty Season, which features appearances from big-name co-stars like 21 Savage, Lil Durk, and Memphis’s own Tay Keith.

Uproxx’s newest show, How I Blew Up narrated by Cherise Johnson, gives the Southern star the chance to tell the story of his rise to fame in his own words, from his upbringing in the Cane Creek Apartments to the moment he knew “Back In Blood” was smashing success. His breakout began with an attention-getting turn on “Breaking News,” which led to Gucci Mane reaching out to him in the dead of night. “Back In Blood,” though, was the catalyst for Pooh reaching his current level of renown after a snippet of Pooh and Lil Durk shooting the video circulated online. He just received his gold plaque for Shiesty Season, and details his plans for the future, which include his own label, Choppa Gang, supporting childhood friend and fellow rapper Big30.

Watch Pooh Shiesty break down how he blew up above.

Pooh Shiesty is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Report: Brad Stevens’ Job Is Not In Jeopardy And He’ll Return To The Celtics Next Year

The Boston Celtics have had a disappointing 2020-21 campaign. This is not necessarily anyone’s fault — the team has been demolished by injuries and absences due to COVID-19 — but for a franchise that enters every season with championship expectations, going 36-36 and needing to go through the play-in tournament to earn a playoff berth is inherently going to lead to questions.

Apparently, one person who does not have to worry about these sorts of questions is head coach Brad Stevens. While the coach is usually the easiest thing to change with a team after a bad year, Adrian Wojnarowski of ESPN appeared on Get Up! and revealed that Stevens can rest easy knowing his job is not in jeopardy.

“This is still a Boston organization with two star players in [Jaylen] Brown and [Jayson] Tatum, with a coach, Brad Stevens, who is going to be back,” Wojnarowski said. “The idea that his job might be in jeopardy is just not accurate. This is a coach who’s been in the conference finals three out of four years, they’re going to certainly continue with Brad Stevens.”

Stevens did, apparently, turn down the Indiana University job earlier this year, so the Celtics would raise some eyebrows if it canned him despite that and all the additional context laid out in the segment. The Celtics have gone 354-282 in the eight years Stevens has been at the helm, and while we’ll have to wait and see how their fortunes play out in the play-in tournament, the team has only missed the postseason once under his tutelage.

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St. Vincent And Carrie Brownstein’s ‘The Nowhere Inn’ Trailer Teases An Erotic Dakota Johnson Cameo

St. Vincent may have just released her ’70s-inspired album Daddy’s Home, but that’s not the only release she’s been working on lately. She and Carrie Brownstein star in the upcoming mockumentary film The Nowhere Inn, and they’ve just released a teaser trailer featuring trippy visuals, cowboys, and an erotic Dakota Johnson cameo.

Directed by Bill Benz, St. Vincent described The Nowhere Inn on Twitter as a “bananas art film.” The story follows St. Vincent as she calls on Brownstein to film a documentary about the difference between her real-life and on-stage personas. It was originally released at Sundance Film Festival in 2020, but has been pushed back for an theatrical premiere on September 17, 2021.

The new film teaser features a snippet of St. Vincent’s talking head interview from the film. She begins by saying she planned on making a run-of-the-mill music documentary before things went “terribly wrong” during the filming process:

“It was supposed to be a music documentary; concert footage, interviews. I wanted people to know who I really am. One of the reasons why I wanted to make a documentary in the first place was because I would finally be in control of my narrative. A small part of me was starting to second guess myself. All I can say is that somewhere along the way, thing went terribly wrong.”

Watch The Nowhere Inn trailer above and see it premiere in theaters September 17.