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Jessie J Returns to Stage Following Breast Cancer Surgery
Music

Jessie J Returns to Stage Following Breast Cancer Surgery

by jummy84
written by jummy84

Jessie J‘s two-year-old son got to see his mom perform live for the first time on Saturday (Sept. 6). The singer returned to the stage, and brought Sky along, at BBC Radio 2 in the Park in Essex, England, after undergoing her first round of surgery to treat breast cancer over the summer; she’ll have a second surgery in the fall, a procedure she says is “nothing too serious” but conflicts with her now-postponed fall tour.

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“Some of you may know, some of you may not know, but I had breast cancer surgery 11 weeks ago today,” Jessie J told the crowd at Saturday’s concert in Chelmsford, Essex, the Daily Mail reports.

“And the last show I did, I had no idea what was gonna happen, and I’m still very much in the recovery process,” she shared from the stage.

“But I’m just so grateful to be here,” said the singer. “You have no idea how grateful I am to see so many of you singing along after all these years. It truly feels like I’m a little kid. Still doing what I love.”

“And another special thing that’s happening today is that my son is seeing me sing on stage for the first time,” she added, according to the Daily Mail. Headphones on to protect his ears, two-year-old Sky even got to go up to the mic to say hello and sing “Happy Birthday” to anyone in the crowd who happened to be celebrating a birthday, fan video footage from the concert shows.

Ahead of her first surgery, Jessie J revealed in June that she’d received an “early breast cancer” diagnosis back in April.

Six weeks after surgery, she returned to the hospital with symptoms that turned out to be the result of an infection. In July, she underwent tests that showed the cancer had not spread and shared an emotional message thanking her fans for their prayers and positive energy.

As part of her performance on Saturday, Jessie J performed new song “Living My Best Life” and explained the story behind the track.

“I was diagnosed literally two weeks before this song was released,” she said. “Everyone said, ‘Let’s stop, let’s just put everything on hold,’ and I said, ‘That’s not what life’s about.’”

“Life is about standing in the storm but holding up your umbrella and just keep moving forward,” she said. “And music, I don’t know about you guys, but for me, music is a healer. Music is the thing that keeps me wanting to wake up in the morning and just makes me excited about life. And I’m grateful that I can make music that can give other people something that they might need on a hard day or a good day. So this song is called ‘Living My Best Life,’ and that is what I’m doing every single damn day. ‘Cause we never know when our last day will be. So soak this up, hug the people you love hard.”

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Broadcasters Asked to Censor Reaction to Trump's Attendance at US Open
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Broadcasters Asked to Censor Reaction to Trump’s Attendance at US Open

by jummy84
written by jummy84

Donald Trump is expected to attend the men’s final of the US Open in Queens, New York, on Sunday, and the United States Tennis Association has asked broadcasters to censor any protests that may be heard over the air.

“We ask all broadcasters to refrain from showcasing any disruptions or reactions in response to the President’s attendance in any capacity,” the USTA said in a memo sent to broadcasters including ESPN, according to The Athletic.

Trump was a regular presence at the US Open before entering politics. His most recent appearance came in 2015, when, as a presidential candidate, he was loudly booed by the crowd.

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How 'HIM' Uses Music To Intensify The Horror Film: See Exclusive Clip
Music

How ‘HIM’ Uses Music To Intensify The Horror Film: See Exclusive Clip

by jummy84
written by jummy84

When composer Bobby Krlic joined director Justin Tipping to score HIM, there was one question: What does power sound like? Together, they factored in the use of the term “him” and its omnipresence in Hip-Hop and sports culture. As described by Tipping in the exclusive clip above, the film is “musical wall to wall.”

Outside of music itself, Krlic—also known by his stage name “The Haxan Cloak—made use of unconventional sounds to amplify the intense thriller. As explained in the behind-the-scenes dive, the BAFTA Award-winning composer imagined the sound in images, sampled MRI sounds, and composed the actual score for a trap beat.

“When I composed the score, we kept talking about the idea of this being Cameron’s (Tyriq Withers) childhood dream, to be the best on the planet, but then how could we musically twist and subvert that dream?” he detailed. “I thought to myself, this is the best thing I’ve ever done.”

From Oscar-winning Jordan Peele and Monkeypaw Productions, Tyriq Withers stars as Cameron Cade, a rising-star quarterback who has devoted his life and identity to football. The night before a professional football player’s annual scouting Combine, he is attacked by an unhinged fan and suffers a potentially career-ending brain trauma.

With Marlon Wayans leading as his hero, Isaiah White, a legendary eight-time Championship quarterback and cultural megastar, things take a dark turn and push the athlete to his limits.

The additional cast includes Julia Fox, Tim Heidecker, and Jim Jefferies. MMA heavyweight fighter Maurice Greene and Hip-Hop phenoms Guapdad 4000 and Grammy nominee Tierra Whack make their feature film debuts. 

HIM is set to release in theaters on Sept. 19, 2025. Watch the official trailer below and learn more about the sound behind the movie above.

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11 New Albums You Should Listen to Now: Big Thief, Titanic, David Byrne, and More
Music

11 New Albums You Should Listen to Now: Big Thief, Titanic, David Byrne, and More

by jummy84
written by jummy84

While Oasis, Blur, and, to some degree, Pulp rake it in with reunions bankrolled by nostalgia, Suede are still plugging away as a working band of Britpop survivors. Antidepressants, their 10th studio album, channels their usual mix of light social commentary and first-person misadventure in songs as full-throatedly anthemic as anything in their catalog.

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La Dispute: No One Was Driving the Car [Epitaph]

There’s regular dissociation, and then there’s the three-tiered saga presented in No One Was Driving the Car, La Dispute’s first new album in six years. The Michigan screamo and post-hardcore musicians immerse themselves in the narrative of a man disconnecting from himself as he shaves his head, follows a sex worker outdoors, and ends an aimless walk at night at the hospital before things spiral further. Taking inspiration from the 2017 Paul Schrader film First Reformed, La Dispute’s follow-up to Panorama is intense and brooding as it grapples with self-control, technological consumption, and the feeling of dread that populates the future.

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Flur: Plunge [Latency]

Flur Plunge

While studying different courses from one another at the London university Goldsmiths, all three members of Flur—Austrian Ethiopian harpist Miriam Adefris, British saxophonist Isaac Robertson, and percussionist Dillon Harrison—submerged themselves in the school’s explorative music scene where they started gravitating towards one another as musicians. After various stints collaborating with artists like Floating Points and Shabaka Hutchings, the three musicians finally formed a proper trio. On Plunge, their debut album as Flur, they merge written compositions and offhand improvisation to showcase their take on classical, ambient, and free jazz.

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Ayo Edebiri addresses ongoing work of Me Too and Black Lives Matter movements after being excluded from question about them in favour of ‘After The Hunt’ co-stars
Music

Ayo Edebiri addresses ongoing work of Me Too and Black Lives Matter movements after being excluded from question about them in favour of ‘After The Hunt’ co-stars

by jummy84
written by jummy84

Ayo Edebiri has addressed the ongoing work of the Me Too and Black Lives Matter movements after being pointedly excluded from a question in favour of her white co-stars.

While in Venice on a press tour for the upcoming Luca Guadagnino film After The Hunt, which is pegged as a post #MeToo psychological thriller, Andrew Garfield, Julia Roberts and Edebiri were asked what was “lost during the politically correct era”.

The reporter also asked what we have to expect in Hollywood, now that “the Me Too movement and Black Lives Matter are done”.

Roberts then asked them to repeat the question, seemingly inviting the reporter to address all the actors, saying, “With your sunglasses on, I can’t tell which of us you’re talking to.” However, they clarified that the question was only for Garfield and Roberts.

Edebiri looked around the room, stunned after being excluded from the question, saying: “Yeah, I know that that’s not for me, and I don’t know if it’s purposeful if it’s not me, but I just am curious.”

“I don’t think it’s done,” she continued, to agreement from Roberts. “I don’t think it’s done at all. I think maybe hashtags might not be used as much, but I do think that there’s work being done by activists, by people, every day, that’s beautiful, important work that’s not finished, that’s really, really, really active – for a reason, because this world is really charged.

“And that work isn’t finished at all.”

She said while mainstream coverage of Me Too and Black Lives Matter might not dominate headlines as much as it did at the peak of the respective movements, it didn’t mean that the work was done.

Garfield agreed, and concurred that “the movements are still absolutely alive”, but “maybe not as witnessed or kind of magnified as much in this present moment”.

Fans on social media were shocked she’d been excluded from the question, given not only was she the only Black woman in the room, but her first major acting role had a direct connection to the aftereffects of the BLM movement.

In 2020, Edebiri took over voicing the character Missy in Big Mouth, having been originally voiced by Jenny Slate, a white Jewish actress, who later apologised for playing Missy, a biracial teenager with a white mother and a Black father.

Edebiri spoke to Entertainment Weekly at the time about Slate’s decision, and how broader culture was shifting in order to make space for marginalised actors. “I’ve thinking about a lot about how so much has changed, like even in my lifetime,” The Bear star said.

“Sometimes I’ll watch older movies, and often not even that old, and they’re using slurs that are unbelievable and people are pretending to be people with disabilities and winning Oscars, and you’re like, ‘Huh?’ We discovered that this was wrong and we’ve corrected it.

“I think, to me, this is a faster version of that in a way. It’s like, okay, we realised it, and we’re seeing it happen in real time that what we thought was acceptable maybe isn’t, and we’re learning why and learning to have conversations about it in real time, too.

She later spoke to The New York Times about how the role made her a target of racism online, which she has continued to be as recently as of last year, when Edebiri received “insane death threats and racial slurs” after Elon Musk spread misinformation about her being cast in a “fake reboot” of Pirates of the Caribbean.

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Behind the Scenes at Courtney Love and Madonna's 1995 VMAs Clash
Music

Behind the Scenes at Courtney Love and Madonna’s 1995 VMAs Clash

by jummy84
written by jummy84

Where were you, Gen Xers and elder millennials, when Courtney Love awkwardly crashed Madonna‘s live interview with Kurt Loder after the 1995 MTV Video Music Awards? Eduardo Braniff was literally right there. A mid-level MTV executive at the time, Braniff was the designated talent escort for Love and her Hole bandmates for the 11th annual VMAs, held at New York’s Radio City Music Hall 30 years ago, on Sept. 7, 1995.

Braniff says he was “randomly” assigned to escort the band during rehearsals and night-of-show. And while colleagues knew he was deft at handling “shall-we-say ‘dynamic’ talent,” none could predict that Love would make pop culture history that night: After pelting Madonna and Loder with compacts from her purse, she inserted herself into their chat, which was being held on a platform outside the venue.

The clash between two very different icons — Madonna begged Loder not to invite her up, quipping “Courtney Love is in dire need of attention right now” — went viral a decade before YouTube or Twitter launched, and served as a chill precursor to Kanye West and Taylor Swift’s 2009 debacle. Broadcast during MTV’s hegemonic peak, that night’s actual ceremony featured some equally wild, if forgotten, juxtapositions of stars. The Notorious B.I.G. and Bill Bellamy (remember him?) presented Michael and Janet Jackson with a Moonman for Best Dance Video for “Scream”; Janet wore a “Pervert” T-shirt, widely interpreted as mocking pedophilia accusations against her brother. But nothing could compare to this post-show moment.

The two women were at distinct professional and personal phases at the time. Madonna was enjoying her second consecutive decade of global superstardom, celebrating her fourth Moonman win (for “Take a Bow”), a comeback from the harsh backlash toward her Erotica LP and Sex book era, and preparing to shoot her dream film role, Evita. (Motherhood and her acclaimed album Ray of Light were still a few years away.) She was also a VMAs MVP from the jump, with a slew of definitive show moments behind her, including the seismic debut of “Like a Virgin” at the very first broadcast in 1984; a performance of “Vogue” in Marie Antoinette drag in 1990; and a post-feud appearance with David Letterman in 1994.

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Fellow scene-stealer Love, by contrast, was still ascendant and much rougher around the edges. A year later, the grunge goddess would get a proper glam Hollywood makeover while touting her part in The People Versus Larry Flynt. But back in ’95, only about a year and a half had passed since the traumatic, era-defining suicide of her husband, Kurt Cobain. That night, before performing “Violet” with Hole, she dedicated it to Cobain, River Phoenix, Hole’s late bassist Kristen Pfaff, and other friends they’d lost.

“To me, she was nothing but super cordial,” Braniff recalls of Love that night. “[But] she was a little loaded for bear with MTV, thinking that they had not done enough to promote the album… She was frustrated.” 

During the “chaotic” post-show walk to their cars, Braniff says Love’s entourage included not just her bandmates Eric Erlandson, Patty Schemel, and Melissa Auf der Maur but also pal Drew Barrymore, Love’s toddler Frances Bean Cobain, and a nanny. “It was a little bit like herding cats,” he says now. “One of my cats darted away! I don’t know exactly how she clocked that Madonna was out there, but she did.”

Braniff quickly realized what Love, eyeing the Queen of Pop, was about to do. “She is making her way over to Kurt and Madonna, wanting to be extraordinary Courtney,” Braniff remembers. “She has something to share, she’s got a show to give. I, in my capacity supporting the production, was like, ‘I don’t know if I want to interrupt this.’” Show producers agreed. “They knew that there was some artist-rivalry gold in the making,” he adds, recalling their take as “‘Let that happen because this is going to be good.”

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And it was. Over an excruciating four minutes, with a sedate Loder declining to moderate much, the two previously acquainted women spoke about their shoes, comedian Dennis Miller, and Madonna’s Maverick label breakout Alanis Morissette. A rambling Love likened fame to working in a hospital: “I like it here. Good money!”

“And a lot of available drugs!” Madonna snarled back. Before the Material Girl’s publicist, Liz Rosenberg, finally whisked her away, air kisses were exchanged. (A solo Love later hugged it out with Loder’s MTV News partner Tabitha Soren.)

“I mean, you have Madonna in full Tom Ford couture, and you’ve got Courtney in that messed-up baby doll look,” Braniff says. “It was almost cartoonish. How could we draw these two more distinctly? There they were.”

The twosome would cross paths a couple times again — most notably for an iconic 1997 Rolling Stone “Women of Rock” cover with Tina Turner — but relations never seemed to thaw much.

“I don’t like her and she doesn’t like me,” Love, who is now based in London, told the Standard last year. “I loved Desperately Seeking Susan, but for the city of New York as much as her.”

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For his part, Loder told his alma mater Rolling Stone back in 2023: “It was a wonderful moment for television. If you were gonna have to write it up later, it would have been terrible… If somebody falls off the top of a building, it’s wonderful television.” (Madonna has never addressed the incident. Neither she nor Love responded to a request for comment for this story through their reps.)

“We all love a good spat, but back in the day, because it was a different media landscape, you didn’t get to have as many episodes in the rivalry,” adds Braniff. “It was a really wonderful capper to the evening and that time.”

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Julie Andrews Wins & Nearly Sets a Record at 2025 Creative Arts Emmys
Music

Julie Andrews Wins & Nearly Sets a Record at 2025 Creative Arts Emmys

by jummy84
written by jummy84

Julie Andrews won her first Primetime Emmy in 20 years on Saturday (Sept. 6) – Night 1 of the Creative Arts Emmy Awards, which were presented at the Peacock Theater at L.A. Live. Andrews won outstanding character voice-over performance for her portrayal of Lady Whistledown on Bridgerton.

The legendary star, who turns 90 on Oct. 1, is not the oldest woman to win a Primetime Emmy. Her longtime pal Carol Burnett was approaching 91 when she won most her most recent Emmy in January 2024. The two stars made three acclaimed TV specials together.

Andrews had won two previous Primetime Emmys – outstanding variety musical series in 1973 for her weekly series The Julie Andrews Hour, and outstanding non-fiction series in 2005 for hosting Broadway: The American Musical for PBS. Andrews has also won two Grammys and an Oscar. Unfortunately, the Broadway legend never won a Tony, despite three nominations, keeping her from EGOT status.

Mick Giacchino won his first Primetime Emmy – outstanding music composition for a limited or anthology series, movie or special for The Penguin. Giacchino is the son of famed composer Michael Giacchino, who won a Primetime Emmy 20 years ago for Lost. The elder Giacchino has also won an Oscar and three Grammys.

Christopher Lennertz won his first Primetime Emmy – outstanding music and lyrics for the song “Let’s Put the Christ Back in Christmas,” which he wrote for The Boys. Lennertz beat strong competition, including high-profile songs by SNL alums Adam Sandler and Amy Poehler.

Cristobal Tapia de Veer won his fourth Primetime Emmy, all earned for his work on The White Lotus. He won this year for outstanding original main title theme music.

Theodore Shapiro won outstanding music composition for a series (original dramatic score) for the second time for his work on Severance.

Gabe Hilfer won outstanding music supervision for his work on The Studio. It’s his second win in that category for his work on a buzzy series. He won two years ago for The White Lotus.

The Creative Arts Emmys are being presented over two nights, Saturday, Sept. 6, and Sunday, Sept. 7. Highlights from the two ceremonies will air Saturday, Sept. 13, at 8 p.m. PT on FXX.

The Studio was the big winner on Night 1, with nine awards. Other programs with multiple awards were The Penguin (eight); Severance (six); Andor, Arcane and Love, Death + Robots (four each); The Boys and Bridgerton (three each); and Adolescence and The Pitt (two each).

The Primetime Emmys will be telecast live coast-to-coast on Sunday, Sept. 14, from 8 to 11 p.m. ET on CBS and available to stream live and on demand on Paramount+. Comedian Nate Bargatze is hosting for the first time.

Here are the nominees in the five music categories that were presented on Saturday, with winners marked.

Outstanding Music Composition for a Series (Original Dramatic Score)

Andor • “Who Are You?” • Disney+ • Lucasfilm Ltd.; Brandon Roberts, Composer

Based on a True Story • “Relapse” • Peacock • UCP, Aggregate Films, and Parasox; Sherri Chung, Composer

Cobra Kai • “Blood in Blood Out” • Netflix • Sony Pictures Television for Netflix; Leo Birenberg, Zach Robinson, Composers

WINNER: Severance • “Cold Harbor” • Apple TV+ • Fifth Season in association with Apple; Theodore Shapiro, Composer

The Studio • “The Missing Reel” • Apple TV+ • Lionsgate Television in association with Apple; Antonio Sánchez, Composer

The White Lotus • “Amor Fati” • HBO | Max • HBO in association with Rip Cord and MC Pictures; Cristobal Tapia de Veer, Composer

Outstanding Music Composition for a Limited or Anthology Series, Movie or Special (Original Dramatic Score)

Black Mirror • “Hotel Reverie” • Netflix • Broke & Bones for Netflix; Ariel Marx, Composer

Black Mirror • “USS Callister: Into Infinity” • Netflix • Broke & Bones for Netflix; Daniel Pemberton, Composer

Dying For Sex • “It’s Not That Serious” • FX on Hulu • 20th Television; Ariel Marx, Composer

Monsters: The Lyle and Erik Menendez Story • “Spree” • Netflix • Ryan Murphy Productions for Netflix; Thomas Newman, Julia Newman, Composers

WINNER: The Penguin • “After Hours” • HBO | Max • HBO in association with Acid and Tender Productions, 6th & Idaho Motion Picture Company, Dylan Clark Productions, Chapel Place Productions, Zobot Projects, DC Studios, and Warner Bros. Television; Mick Giacchino, Composer

The Supremes at Earl’s All-You-Can-Eat • Hulu • Searchlight Pictures presents A Temple Hill production; Kathryn Bostic, Composer

Outstanding Original Music and Lyrics

Agatha All Along • “Circle Sewn With Fate” / “Unlock Thy Hidden Gate” / Song Title: “The Ballad of the Witches’ Road” • Disney+ • Marvel Television; Kristen Anderson-Lopez, Robert Lopez, Music & Lyrics

Andor • “Who Are You?” / Song Title: “We are the Ghor (Planetary Anthem)” • Disney+ • Lucasfilm Ltd.; Nicholas Britell, Tony Gilroy, Music & Lyrics

WINNER: The Boys • “We’ll Keep the Red Flag Flying Here” / Song Title: “Let’s Put the Christ Back in Christmas” • Prime Video • Amazon MGM Studios, Sony Pictures Television with Kripke Enterprises, Original Film, and Point Grey Pictures; Christopher Lennertz, Music & Lyrics

SNL50: The Anniversary Special • Song Title: “Adam Sandler’s Song: 50 Years” • NBC • SNL Studios in association with Universal Television and Broadway Video; Adam Sandler, Dan Bulla, Music & Lyrics

Will & Harper • Song Title: “Harper and Will Go West” • Netflix • A Netflix Documentary / A Wayfarer Studios Film / A Delirio Films Production / A Gloria Sanchez Production; Sean Douglas, Kristen Wiig, Music & Lyrics; Josh Greenbaum, Lyrics

Outstanding Original Main Title Theme Music

Dept. Q • Netflix • A Netflix Series / A Left Bank Pictures Production, Carlos Rafael Rivera, Scott Frank, Composers

Dune: Prophecy • HBO | Max • HBO presents a Legendary Television production in association with Flying Life Productions, Herbert Properties LLC, and Wandering Jew Productions; Volker Bertelmann, Composer

Lazarus • Adult Swim • Sola Entertainment and Studio MAPPA; Kamasi Washington, Composer

The Residence • Netflix • A Netflix Original Series in association with shondalandmedia; Mark Mothersbaugh, Composer

WINNER: The White Lotus • HBO | Max • HBO in association with Rip Cord and MC Pictures; Cristobal Tapia de Veer, Composer

Your Friends & Neighbors • Apple TV+ • Apple Studios / Tropper Ink; Dominic Lewis, Hamilton Leithauser, Composers

Outstanding Music Supervision

Hacks • “I Love LA” • HBO | Max • Universal Television in association with Paulilu, First Thought Productions, Fremulon Productions, 3 Arts Entertainment; Matt Biffa, Music Supervisor

The Last of Us • “The Price” • HBO | Max • HBO in association with Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog; Evyen Klean, Ian Broucek, Music Supervisors

The Righteous Gemstones • “You Hurled Me Into the Depths, Into the Very Heart of the Seas” • HBO | Max • HBO in association with Rough House Pictures; DeVoe Yates, Gabe Hilfer, Music Supervisors

Severance • “Cold Harbor” • Apple TV+ • Fifth Season in association with Apple, George Drakoulias, Music Supervisor

WINNER: The Studio • “The Promotion” • Apple TV+ • Lionsgate Television in association with Apple; Gabe Hilfer, Music Supervisor

The White Lotus • “Same Spirits, New Forms” • HBO | Max • HBO in association with Rip Cord and MC Pictures; Gabe Hilfer, Music Supervisor

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Charlie Sheen Opens Up About Past "Liberating" Sexual Encounters with Men
Music

Charlie Sheen Opens Up About Past “Liberating” Sexual Encounters with Men

by jummy84
written by jummy84

Maybe it’s that he’s getting older and wiser (or he’s got some promotional work to do?), but Charlie Sheen has been in an earnest, sharing mood as of late. In addition to a forthcoming Netflix documentary, and his corresponding memoir, the Two and a Half Men star recently had heaps to say in an interview with PEOPLE (via Entertainment Weekly).

Perhaps the most striking revelation in the piece is Sheen’s acknowledgment of his relationships and sexual encounters with men. The lead-up to the documentary marks the first time he has even broached the subject, describing the process of opening up as “fucking liberating.” He added, “A fucking piano didn’t fall out of the sky. No one ran into the room and shot me.”

Sheen said these same-sex relations began while he was still regularly using drugs, including crack cocaine. (Sheen has been sober since mid-2017.) He explained that these encounters, paired with his ongoing struggles to remain sober, generated a lot of internal tension and existential pondering.

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“That’s where it was born, or sparked,” Sheen said. “And in whatever chunks of time that I was off the pipe, trying to navigate that, trying to come to terms with it, ‘Where did that come from? Why did that happen?’ — and then just finally being like, ‘So what?’ Some of it was weird. A lot of it was fucking fun, and life goes on.”

There were other, equally insightful tidbits revealed, including:

His HIV status: Sheen first revealed his positive status during a November 2015 appearance on the Today show. As to what caused him to make the announcement, Sheen said that in years prior, house guests or sexual partners would snap pictures of his medications as a form of blackmail. Despite his drug use and other concerns, however, Sheen went on to say, “I do know for a fact that I never passed it [HIV] on.”

The 2011 tour: In the lead-up to his 20-city “My Violent Torpedo of Truth / Defeat Is Not an Option” live show, Sheen made the now-infamous comments about having “tiger blood.” However, Sheen told PEOPLE that the tour “didn’t have to happen,” adding that “Somebody should have tapped out for me and said, ‘This is a bad idea.’” He added, “I’ve never found ‘exploitation’ as a good treatment protocol.”

His friendship with Jon Cryer: In spring 2011, Sheen’s personal issues caused him to be written off Two and a Half Men. The fallout severed Sheen’s relationship with friend/co-star Cryer, and Sheen believes that his actions even put Cryer “in the line of fire” (via Us Magazine). Cryer does appear in the doc, but was recruited for the production by the director and not Sheen himself, who says he has no way of directly contacting his former friend. “I wrote to him and I said, ‘Hey, thank you for your contributions, and I’m sorry we didn’t connect personally,’” Sheen said of a message sent to Cryer, later adding, “So if you’re reading this, Jon, DM me your new number!”

His working/personal relationship with Chuck Lorre: Unlike Cryer, Sheen has since reunited with Two and a Half Men co-creator Chuck Lorre. The mend took place in time for Sheen to appear on Lorre’s 2023 comedy series Bookie. At the time, Lorre told Variety, “I was nervous, but almost as soon as we started talking, I remembered, we were friends once,” adding, “When he came to the table read of that episode, I walked up, and we hugged. It was just great.”

The Netflix documentary, aka Charlie Sheen (due out September 10th), gives additional perspective into Sheen’s tumultuous life through the lens of candid interviews with friends/family. That includes Denise Richards, Heidi Fleiss, Sean Penn, Ramon Estevez, Brooke Mueller, Chris Tucker, and even his drug dealer, Marco.

Meanwhile, his memoir, The Book of Sheen (out September 9th), was written entirely by the actor and covers his childhood as the son of a Hollywood star (Martin Sheen), his early rise to fame, and his stint on Two and a Half Men “coping with the chaos of divorces and drugs.”

Check out both the trailer and book cover below.

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Mike Tyson, Floyd Mayweather Jr. To Share The Ring In Exhibition Match
Music

Mike Tyson, Floyd Mayweather Jr. To Share The Ring In Exhibition Match

by jummy84
written by jummy84

One of boxing’s biggest “what if” moments is becoming a reality, as living legends Mike Tyson and Floyd Mayweather Jr. have agreed to face off in an exhibition match next spring.

Mayweather, who finished his professional boxing career with an undefeated 50-0 record, spoke on the anticipated event with much confidence. “I’ve been doing this for 30 years, and there hasn’t been a single fighter that can tarnish my legacy,” he said in a statement. “You already know that if I am going to do something, it’s going to be big and it’s going to be legendary. I’m the best in the business of boxing. This exhibition will give the fans what they want.”

The 48-year-old retired in 2017 after his notable win against Conor McGregor and has since performed in eight exhibitions, including the highly publicized match with Logan Paul, which ended without a declared winner.

Floyd Mayweather (green shorts) exchanges blows with Logan Paul during their contracted exhibition boxing match at Hard Rock Stadium on June 06, 2021 in Miami Gardens, Florida.

Cliff Hawkins/Getty Images

As for Tyson, the 59-year-old last stepped into the ring in 2024 against Jake Paul, drawing in 65,000,000 viewers on Netflix. Though he lost by unanimous decision, the event made history as the most-streamed sporting event ever.

“When CSI came to me about stepping in the ring with Floyd Mayweather, I thought, ‘No way this happens,’ but Floyd said yes,” Tyson revealed to ESPN. “This fight is something neither the world nor I ever thought would or could happen. However, boxing has entered a new era of the unpredictable — and this fight is as unpredictable as it gets. I still can’t believe Floyd wants to really do this. It’s going to be detrimental to his health, but he wants to do it, so it’s signed and it’s happening!”

The weight difference between the two champions alone makes this fight a spectacle worth watching. Reportedly, Tyson came in at 228.4 pounds against Paul, while Mayweather weighed just 160.8 in his exhibition with John Gotti III, last year.

Jake Paul and Mike Tyson

Jake Paul and Mike Tyson fight during LIVE On Netflix: Jake Paul vs. Mike Tyson at AT&T Stadium on November 15, 2024 in Arlington, Texas.

Al Bello/Getty Images

“Mike Tyson and Floyd Mayweather are two of the most compelling names and personalities, with lasting legacies, in all of sports. They are 21st-century icons,” CSI Sports co-founders Richard and Craig Miele said in a statement. “Tyson vs. Mayweather will break every broadcast, streaming, and economic record set by Mike Tyson in 2024. We are planning a robust promotional campaign complete with weekly premium storytelling and worldwide marketing reach.”

They added, “The event itself will be in a world-class venue and be presented to a global audience with new in-ring technology elements that will reshape how boxing is presented, and scoring is achieved, for years to come.”

The CSI Sports/Fight Sports-produced event has not released an exact date or location, but in the meantime the anticipation for the main event continues to build.

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Anna Domino: East and West Album Review
Music

Anna Domino: East and West Album Review

by jummy84
written by jummy84

If Domino’s world on East and West feels topsy-turvy, maybe it’s because the album was made in a state of intense, nearly paralytic anxiety. In 1983, she met the owner of the small indie label Les Disques du Crépuscule during a night out in New York—or did someone send her demo tape to their office in Brussels?—and the label flew her to Belgium to record with a band of local musicians at an unfinished studio, where Domino realized she was “unprepared, shy and inarticulate with no real way to convey what I heard in my head.” She “mimed, stumbled, and crammed everything I could” into her 10-day session, and returned to New York convinced that the label would deem her a lost cause. A few months later, a test pressing of East and West appeared in her mailbox.

You can’t hear any of that drama in the serene and stoic final product. Her elegiac cover of Aretha Franklin’s “Land of Dreams” saps the original of its desperation and desire; Domino sings that “I imagine you oh so close,” but you get the sense she’s more interested in exploring the “land of this wonderful dream.” On “Review,” Domino’s disaffected take on a breakup banger, the frustration of lyrics like, “I’ve taken all of my time/And spent it on you” is quickly supplanted by thoughts of moving out of their shared apartment: “Busy with my inventory/And the pictures and chairs/Picking up what’s left lying on the stairs.” Halfway through, co-producer Blaine L. Reininger’s mewling violin skates into view and becomes the track’s focus, as if Domino got bored of pretending that she gave a damn about the ex anymore. She’s not one to waste time being didactic, but if there’s a lesson to be taken from these five songs, it’s that one is company. Far from some hard-won realization or proto-men-are-trash platitude, it seems to exist at the core of Domino’s being, like it’s never even crossed her mind that other people might actually prefer the company of others.

This idea isn’t always explicit, and, in fact, I suspect Domino would laugh at the attempt to wring such blunt meaning from songs that are so expansive and explorable. A quiet no-wave hymnal like “Everyday, I Don’t” probably only really makes sense to her; it begins mid-thought, with the curious line “And I don’t,” and ends when another figure enters the frame: “12:44, there’s a knock on my door/You want more.”

In 1986, Domino told Record Mirror that “there is a kind of despair that comes into my music. It’s not like I’m afraid of death or anything… it’s just when you know about something and you’re not able to do something about it.” It’s a typically vague statement that seems to allude to an aspect of dramatic irony Domino sees in her own work. There is a performed, hermetically sealed quality to some of these songs; when she exclaims “Look out!” on “Trust, in Love,” it does feel a little like she’s playing Greek chorus to herself, and in my mind’s eye, she strolls a version of New York that looks more like the set Kubrick made for Eyes Wide Shut. Perhaps Domino was simply describing the twitch of anxiety that follows an especially vivid dream—waking to the suggestion that those rotted teeth and naked speaking engagements hold some deeper meaning that you can’t access.

I don’t hear any despair in Domino’s music, especially not in “Everyday, I Don’t.” To me, “Everyday, I say that I won’t, and I don’t” represents the exact opposite of powerlessness. It’s an ultraquotidian mantra, the perfect encapsulation of the freedom Domino found in New York City: the power to step away from the party, slip into bed, and explore the endless universes inside your head.

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