logo
Look: 'PUBG: Battlegrounds' to collaborate with K-pop group Aespa

Look: 'PUBG: Battlegrounds' to collaborate with K-pop group Aespa

UPI2 days ago
1 of 5 | Aespa performs on ABC's "Good Morning America" in 2022. The girl group will be appearing in video game "PUBG: Battlegrounds." File Photo by Peter Foley/UPI | License Photo
July 2 (UPI) -- Battle royale video game PUBG: Battlegrounds has announced a collaboration with K-pop group Aespa.
"Aespa is dropping in with a big flash and they are coming to take center stage. Who better to rule the virtual badlands," PUBG: Battlegrounds said on X alongside a promotional image featuring the South Korean girl group.
Aespa members Ningning, Karina, Giselle and Winter are shown holding a variety of weapons including firearms and a frying pan in the image.
The collaboration begins July 9 for PC players and then July 17 for console players.
aespa is dropping in with a big flash and they are coming to take center stage. Who better to rule the virtual badlands?
Get ready to dive in with aespa. PC: July 9 / Console: July 17 Update#PUBG #PUBGxaespa #aespa #æspa #에스파 @aespa_official pic.twitter.com/s4RaUUExgQ— PUBG: BATTLEGROUNDS (@PUBG) July 2, 2025
PUBG: Battlegrounds, released in 2017, is an online, battle royale multiplayer game that is available on PC, PlayStation and Xbox devices.
Aespa recently released their first single of 2025 titled "Dirty Work" alongside a music video.
K-pop stars walk the red carpet
Lisa, of Blackpink, arrives on the red carpet at the MTV Video Music Awards at the UBS Arena in Elmont, N.Y., on September 11, 2024. Lisa recently released a performance video for her solo single "Moonlit Floor." Photo by Derek C. French/UPI | License Photo
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Burgers, spicy honey slaw and a riff on strawberry shortcakes for the Fourth of July
Burgers, spicy honey slaw and a riff on strawberry shortcakes for the Fourth of July

Yahoo

time2 hours ago

  • Yahoo

Burgers, spicy honey slaw and a riff on strawberry shortcakes for the Fourth of July

Award-winning chef, pit master and barbecue restaurateur Phil Johnson joined "Good Morning America" on Friday to fire up the Independence Day culinary celebrations. Johnson knows what he's talking about when it comes to great flavors, textures and a recipe for success: Last year he took home the sandwich category title at the World Food Championships -- a premier global food sport competition that welcomes competitors from dozens of countries across the globe -- with his Green Chili Mojo Roast Pork Cuban Italian Sandwich taking the first place spot. On "GMA," Johnson shared two different takes on a burger recipe, plus a sweet summer treat and a slaw with a hot honey kick. Check out his full recipes below. Ingredients 2 pounds ground beef (80/20 blend) 4 brioche burger buns 8 slices mortadella 8 slices Genoa salami 4 slices white American cheese 1 cup shredded iceberg lettuce 1 large tomato, thinly sliced 1/2 small red onion, thinly sliced 4 tablespoons mayonnaise 2 tablespoons Italian hoagie dressing (or Italian vinaigrette) 2 tablespoons Phil the Grill's Rub Me All Over Butter Blackout (salt, pepper, garlic, butter and Worcestershire powder) Olive oil, for grilling Instructions 1. Preheat grill to medium-high. Season ground beef with Rub Me All Over seasoning and form into 4 patties. 2. Grill patties 3-4 minutes per side for medium, adding a slice of white American cheese to each patty in the last minute of cooking. 3. Lightly grill mortadella and salami slices until just crisped at the edges. 4. Toast buns cut side down on the grill until golden. 5. Spread mayonnaise on the bottom bun and drizzle with Italian dressing. 6. Layer lettuce, tomato, and onion. Add the cheeseburger patty, then top with mortadella and salami. 7. Add the top bun and serve hot. Ingredients 2 cups all-purpose flour 2 tablespoon sugar 1 tablespoon baking powder 1/2 teaspoon salt 1 teaspoon Phil the Grill's Rub Me All Over Seasoning 1/2 cup cold unsalted butter, cubed 2/3 cup whole milk 1 egg, beaten (for egg wash) 2 cups fresh strawberries, sliced 1/4 cup sugar (for strawberries) 1 cup heavy cream 2 tablespoons powdered sugar 1 teaspoon vanilla extract Instructions 1. Preheat oven to 425 F. Line a baking sheet with parchment. 2. In a bowl, mix flour, sugar, baking powder, salt and Rub Me All Over Seasoning. 3. Cut in butter until mixture resembles coarse crumbs. 4. Stir in milk until just combined. Turn dough onto floured surface, pat to 3/4-inch thickness. Cut into 2-inch rounds. 5. Place on baking sheet, brush with egg wash. Bake 12-15 minutes until golden. Cool. 6. Toss strawberries with sugar; let sit 15 minutes. 7. Whip cream with powdered sugar and vanilla until soft peaks form. 8. Split shortcakes, layer with strawberries and whipped cream, top with other half. Serve immediately. Johnson also shared these additional two recipes below with "GMA3" for his second spin on a burger and a delicious, easy side dish. Ingredients 2 pounds ground chicken 1 cup applewood chips (for smoking, optional) 4 whole wheat burger buns 4 slices provolone cheese 1/2 cup sour cream 2 tablespoon Dijon mustard 1 tablespoon chopped fresh chives 2 tablespoon Phil the Grill's Rub Me All Over Triple OG (salt, pepper, garlic, paprika, brown sugar, cumin) Lettuce leaves, for serving Olive oil Instructions 1. Preheat grill to medium. If using, soak applewood chips in water for 30 minutes and add to grill for smoke flavor. 2. Mix ground chicken with Rub Me All Over Seasoning. Form into 4 patties. 3. Grill patties 5-6 minutes per side, adding provolone cheese in the last minute. 4. Toast buns lightly. 5. Mix sour cream, Dijon mustard and chives for the spread. 6. Assemble burgers: Spread chive cream on buns, add lettuce, then chicken patty. Top with bun and serve Ingredients 4 cups shredded green cabbage 2 cups shredded purple cabbage 1 large carrot, julienned 2 green onions, thinly sliced 1 jalapeno, seeded and minced 1/4 cup chopped fresh cilantro 1/2 cup mayonnaise 2 tablespoon honey 2 tablespoon apple cider vinegar 1 tablespoon lime juice 1 tablespoon Phil the Grill's Rub Me All Over Fruit Fire (cherry apple jalapeno) Salt and pepper, to taste Instructions 1. In a large bowl, combine cabbages, carrot, green onions, jalapeno and cilantro. 2. In a separate bowl, whisk together mayo, honey, vinegar, lime juice and Rub Me All Over seasoning. 3. Toss dressing with slaw until well coated. Season with salt and pepper. 4. Chill for at least 30 minutes before serving. By clicking on these shopping links, visitors will leave and and these e-commerce sites are operated under different terms and privacy policies. ABC will receive a commission for purchases made through these links. SOME PRICES ARE DYNAMIC AND MAY CHANGE FROM THE DATE OF PUBLICATION. Have questions about ordering or a purchase? Click .

On ‘Period,' the old Kesha is back. Again.
On ‘Period,' the old Kesha is back. Again.

Washington Post

time3 hours ago

  • Washington Post

On ‘Period,' the old Kesha is back. Again.

Kesha burst onto the music scene with a distinctive brand of blunt, electrifying pop that seemed designed to take the dance floor by sheer force. Then came the genre-hopping. It's nothing new for a pop star to pivot. Claiming maturity, sonic growth or the need to express something raw, musicians from Beyoncé to Lana Del Rey to Post Malone have recently asserted their indie, country or rock bona fides. It's rare for these pivots to go off without a hitch. For Kesha, a string of such sonic shifts have led to 'Period,' a semitransparent bid for yet another career reset. 'Period' is particularly confounding after 2023's 'Gag Order,' on which Kesha abandoned her party girl persona and reinvented herself as a purveyor of haunting, minimalist art pop. (Her earlier surprises include dabbling in rock on 2012's 'Warrior' and a collaboration with Dolly Parton on 2017's 'Rainbow.') The guttural, Rick Rubin-produced album marked Kesha's furthest jump from the Obama-era electropop that made her famous. It also marked the end of her association with former producer Dr. Luke, with whom she had been embroiled in a years-long defamation lawsuit, and his Kemosabe Records. Her first release on the newly founded Kesha Records, 'Period' seemed poised to get back to massive-sounding pop, with help from some of the producers behind recent smashes 'Brat' and 'Renaissance.' Instead the scattered, occasionally enthralling effort raises an awkward question: What happens when your influence is all over today's pop, but you don't have anything new to say? When 'Joyride,' the lead single for 'Period,' arrived last July, we were in the thick of 'Brat' summer. Kesha can confidently claim to be proto-' Brat,' but she still struggled to keep up with Charli XCX when adding a verse to the remix of 'Spring Breakers' this past fall. 'Joyride' thankfully isn't an attempt to blend in with the pop of the moment — just look at its strange klezmer-hyperpop instrumental. It does fall apart, though, when Kesha announces 'I am mother' in the second verse. The other explosive songs on 'Period' are stronger, especially when Kesha leans into the slapstick of seduction. Decorated with New Order-esque kick drums, the so-wrong-its-right narrative of 'Red Flag' thrills when Kesha's speak-singing recalls her breakthrough hits. With its bubbly keys and chirping vocal filters, the song's exuberant bridge could have been lifted from peak-era Black Eyed Peas or Addison Rae's latest. Before whispering that she's going to 'Eat 'em up like amuse-bouche,' Kesha ups the tempo on 'Boy Crazy,' a similarly bouncy, carefree anthem. Although advertised as a return to form, 'Period' is strikingly low on club-ready sing-alongs. Recent single 'Yippee-Ki-Yay' turns Kesha's long-standing interest in country music into a Shaboozey-like abomination. And she retreats to self-help clichés ('I've got a soul nobody can break') on 'The One,' over horns shrill enough to grace one of Jason Derulo's hits. Most frustrating is how headachingly loud the programmed percussion is across the album, often threatening to overwhelm whatever bland sentiment arrives in the lyrics. Despite those missteps, Kesha manages to chart at least one fresh path back to the party. She sounds firmly at home on the opener, 'Freedom,' which begins with a slap bass part and erupts into an unexpected hook featuring an inspiring gospel choir. With slinky pianos and Kesha's devious delivery of lines such as 'I only drink when I'm happy/ And I'm drunk right now,' it eventually wanders into house territory, a new destination for Kesha. As the only 'Period' song produced by frequent Father John Misty collaborators Jonathan Wilson and Drew Erickson, 'Freedom' rings like an opportunity. When it's time for Kesha's next pivot, she knows who to call.

A tale of two parks: One was a ‘poor boy's Disneyland,' the other had a Cobra Woman who was really a man
A tale of two parks: One was a ‘poor boy's Disneyland,' the other had a Cobra Woman who was really a man

Los Angeles Times

time3 hours ago

  • Los Angeles Times

A tale of two parks: One was a ‘poor boy's Disneyland,' the other had a Cobra Woman who was really a man

Here's a little story for summertime, a tale of two seaside amusement parks of days of olde: One eventually got itself a reputation as a rackety, unsavory hangout where you didn't have to look hard to find gambling, dive bars, tattoo parlors (back when nice people didn't go near them), and 'soiled doves,' what the Victorians called prostitutes. Notoriously, someone once found a corpse there — as a sideshow exhibit, not a murder victim. More about him presently. The other park, not far up the coast, was as perky and clean-cut as a barbershop quartet, painted the colors of sand and sky, with shipshape and jaunty ocean-inspired adventures, and zippy, futuristic, razzle-dazzle rides. Now, which one do you think lasted longer? It was the first one, the older one — the Pike, in Long Beach. It opened in 1902, when the electric cars first brought sweaty, landlocked Angelenos to the beach breezes and the Pike's carnival delights, like the fabled Cyclone Racer roller coaster that swooped its riders fast and furious above the water. It was finally done, and done in, in 1979, replaced by shops set among the Long Beach Convention Center and the Aquarium of the Pacific. The other one, Pacific Ocean Park, straddled the sand of Santa Monica and Venice. It opened in 1958, three years after Disneyland, and didn't last even 10 years. Santa Monica has seen amusement parks come and go over more than 120 years, but POP is of fairly recent and fond memory. That place should not to be confused with the much smaller Pacific Park that operates now on the Santa Monica pier, the heir to L.A.'s long beachfront amusement park heritage. POP was a creature of Cold War America. Westinghouse Electric Corp. built one display, a replica of the hull of the atomic-powered Nautilus submarine, with sound effects like an actual submarine at sea. A 'spaceship' theater 'took' the audience to Mars, to see the Red Planet and its imagined Martian residents. A 'house of tomorrow' [sound familiar, Disneyland fans?] ran on 'electronic age' conveniences with an 'artistic representation of the atomic city of tomorrow,' as the old Pomona Progress-Bulletin newspaper wrote in September 1958. An 'ocean skyway' ride took visitors in clear gondolas out over the Pacific surf. Zev Yaroslavsky, the L.A. native, longtime county supervisor, and city council member, still misses the place, even all these decades later. In elementary school, in junior high and high school, 'me and my buddies would take the bus out there, and we'd spend the day having fun. It was a great place to go with girls on whom we had a crush. It was the poor boy's Disneyland.' You entered through the watery darkness of the aquarium, and when you came out the other side, Yaroslavsky remembers, you were 'greeted by the bright sunshine on the pier with the attractions and the Pacific Ocean in my line of sight,' like being wafted from the humdrum to 'the exciting fantasy land of a shoreline amusement park.' 'I felt wronged when it closed, and I have missed it ever since.' In 1960, an FM station, KSRF – K-Surf – began broadcasting from POP, but it was POP's live dance shows that brought in big names and the crowds that followed them – Ritchie Valens, Sam Cooke, and the Beach Boys. Brian Wilson wrote a short foreword to the lavishly illustrated 2014 book 'Pacific Ocean Park.' The 1950s and '60s gave us a glut of amusement parks, and as with any boom, there was a bust. POP became one of the busted. Competition from that place in Anaheim was unrelenting. So too is sea air, and its assault on wood and metal and human-crafted things in general, and the price for keeping all of that at bay was untenable. Rides broke down and went un-repaired. City building projects messed up the roads into POP. By the autumn of 1967, POP was closed – ostensibly for repairs but in fact for good. The apocalyptic forces that work against amusement parks, neglect and fires, did their handiwork. As The Times wrote in February 1975, as the last of POP was being demolished, 'Sooner or later all dreams come to an end.' Yet the Pike soldiered on — rather, sailored on. In 1919, Long Beach became the home port for the nation's Pacific fleet of battleships, and in time, more ships followed. The Navy was big business for Long Beach, and for the Pike, where thousands of Navy 'gobs' stationed here spent some of their shore leave and their earnings. Like Las Vegas, the Pike, too, underwent an identity shift, if not a crisis. It too suffered from competition of more family-focused resorts. As parents took their kids holidaying at Disneyland or Knott's Berry Farm, the Pike was left more and more to grownups like boisterous sailors and footloose Angelenos and their tastes for pool rooms, bars, dance halls and sideshows. In 1946, a sideshow fixture billed as 'Miss Elsie Marks, the Cobra Woman,' died after her seven-foot diamondback rattlesnake bit her. That was the first big headline. The second was that 'the Cobra Woman' was in fact a 6-foot-3-inch man surnamed Nadir, who had traveled in circus sideshows over the years as, serially, 'the dog-faced boy,' then 'the monkey man' and 'the bearded lady.' The Pike's louche doings made for great newspaper copy. In 1914, the 'Duke of the Pike' — a debonair character who lived large, mostly on brash cheek and bad checks — finally got caught when his car broke down in Compton. He was asking the police chief to lend him $10 for repairs when a sergeant recognized him as a wanted man. The next year, a businessman who said he had simply wanted to show a young girl the sights on the Pike was arrested for breaking a local law delicately phrased by The Times as being 'in a certain state of mind when approaching an apartment house' where the girl was living on his largesse. In 1943, at the height of World War II, Deputy Dist. Atty. Ted Sten announced that gambling was going on on the Pike: 'I personally counted eight last night. There are wide-open crap games, and the only police down there are watching the merry-go-round.' In fact, the Pike was probably the most heavily policed part of Long Beach, but players will be players. In the 1950s, the Pike rebranded itself Nu-Pike, in a makeover that tried to snag more families as customers. That didn't rescue the Pike, nor did another new name for the area: Queen Park, after the ocean liner RMS Queen Mary, permanently anchored on the Long Beach landscape. Geography itself worked against the Pike, too. Beyond its actual borders, unsavory operations sprang up, but the whole stretch was identified as 'the Pike.' In 1965, as Long Beach began sprucing up the harbor, a dredging operation piled up a landfill at the edge of the Pike. In short order, the Pike was no longer at the beach. A man who ran a grill restaurant in the Pike's 'Fun Zone' told The Times in 1979 that 'they pushed the beach back so far they killed business.' By 1967, a columnist at the Long Beach Independent had to defend his town to an anonymous letter writer demanding an expose of Long Beach's gay bars and brothels, including the Pike, 'that nightmare alley with its rock-bottom characters and perverts in plain view … ' The columnist's retort was valiant but rather weak sauce: There are only three gay bars in Long Beach — down from nine two years before. At the 'notorious hotel' occupied by prostitutes, there was only one arrest there in the last six months. In 1979 the city had big plans that did not include the Pike. 'Nu-Pike May Be No Pike,' ran The Times' headline. Leases were not renewed. Attractions that hadn't already fallen down were knocked down. (A small museum of Pike artifacts survived in the Lite-A-Line game arcade in Long Beach, operated by the Looff family, which had run the same attraction at the Pike for decades. But even that closed, in 2022.) By 1979, too, one of the Pike's foremost attractions was already gone, first to the L.A. County coroner's office, and then to a graveyard in Oklahoma. In 1976, a wax dummy painted Day-Glo red was being moved around in the Laff in the Dark attraction when an arm fell off. Underneath was not more wax, but a human bone. The dummy was a mummy — the desiccated corpse of Elmer McCurdy. McCurdy was a B-list, turn-of-the-century outlaw, a ne'er-do-well train robber who was so lousy at his craft that he held up virtually empty trains instead of the gold-toting ones he thought he was targeting. He once blew up a train's safe that was full of loot, but the 'bang' fused all of the coins to the safe's inside walls. He was shot down by a sheriff's posse in Oklahoma in 1911. After that, his unclaimed body began its wanderings: as a greeter for an Oklahoma funeral home, as a sideshow attraction for touring carnivals, and even in a titillating 1933 pre-Code film, 'Narcotic.' (It wasn't a speaking role.) Once out of the carny racket, McCurdy became more famous in death than he had been in life. Times columnist Steve Harvey christened him the King Tut of the Tumbleweeds. McCurdy's post-posthumous credits: a BBC documentary, two biographies, a Celtic folk song, and a murder mystery weekend. He was buried in a historic cemetery in Guthrie, Okla. — under a two-foot layer of concrete, lest anyone be tempted to take him on tour again.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store