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The Guardian
4 days ago
- Entertainment
- The Guardian
Tyler, the Creator: Don't Tap the Glass review
Tyler, the Creator's ninth album received a very contemporary grand unveiling. Rush-released two days after its existence was announced, it had been trailed by the appearance of cryptic art installations at the rapper's live shows – he's still theoretically touring his last album, 2024's Chromakopia – and at One World Trade Center in New York, and by a flurry of online gossip: one US website was forced to retract and apologise for publishing a tracklisting, complete with guest appearance by Kendrick Lamar, that turned out to be fake. Despite all this, Tyler Okonma seemed keen to deflate the kind of anticipation that arises when your last three albums have all been critically lauded, platinum-selling chart-toppers full of big ideas. 'Y'all better get them expectations and hopes down,' he posted on X, 'this ain't no concept nothing.' He then published an essay that read suspiciously like an explanation of the album's concept, bemoaning the intrusion of cameraphones and social media on our ability to live in the moment: 'Our human spirit got killed because of the fear of being a meme.' So what is Don't Tap the Glass? A proper follow-up to Chromakopia or an interstitial release? A random selection of songs with no overarching theme, or something made with more deliberate intent? The answer seems to be: all these things. It lasts less than half an hour, and is noticeably, if not entirely, lacking the soul-searching that helped define its predecessor. The lyrics tend to stick to braggadocio and reaffirmations of the nihilistic persona Tyler inhabited in the days when he was deemed such a threat to the country's morals that anti-terrorism legistation was invoked to ban him from the UK: the first, but far from last, mention of him not giving a fuck about anything arrives less than 30 seconds into the album. There are a lot of memorable one-liners, among which 'I don't trust white people with dreadlocks' and his dismissal of an ageing rival stand out: '49, still in the street / Your prostate exam in a week.' It also eschews Chromakopia's kaleidoscopic musical approach, its sudden leaps from Beach Boys harmony to Zamrock samples to guest spots from Lola Young and Lil Wayne. It's still eclectic in its choice of source material – opener Big Poe samples Busta Rhymes and a 2015 collaborative album made by Radiohead's Jonny Greenwood, Shye Ben Tzur and India's Rajasthan Express – but ultimately feels more narrow and focused. Almost all of its 10 tracks seem fixated on the dancefloor. There are 808 beats, Kraftwerk-y electronics, a noticeable smattering of Zapp-like vocoder and electro, among other early 80s genres. Powered by a bassline that's a dead ringer for that of Michael Jackson's Off the Wall and decorated with washes of synthetic strings and a falsetto vocal, Ring Ring Ring feels like a lost Leroy Burgess boogie production from the same era. The huge, distorted breakbeat of Big Poe recalls the rhythms produced by the Bomb Squad in their prime, amplified by the stentorian, Chuck D-like tone of Pharrell Williams's guest rap. Elsewhere, I'll Take Care of You unexpectedly transforms from a beatless electronic ballad into something that – with its clattering rhythm and grimy sub-bass – most closely resembles old skool UK hardcore rave: in a neat bit of self-referentiality, the clattering rhythm is actually repurposed from the title track of Tyler's 2015 album Cherry Bomb. Sign up to Sleeve Notes Get music news, bold reviews and unexpected extras. Every genre, every era, every week after newsletter promotion All of this is done fantastically well. The musical reference points are deployed with an evident love and understanding of the source material, never feeling like box-ticking or pastiche; the hooks work with enviable efficiency. It's all funky enough that you imagine even the selfie-obsessed pocketing their phone and throwing themselves around if it came booming from some big speakers. But it's also not the whole story. There are scattered moments when Don't Tap the Glass feels of a piece with, or an addendum to, Chromakopia. In the middle of the album lurks the incongruous Mommanem, thick with the grunts and gasps and feral barks that were Chromakopia's sonic signature. On the concluding Tell Me What It Is, Tyler suddenly drops the boasts and the IDGAF stuff in favour of precisely the heartsore self-examination that characterised his previous album, the sentiments amplified by the untutored frailty of his singing voice: 'I'm feeling like a bum … is there a traffic to my soul? I need answers … Why can't I find love?' It's an odd way to end an album that seems largely about not overthinking things and simply giving yourself up to the moment, but, then, this is the man who once rapped 'I'm a fucking walking paradox / No I'm not.' Fourteen years on, Tyler, the Creator clearly still reserves the right to be contradictory. When the results are as good as Don't Tap the Glass, who can blame him? Blood Orange – The Field Not a song of the summer in the accepted dancefloor banger sense, but The Field's Durutti Column sample, skittering beats and ethereal vocals (by Caroline Polachek and Daniel Caesar) are the perfect soundtrack to a languid afternoon.
New York Post
22-07-2025
- Entertainment
- New York Post
Shane Gillis reveals the celeb who couldn't stop laughing at his ESPYs jokes
Shane Gillis had at least one celebrity in stitches last week during his ESPYs monologue, which was delivered to a mixed reception from audience members. Addressing his experience as host of the ESPYs, Gillis revealed that Busta Rhymes laughed during the nearly 10-minute opening monologue that included jokes touching on everything from Caitlin Clark to Aaron Rodgers to President Donald Trump. 'The one person laughing my entire monologue was Busta Rhymes,' Gillis said on his 'Matt and Shane's Secret Podcast,' which released on Monday. 'And while I was up there, I kept, like, looking over to be like, 'Yes. Yes. Yes.' I don't care how badly this is going, just seeing Busta Rhymes like…Yes. Yes. Yes.' Advertisement Host Shane Gillis speaks at the ESPY Awards at the Dolby Theatre. AP The comedian had also addressed the joke in which he duped the audience into clapping for 'four-time WNBA All-Star Brittany Hicks,' who was really just his friend Matt McCusker's wife when the camera panned to her. Advertisement The joke was among several of the more controversial bits during Gillis' act. Gillis had said during the podcast that there were several other sports that a joke like that would have worked with as well. 'You could've been like, '10-time All-Star, NHL legend Matt McCusker,' and they would've been like, 'For sure,'' Gillis said. Busta Rhymes performs onstage during the 2025 ESPY Awards at Dolby Theatre. Getty Images Advertisement He later added, 'I knew they would clap. I would have clapped. Anybody on earth would clap.' Gillis' monologue drew plenty of reaction with several ex-ESPNers hitting out at the comic's jokes, including Sarah Spain and Dan Le Batard. However, ESPN appeared to stand behind Gillis following the show, knowing that his comedic stylings weren't going to be for everyone. While ESPN was likely hoping that Gillis' presence would draw a new audience, the ESPYs saw a dip in viewership from the previous year by 22 percent, according to Sports Media Watch.
Al Bawaba
21-07-2025
- Entertainment
- Al Bawaba
Tyler, The Creator drops new album 'DON'T TAP THE GLASS'
Published July 21st, 2025 - 11:22 GMT ALBAWABA - Renowned American rapper Tyler, The Creator, just dropped his most recent album "DON'T TAP THE GLASS," marking the artist's ninth record. The early Monday release comes only days after Tyler announced the album to his fans. "DON'T TAP THE GLASS" contains 10 tracks including "Sucka Free," Big Poe," "Don't You Worry Baby," and many more. According to Variety, "Big Poe," which is the opening track of the album, features Pharrell Williams and samples Busta Rhymes' 2001 track "Pass the Courvoisier Part II." Tyler, The Creator announced the recently released album Friday night, after revealing new merchandise on his Golf Wang website. The renowned rapper teased the album on multiple occasions across his socials but kept it oblivious to generate hype. TYLER, THE CREATORDON'T TAP THE GLASSOFFICIAL TRACKLIST 📝▫️ Big Poe▫️ Sugar On My Tongue▫️ Sucka Free▫️ Mommanem▫️ Stop Playing With Me▫️ Ring Ring Ring▫️ Don't Tap That Glass / Tweakin'▫️ Don't You Worry Baby▫️ I'll Take Care of You▫️ Tell Me What It Is Total… — Kurrco (@Kurrco) July 21, 2025 Fans have already taken to social media to share their opinions on Tyler's new album. Most of the reception has been positive with some fans saying that it's better than his 2024 album, "CHROMAKOPIA." A fan wrote on X (formerly known as Twitter), "Very good. Loved the production and whole vibe of the album. Gonna have to relisten tho. Feeling an easy 8 rn." Another wrote, "I found myself dancing randomly I guess it brings back our inner child." His previous 2024 album "CHROMAKOPIA" received critical acclaim and commercial success from fans and critics alike. The song "Like Him" featuring Lola Young garnered more than 516 million streams on Spotify, making it one of Tyler's most popular songs. "St. Chroma" featuring Daniel Caesar came in second with more than 250 million streams. The album was also certified as Gold and Platinum, making it eligible as a contender in upcoming 2026 award ceremonies such as the Grammys and BRIT Awards. Listen to the 28-minute album below: © 2000 - 2025 Al Bawaba (
Yahoo
15-07-2025
- Entertainment
- Yahoo
How to watch the 2025 ESPYS: Streaming info, who's nominated, channel and more
If you buy something through a link in this article, we may earn commission. Pricing and availability are subject to change. Awards shows aren't just for the movies. This year marks the 33rd annual ESPYS, the award show honoring the best and brightest athletes of the year, which will be broadcast live this Wednesday night on ABC. This year, comedian Shane Gillis will emcee the event. In addition to calling out this year's biggest athletic achievers, there will also be several special honorees receiving awards for their service and contributions to their sports. They include Oscar Robertson, who will receive the Arthur Ashe Award for Courage, Katie Schumacher-Cawley who will receive the Jimmy V Award for Perseverance, and David Walters and Erin Regan, recipients of the Pat Tillman Award for Service. The ceremony will also feature performances from Busta Rhymes, Clipse, and LiAngelo Ball, who performs under the stage name GELO. The ESPYS will air live from The Dolby Theatre in Los Angeles on Wednesday, July 16, at 8 p.m. ET on ABC and will stream live on ESPN+. You'll also be able to stream the show on-demand the next day on Disney+, Hulu, and ESPN+. Here's everything you need to know about how to watch the 2025 ESPYS, along with a complete list of this year's nominees. Advertisement How to watch the 2025 ESPYS: Date: Wednesday, July 16 Time: 8 p.m. ET Location: The Dolby Theatre, Los Angeles TV channel: ABC Streaming: ESPN+, DirecTV, Hulu + Live TV When are the 2025 ESPYS? This years ESPYs will be held on Wednesday, July 16 at 8 p.m. ET. What channel are the ESPYS on? You can tune in to the 2025 ESPYS live on ABC. There will also be a livestream available on ESPN+. How to watch the 2025 ESPYS without cable: Stream the 2025 ESPYS live or watch on-demand on ESPN+ ESPN+ The 2025 ESPYS will stream live on ESPN+ this year, and they'll also be available to view the next day on-demand on the platform. ESPN+ grants you access to exclusive ESPN+ content, including live events, fantasy-sports tools and premium ESPN+ articles. You can stream ESPN+ through an app on your smart TV, phone, tablet, computer and on $11.99/month at ESPN Watch ABC and more DirecTV DirecTV offers multiple live TV packages geared toward sports fans, with access to ESPN's suite of channels, ABC and more starting at $69.99/month. That means you can watch this Wednesday's broadcast of the ESPYS live on ABC without any delays. You can try it for free for five days before committing. Try free at DirecTV Who is hosting this year's ESPYS? Comedian Shane Gillis is the host of this years ESPYS. Who is nominated at this year's ESPYS? The complete list of ESPYS nominees is below, here's where you can cast your votes: Advertisement BEST ATHLETE – MEN'S SPORTS Josh Allen – Buffalo Bills Saquon Barkley – Philadelphia Eagles Shai Gilgeous-Alexander – Oklahoma City Thunder Shohei Ohtani – Los Angeles Dodgers BEST ATHLETE – WOMEN'S SPORTS Simone Biles – Gymnast Sydney McLaughlin-Levrone – Track & Field Gabby Thomas – Track & Field A'ja Wilson – Las Vegas Aces BEST BREAKTHROUGH ATHLETE Cooper Flagg – Duke Men's Basketball Chloe Humphrey – North Carolina Women's Lacrosse Ilona Maher – Rugby Paul Skenes – Pittsburgh Pirates BEST RECORD-BREAKING PERFORMANCE Geno Auriemma – UConn Huskies Caitlin Clark – Indiana Fever Kevin Durant – Olympic Basketball Alexander Ovechkin – Washington Capitals BEST CHAMPIONSHIP PERFORMANCE Simone Biles – 2024 Olympics Women's All-Around Stephen Curry – US Men's Olympic BB team Freddie Freeman – LA Dodgers – World Series MVP Rory McIlroy – Wins first Masters title, completing career Grand Slam BEST COMEBACK ATHLETE Gabe Landeskog – Colorado Avalanche Suni Lee – Gymnast Mallory Swanson – USWNT/Chicago Red Stars Lindsey Vonn – Skiing BEST PLAY Saquon Barkley's backwards hurdle – NFL (11/3/24) Tyrese Haliburton Calls Game!!! – NBA Game 1 NBA Finals (6/5/25) Sabrina Ionescu Logo 3 Game Winner – WNBA Finals Game 3 Trinity Rodman with the OT Goal to send USWNT to the semi-finals – 2024 Olympics BEST TEAM Florida Panthers – NHL Los Angeles Dodgers – MLB New York Liberty – WNBA Ohio State Buckeyes – NCAA Football Oklahoma City Thunder – NBA Philadelphia Eagles – NFL North Carolina Tar Heels – NCAA Women's Lacrosse United States Women's National Team – Soccer University of Connecticut Huskies – Women's Basketball BEST COLLEGE ATHLETE – MEN'S SPORTS Cooper Flagg – Duke Basketball Wyatt Hendrickson – Oklahoma State Wrestling Travis Hunter – Colorado Football CJ Kirst – Cornell Lacrosse BEST COLLEGE ATHLETE – WOMEN'S SPORTS Olivia Babcock – University of Pittsburgh Volleyball Kate Faasse – North Carolina Soccer Gretchen Walsh – Virginia Swimming JuJu Watkins – USC Basketball BEST ATHLETE WITH A DISABILITY Noah Elliott – Snowboard Ezra Frech – Track & Field Tatyana McFadden – Track & Field Grace Norman – Paratriathlete BEST NFL PLAYER Josh Allen – Buffalo Bills Saquon Barkley – Philadelphia Eagles Lamar Jackson – Baltimore Ravens Patrick Surtain II – Denver Broncos BEST MLB PLAYER Freddie Freeman – Los Angeles Dodgers Aaron Judge – New York Yankees Shohei Ohtani – Los Angeles Dodgers Tarik Skubal – Detroit Tigers BEST NHL PLAYER Leon Draisaitl – Edmonton Oilers, Connor Hellebuyck – Winnipeg Jets Nikita Kucherov – Tampa Bay Lightning Cale Makar – Colorado Avalanche BEST NBA PLAYER Giannis Antetokounmpo – Milwaukee Bucks Shai Gilgeous-Alexander – Oklahoma City Thunder Nikola Jokić – Denver Nuggets Jayson Tatum – Boston Celtics BEST WNBA PLAYER Caitlin Clark – Indiana Fever Napheesa Collier – Minnesota Lynx Breanna Stewart – New York Liberty A'ja Wilson – Las Vegas Aces BEST DRIVER Joey Logano – NASCAR Álex Palou – IndyCar Oscar Piastri – F1 Max Verstappen – F1 BEST UFC FIGHTER Dricus Du Plessis Merab Dvalishvili Kayla Harrison Islam Makhachev BEST BOXER Naoya Inoue Claressa Shields Katie Taylor Oleksandr Usyk BEST SOCCER PLAYER Aitana Bonmatí – FC Barcelona/Spain Christian Pulisic – AC Milan, US Alexia Putellas FC Barcelona/Spain Lamine Yamal – FC Barcelona/Spain BEST GOLFER Nelly Korda Rory Mcllroy Scottie Scheffler Maja Stark BEST TENNIS PLAYER Carlos Alcaraz Coco Gauff Aryna Sabalenka Jannik Sinner More ways to watch the 2025 ESPYS:
New Statesman
02-07-2025
- Entertainment
- New Statesman
Stop taking Glastonbury so seriously
Illustration by André Carrilho Worthy Farm in Somerset, where Glastonbury Festival has been held 39 times, is 25 miles away from the sea. But once a year it is thronged by seagulls: this is an annual chips-in-styrofoam mecca for the scavenger birds – an event as unmissable for them as it is for the ageing-millennial liberals who populate the site, squatting on the fun that was once the preserve of the young. Parsing the 210,000-strong crowd at the festival is a process of subtle distinction, such as: who is 35 and who is 38? And, does this person live in Stoke Newington or Finsbury Park? Do they work at Deloitte or at a respectable grade in the civil service? Glastonbury in 2025 is where the professional class come to listen to Busta Rhymes (doyen of the 1990s) perform 'Break Ya Neck', with right-hand man, Spliff Star, and pretend the culture hasn't left them behind. Even though of course it has. It is not totally homogenous: there are the elites literally at the peripheries, their clean and catered camps looming from on-high over the grounds (metaphor alert!); and there are attendees on the more feral end of the spectrum (who would think, may I ask, to pitch their tent one metre downstream of the busiest bathrooms on the grounds?). But in its total average, the Glastonbury crowd leans towards the staid, stable and rote. When Richard Tice, the deputy leader of Reform, turned down a chance to debate a Green Party leadership hopeful he said his team feared that Glastonbury would not be safe for him. This is fair – if he is afraid of seagulls or management consultants. I was surprised, nonetheless, by the level of political noise the festival generated this year, from this most un-radical of crowds: a man with a straw boater and a collapsible camping chair – a friend for Tice, perhaps? – sat politely in front of me as Kneecap exploded on to the West Holts Stage on the Saturday afternoon. One member of the Belfast rap trio, Mo Chara, was charged with a terror offence in May, accused of brandishing a Hezbollah flag at a 2024 gig. There were questions about whether the festival should cancel the set entirely; the BBC did not air it live for fear the group would say something on stage that contravened its guidelines and standards ('kill David Attenborough', perhaps). Before the festival had even started, Kneecap – with its anti-British posture and radical Irish republicanism – became the story. And then the trio were overtaken when the previously irrelevant rap duo Bob Vylan led the crowd in chants of 'death, death to the IDF'. Everyone – Wes Streeting, Glastonbury itself – was 'appalled', the BBC terribly sorry for broadcasting it; the world rather worried that these rappers had finally been the ones to radicalise the farmer's-market liberals around the festival. But as I watched Kneecap in the baking heat and saw exactly what I was expecting to (Palestine flags and Irish tricolours everywhere) and heard exactly what I was expecting to (Deloitte account managers joining in with 'Free Palestine' and 'Fuck Keir Starmer' chants) I was struck by the powerlessness of it all. Subscribe to The New Statesman today from only £8.99 per month Subscribe This is transient, ephemeral politics. In 2017 Jeremy Corbyn was the main character of Glastonbury, and when his electoral platform totally fell apart, all of a sudden no one at the festival was singing 'Oh, Jeremy Corbyn' anymore. Brexit was the great affront to the Glasto-class at the festival in 2016, and I spotted not one EU flag over the entire week in 2025; the very lonely Ukraine flag I saw looked almost out of date. There is no idée fixe of Glastonbury, but instead the politic du jour. It is hard to blame the millennial consultants and civil servants for rifling through a Rolodex of causes at such a clip. They came of age in the financial crisis and have been politically impotent since; things they don't like (the 2011 Liberal Democrat betrayal, Osborne austerity, Brexit, 'Boris Johnson') keep happening to them. In a country where politics itself is no longer very political and culture feels stuck – Rod Stewart (80) shared a stage on the Sunday with Ronnie Wood (78) and Lulu (76) – all that's left is these end-of-June howls of outrage from staffers at the Big 5. There was a time when liberal Britain could group together to stop the things it did not like, such as the slave trade or Mary Whitehouse. Or redirect the national trajectory: abolishing the death penalty and legalising abortion. They can't anymore. And so here they are with me in Somerset, eating cheese toasties, worrying about seagulls and raging against a non-specified, shapeshifting machine. The ambient Remainer-ism of the past decade of Glastonbury has been traded for this slightly edgier cause, with spikier standard bearers (Kneecap, Bob Vylan). But the sense of a non-committal, window-dressing politik is the same. To fly a Palestine flag in front of the Other Stage during Franz Ferdinand's set is to say: yes, I am a Glastonbury Goer. Just as was the case with open borders in 2018 (prime-time bullshit, by the way, in a camp that has border walls resembling Trump's). But to interrogate the hard politics or even the logic of it all is to misunderstand the project. There are too many drugs to do for that. The worst place to have an ear infection is 41,000 feet over the Atlantic in Delta economy class. The second worst place to have an ear infection is during country/hip-hop crossover event Shaboozey's performance of 'Bar Song (Tipsy)' on Sunday afternoon. It was – like the set by rock band Terrorvision, the crowd at the Information Stage when the independent MP Zarah Sultana appeared, and the 'sound bath' I suffered through at the, er, Healing Fields – extraordinarily loud. But not merely content with the audial invasion, Glastonbury Festival endeavours to assault you with wall of visual noise too: 'PASTA,' a sign screams at me; 'REDUCE, REUSE [and, plot twist], RESPECT' rolls across a TV screen; a posh woman with a hat like I have never seen before (steampunk meets pheasant massacre) walks past; the firework budget alone for the five days I suspect could feed a medium-sized Cambodian town for a year; the lights at the Levels Stage, designed for the ecstasy brain, are too frenetic for the sober one. I understand why these 'Sensory Calm' tents have cropped up everywhere: the one next door to the Kneecap performance got more use than usual. By Sunday the drugs had nearly run out; the politics – already predictable – were exhausting; the atmosphere was increasingly antsy. Deloitte awaited the revellers, they had just remembered. The site smelled like pickled sewage and everyone was taking the last of their ketamine. But, after a three-week cleanup job, the only evidence left of this, all the noise and all the mess, will be the famous Pyramid Stage. The rest – the pheasant-graveyard hat, the man in the boater, the PASTA vendors, the pair camping one metre downstream of the toilets, the elites at the top of the hill – will be gone from Worthy Farm for another year, almost as though nothing happened. And the seagulls will flee, like the ravens leaving the tower of London, to declare a new political lodestar for the Glastonbury class. All of it fair weather, all of it temporary. 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