Month: November 2020

Michelle Zauner has been performing as Japanese Breakfast for a few years now, with her first tour under the name coming in 2015. Now she has shared a fascinating story from that trek involving a now-profitable Bitcoin transaction.

In a series of tweets, Zauner revealed that at one tour stop in Austin, Texas (which appears to have been during the South By Southwest festival), somebody bought a T-shirt from her for $10-worth of Bitcoin, which is worth much more now than it was then. She wrote, “So I just found this old tour sheet from my first tour as JB in 2015 where we profited (tho not really because I don’t think I took out the cost to make merch) $800 for a month’s worth of touring. Then I noticed at our Austin house show some dude gave me the equivalent of $10 in Bitcoin in exchange for a shirt. I remember him telling me it’d be worth a lot someday and being like ya ya whatev you are prob just trying to get a free shirt but I’ll roll the dice. Frantically I just spent the past half hour trying to recover my blockchain id and just discovered that $10 Bitcoin equivalent is now almost $800 five years later.”

Zauner’s math checks out: $10 worth of Bitcoin on March 13, 2015 (the day of the show) would have been equivalent to about 0.042 coins at the time, which today is worth $813.24. It’s not clear if Zauner has managed to regain access to her Bitcoin wallet, but if she has, the profits from the tour will be doubled. One of the tweets also shows most of a spreadsheet detailing Zauner’s income and expenses from the tour, which in itself is an interesting look at the money involved in the tour of a new artist.

Check out the tweets below.

Just over 19 months ago, on April 11, 2019, the Memphis Grizzlies appointed Zach Kleiman as their executive vice president of basketball operations. A day removed from a transitional season that saw Memphis go 33-49 — well outside of a playoff spot but nowhere near bad enough to likely secure a top pick — owner Robert Pera opted to hire Kleiman as the organization’s new lead decision-maker in the front office.

At the time, the Grizzlies’ future did not appear bleak so much as it appeared rather hazy. Former franchise stalwart Marc Gasol had been dealt to the Toronto Raptors months earlier. His long-time co-star Mike Conley Jr. was involved in trade rumors much of the season, though remained in Memphis past the deadline for a few more months before heading to Utah in an offseason deal. For years, Memphis had ridden the Gasol-Conley tandem and a pestering defense to a string of postseason appearances, including four series victories and a Western Conference Finals cameo in 2013. That identity was no more, and Kleiman now owned the keys to shape this team in his own vision.

A season or so later, Kleiman has wiped away the fog of a murky rebuild to provide Memphis with a clear vision. And that vision has consistently drawn the praise of amateur Draft experts across the Twitter landscape, as they consistently identify and target good basketball players, rather than those who have potential and could be good.

It’s started with nailing the top of the Draft, as Kleiman’s predecessors did very well in taking Jaren Jackson Jr. with the fourth pick in 2018 and, with the help of lottery luck, they vaulted to the No. 2 overall pick to select Ja Morant last year, who went on to win Rookie of the Year honors. However, it’s what the Grizzlies have done later in the Draft that has set them apart. In 2019, they picked up Brandon Clarke, largely a consensus top-10 pick across Draft Twitter, 21st overall. Clarke’s blend of vertical explosion, improved shooting mechanics, premier rim scoring and interior defense was tantalizing. In his first season, he validated the credence of his ardent supporters, averaging 12.1 points, 5.9 rebounds and 1.4 assists on 66.3 percent true shooting (.618/.359/.759 split) en route to All-Rookie Team honors.

While already 24 years old (Morant and Jaren Jackson Jr. are each 21), Clarke looks the part of a high-level rotation player and viable starter for many years. His scoring efficiency is elite in a supplementary role, and his ability to function as both a popper and elite roller complements Morant quite well offensively. Despite some strength and length deficiencies, he’s also a tenable help-side rim protector.

In early July 2019, Kleiman and Co. acquired another Draft Twitter fella in De’Anthony Melton, shipping Kyle Korver and Jevon Carter to Phoenix in exchange for Melton and Josh Jackson. Melton has seized his opportunity, offering badgering on-ball defense (3.1 percent steal rate) and another ball-handling presence alongside Morant. His NBA ceiling likely hinges on the development of his jumper (29.4 percent beyond the arc through two years), but the defense and faculty to direct some offensive possessions establishes a useful rotation-level floor. Memphis clearly agrees with the sentiment, having inked him to a four-year, $35 million earlier this offseason, which could make Melton a vastly underpaid player in the near future if his long ball progresses swimmingly.

Adding Clarke and Melton, as well as John Konchar (another Draft Twitter icon), in the summer of 2019, only proved to be the precipice of Memphis procuring the favor of online draftniks. In March, they signed the oft-injured Jontay Porter, a versatile big man with passing, shooting, perimeter mobility and team defense chops. Porter has yet to log any minutes for the Grizzlies, but signed a new deal this offseason worth $6 million over three years. A pair of ACL tears over a year’s span might haunt Porter moving forward and prevent him from ever discovering legitimate footing in the league, but his talent is undeniable and he certainly qualifies as another young member of the roster who can potentially impact the game right away.

Memphis entered this month’s Draft with one pick at 40th overall. Hours later, they emerged with three top-25 prospects on my board, trading up for Desmond Bane and Xavier Tillman, and landing Killian Tillie on a two-way contract as they all slid down the board on Draft night.

Separate from the nods to Draft Twitter, and greatly more paramount, these acquisitions maintain a connective theme throughout Kleiman’s accumulation of young talent. All three project as practical complements to the Morant-Jackson bedrock, serving as sound decision-makers and skillful off-ball players who brandish astute feel for the sport. Bane is an elite shooter who manipulates screens like few others and touts enough playmaking equity for a secondary handling role. Tillman is a snappy, sharp passer and decision-maker who sets mammoth picks and operates well in space as a screener and cutter. Tillie is one of the best shooting big men from this draft class, a talented passer and offers some switch-ability, along with valuable team defense awareness, though a lengthy list of lower body ailments may be too hefty of a hurdle to overcome.

So, sure, Kleiman might own a burner account that he uses to stealthily peruse the timeline and check who Draft Twitter’s flavor of the month happens to be. But far more likely is he’s just an executive who’s good at his job, identifies talent, and recognizes how to build around his franchise centerpieces. Clarke, Melton, Porter, Bane, Tillman and Tillie’s existence on this Memphis teams conveys exactly that. They can excel without dominating the ball, while still wielding offensive utility in varying manners, and are intelligent on both ends, particularly defensively.

The Grizzlies probably need one more high-level starter, presumably on the wing, to reach the next level with Morant and Jackson front and center. There’s no guarantee Porter, Bane, Tillman and Tillie pan out. Even so, Zach Kleiman is heading a savvy reconstruction in Memphis, giving a little wink to Draft Twitter with every new young player he brings into the fold.

Long before Donald Trump’s disastrous administration, rappers loved to name check the showman for his perceived status as a symbol of success. Since his true character was revealed by nonstop media coverage and his incorrigible Twitter usage, far fewer rappers are as willing to associate with him or rap about him in a positive light. There are exceptions, though; namely, rappers like Lil Pump and Lil Wayne, who appeared with the incumbent on his since-thwarted re-election campaign. And although he’s long since been defeated — even if he won’t admit it — his rap stooges seem more than happy to follow through on their support musically.

On Friday, Lil Wayne released his No Ceilings 3 mixtape, receiving praise for the song “BB King Freestyle,” on which he reunites with longtime collaborator Drake for a trademark lyrical exhibition. However, on another track, “Life Is Good,” he flexes his association with the defeated incumbent — albeit, about two weeks too late — praising him for his tax plan. “I smoke it, she say pass it, she doing too much,” he rhymes. “Haven’t done my taxes, f*cking with Trump.”

According to a cadre of rappers who claim they were also recruited by the Trump campaign including 50 Cent, the campaign reportedly offered rappers cash in exchange for their shout-outs in order to reach out to a demographic former President Obama said is as fascinated by bling as Trump himself is. Unfortunately, Lil Pump’s “Big MAGA Steppin” received more ridicule than acclaim, and Wayne’s girlfriend was even rumored to have broken up with him over his untimely photo op. The rappers may have cashed out in the short term but it looks like the tax man cometh after Trump’s pandering effort clearly failed.

Rosario Dawson‘s long-rumored debut as Ahsoka Tano in The Mandalorian has been a massive hit with fans who have been hoping for a live-action version of the beloved Star Wars character. And it’s exactly that hope that made Dawson’s casting possible. In a lengthy interview with Dawson and Mandalorian showrunner Dave Filoni, whose work on The Clone Wars made Ahsoka a fan-favorite, Dawson confirmed that her casting was the direct result of Star Wars enthusiasts on Twitter. Via Vanity Fair:

Actually it first came from fans online. Someone tweeted me and fancast me. I retweeted back and I was like, “Absolutely, yes please” and “#AhsokaLives.” And apparently that got the attention of someone who has been doing the Star Wars press for years. She forwarded it to Dave Filoni. That kind of started a whole thing. I was like, “Oh my goodness, did I just get fancast in something?” And then nothing happened.

However, that’s not the whole story of how it happened. According to Filoni, he saw the fan-casting tweets and thought, “Huh. Yeah, I think maybe she would make a good Ahsoka,” and he kept the idea in his back pocket. Eventually, when it came time to introduce Ahsoka into The Mandalorian, Filoni brought up Dawson to Jon Favreau who was immediately on board. The two approached the actress with concept art before the first season even dropped, and she couldn’t believe the role was actually happening.

“I was beside myself, and they were asking, ‘Do you want to do this? I mean, we appreciate if it’s not something you want to do.’” Dawson recalled. “And I was like, ‘Oh no, no, that would be cool, actually. I think we could maybe work this out.’ Trying to play it cool, but I was sweating.”

Disney+ also unveiled a new Ahsoka poster for The Mandalorian below:

(Via Vanity Fair)

When Protoje first announced the partnership between his In.Digg.Nation label and RCA Records/Six Course in April, it naturally called for celebration. RCA is not only supporting the reggae star, but the rest of his collective: Lila Iké, Sevana, and new signee Jaz Elise. But as with many artists across the globe, the events of the last year forced them to reconfigure their entire promotional strategy.

Founded in 2014, In.Digg.Nation is Protoje’s beloved brainchild after years of being dismissed from recording studios. The following year, he signed Sevana after hearing her cover of Amy Winehouse’s “Back To Black” on SoundCloud. Lila Iké joined after Protoje’s assistant introduced them at his private album listening in 2017. Just last month, Jaz Elise was brought into the family by Iké’s suggestion.

“I wanted to be like Jay-Z growing up, in terms of the business side. He always stressed that it’s important that you have a stake in your music,” Protoje tells Uproxx of his longtime goal of securing a label deal. Autonomy was always on top of mind, with each artist etching a coveted line in their contract: owning their masters.

“It makes sense now because this is all we have,” he continues. “See, now we’re not touring. It’s important for my artists to feel like they are working on their own stuff. So I want them as invested [as me].”

The investment has paid off, as the RCA deal included three releases: Iké’s debut The ExPerience EP in May (which funnels the sound of ‘90s roots reggae artists like Garnett Silk and Sizzla through a modern lens), Sevana’s sophomore Be Somebody EP in July (that highlights the singer’s sultry, ‘90s R&B-inspired bedroom vocals) and Protoje’s sixth album In Search Of Lost Time (a self-reflective journey through love, spirituality, and fatherhood) in August.

But Jamaica’s lockdown halted plans for the In.Digg.Nation collective. “I remember imagining going on tour for my first project and getting the opportunity to be on different platforms like Spotify and actually do face-to-face interviews,” Iké tells Uproxx. “So we had to just think of different creative ways to get that done.”

The timing of these projects has led to even more unity among In.Digg.Nation. “I’d say pound for pound, nobody’s really messing with Jamaican music talent. But I think the platform has always been an issue,” Protoje explains. “I know what it’s like to be an artist wanting to be a part of something. It’s not about making money, it’s about letting them be able to sustain themselves. If I’m performing at a show, they’re making noise and boosting me up. So that’s just the culture I try to form.”

“I can actually say, ‘I need help in this department and I’d love your input here.’ It’s something that is done hassle-free,” Iké, who recalls Sevana helping her perfect harmonies, explains. “I really love the communal energy in the studio. It’s not about, ‘Well if I do this, it’s ensured I get five percent.’ It’s nothing like that.”

This unity has now extended way beyond the artists, as they’ve elected local talent to collaborate with. By opting not to outsource (save for the mainstream label affiliation), the artists are cultivating a homegrown ecosystem that has kept vibrant ideas and money cycling through Jamaica’s entertainment industry. This includes producers like Winta James and Izybeats, glam squads for Sevana and Iké, and Protoje’s creative director Yannick Reid.

“This is the longest stretch I’ve been in Jamaica since I started working with Protoje in 2014,” Reid tells Uproxx. “I’m kind of ready to see the world again but I’m so excited about what was going on in Jamaica. As tough as this year is overall for everybody, it’s genuinely been one of my best years professionally. I have really been able to achieve a couple of noteworthy milestones, which I give thanks for.”

Reid’s presence has been boosted due to the events of 2020: along with executing all of Protoje’s music videos and album visualizers, he directed Koffee’s “Lockdown” video (which has gained over 30 million YouTube views) as well as her recent international campaign for MasterCard. A graduate of Edna Manley College of the Visual and Performing Arts whose mother is an interior decorator and father is a photographer, Reid typically gets his best ideas from attending local parties. Now that he’s had to adapt, he is using other elements of the country as inspiration. “Sometimes we can walk past the things that are really insignificant because we’re so used to them. We don’t stop and say, ‘Hey, let me frame this,’” he explains. “As ordinary as it feels to me, when you see them somewhere else, you think, ‘Oh my God, that reminds me so much of home.’ I really try to bring the background to the foreground in my work.”

But it’s natural that this year has caused an increase in stress levels, which Sevana is navigating through. The singer had to shoot her “Mango” music video within a 12-hour timespan before curfew so the crew could get home safely, and she felt relief that she could rely on a creative solution locally.

“Jamaica has an incredible pool of just people who are so talented, just world-class. As far as the things that we’re able to produce, that’s one of the fruitful things that has come out of being in quarantine,” she tells Uproxx. “When you’re forced to stay in your country, you work with the talent that’s there and they get a whole new platform. People from all over get to see the work that we’re doing, not just strictly Jamaicans. I love that.”

The outfits for the “Mango” video was birthed from Sevana’s Pinterest board, which she showed to her brother (who doubles as a tailor). He, along with Iké’s designer Shampagne and local designer Kadian Nicely (who is responsible for the video’s unforgettable fluffy yellow dress), connected with Sevan’s stylist Ayana Riviére to make it all happen.

“There’s definitely a lot of really great side effects that have resulted from this,” Sevana continues. “My makeup artist, stylist, and preferred producer live here. Understanding that traveling is a risk to most, we just had to call on our own people and bounce things off their minds. You get to be real too, because everybody knows it’s a really difficult time.”

For Iké, the restrictions made her and creative director Nickii Kane create a production for August’s NPR’s Tiny Desk performance. “I didn’t want to just sit at home with my guitar with a few band members,” she explains. “I really wanted it to be a look. It was also the first time I was performing the songs from the EP with the band, so I was very excited to hear how it sounded.”

“My NPR performance is impactful because of what my creative director did with the lighting, what the stylists did with my outfit and because of the musicians,” Iké continues. “I couldn’t have had that much success if I was just doing it by myself. It’s very nice to see that people are actually appreciating the other aspects of what makes the music what it is. A lot of times people get so caught up in the artists. They don’t necessarily understand that I can’t do what I am supposed to do without the help of all of these very important people.”

Jamaica is overflowing with creativity that is often diminished due to a lack of resources. 2020 is now offering them a platform to showcase their talent, and Reid is making it a priority to be a leader. “When I’m working with Protoje, I always try to bring somebody new. I’ll say, ‘I know you’re interested in being a cinematographer. Just stand up beside me and any questions you have about the camera I answer them,’” he explains. “So they get all the information while they’re working on something — and they’re getting paid. As these people get better, they get booked more. That is just how we keep the dollars getting around the industry. Everybody gets a fair share.”

Reid is also the creator of content platforms Very Culture and New Wave, which celebrate all facets of Jamaican talent: DJs, photographers, producers, designers, musicians and more. “We need to document these people so that we’ll have rich tapestry moving forward,” he says. “Protoje is an artist, but who are the producers behind him? I’ve been thinking in terms where our scholars are looking to create literature about the stuff that we’re doing. If we do it properly, they will have resources to reference.”

Protoje is also using his newfound American connections to spark change, especially when it comes to streaming. Apple Music was recently launched in Jamaica, while Spotify is still not available. “When I went to Spotify’s offices, I told them we have to get this done. We’re in positions now to be in these rooms,” he explains while also noting that Jamaican artists could get more coverage by American journalists by choosing to release more albums than singles. “By the time these changes come into play, a young artist coming out next year gets to start his career with it.”

In.Digg.Nation has helped create a community that will have everlasting results, but they cannot do it alone. There are now opportunities for the Jamaican government to pitch in, where they can help fund music education (Iké suggests workshops that teach artists development and publishing) as well as building larger infrastructure that rivals the ones overseas. ”When I travel and see the different venues that are available for artists to [perform], it’s very beautiful,” Iké says. “For a country like Jamaica, where I feel like we have contributed so much to music history, those are things we really need to work on developing.”

As always, this year’s XXL Freshman Class caused plenty of controversies when it was announced, from the supposed snub of Don Toliver to the inclusion of burgeoning talents some casual fans were unaware of. One of those controversies, though, revolved less around one inclusion’s talent and more around her identity — or rather, the one she’d chosen for herself. Mulatto has received her share of scrutiny from rap fans over her name, but it sounds like the increased buzz around her these days has her finally considering a change.

HipHopDX reports that Mulatto admitted recently she’s been contemplating a rebrand, saying “it’s going to be a part of something bigger.” Interviewing the 21-year-old rapper at the 2020 BET Hip-Hop Awards, DX quotes, “I can’t say too much because we’re working on something right now, but I would be lying to say it hasn’t crossed my mind before. It is a controversy that I hear and see every day as far as my name goes, so I would be lying to say no I never thought of that. But I can’t say too much because right now because it’s going to be a part of something bigger.”

Mulatto recently spoke with Uproxx about the controversy surrounding her name. At the time, she said, “It’s not about me comparing my ‘struggles of being mixed’ to any other skin tone, any other race, anything like that. It’s just simply me explaining my story.” Read the full feature here.

Stephen Curry’s presence at Under Armour has made the brand’s basketball line grow to be as popular as it has, with some comparing the Warriors star guard’s decision to join the young brand when he entered the NBA similarly impactful on Under Armour as Michael Jordan’s choice to go with Nike was back in 1984.

Under Armour seems to agree and ahead of the launch of Stephen’s Curry 8 sneaker, the company announced officially that December 1 will bring the launch of Curry Brand, his own standalone brand that will be “backed by Under Armour’s performance innovations.” It’s a big move for Steph and Under Armour, but one they hope will continue to grow his presence in the sneaker and apparel space. Curry has been showing off his new brand’s logo in recent weeks, including during The Match III this past weekend, and the Curry 8 will be available from CurryBrand.com and at retailers on December 11, with apparel dropping on December 1.

Curry Brand promises to reinvest a percentage of its revenues into under-resourced communities, focusing in three areas: creating safe places to play, providing programming and product to youth sports leagues and teams, and coaching and leadership development. The stated goal for the brand, per its release, is to create 20 safe places to play, support 125 athletics programs, and train 15,000 coaches by 2025.

“Play is a fundamental part of childhood and is critical to development. So much of who I am as a person and a leader today is because of playing sports as a kid,” Curry said in the release. “I learned the value of hard work, resilience, teamwork, communication, time management—sports teach young athletes so many critical life skills, which is why I’m passionate about making sure everyone has access to these opportunities, first through my foundation and now through Curry Brand.”

The initiatives will begin in Oakland, where Curry and Under Armour have partnered previously and Curry obviously has roots from his years with the Warriors prior to their move across the Bay, before eventually growing into a nationwide effort.

For most of the world, lockdowns and other restrictions related to the coronavirus pandemic began in March. That was about nine months ago, and understandably, people are getting tired of staying inside and keeping away from friends and loved ones. Over the weekend, Rita Ora decided to throw herself a birthday party at a restaurant in England, which is in the midst of its second national lockdown that started on November 5 and will end on December 2. Now, she has apologized.

In her Instagram Story this morning, Ora wrote:

“Hello all, I attended a small gathering with some friends to celebrate my 30th birthday. It was a spur of the moment decision made with the misguided view that we were coming out of lockdown and this would be OK…

I’m deeply sorry for breaking the rules and in turn understand that this puts people at risk. This was a serious and inexcusable error of judgement. Given the restrictions, I realise how irresponsible these actions were and I take full responsibility.

I feel particularly embarrassed knowing first-hand how hard people have worked to combat this terrible illness and being fully aware of the sacrifices that people and businesses have made to help keep us all safe. Even though this won’t make it right, I want to sincerely apologise.”

According to TMZ, the party went down at the West London restaurant Casa Cruz on Saturday and up to 30 people may have been in attendance. Police apparently visited Ora’s home today to investigate the situation. It is also reported that Ora paid a fine of €10,000, which is equal to about $12,000.

Check out Ora’s post below.

Rita Ora is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

The ingredients used to distill most whiskeys are pretty simple. Single malt Scotch is made from a mash bill of 100% malted barley, bourbon is made with a mash bill consisting of at least 50% corn (and any combination of rye, barley, or wheat), and rye whiskey must be made using a mash bill of at least 50% rye (with the other ingredients in the mash bill, similar to bourbon). Most are aged in new, charred, American oak barrels.

While these are the norms, some distillers mix things up by adding different and sometimes exotic ingredients and aging (or resting) their juice in unique barrels. As the industry gets more saturated, these techniques are becoming increasingly prominent — resulting in some truly creative expressions.

The find the most unique whiskeys on the market, we reached out to the people who are constantly being asked to taste (and pour) new drams. We asked 10 bartenders to tell us the most unique whiskeys they’ve ever tasted — check out their responses below.

Old Potrero 18th Century Rye

Felipe Muñoz, head bartender Sweetleaf Cocktails in Long Island City, New York

The most unique American whiskey I can recall having is Old Potrero 18th Century Rye Whiskey from Anchor Distilling. It is malted rye which is quite unique for the United States. When we think rye, we think spice, but this has more of a creamy, almost yeasty quality to it.

There is a bit of spice lingering around but… wow — what a fun whiskey.

Barrell Bourbon Cask Strength

Erin Delaney, food and beverage director at Barn8 Restaurant & Bourbon Bar in Goshen. Kentucky

The most unique whiskey brand I have had is Barrell Bourbon Cask Strength. I like it because it has been aged for nine and a half years and is a blend of different bourbons. It’s filled with rich flavors like caramel apples and spicy cinnamon.

The Emerald 1865

Brandon “Habi” Habenstein, beverage director at The Kitchen & Bar at Bardstown Bourbon Company in Bardstown, Kentucky

I’ve had plenty of unique whiskies that weren’t particularly delicious but who cares about those, right!?

The Emerald 1865 is the most unique and delicious whiskey I’ve ever had. Out of Ransom Wine Co. & Distillery, it is truly an outstanding spirit. This is the distillery’s stab at how Irish whiskey would have tasted in the 1800s. You can read about the thought and effort that went into this bottling but what’s more important is how that thought and effort translates through the lens of your senses. The aroma shows an insane balance of clean, vegetal barley and rich, caramel wood sugars. The flavors represent that aroma very well but take it into a third dimension with a finish that will have your attention for minutes if not days.

Broken Barrel Mizunara

Andy Printy, beverage director at Chao Baan in St. Louis

Broken Barrel Mizunara may be the most unique and ponderous whiskey I’ve ever had. The 800-year-old Japanese oak is hard to come by, so instead of barreling, they use broken staves to age the whiskey. What’s created is truly bizarre, yet familiar. Unlike French or American oak, the Mizunara adds a bit of teakwood-like nose and a finish that pairs well with the mash bill. It hits the palate with notes of plum, black pepper and sorghum. On the finish, light citrus, dark cherry and spice.

Corsair Oatrage

Seth Falvo, bartender at The Hotel Zamora in St. Pete Beach, Florida

It’s almost cheating to nominate a whiskey distilled by Corsair. All of their offerings are so unique and innovative. Yet I’ve never since had a whiskey that was anything like Oatrage. The oats give the whiskey such a rich, creamy texture, and the whiskey has tons of espresso, milk chocolate, and oak throughout it. For the full experience, sip this one neat alongside your favorite porter or stout.

Pinhook Rye’d On

Robbie Robinson, lead bartender at The Ballantyne, A Luxury Collection Hotel in Charlotte, North Carolina

I would have to say Pinhook Rye’d On is definitely the most unique tasting whiskey I’ve ever had. It has a very dominant sense of spearmint on the palate, which is like nothing I have ever had in a whiskey. It also has notes of stone fruits, clove, cinnamon, and a hint of cherry.

Fukano Sherry Cask

Hayden Miller, head bartender at Bodega Taqueria y Tequila in Miami

When I think of unique whisky, my mind immediately goes to Fukano Sherry Cask. A crazy Japanese rice whisky with the heavy tasting notes expected from a sherry barrel is truly a tongue twister.

J. Riddle Peated Bourbon

Gavin Humes, bartender at Scratch|Bar & Kitchen in Encino, California

That’s a tough question. I think the most unique (and delicious!) that I’ve tried is the J. Riddle Peated Bourbon. It has all the sweetness that you’d expect from a bourbon, but then you get caught with the super unique smokey quality you might expect from an Islay scotch. It’s really unlike just about anything else I’ve tried, and it’s delicious by itself, or in a twist on a classic like an old fashioned or even Manhattan.

Jefferson’s Ocean Aged Bourbon

Dan Marlowe, mixologist at Modena in Washington, DC

Undoubtedly this is like asking about favorite music selections, and yet, Jefferson’s Ocean Aged Bourbon series is near the top of the list without hesitation. These Cask Strength yearly offerings spend a full nautical year aboard a ship traversing the entirety of the planet. Drastically affected by weather and temperature, each release is unique and rich in minerality and salinity not found in anything that hasn’t spent a year in an oak barrel strapped to the deck of a ship on the high seas.

Writer’s Pick:

Ardbeg Kelpie

Most of Ardbeg’s whiskies are aged in ex-bourbon barrels. Kelpie was first aged this way before moving to virgin Russian oak casks for a second maturation. The result is a truly unique whisky with hints of salted caramel, vanilla, ocean brine, and a nice note of peat smoke.

After experiencing a transphobic attack in Los Angeles on Saturday, Laverne Cox is speaking out about the assault and offering words of encouragement to the trans community where this type of encounter is, sadly, all too common. Cox, who described being “in shock,” broke down the attack in an Instagram video, and how it started with a man “aggressively” asking Cox and her friend for the time. He then asked “Guy or girl?” and that’s when Cox knew the situation was going south. As she attempted to walk ahead and leave the man behind, things turned violent. “The guy is like hitting my friend, and then my friend is going toward him and I’m like ‘holy sh*t.’ I pull out my phone, and I call to dial 911, and all of a sudden it’s over and the guy is gone,” Cox says.

As Cox shares in her video, this type of attack is not new to her. “It’s not safe if you’re a trans person,” Cox says, but she’ll still never understood the motivation behind it. Via The Hollywood Reporter:

“The guy really wanted me to answer so that he could spook whether I’m trans or not,” Cox said. “I don’t know why, I don’t know why it matters. At the end of the day, it’s like who cares? I’m in a hoodie and yoga pants, I’m completely covered up, I’ve got my mask on. Who cares if I’m trans? How does this affect your life?”

Despite feeling shaken by the attack, Cox encouraged the trans community to be strong in the face of ever present threats. “It’s not your fault that there are people not cool with you existing in the world,” Cox said. “We have a right to walk in the park.”

(Via Laverne Cox on Instagram)