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Tame Impala’s ‘Innerspeaker Memories’ Short Film Offers A Peek At Recording The Iconic Debut Album

Back in May 2010, Kevin Parker began his journey to international stardom with his debut Tame Impala album, Innerspeaker. He has now marked with occasion with an anniversary edition of the record, Innerspeaker 10 Year Anniversary Edition box set, which was released today. Alongside that, he has shared Innerspeaker Memories, a short film that, as press materials note, “features never-before-seen footage from the recording of Innerspeaker at the idyllic Wave House Studio in Western Australia.”

As for the anniversary edition box set, it has a lot of goodies for Tame Impala fans, including the singles “Solitude Is Bliss,” “Lucidity,” and “Expectation”; a collage of album sketches; a deluxe 40-page booklet; instrumental versions of some songs; a newly unearthed lengthy jam; and new mixes of tracks from the original album.

In a 2010 interview, Parker said of the album title, “It’s kind of just a silly term I came up with the try to explain the feeling you get when you’re at your most inspired, the idea that it just appears to you vividly and if someone plugged a stereo into you brain they’d be able to hear it. It’s a very short thing though, I’m not like Stephen Hawking or Brian Wilson or anything…”

Innerspeaker 10 Year Anniversary Edition is out now via Interscope. Get it here.

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Jaren Jackson Jr. Is ‘On Track’ To Return By The End Of April

It’s been an up-and-down season for the Memphis Grizzlies. They have one of the most exciting young cores in the NBA, but injuries have undermined their efforts to make the next leap at just about every turn. They struggled through a particularly tough stretch earlier this season when reigning Rookie of the Year Ja Morant went down with an ankle injury and missed multiple games.

Morant has been back in the lineup and working his way back to form, and while the Grizzlies make up some ground, they’re still sitting in the No. 9 spot in the Western Conference standings and will face a tough field in a potential play-in tournament to determine the final playoff seed.

They got some good news this week, however. According to team executive Zach Kleiman, Jaren Jackson Jr. is expected to return sometime in April.

It’s the most specific the organization has been about his return since he tore his meniscus during the Orlando Bubble. The Grizzlies opted to stand pat at the trade deadline, believing that Jackson’s return, combined with their talented young core, will put Memphis on the right path. Jackson, who also received his COVID vaccine this week, has averaged 15.5 points and 4.6 rebounds over his first two NBA seasons.

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Halle Berry Is Justifiably Pissed Off About A Racist Radio Segment That Got A Buffalo DJ Fired

A radio host for a Buffalo, New York rock station got into deep trouble earlier in the week when audio surfaced of a segment in which he compared his toast preferences to the skin color of Black women he found attractive. Now, one of the women mentioned, Oscar-winning actress, Halle Berry, has gotten wind of the segment and called it “disgusting.”

Rob Lederman, a host of “The Morning Bull” on 97 Rock, began a riff where he talked about making breakfast and his preference for toast. The former touring stand-up went into a bizarre discussion of the darkness of the bread he prefers, linking it directly to Black women he finds attractive.

Lederman said his toaster is set “at the attractiveness of women that I find to be attractive, so I will never go to a Serena Williams level.” He then mentioned Berry as a “comfortable” color for his toast.

“But I am very comfortable at a Halle Berry level. I need a little bit of mulatto still coming through,” Lederman said while other people in studio laughed, later adding that “Gayle King is not even on my toaster level.”

An ESPN reporter based in Buffalo posted the clip without much comment hours after it aired, and it immediately drew outrage from people in Western New York and beyond.

As the clip went viral, 97 Rock quickly lost sponsors, and others in the studio were loudly condemned in the local press. Rich “Bull” Gaenzler lost his in-arena hosting job with the Buffalo Sabres, and he was also suspended by the radio station. Lederman, meanwhile, was fired by Wednesday and expressed his remorse for comments he admitted “sounded awful.”

On Friday, though, the recording had reached Berry herself, who retweeted Marcel Louis-Jacques’s tweet of the audio and called the segment “disgusting,” among other things.

“Disgusting. It’s ridiculous this type of nonsense is still being broadcasted across airwaves,” Berry wrote. “ALL Black women are beautiful and worthy, Rob Lederman. GTFOH.”

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Report: The Raptors Thought They Were ‘Very Close’ On A Deal To Send Kyle Lowry To The Sixers

The Philadelphia 76ers acquired a point guard at the 2021 NBA trade deadline, just not the one they were rumored to one in the days leading up to Thursday afternoon. The Sixers came to terms on a deal with the Oklahoma City Thunder to acquire George Hill, eschewing the opportunity to bring Kyle Lowry back to his hometown.

There were plenty of reports that the two teams were close to figuring something out, but when 3:01 p.m. hit on Thursday, Lowry remained with the Toronto Raptors. As for why that happened, Sam Amick of The Athletic provided some context, saying that the Raptors thought a deal was indeed close but it couldn’t quite get across the finish line.

As for Philadelphia, which was reportedly close to a Lowry deal but wound up opting for Oklahoma City’s George Hill instead, a source with knowledge of the talks said the Raptors indeed believed they were very close on that front late in the process and that the draft compensation was the final unresolved hurdle. The plan, the source said, was for Toronto to re-route Sixers guard Danny Green to a third team.

Considering the cost of acquiring Hill was players who are not in the team’s rotation and second-round Draft picks, it does appear that Philly viewed the value it got from acquiring him would be more worth it than moving on from major rotation pieces like Green and first-round selections for Lowry, who is an unrestricted free agent following this season. Masai Ujiri eventually said that he was surprised teams didn’t meet their asking price for Lowry, but with how much he’s meant to the franchise, we’ll bet Raptors fans are generally pretty happy they’ll get to see their All-Star point guard stick around.

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Taylor Swift Supports R&B Legend Anita Baker In Her Fight For Her Masters

In recent weeks, R&B legend Anita Baker has spent some time on Twitter sharing thoughts about her ongoing battle to take back control over her master recordings, which has apparently not gone in her favor so far. Now, Baker has found herself a supporter in Taylor Swift, who herself has famously had some legal drama about her own masters.

On March 9, Baker tweeted, “Miraculously… i have out-lived *ALL, of my Artists Contracts. They no longer ‘Own’, My Name & Likeness. And, by Law…30 yr old, Mstrs are 2B Returned, 2 Me. Unfortunately, They’re gonna make me Fight 4 it. I’m Prepared, 2 do that. Please Dont advertise/buy them ABXO.”

More recently, she gave props to Swift yesterday for how she handled her situation by re-recording her back catalog, writing, “Her creations bought & sold Again & Again, wouldnt even let her do *A Buy Out*…Taylor Swift *re-recording, her Catalog/Taylor’s Version. The GoodFight Go… Gurrrrl.” That got a response out of Swift, who wrote, “I’m cheering you on in your fight to get back your work, and appreciate your support so much!! Thank you.” Baker answered back, “This Solidarity is a Beautiful Thing! Thank You.”

Meanwhile, after Baker’s initial tweet, Chance The Rapper also chimed in with a message of support and a call to all of his fans, writing, “DO NOT LISTEN TO NO ANITA BAKER TIL THEY GIVE HER HER MASTERS BACK. TELL YO MAMA TO TELL A MAMA.”

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Debating ‘The Snyder Cut’ And What It Means For The Future Of The DCU

Like it or loathe it, people have not stopped talking about The Snyder Cut of The Justice League, proving the wisdom of HBO Max’s decision to throw money at a long-rumored dispatched director’s cut of the 2017 film. But what did Zack Snyder accomplish on-screen and what does it say about the future of a DC cinematic universe still thirsting for a set direction? And what does this fuller cut say about the one that freshly made pariah Joss Whedon delivered? To sift through all the intertwined topics, we turned to two of our writers to put their friendship on the line and debate The Snyder Cut.

Jason Tabrys: I hope you notice that I have the Batfleck avatar, so you can see into his Sadfleck eyes when you rip him to shreds over the Snyder Cut. I just wanna put a human face to this.

Jess Toomer: I love that you think I care about the Dunkin Donuts mascot of 2020, because I don’t.

Jason: We started this and I think we both had some trepidation going in, you more than I.

Jess: I have written about the Snyder Cut and it did not end well in the comments section for me. Fan campaigns in general tend to put me off, though I understand why this particular fandom felt so passionate about bringing Snyder’s vision to life.

Jason: I look at this as a purely commercial thing where an entertainment Goliath’s interests just happened to align with the interests of the internet Daves. I know, I know, that’s cynical, but they saw a market for a thing and that’s it. I don’t think it was a reward or to right a wrong. So, because of that, I’m less interested in the fan campaign angle. Much more interested in the backstory of the production and edits and what this release means for future films, if anything.

Jess: I do know a lot about the fan campaign side of it. There is a legion of Zack Snyder fans, whether you love it or hate it, they worked hard to bring this movie to life. And a lot of them seem like really great people. I’ve had really good interactions with them. They tied this Snyder Cut campaign to different charities and fueled awareness about some tough issues. I don’t want us to paint that side of it as, ‘Oh, it’s just a bunch of angry fanboys.’ That really wasn’t what it was. So good for them for getting this off the ground. I don’t think Warner Brothers would have given Snyder the chance to do this if it weren’t for them.

Jason: Did you enjoy the original, or the Whedon Cut as it shall now be known?

Jess: More than this, yes. With the Snyder Cut, I had problems following the story. I blame the runtime really. I would have given up after the first hour if we hadn’t already agreed to do this debate. I thought there were only four title cards, because it’s four hours long. So, when I got to the third title card, I thought I had watched three hours of the movie. When I found out that I was only an hour in, I was ready to quit. I was going to be done. And then you pulled me back in and forced me to waste another three hours of my life. And now we have this, the end of our friendship.

Jason: That’s the anti-life-equation.

Jess: The anti-life equation was really the friendships we lost after watching the Snyder Cut.

Jason: So, I liked it. Wanted more. I felt like the mythology of DC characters was really well served. We were given some indication of, okay, this is who the Flash is, this is who Cyborg is. With Wonder Woman, Aquaman, Superman, and Batman, I understood their drive. I thought Affleck really shined. I liked the Affleck Batman. His arc is interesting to me. This guy who’s navigating a world of heroes with some suspicion but ultimately sees their value. I loved seeing the scars accumulated over two decades fighting crime. I wouldn’t say he’s the coolest Batman because that was Michael Keaton, but he might be the most interesting. That’s a very subjective take. As for the villain, I mean, Steppenwolf is a CGI stock villain just like any other… you get two types of comic book movie villains, it’s the power-mad real estate developer, and it’s the big CGI purple-blue whatever guy.

Jess: Do you want Jeff Bridges or do you want Barney?

Jason: Yeah, exactly. But I think having him be kind of a supplicant to Darkseid was really interesting and set up something… that we’ll likely never see. With a mega purple guy. Similarly, I liked the Knightmare thing at the end, because it just seems to set up this completely bonkers idea that would be very different from anything we’ve seen in a comic book movie. And really, that’s my main thing. I hope this leads the way to some more unique things, even if it isn’t, on its own, super unique. What it is, though, is a really well-layered team-up movie, which is not always the easiest thing to do. Age of Ultron, the first Avengers film, or the Whedon Justice League movie all failed to be much more than, “here are your favorite action figures all on one screen at once” and that’s it. And I felt like we got more here.

Jess: I re-watched Infinity War and Endgame recently, which are examples of layered superhero team-up movies. And there is more logic and cohesive storytelling there than there is here. I don’t understand a lot of what went on in this movie, maybe because I was approaching it as someone who’s not well-versed in the comics or the characters. I know about Batman and Superman because everyone does, but everything else… I know Wonder Woman because of the Patty Jenkins movie. I know Aquaman because he got his solo movie. When I see these characters in the Snyder Cut, they’re very different tonally and that threw me off. It also threw me off that there was a lot of focus on the ‘mythology’ of DC. I have no idea what that mythology is and I don’t think it was really well explained. If anything, I’m more confused about these characters and I think there’s a real accessibility problem with the Snyder Cut, because it leans so much into that mythology. It touches on things without really digging in or giving any kind of explanation.

Jason: You wanted the movie to be longer, that’s what you’re saying.

Jess: No. I wanted the movie to be better edited … and I wanted the story to be told better. I think there’s a lot of really cool action and lots of CGI. I just really wish Snyder would have dedicated all that time and money into giving me a story where the dialogue didn’t just make me bust out laughing at random points — points I know I shouldn’t have been laughing. It took itself so seriously, but it didn’t bring any plot to back it up, if that makes sense.

Jason: It does, but I couldn’t disagree more. I like these characters. I’m staring at a wall of Batman statues and Superman action figures. But most of my DC knowledge ends there. I didn’t get into comics until I was in my 20s and most of the stories I’ve read have been focused on those two pillars. I’ve read a few things with Flash, nothing really with Cyborg. The only thing I know about Steppenwolf is what I saw in this movie, pretty much. But I felt nourished and entertained by what I saw here. But that may speak to a difference in what we’re looking for: I fully acknowledge that I’m looking to unplug a little and just look up with awe with these things sometimes. I’m not looking for complexity. That doesn’t mean I don’t enjoy that too sometimes, but overall, I don’t mind if a few things go over my head if the overall thing lands. I actually prefer the not knowing. I feel like when I know every aspect of a backstory, I feel compelled to care about liberties taken, which is the most futile of all the futile frustrations that come from watching these kinds of films.

Jess: I wonder, is it possible to talk about the Snyder Cut without talking about the Whedon version? I think those two things are always going to exist together.

Jason: Joss Whedon is obviously getting raked over the coals for vastly more important things right now, but I’ll happily kick him while he’s down. He is someone who I’ve long thought has been exposed by the shift in mediums (I did not like the first Avengers). On TV, where I became a huge fan of his work, he was someone who created some amazing shows, but he had a lot of help and he worked with a large team of very impressive collaborators who’ve gone on to do a bunch of other stuff; Jane Espenson, David Fury, Mere Smith, on and on. All these people are owed a lot of credit for what made Buffy and Firefly and Angel work. In movies, it’s the Joss show. And it feels like the Joss show because every character sounds exactly the same. They all crack jokes for no reason. And it’s kind of lazy. Everything is basic. Whedon is just not a particularly deep filmmaker. And I think comparing these two versions really exposes that. Watching the Snyder Cut and then going back to rewatch the Whedon Cut makes me question the talent of someone who would cut that Wonder Woman scene in the bank down where she puts herself in harms way by flying the bomb out of the building or rob Barry of his most heroic moments so he could just be awkward comic relief.

Jess: Yeah, I agree. There were also some gross moments that are magnified now.

Jason: Exactly, one questions the motivations of someone who would shoehorn in that weird scene with The Flash laying on top of Wonder Woman or have Aquaman describe all these other characters’ powers, and then when he gets to Wonder Woman, comment primarily on her looks. But hey, it’s the lasso of truth and funzos! Good one, asshole.

Jess: Look, I’ve been on about Whedon’s particular brand of sexist ass-wipe since Age of Ultron. (Black Widow stans, you know what I’m talking about.) I don’t think that Whedon had a better handle on the characters here or did a better job of storytelling, but I also don’t think that he’s totally responsible for what that movie ended up being. Warner Brothers wanted that movie to have a certain runtime because they wanted it to fit on a movie screen, back when we went to movie theaters. There was a specific vision they had for the film. I don’t think Snyder ever aligned with that. Once Whedon came on, he had a lot of material to cut, to filter through whatever lens Warner Brothers wanted. Did he make some really poor choices? Absolutely. Was it all him? I don’t think so. Snyder, on the other hand… I think maybe what bothered me most about his cut, in general, is that he had four hours and you had all these really interesting characters and you didn’t do anything with them except make them formulaic stand-ins. Wonder Woman literally existed in this movie to give exposition and try to make people who didn’t know anything about the DC universe understand why it was a big deal that Darkseid had his eye on Earth. Aquaman? If you watched this movie and hadn’t seen the solo movie, how would you have ever connected with Jason Mamoa’s character? There was no character work and that’s what bothered me. The only character I really came away caring about was Cyborg. And that’s more a testament to Ray Fisher.

Jason: That’s the thing, how could anyone see the footage of what Ray Fisher brought to this film as Cyborg and think, “yes, let us leave most of that performance on the cutting room floor.” Talk about fan campaigns, how about we put #CastRay out there, because Ray Fisher absolutely brings it in this film and his reduction in the Whedon Cut is the most clearcut evidence of cinematic malpractice here.

Jess: Without a doubt. I can’t see Warner Bros. ever doing enough to atone for that whole situation so I don’t think there will ever be a Cyborg movie, nor do I know if Fisher would even want to be in that or if he just wants to move on. I’d love to see him get a bunch of interesting opportunities and walk away from this whole campaign the clear winner. Hollywood, hire him! Seems pretty simple to me. What’s not so clear-cut? Where the DC universe goes from here.

Jason: I think what this film really does is create a blueprint for DC. I want to see more of these characters through this storyteller specifically. But I also want to see them through other storytellers. Elseworlds stories in the comics are among some of my favorite because they empower people to test the bounds of what these characters and worlds can be without disrupting the main story. And that gives them renewed life. I’d love to see DC movies embrace that approach. Because that approach would, to me, insulate them from their worst impulses, like whatever the hell led to the cut we saw from Whedon. Something that feels like it was built by committee and focus groups. Something that feels dumbed down and devoid of affection for the project. I’m excited to see Emerald Fennell get tapped to do a Zatanna movie. That’s a positive development. I just hope she gets to make her Zatanna movie. I think back to the blowback Marvel saw in some circles when Edgar Wright’s Ant-Man fell apart. And I think the films that followed have been better and more reflective of the creative talents driving them. Hopefully seeing the positives around the Snyder Cut and letting a creative tell their story sparks that same kind of future for DC.

Jess: I really appreciate your optimism. I disagree with you on thinking that Warner Brothers and DC are going to take a page out of Marvel’s book and let creators create. Look, I’m used to having entertainment that was not made for me when it comes to comic book stuff. I don’t think this extended cut was made for me, and that’s fine. I think I take issue with the fact that so much money was given to this, and I just think that money could have gone to something else. It’s Warner Brothers’ money, so wherever they want to spend it they will. They obviously knew they had something here and it’s a smart marketing move, when we’re all sitting at home with nothing to do, But I think maybe that’s still what gets to me at the end of the day, thinking, we could’ve had something else. Maybe we could have had a standalone Cyborg movie? I think that’s what upsets me more than losing four hours of my life, more than that Knightmare epilogue that basically just existed for Jared Leto to be able to sell a T-shirt. It could have been something else, something better.

Jason: So you wanted more epilogue? Me too!

Jess: I just want to be done with this whole thing so I can go watch WandaVision again.

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It’s A Great Weekend For A Classic Daiquiri — Here’s Our Recipe

The classic daiquiri is one of the best cocktails to have in your arsenal. The Cuban cocktail is devilishly easy to make while delivering some of the best flavors in the game. It’s bright, boozy, and (famously) goes down way too easily.

The idea of adding sugar cane juice and lime to rum goes back centuries in Cuba, as both an analgesic and something to take the edge off at beachside resorts. The daiquiri cocktail as we know it today goes back to around the Spanish-American War and rough riders returning to the U.S. with a taste for this three-ingredient elixir. The rest is cocktail history (and lore).

For this drink, you really just need a good shaking arm, a nice white rum, a little sugar cane syrup, and some fresh lime. That’s it. If you can shake a cocktail, you can make this drink very quickly. Plus, this might be the most refreshing cocktail there is. It’s light yet full of flavor and the ultimate thirst quencher.

Let’s get shaking!

Classic Daiquiri

Zach Johnston

Ingredients:

  • 2-oz. white rum
  • 1-oz. fresh lime juice
  • 0.5-oz. sugar cane syrup
  • Lime peel
  • Ice

Usually, I’d use Havana Club 3 for this drink. But since that’s not really available in the U.S., I’m going with another aged white rum. Diplomatico Planas is aged for six years in oak in Venezuela. The juice is then filtered to take it back to a white rum in appearance while maintaining all those aged rum flavors. It’s a damn fine sipper and mixer (grab a bottle here).

As for the sugar cane syrup, I go with Monin Pure Cane Syrup because that’s what I have on my shelf. It’s clean and gets the job done. If you want to make your own simple syrup with bespoke sugar, no one is stopping you (demerara sugar is a good way to go). You really don’t need to though.

Lastly, there’s the lime. Generally speaking, one lime should yield the exact right amount of juice for one cocktail. So, I’m just squeezing one lime through a sieve directly into the cocktail shaker. However you chose to squeeze your lime juice, make sure to run it through a sieve to remove all the pulp — that’s essential.

Zach Johnston

What You’ll Need:

  • Coupe or Nick and Nora glass (pre-chilled)
  • Cocktail shaker
  • Strainer
  • Jigger
  • Fruit juicer
  • Sieve
  • Fruit peeler/pairing knife
Zach Johnston

Method:

  • Add the rum, lime juice, and syrup to the cocktail shaker.
  • Top up with ice and shake vigorously until the outside of the shaker is ice cold to touch (15 to 20 seconds).
  • Strain the cocktail into the waiting, pre-chilled glass.
  • Spritz the lime oils from the peel over the glass, rub the peel’s oils around the stem, bowl, and rim of the glass, and drop the peel into the cocktail.
  • Serve.

Bottom Line:

Zach Johnston

It’s almost annoying how refreshing and delicious this cocktail is. It’s doesn’t even have to be blazingly hot or humid out to enjoy it. The rum really shines through with hints of barrel spice and an almost creaminess with a rummy essence. The sugar is subtle and adds a nice velvety texture. The lime, naturally, is the dominant note — with brightness and tartness that’s eye-popping.

In the end, this went down far too quickly. I had to make another one. That one probably went down too quickly as well. I can’t related to Hemingway’s famous 17 in one sitting, but these are obviously a breeze to drink.

Zach Johnston

As a Drizly affiliate, Uproxx may receive a commission pursuant to certain items in this post.

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Shelley Is ‘Cooking With Grease’ In His Latest ‘Shelley Show’ Video

The rapper and singer formerly known as DRAM is turning up the heat on his release rollout, sharing the video for “Cooking With Grease.” Continuing the “Shelley Show” conceit from his last single release, “Exposure,” Shelley once again frames the video as a live performance on a fictional late-night talk show. Backed by his band, Shelley shows off his falsetto on a seductive, R&B throwback that portends more midnight storm-style jams to come.

Ever since officially changing his performance name on DSPs and social media, Shelley has leaned more than ever into his R&B side, which he previously teased on his debut album, Big Baby DRAM, his 2018 EP, That’s A Girl’s Name, and on singles like “The Lay Down” featuring H.E.R. and Watt. The “Shelley Show” rollout has cleverly addressed the musical shift as well, letting Shelley “interview” DRAM for more insight into the reasoning behind it.

“Cooking With Grease” also has a clever double meaning thanks to Shelley’s new quarantine hobby. He’s turned that hobby into a self-shot food show on YouTube called “Cooking With Grease,” in which he demonstrates his favorite healthy recipes, which helped him lose weight during the pandemic and emerge as a whole new man, figuratively and — well, also figuratively.

Watch the “Cooking With Grease” video above.

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

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‘Brooks Brothers Bear Grylls’: Ted Cruz Is Being Dragged For Filming Himself Lurking In The Bushes At The U.S./Mexico Border At Night

Well, we know where noted party-guy Ted Cruz is spending his spring break. It’s not Cancun, Mexico (he’s been there, done that), but he did decide to take a very different type of voyage to Mexico. Specifically, Cruz gathered up 18 of his fellow Republican lawmakers and went and hung out in the bushes near the U.S./Mexico border. Why did he do such a thing? Cruz and the GOP are attempting to blame what’s happening at the border as as a “Biden crisis,” even though (as Mediaite noted), the Associated Press has instructed reporters to not use the word “crisis” to describe the situation.

Well, Ted posted a video — in which he’s surrounded by vegetation, like he thinks he’s on Man vs. Wild — while claiming to have personally witnessed “overrun” facilities where mothers and infants are being housed, and I guess he got heckled and, as a result, felt threatened? Cruz even hashtagged his video as #BidenBorderCrisis with the following caption: “Live footage from the banks of the Rio Grande.”

As one might imagine, Ted is causing quite a stir as usual. He never fails to look for and grab attention, and he’s being dragged as a result. As Houston Chronicle editor Dan Carson wrote on Twitter, “Ted Cruz is walking around in the dark at the border with a vest on like some kind of Brooks Brothers Bear Grylls.”

Former Cruz senatorial rival Beto O’Rourke came for Cruz as well, accusing him of “cosplay,” and he’s not wrong. “You’re in a Border Patrol boat armed with machine guns,” O’Rourke wrote. “The only threat you face is unarmed children and families who are seeking asylum (as well as the occasional heckler). If you’re looking for a crisis to cosplay Senator for, I’m happy to point you in the right direction.”

Beto wasn’t done yet: “THANK GOD YOU SURVIVED THE HECKLING!”

Things only got more ridiculous from there. Ted Cruz is performing another self-own here, and he’s one of the best at it.

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Manchester Orchestra Offer Another New Album Preview With The Groovy Rocker ‘Keel Timing’

Manchester started rolling out The Million Masks Of God, their first new album in four years, last month. That announcement arrived alongside the single “Bed Head,” and today the band shared a groove-driven new song they describe as a prequel to that one, “Keel Timing.”

Andy Hull says of the song, “‘Keel Timing’ serves as a prequel to ‘Bed Head.’ It’s an isolated internal investigation about personal growth. Trying to decide what growth is positive and what growth is negative. And where do we land after that investigation.”

He also told Consequence Of Sound that the song was partially inspired by Atoms For Peace’s 2013 Austin City Limits concert, saying, “I was a fan of these albums and tend to love everything Thom [Yorke] and Nigel [Godrich] do, but this felt and sounded so different to me from the albums. The incorporation of live percussion, live instruments, samples, and repetitive bass and guitar notes growing on top of each other inspired me to try and experiment writing a few songs revolving around a repetitive and seemingly off time guitar riff or piano part — playing oddly against a more straightforward beat. I don’t think we would have landed on ‘Keel Timing’ without watching this set.”

Listen to “Keel Timing” above.

The Million Masks Of God is out 4/30 via Loma Vista Recordings. Pre-order it here.