Bourbon feels intrinsically connected to Kentucky. 95 percent of the juice on the market is made there. But bourbon does not have to come from Kentucky. When it comes to rules about location, the only one that matters is that it’s made in the U.S. And with bourbon booming, barriers to entry decreasing, and craft distillers thriving, that “95 percent” number is starting to drop, as bourbon distillers pop up nationwide.
Since bourbon can technically be made anywhere in the U.S., we think bourbon produced from Seattle to St. Petersburg deserves a place in the broader spirits conversation. And thanks to the folks at Drizly, we know what that place is… at least sales-wise. We asked the online alcohol delivery service for the 10 most purchased bourbons that aren’t from Kentucky, then we tasted them and ranked them.
Recently, Hudson Whiskey rebranded itself with new expression names and bottle designs. But the product remains the same high-quality whiskey as before. Its award-winning Bright Lights, Big Bourbon is made with a mash bill of 95 percent New York-grown corn and five percent malted barley. It’s aged in new, charred American oak barrels resulting in a mellow, very sweet, corn-centric bourbon whiskey.
Tasting Notes:
The nose is fairly straightforward and simple. There is sweet corn, vanilla beans, and wood char. The palate is a little more complex with notes of caramel corn, dried cherries, sweet corn, caramel, and a gentle, nutty sweetness throughout. It all ends with a warming, sweet finish.
Bottom Line:
This isn’t the most exciting whiskey in the world. But if you love almost 100 percent corn-based bourbon, you’ll love this sweet, mellow, easy-sipping whiskey.
When drinkers think of whiskey, few imagine Utah. But High West has been continuously cranking out award-winning whiskey since its inception in 2007. Its flagship whiskey is its High West Prairie Bourbon (sourced mainly from MGP in Indiana). Named for the American Prairie Reserve, it’s a blend of straight bourbons that have been aged for a minimum of two years.
Tasting Notes:
On the nose, you’ll find aromas of butterscotch, slight cinnamon sugar, vanilla beans, and a nice dose of wood char. On the palate this dram reveals caramel corn, candy apples, clover honey, toffee, and slight peppery rye paired with dried cherries at the very end.
Bottom Line:
This is a blend of whiskeys. The first is from Indiana’s MGP and the other isn’t disclosed. One is high-rye and the other isn’t. The result is a masterfully blended bourbon.
Balcones is one of the leaders in the Texas whiskey revolution. Its award-winning Texas Pot Still Bourbon is made using (you guessed it) pot still distillation before aging in new, charred American oak casks for at least two years. Even at a young age, it’s nuanced, rich, and memorable.
Tasting Notes:
Complex aromas of rich oaky wood char, caramel corn, toasted marshmallows, and candy apples greet you first. This is followed by flavors of fresh leather, toasted vanilla beans, manuka honey, and a nice nutty, slightly spicy finish.
Bottom Line:
When it comes to price to value ratio, it’s pretty difficult to beat Balcones Texas Pot Still Bourbon. It’s surprisingly complex for such a young whiskey.
Many drinkers know all about Redemption Rye as well as the brand’s High-Rye Bourbon. But both of these whiskeys might be a little too spicy for some. For these folks, Redemption also makes a straight bourbon that still has a rye content of 21 percent, but is much more mellow and, I believe, well-rounded than the others.
Tasting Notes:
On the nose, you’ll find aromas of butterscotch candy, woody oak, vanilla beans, and a nice, slight peppery spice throughout. The sip delivers hints of buttery caramel, holiday spices, slight cinnamon, sweet cream, and more, gentle cracked black pepper to round everything out nicely.
Bottom Line:
While this is definitely a spicier bourbon than most, it’s a welcome respite from the sweet heat of some of Redemption’s other expressions.
Breckenridge, Colorado is well-known for its ski resort, and you might assume a distillery (and brewery) carrying the holiday-centric town would be more flash than substance. But you’d be wrong. Breckenridge Bourbon is one of the most popular non-Kentucky bourbons on the market. This award-winning high-rye bourbon is matured for at least three years in new, charred American oak barrels before being blended to create a sweet sipper to enjoy on a mountain or in your backyard.
Tasting Notes:
Aromas of freshly brewed coffee, butterscotch candy, wood spice, caramel corn, and a nice kick of peppery rye greet you on the nose. The palate is loaded with flavors like candy apples, dried cherries, raisins, vanilla beans, and more cracked black pepper. The finish is medium in length, filled with warming heat, and ends with a nice combination of caramel and spice.
Bottom Line:
This is the type of whiskey you blindly give a friend who believes good bourbon only comes from Kentucky. One sip of this complex bourbon and they’ll change their mind.
Belle Meade is one of the brands that’s destroying the stigma around sourced whiskey. Its flagship expression was sourced from Indiana’s MGP. It has a mash bill of 64 percent corn, 30 percent rye, and six percent malted barley. It’s a hand-selected blend of high-rye bourbons, using only four barrels per batch. Each is matured between six to eight years.
Tasting Notes:
Scents of dried cherries, raisins, toffee, vanilla, and slight spicy rye greet the drinker. This is followed by a mouth full of buttery caramel, candied orange peels, fresh leather, clover honey, and just a hint of spice at the finish.
Bottom Line:
This is a multi-dimensional whiskey. It’s mellow, sweet, and highly sippable, but has a great spicy kick that only adds to the memorable flavor profile.
If you’ve never tried Widow Jane, what are you waiting for? Its flagship ten-year-old expression is a blend of straight bourbons (from Kentucky and New York), blended in five-barrel batches. It’s non-chill-filtered and proofed with locally-sourced mineral water. The result is a highly complex sipping whiskey you won’t soon forget.
Tasting Notes:
This whiskey’s nose ticks all the bourbon boxes. There are notes of sweet corn, cinnamon, vanilla beans, and rich oak. The palate swirls with maple candy, dried orange peels, raisins, butterscotch, and candied pecans. The end is warm, sweet, and slightly spicy.
Bottom Line:
People don’t usually think of New York when they think of high-quality bourbon. But brands like Widow Jane and Hudson are leading the charge.
While there are now a few well-known distilleries in Texas, none are as well-known as Balcones and Garrison Brothers. The latter’s flagship whiskey is its Small Batch. This small-batch bourbon is made from beginning to end in Hye, Texas. It’s made with a mash bill of locally sourced corn, red winter wheat, and two-row barley.
Tasting Notes:
You’ll be greeted with hints of caramel apples, treacle, charred oak, and vanilla beans on the nose. On the palate, you’ll find flavors of clover honey, sweet corn, dried orange peels, holiday spices, and almond cookies. The finish is a nice combination of cinnamon sugar and dried fruits.
Bottom Line:
While we have no problem with sourced whiskeys, we do have a lot of respect for those distillers who make their whiskey using only local ingredients.
Smoke Wagon (sourced from MGP Indiana) might be unknown to novice bourbon drinkers, but it’s gaining a cult following in the whiskey aficionado world. Its signature expression is its Small Batch. Made from hand-picked high-rye bourbons, this non-chill filtered whiskey is a mixture of young and old whiskeys.
The result is a complex, exciting, mellow sipping bourbon.
Tasting Notes:
On the nose, you’ll find the usual suspects of vanilla beans, wood char, caramel, and slight baking spices. This is definitely not a bad thing. The flavor is highlighted by more wood, toffee, buttercream frosting, and a crescendo of spicy rye.
Bottom Line:
This is a spicy, peppery bourbon that should appeal just as much to rye whiskey fans as bourbon drinkers who prefer an extra spicy kick.
Whiskey drinkers shouldn’t be surprised that the top-ranked whiskey on our list is from nearby whiskey-drenched Tennessee. The Tennessee sourced juice is double-distilled in column stills, non-chill-filtered, and matured for a minimum of six years in new, charred American oak casks. The result is a whiskey known for its smooth, velvety texture and sweet, toasty flavor.
Tasting Notes:
Prior to sipping, you’ll find aromas of tobacco leaves, vanilla beans, wood char, and slight spices. The palate is driven by dried cherries, raisins, vanilla cream, caramelized sugar, sweet corn, and subtle peppery rye. The finish is nutty, sweet, and warming.
Bottom Line:
This is the kind of whiskey that makes a drinker realize there’s more than one great whiskey coming out of the state that gave us Jack Daniel’s. (In fact, there are many.)
Drizly Rank: 10
As a Drizly affiliate, Uproxx may receive a commission pursuant to certain items on this list.
On Wednesday, folks in the fashion industry gathered to watch Balmin’s spring/summer 2022 show in Paris. The showcase was also used to celebrate the tenth anniversary of creative director Olivier Rousteing’s time with the Parisian house. Beyonce narrated the night’s opening walk with a lengthy speech that showed love and appreciation to Rousteing while reflecting on the early days of their relationship.
“[You] brought a new mindset to help persuade fashion to finally begin to reflect the real true beauty of today’s streets, the beauty that you and your team see a daily on the diverse impressive boulevards and avenues of your beloved Paris,” Beyonce said in her message. “And from day one, you did the right thing. You knew from the start that actions speak so much louder than words. So you’ve taken a stand, made the commitments and followed through at every step of the way.”
“Does anyone have any idea how many times I’ve worn a special Olivier x Balmain creation? There have been so many events and so many beautiful moments,” she added. “You helped me make my musical statement. You helped me amplify my message, your designs have made me feel powerful. Thank you.” She concluded, “Balmain is your amazing tool for both beauty and change. Your outlook, your convictions and your talent have affected and moved all of us. I’m so proud to call you friend. Happy anniversary. We’re all looking forward to the next ten years.”
You can listen to Beyonce’s message in the video above.
Lil Nas X likes to mix genres. Country, hip-hop, and pop have all intermingled in his hit songs. So his recent cover of Dolly Parton’s “Jolene” shouldn’t come as a surprise. He delivered the cover of Parton’s 1973 song during an appearance on BBC Radio 1’s Live Lounge last week, where he also performed “That’s What I Want,” “Dead Right Now,” and “Montero (Call Me By Your Name)” off his new album, Montero.
After finally getting a chance to watch the performance, Parton had nothing but praise. “I was so excited when someone told me that Lil Nas X had done my song #Jolene,” she wrote. ” I had to find it and listen to it immediately…and it’s really good. Of course, I love him anyway. I was surprised and I’m honored and flattered. I hope he does good for both of us. Thank you @LilNasX.”
Lil Nas caught wind of her comments and had a short yet excited reaction to it, writing, simply, “HOLY SH*T.” What’s more, Lil Nas currently has three songs simultaneously in the top 10 on the Billboard singles chart: “Industry Baby” at No. 2, “Montero (Call Me By Your Name)” at No. 9, and “That’s What I Want” at No. 10.
It’s been a bit of a bumpy season for Ted Lasso. The feel-good (but not that good) show about an upbeat (but anguished) soccer coach amassed a ton of Emmys, including star/co-creator Jason Sudeikis. But the new season, which is still rolling out, has been hotly contested, and there’s been talk of a backlash, then a backlash to the backlash, then a backlash to the backlash to backlash, etc. But there’s one person who seems very pro-Ted Lasso: Dolly Parton.
That’s funny, when it comes to small talk I often ask myself what would Dolly Parton do? Start with the 9 to 5 and end with God Only Knows https://t.co/n2eFMTAGaP
It all started when a fan, dealing with the headache that is air travel, tried to overcome his frustrations by asking, “what would @TedLasso do?” The show’s Twitter account — which sometimes trades in motivational sloganeering — responded by asking a similar question of a real-life public figure.
“That’s funny, when it comes to small talk I often ask myself what would Dolly Parton do?” the account posted. “Start with the 9 to 5 and end with God Only Knows.”
The post didn’t tag the legendary country singer-songwriter and actress. But she found it anyway and responded.
You’re too sweet, @TedLasso!” Parton wrote, adding, “I heard you left some @AFCRichmond tickets at will call under my name?” (That’s a reference to the team Lasso coaches.)
Twitter can be a hellscape of fury and paranoia, but sometimes you get a beloved musician trading jokes with a fictitious character. And people ate it up.
Can you imagine a #tedlasso episode with the Queens of country music @DollyParton and @reba both showing up at @AFCRichmond claiming their tickets? That would be amazing!
TikTok videos and viral tweets have become the new “face on the milk carton.” Perhaps one good thing to come of the Gabby Petito murder case is that social media has put power back into the community, leading to more advocacy for missing persons of color.
The disappearance, and now killing, of Gabby Petito has been the subject of nationwide fascination, as well as scrutiny and debate. As more BIPOC missing persons were revealed who received little to no media coverage, including geologist Daniel Robinson, and the 700+ missing indigenous women of Wyoming, many began calling the huge disparity another example of gross racial injustice.
But maybe there’s more here than just another case of “Missing White Woman Syndrome” than the headlines would have us believe. It’s now becoming clear that—for better or worse—what really drew attention to Petito was a cocktail of two major factors. One, America’s true crime obsession (the moral ambiguity of treating this real-life murder like an interactive Dateline episode is another conversation entirely). And two, Petito’s pre-existing social media presence.
And though there is much to be said about what’s wrong with this, there is also something positive about how online communities are now rallying together to use the same formula in order to raise awareness of previously ignored cases.
Take Layla Jama, TTDrama on Tiktok, and her audience of 757,000. They asked her to post about 25-year-old Black man Jelani Day, who had been missing in Illinois for more than a month. Layla listened to her followers’ request and posted two emotionally charged videos with the hashtag #FindJelaniDayToday. In one of her videos, she challenges her followers to “go do your detective work and find him.”
#duet with @ttdramanews boosting to help her get her son back. #findjelaniday
Jama’s posts resulted in more than a million views, 80,000 shares and a repost from Lizzo. Finally on September 23, a full 19 days after being discovered, Jelani’s body was identified.
Another viral tweet went out for Lauren Cho, who disappeared from Yucca Valley, California on June 28. A Twitter user wrote, “I don’t know much about her case, but let’s get the same energy going to help locate #LaurenCho as we did for #GabbyPetito.” That tweet now has 67.5K views.
I don’t know much about her case, but let’s get the same energy going to help locate #LaurenCho as we did for… https://t.co/ktbntEXzx9
And then there’s the family of Daniel Robinson, who have taken the search for Daniel into their own hands with a series of TikTok videos documenting updates of their search. They received more interaction online than they had with the Buckeye, Arizona authorities.
Reply to @mel_hudson1 Gabby Betito’s case got the support and help that we now are praying for! #fyp #helpfinddanielrobinson #viral
Social media is taking on the roles of detective and journalist, covering more ground than both the FBI, which continues to take a nonchalant stance, and traditional media, which leans toward sensationalism over substance. When neither public service entity offers satisfactory public service, where can people turn to actually create change? The answer, it seems, is that they must turn to themselves.
The internet is a vast and often dark frontier, but it’s a small comfort to know that many are using its power for good. It is certainly far from ideal in terms of missing men and women of color getting the media attention they deserve, but turning toward each other in this way might be the next step in changing that.
An incredibly ridiculous internet rumor gained so much traction that it had to be shot down by Snopes. Snopes is one of the most popular fact-checking sites online.
The claim cited by Snopes is: “The Walt Disney Company announced in September 2020 that Disneyland would be moved from California to Texas.”
Snopes has deemed the claim false citing that it’s a satire that originated on a blog called “Uncle Walt’s Insider.” On August 31, 2020, the site posted a Facebook post entitled: “BREAKING: Disneyland is abandoning California, moving to Texas.”
According to the fake article, The Walt Disney Company says its “finally had enough” and the state is “just nuts.” The article also quoted a fake spokesperson.
“We’ve been looking at the numbers for quite some time,” the fake spokesperson said. “Obviously, we’d prefer to keep the park in the same spot Walt built it. But lately it’s become clear that it makes more financial sense to move to Texas. After all, we don’t pay our Cast Members enough to actually live in California, so a lot of them have already fled to Texas.”
The site claims that the park is choosing to move just like thousands of residents who can’t handle California’s high cost of living and overreaching liberal government.
A subsequent post showed the new park being built.
It appears as though a number of commenters were fooled by the post.
The post received more than 1,700 shares, appearing in countless newsfeeds. One thing we know over here at Upworthy is that there are a lot of folks on Facebook who love to comment on stories without reading them.
There are also a lot of people who only read headlines without digging into the story, so there’s no telling how many people were fooled by the article.
It’s incredible that people would believe such a story. How in the world does one move Disneyland? It’d be pretty tough to pack up It’s a Small World or throw Splash Mountain onto the back of a flatbed.
The report also plays off of popular stereotypes perpetuated by conservative media. The first is that Texas’s economy is superior to that of the Golden State.
The most trusted measure of economic strength says California is the world-beater among democracies. The state’s gross domestic product increased 21% during the past five years, dwarfing No. 2 New York (14%) and No. 3 Texas (12%), according to data compiled by Bloomberg. The gains added $530 billion to the Golden State, 30% more than the increase for New York and Texas combined and equivalent to the entire economy of Sweden.
A recent report by the University of California found that the “majority of Californians still believe in the ‘California Dream'” and that “residents are moving out of state, but not at unusual rates.”
It also ends with a real zinger: “California’s economy attracts as much venture capital as all other states combined.”
It is true that there has been a recent uptick in people moving from California to Texas. More than 687,000 people have moved from California to Texas over the past decade. However, an average of 35,000 to 40,000 Texas residents move to California each year.
The number of Texans who come west is fairly consistent from year to year. But the number of Californians who move to Texas fluctuates wildly and it’s mostly tied to housing prices.
Over the past year, the average home price in Southern California rose 18.8%.
Sorry Texans, don’t want to get your hopes up, but Disneyland is staying put. The good news is that you still have two Six Flags theme parks, a SeaWorld and the soon-to-be-opened Grand Texas.
Billie Eilish’s journey to pop music fame might have seemed sudden to some (“I thought her name was William Eyelash,” went the Dionne Warwick tweet), but in truth the Los Angeles genre-defying wunderkind has been on the come-up since she first began writing songs at age 11 alongside her older brother and producer Finneas O’Connell. With a curious knack for blending genres and, to borrow another quote from Warwick, “singing like it is Halloween,” Billie was arguably the first to mainstream the now-ubiquitous “genreless” Gen Z pop a few years before everyone became obsessed with talking about Gen Z. Since 2016, Billie’s immense popularity has helped lay the groundwork for the success of today’s alt-pop acolytes: Olivia Rodrigo, Girl In Red, Willow, and Clairo, just to name a few.
Initially, fans strongly connected with Billie’s soul-bearing, ethereal songs about anxiety and mental health, subjects she explored on the 2017 EP Don’t Smile At Me, and then on her debut LP, 2019’s Grammy-winning When We All Fall Asleep, Where Do We Go? Later, on her recently released sophomore effort, Happier Than Ever, she unapologetically played with her look, morphing from a neon-green teen to buxom blonde bombshell, and attempted to process the myriad changes in her life, post-fame.
In honor of Billie reaching new stratospheric levels of pop stardom on Happier Than Ever, we present a ranked list of her songs, worst to best.
48. “!!!!!!!”
Album: When We All Fall Asleep, Where Do We Go?
The brief LOL-ing opener to Billie’s debut album perfectly sets the scene where she’s made all of her music up to this point: a tiny bedroom in Los Angeles, sitting beside her brother, who’s on production. Their relationship mirrors the success of so many other family acts: The Bee Gees, The Carpenters, HAIM, the Jackson 5. At this point, it’s safe to add Billie and Finneas to that list.
47. “Bored”
Album: 13 Reasons Why Season 1 Soundtrack
A relatively straightforward R&B cut provided for the 13 Reasons Why season 1 soundtrack, “Bored” doesn’t stand out quite as much as the majority of Billie’s work, even as a one-off. Still, it’s very pretty, and the lush chorus has a sighing quality. You have to admire Billie and Finneas’ adherence to a theme, even if it’s a little on-the-nose.
46. “&Burn”
Album: Don’t Smile At Me EP
If this sounds like a callback to another early Billie single, that’s for good reason: “&Burn,” featuring an assist from Vince Staples, originally shared a production womb with “Watch” until it split apart and became its own thing. The song, a thudding pop and hip-hop hybrid, is powerful by itself, but is brought to another level with Vince’s sharp verses.
45. “8”
Album: When We All Fall Asleep, Where Do We Go?
Simply named for its track number on When We All Fall Asleep, this ukulele-led ballad captures most relationships’ inherent communication breakdown. While Billie is fighting to keep a partnership alive, making the strong point that “you said, ‘Don’t treat me badly,’” ultimately it’s no use. People change, and they also change their minds.
44. “Listen Before I Go”
Album: When We All Fall Asleep, Where Do We Go?
The twelfth track on When We All Fall Asleep is stripped down to piano and soft synths but still quite gripping, allowing Billie’s quavering vocals to lead the charge. It’s probably best appreciated over a pair of high-quality headphones, where you can really pinpoint Finneas’ minimalist production touches.
43. “Bellyache”
Album: Don’t Smile At Me EP
Though Billie’s early singles were known for their relative sparseness, “Bellyache” is a full-bodied standout, scattering a spectrum of sonic influences: hip-hop, R&B, deep house, electropop, and Latin macabre, among others. Thematically, its lyrics offer a peek into the physical and mental pain its author was capable of experiencing in childhood as a result of guilt. As such, Billie takes on the persona of a psychopath who kills both their friends and lover, then experiences deep remorse.
42. “Lo Vas a Olvidar” Featuring Rosalía
This mostly acapella single — a haunting venture between Billie and Rosalía — may not have needed to happen, but it’s impossible to think that a collaboration like this wouldn’t result in something beautiful. Billie sings mostly in Spanish, a language any international pop star should familiarize themselves with (it just seems practical).
41. “Halley’s Comet”
Album: Happier Than Ever
A gentle ballad featuring a music-box piano interlude, “Halley’s Comet” is one of the more minimal tracks in Billie’s catalog, but all the better to showcase her trilling vocals. The production might be simpler, but this song is as thematically rich as any, using a cosmic anomaly to articulate being pulled into love’s tractor beam.
40. “Billie Bossa Nova”
Album: Happier Than Ever
Billie noticeably expands her sonic approach on the gently strummed “Billie Bossa Nova,” which, like its title, leans into the Brazilian-born rhythm. Thematically, Billie and Finneas spin a yarn around a touring pop star who engages in a secret love affair. Whether or not it’s based on anything true doesn’t really matter — given Billie’s level of fame, finding time and energy for romance may always result in us[ing] different names at hotel check-ins.
39. “Copycat”
Album: Don’t Smile At Me EP
The eerie, ultra-catchy opener to Billie’s debut EP immediately sets the tone for what’s to come. Over a skittering, minimalist hip-hop beat, “Copycat,” described as “the precursor to ‘Bad Guy,’” showcases Billie’s impressive vocal range, layering harmonies together to create an ominous, chilling sensation that would go on to define the majority of her future work.
38. “Everybody Dies”
Album: Happier Than Ever
One of the classically jazzier singles on Happier Than Ever, this downtempo ballad contemplates the point of love, the way change is inevitable, and the frightening concept that after we go, those still living may not remember us. “It’s okay to cry,” Billie concludes. “You are not alone. You are not unknown.”
37. “Bitches Broken Hearts”
As the B-side to “You Should See Me In A Crown,” “Bitches Broken Hearts” is a sly R&B single bolstered by Billie’s silky vocals. Toeing the line between sensitive and aloof, Billie addresses a former love interest, asserting that she no longer needs or cares about them: “You can pretend you don’t miss me / You can pretend you don’t care / All you wanna do is kiss me / Oh, what a shame, I’m not there.”
36. “Come Out And Play”
Most of Billie’s early songs sound ready to soundtrack your nightmares, but “Come Out And Play” is the pleasant, sunny exception. It’s all sunny acoustic strums and empowering invitations to embrace what’s possible (“You don’t have to keep it quiet / And I know it makes you nervous / But I promise you, it’s worth it / To show ’em everything you kept inside/Don’t hide, don’t hide”).
35. “Getting Older”
Album: Happier Than Ever
When the bulk of your success comes at such an early age, it’s impossible not to feel older than your years before you even hit 20. Billie processes household name-level fame on her sophomore album’s opener, which astutely observes how “things I once enjoyed / just keep me employed now.” Billie might look and sound a little different here, but her hyper-honest point of view remains as articulate as ever.
34. “Goldwing”
Album: Happier Than Ever
The hymnal sixth cut from Happier Than Ever might open with a church choir sound, but it quickly evolves into something more complex. Over syncopated beats and the repeated “goldwing” echoing in the background, Billie rightly observes how fleeting fame can be: “They’re gonna’ tell you what you wanna hear, then they’re gonna disappear / Gonna’ claim you like a souvenir / Just to sell you in a year.”
33. “My Strange Addiction”
Album: When We All Asleep, Where Do We Go?
Billie’s absurdist sense of humor sneaks in here, with soundbites from The Office episode “Threat Level Midnight” sprinkled throughout this upbeat track. “No, Billy, I haven’t done that dance since my wife died,” Michael Scott’s voice opens to describe his made-up character’s trademark groove. “We literally just ripped the audio from Netflix and put it in the song, not at all thinking that they would say yes to it and we’d be able to put it out,” Billie told MTV News after the song dropped. “Also, it’s about strange addictions, and The Office is mine, so…” Fair enough!
32. “Hostage”
Album: Don’t Smile At Me EP
This stripped-down number, about wanting someone so badly you could picture possessing them, closes out Billie’s debut EP. Bolstered by Finneas’ backing vocal, “Hostage” is one of Billie’s more bare-bones tracks, but it’s got staying power, thanks to its delicate, slow-build production, plus self-aware lyrics that admit to going a little overboard (“it’s not like me to be so mean”). But who among us hasn’t wanted to “crawl inside your veins” when we’re that into someone?
31. “I Didn’t Change My Number”
Album: Happier Than Ever
Can people change? Well, they certainly evolve, especially when you’re young and one year feels like a decade. “I didn’t change my number / I only changed who I reply to” cleverly encapsulates the way a device — which are basically just extensions of our personalities now — stays static, but the person it reaches is always growing.
30. “Idontwannabeyouanymore”
Album: Don’t Smile At Me EP
Though her sophomore album has come to be more associated with Billie’s interest in jazz, this 2017 single offers an early-catalog dip into that particular influence. Opening with light piano and a vocal scat, the Amy Winehouse-esque “Idontwannabeyouanymore” is a peek into Billie’s psyche under a cloud of depression and an inspired example of her stylistic range.
29. “Ilomilo”
Album: When We All Fall Asleep, Where Do We Go?
Fans might remember that this ska-influenced track is where Billie got the name for her documentary, The World’s A Little Blurry. Buried down into the B-sides on When We All Fall Asleep, “Ilomilo” is a creepy listen, relying on stuttering vocal manipulation and clinking keys. If Tim Burton wrote a pop song, this is probably what it would sound like.
28. “Goodbye”
Album: When We All Fall Asleep, Where Do We Go?
“I’m the bad guy,” are the last words we hear on the closing track to Billie’s debut, which brings us full circle, right back to the first song on the album. This kind of Easter egg is what makes Billie (and Finneas) true album artists, interested in creating a body of work in conversation with itself. It’s a lost art these days, in our ongoing era where singles and playlists take priority over the dusty album. But Billie’s a shining exception, able to engage in both worlds — and make it look easy.
27. “When I Was Older”
Album: Music Inspired By The Film Roma
Directly inspired by Alfonso Cuarón’s masterful 2018 film Roma, “When I Was Older” makes its stamp in the Eilish canon with a spooky lullaby melody and Eilish’s warped vocals. It may not sound remotely related to Cuarón’s story about a Mexican domestic worker in the 1970s, but “When I Was Older” creeps under your skin, regardless.
26. “Male Fantasy”
Album: Happier Than Ever
Closing out an expansive sophomore effort that brims with themes around growing up, coming to terms with fame, and the unwelcome blare of strangers’ opinions, “Male Fantasy” is a classically gorgeous ballad that reminds you (lest you forget) that Billie Eilish can sing. “Male Fantasy” is also a song about being kinder to yourself, about letting yourself take the necessary time to heal after a broken heart, no matter how badly you like to just move on already.
25. “Overheated”
Album: Happier Than Ever
Billie uses “Overheated” as a vehicle to hit back at body-shamers, wryly asking, “Is it news? News to who? / That I really looked just like the rest of you?” It shouldn’t be, and luckily for us, she won’t “be defeated.”
24. “My Boy”
Album: Don’t Smile At Me EP
Dropping in with a grooving, neo-jazz intro, “My Boy” quickly pivots into new sonic territory, dropping in a hi-hat rhythm, a funky bass line, R&B melody, and even a spooky theremin. The mish-mash of genre never once overwhelms Billie’s vocal, though: she commands the song with observations about a two-faced love interest who “loves his friends like I love my split ends.”
23. “Not My Responsibility”
Album: Happier Than Ever
Opinions: everyone has them, and if you’re as famous as Billie’s become, everyone’ll have them about you. This minimalist, spoken-word track, appearing on Happier Than Ever, has Billie attempting to make sense of this phenomenon, pointing out the double-standards placed on female pop stars (“If I wear what is comfortable, I am not a woman; If I shed the layers, I’m a slut”). Ultimately, she concludes that it’s useless to engage — your opinions are not her responsibility.
22. “Oxytocin”
Album: Happier Than Ever
It kinda makes sense that an album called Happier Than Ever would feature a rushing song named after a hormone associated with love. Drawing sonic comparisons to experimental performers like Grimes and even Nine Inch Nails, “Oxytocin” crashes into your ears like a waterfall of sound and gives Billie ample space to explore a late-adolescence ode to lust.
21. “Party Favor”
Album: Don’t Smile At Me EP
This super-simple song sounds like a peek into Billie’s earliest songwriting, led by ukulele strums and accented with tinkling bells. Don’t let the lighthearted, folksy melody fool you though — the lyrics give way to a scenario where Billie is leaving an overly possessive love interest on his birthday. “You just want what you can’t have,” she warns him. Part of growing up means realizing that there’s never an ideal time to leave, so it might as well be now.
20. “Six Feet Under”
Fun fact about Billie’s debut 2016 single that seems like a family Easter egg: Billie’s mom, Maggie Baird, had a small but vital role on HBO’s ‘00s funeral parlor drama Six Feet Under. Likewise, one of the most pivotal needle-drops in TV history is Sia’s “Breathe Me,” which soundtracked the final scene on Six Feet Under’s series finale. Circling back, Billie’s gentle yet forlorn “Six Feet Under” opens with a similar first line from “Breathe Me”: “Help, I lost myself again” (Sia’s was “Ouch, I have lost myself again”). Coincidence? I hope not.
19. “NDA”
Album: Happier Than Ever
Ascending to the levels of fame Billie has would undoubtedly leave the anyone with a lot to process. Happier Than Ever unwinds a number of those lessons, and its second single, “NDA,’ unpacks those themes on a more microcosmic scale. Against a spare acoustic plucks, Billie tackles secret relationships and houses (the singer reportedly moved out of her parents’ place in 2019), cancel culture, stalkers, and then some. Listening to the pulsating “NDA” is even a little stressful, but it’s probably nothing compared to what its author experiences on a daily basis.
18. “Wish You Were Gay”
Album: When We All Fall Asleep, Where Do We Go?
“I just wanna make you feel OK / But all you do is look the other way.” Despite the potentially misleading title (Billie’s caught some flack for queer-baiting), you can’t argue with the highly relatable themes in this mid-tempo jaunt. So often when we like someone and they don’t feel the same way, we get a lot of “it’s not you, it’s me.” Except that oftentimes it IS us. So wouldn’t it be nice if it actually was them?
17. “No Time To Die”
For the longest time, Billie and Finneas’ cinematic entry into the Bond canon stood firmly on its own without an accompanying film, which kept getting pushed back due to the Covid pandemic. It’s a strong song even if you cut out the Bond machine. Add it back in, though, and it’s even more impressive, with Billie’s cooing vocals smooth-sailing over elaborate, swelling strings. Billie and Finneas successfully left their stamp on the franchise without ever overwhelming.
16. “Watch”
Album: Don’t Smile At Me EP
Generally, Billie is best known for her minimalist, non-traditional song frameworks. Not so with “Watch,” which evolves into a sweeping, orchestral chorus about leaving a toxic relationship (“I’ll sit and watch your car burn / With the fire that you started in me”). The beat, meanwhile, tick-tocks like a literal timepiece, offering a clever double-meaning to the song’s title.
15. “I Love You”
Album: When We All Fall Asleep, Where Do We Go?
A quiet acoustic ballad near the end of Billie’s debut LP, “I Love You” is a fluid, slowly expanding song about being drawn to someone despite not wanting to be. “Maybe won’t you take it back / Say you were tryna make me laugh / And nothing has to change today / You didn’t mean to say ‘I love you’ / I love you and I don’t want to,” Billie sings, joined in by Finneas on backing vocals. Love has rarely sounded so bittersweet.
14. “Bury A Friend”
Album: When We All Fall Asleep, Where Do We Go?
Playing out like a horror film, the galloping “Bury A Friend” is undoubtedly the tone-setter for Billie’s debut LP. Her manipulated vocals barely rise above a murmur as screams sound in the distance. In an uncannily apt adolescence-as-horror symbolic move, “Bury A Friend” also contains the screech of Billie’s orthodontist shaving off her braces. And yet, this song is not so one-note: its steady rhythm almost sounds like a childhood nursery rhyme, giving “Bury A Friend” unexpected depth.
13. “Xanny”
Album: When We All Fall Asleep, Where Do We Go?
It’s a little wild to think how a song named after the teen slang term for benzodiazepines was actually inspired by Frank Sinatra. Chalk it up to Billie’s unique understanding of classic pop and jazz, which is on full display here. A downtempo ballad, “Xanny” is led by Billie’s quivering vocals and drizzled with piano flourish. But because it’s Billie (and Finneas), they can’t resist a little sonic experimentation that sonically mirrors the moment a K-hole drags you in.
12. “My Future”
Album: Happier Than Ever
When fame comes as fast as it did for Billie, there’s not always time to slow down and process. Maybe Covid, when “My Future” was written, served as a good thing for Billie, then, who no doubt got the time she needed to digest all of the attention, critical adulation, and Grammy awards she earned around When We All Fall Asleep, Where Do We Go? Here, over a quickened beat, Billie looks forward to what’s next, claiming that she doesn’t know — anymore than we do — what that’ll look like.
11. “Happier Than Ever”
Album: Happier Than Ever
Many of Billie’s songs have a tendency to switch gears, and her second album’s title track is a prime example of that pattern, starting out totally stripped-back and evolving into an explosive, bring-the-house-down ballad.
10. “Lost Cause”
Album: Happier Than Ever
A kiss-off anthem as only Billie could do, “Lost Cause” is a portrait of a woman coming into her own as both a singer and young adult. Over a trip-hop beat, Billie sings about how hindsight is everything (“thought you had your shit together, but damn, I was wrong”) and what once looked anti-establishment is actually just lame and irresponsible (“I know you think you’re such an outlaw / But you got no job”).
9. “Therefore I Am”
Album: Happier Than Ever
Billie again bites back at the onslaught of opinions, specifically those of the press (“articles, articles, articles… Got a lotta interviews, interviews, interviews… Get my pretty name out of your mouth”). When extreme fame shows up, the press cycle becomes more of a necessary evil — an occupational hazard, even. To process, Billie adopts a Cartesian phrase and the result is a spectacularly groovy hip-pop ode to those who would write clickbait about her.
8. “Everything I Wanted”
“I had a dream / I got everything I wanted.” The opening line from Billie’s one-off release between albums says it all. More to the point, though, “Everything I Wanted” is a truly gorgeous ode to the relationship between Billie and Finneas, two siblings who genuinely appear to support each other in their creative endeavors. “But when I wake up, I see / You with me,” Billie concludes in a murmured thank you to her older brother and closest collaborator. Staying grounded is easy with this kind of familial support.
7. “You Should See Me In A Crown”
Album: When We All Asleep, Where Do We Go?
One of the darkest songs in Billie’s catalog, “You Should See Me In A Crown” is also one of the most sonically rich. Hi-hats skitter over a migraine-inducing beat, while the opening seconds contain a recording of Billie’s father sharpening knives. And yet, thanks to a dynamic uptempo rhythm, “You Should See Me In A Crown” ends up being one hell of a satisfying pop song, surpassing genre and containing unlimited emotional depth.
6. “All the Good Girls Go to Hell”
Album: When We All Asleep, Where Do We Go?
The thematic depth of this single becomes immediately apparent the moment Billie croaks, “My Lucifer is lonely.” Over a savvy, upbeat rhythm, the singer spins a yarn about how the human race has so royally screwed itself over around climate change that now God and the Devil, like disappointed parents, have to talk about why their subjects have made such a mess of things on Earth. It’s like Gen Z’s reimagining of Paradise Lost.
5. “Lovely” featuring Khalid
Album: When We All Fall Asleep, Where Do We Go?
One has to choose wisely when selecting a guest vocalist to sing with Billie, and the powers that be chose wisely in Khalid. Together, their soaring voices compliment each other without overwhelming each other, creating a stunning, instant-classic ballad for the ages.
4. “Your Power”
Album: Happier Than Ever
Years after the #MeToo revolution of 2017, we’re still having conversations about how the rich and powerful regularly abuse their authority. This is Billie’s entry into the canon, with a painstakingly delicate track about the dangerous dynamics of control, and how we owe it to each other to change things for the better.
3. “When The Party’s Over”
Album: When We All Fall Asleep, Where Do We Go?
Billie’s ethereal falsetto has never sounded more bone-chilling here. Accompanied by almost no instruments, save for sub-bass and a little piano, “When The Party’s Over” is a true showcase of Billie’s vocal ability and Finneas’ innovative production, which layered nearly 100 vocal tracks on top of each other to create that ultra-dense harmony.
2. “Ocean Eyes”
Album: Don’t Smile At Me EP
Billie was scary-young when this gem of a track first came out — barely 15. But the full breadth of her talents were definitely on display, even as far back as 2016. The harmony-driven “Ocean Eyes” is a simple song, both lyrically and production-wise, but it doesn’t need any flourish. Billie’s crystalline, beyond-her-years vocals take center stage and pull you in with the unseen force of an undertow.
1. “Bad Guy”
Album: When We All Asleep, Where Do We Go?
For the average music fan, Billie arguably blew up the moment “Bad Guy” came out. She’s grown exponentially as a singer and songwriter since then, but at the time, “Bad Guy” served as something of a marketing pitch for who Billie is as a performer: innovative, mysterious, funny, self-effacing, and totally unbound by genre. Aided by Finneas’ wide-open-spaces production technique, “Bad Guy” bounces with trippy beats, a haunting synth line, and Billie’s own hushed vocals. And it’s no wonder Billie’s hero Justin Bieber hopped on board for the remix — the relative simplicity of a song like “Bad Guy” proves the staying power of pop’s classic formula of repetition and minimalism — with an innovative personality like Billie’s thrown in for good measure.
Welcome to SNX DLX, our weekly roundup of the best sneakers to hit the market. This week the big brands are still keeping quiet, so our list is on the lighter side once again. But be prepared for things to pick up in the next couple of weeks leading up to Halloween as just about every brand gears up to drop their holiday special releases. This season tends to deliver a lot of sneakers with black, orange, and purple colorways, and while things can get pretty gimmicky pretty fast, it’s not all bad, just look at this week’s latest Jordan 5 drop for proof!
This week Nike is back in its dominant position, snagging the lion’s share of spots while Adidas struggles to keep up. Nothing new of note from brands like New Balance, but we’re anticipating a big drop soon from Salehe Bembury, who is scheduled to unveil his latest New Balance collaboration sometime this month. This week also sees Billie Eilish’s big Nike debut, so even though options are slim this time around, there is still plenty of hype for this week’s offerings.
Let’s dive in!
Nike Dunk High 1985 Black Acid Wash
Nike
Generally, the high-top Dunk doesn’t come close to reaching the popularity of Nike’s low-top Nike SB Dunk, but the 1985 iteration of the silhouette comes pretty damn close and makes the case for this silhouette’s high-top from existing in the first place.
This week the silhouette gets a cow print-esque colorway called Black Acid Wash and features acid wash paneling, an aged midsole, a yellow leather underlay, and a grey outsole with a moody black wraparound swoosh.
The Nike Dunk High 1985 Black Acid Wash is out now for a retail price of $130. The shoes are sold out at Nike, so pick up a pair at your favorite aftermarket site.
NikeNike
Nike AJKO Storm Blue
Nike
Looking for a casual Jordan? The AJKO is your jam. Featuring a mixed upper of leather and canvas, this AJKO is lighter than your average Jordan 1 thanks to swapping the leather for a canvas base and is supposed to offer a more comfortable fit. As great as the Jordan 1 silhouette is, it’s old, and as such, it doesn’t offer the best foot support. The AJKO attempts to remedy some of those issues.
It’s not quite as iconic as the original, but sometimes comfort rules all.
The Nike AJKO Storm Blue is out now for a retail price of $140. The shoes are sold out at Nike, so pick up a pair at your favorite aftermarket site.
NikeNike
Nike WMNS Dunk High Aluminum
Nike
This week brings yet another beautiful WMNS-size exclusive from Nike, this time a high-top Dunk dubbed “Aluminum.” The Aluminum features a bright white and sky blue makeup over a leather upper that looks downright heavenly.
Look at this thing! It’s a no-brainer pick-up this week.
The Nike WMNS Dunk High Aluminum is set to drop on September 30th for a retail price of $110. Pick up a pair via the Nike SNKRS app or at GOAT when it hits the aftermarket.
NikeNike
Nike AJKO 1 Billie Eilish
Jordan Brand
Obviously, we’re big fans of that moment when a huge music superstar drops their first signature Nike — it’s a beautiful thing. Travis Scott’s Jordan 1s, Beyonce’s Super Sleek 72, Bad Bunny’s Forums, Kanye’s whole career… they’re all footwear essentials and now joining the ranks of those very big names is none other than Billie Eilish, debuting her foray into sneakers with the most Billie Eilish-looking colorway ever.
AJKO 1 Billie Eilish features a slime green upper (it’s actually Lime Green, but come on “Slime” is so much more Billie) made with 20% recycled material by weight. Few (if any) artists dabbling into the sneaker realm ever go the sustainable route, so it’s cool to see Billie spark what we hope is a trend.
The Nike AJKO 1 Billie Eilish is set to drop on September 30th for a retail price of $170. Pick up a pair via the Nike SNKRS app.
NikeNike
Nike Air Jordan 5 Orange Blaze (Shattered Backboard)
Nike
If you caught our list of the best Jordan 5 colorways of all time, you no doubt left that article wanting to cop a lot of shoes that are out of the price range of anyone reasonable, even the average sneakerhead. Luckily, this is your week to snag a legendary colorway as the famed Shattered Backboard colorway is rereleasing this week under the name “Orange Blaze.”
The AJ5 Orange Blaze features a Sail leather upper with textile mesh detailing, an Orange Blaze midsole, and a speckled shark tooth mudguard with a reflective tongue. It’s a work of art and looks perfect for the fall and Halloween seasons.
The Nike Air Jordan 5 Orange Blaze is set to drop on October 2nd for a retail price of $190. Pick a pair via the Nike SNKRS app or hit GOAT or Flight Club to pick it up on the aftermarket.
NikeNike
Adidas Jeremy Scott Dip Collection
Adidas
In the late ‘90s and early ‘00s, Apple dropped a range of iMac computers that were housed in see-through plastic casings. At the time, they looked incredibly futuristic, until they eventually looked tacky as the decade went on. But as is the case with fashion and culture, give it 20 years and people are ready to fall back in love with it, and if you’re currently nostalgic for the early ‘00s or you’re just dressing like you are, nothing captures the magic of those early iMac’s quite like Moschino creative director Jeremy Scott’s Dip collection for Adidas.
Launching alongside a matching apparel collection, the Dip Collection features four iterations of Adidas Forum High and Forum Low silhouette dressed in vibrant neon colorways like Solar Yellow, Solar Pink, Blue, and Signal Orange. If you’re aboard the current Y2K fashion aesthetic, you’re going to want this collection.
The Adidas Jeremy Scott Dip Collection is set to drop on October 2nd for a retail price of $160. Pick up a pair via the Adidas confirmed app.
AdidasAdidasAdidas
Dr. Martens Quad Neoteric Collection
Dr. Martens
Now that we’re in the fall season our wardrobes are in flux. We’re ditching shorts and t-shirts for long sleeves, pants, jackets, and anything else we can layer. But outerwear isn’t the only thing that changes with the season, so does footwear and with the changing temperatures, you’re probably going to need a solid pair of boots.
Well, lucky for us, Dr. Martens is dropping three new boots to match the season.
The Quad Neoteric consists of the Audrick 8-Eye Boot, the Audrick Chelsea, and the Audrick 3-Eye, which all sit atop a chunky 1.9mm thick sole with PVC outsoles and an EVA midsole.
The Dr. Martens Quad Neoteric collection is set to drop on September 30th for a price range of $179 to $231. Pick up a pair at the Dr. Martens webstore.
Dr. MartensDr. Martens
Disclaimer: While all of the products recommended here were chosen independently by our editorial staff, Uproxx may receive payment to direct readers to certain retail vendors who are offering these products for purchase.
Today was the grand opening of Eminem’s new restaurant Mom’s Spaghetti. The eatery is, of course, inspired by a popular line from the rapper’s Oscar-winning track “Lose Yourself.” “His palms are sweaty, knees weak, arms are heavy,” he raps on the track. “There’s vomit on his sweater already, mom’s spaghetti.” He turned the line into a promotional event for his 2017 album, Revival, and launched a pop-up dedicated to Detroit hospital workers last year. With Mom’s Spaghetti now open for business, the rapper made a special appearance there to ring in opening day.
The first ten people that showed up at Mom’s Spaghetti were greeted by Eminem himself, who was manning the order window of the restaurant, which is located on Woodward Avenue according to the Detroit Free Press. He handed out meals, placed orders, and took selfies with those who wanted to capture the moment. Eminem and his crew eventually departed the restaurant in pair of SUVs that were momentarily chased by a large group of fans.
This comes as Eminem is preparing to deliver new music. He’s reportedly set to release an untitled song that features Mozzy, Polo G, and Skylar Grey on Friday, October 1. The single is also slated to appear on the soundtrack for Venom 2: Let There Be Carnage, which also arrives on Friday.
Over the last year, Coi Leray has become one of music’s newest stars. The New Jersey rapper went big with her viral hit “No More Parties,” which received a remix from Lil Durk. She’s also done collaborations with Pooh Shiesty and others. Despite her popularity, Leray has been criticized for a number of things, from her music to her physical appearance. There was a point where it became too much for her to handle. She even almost called it quits. However, one of her past collaborators changed her mind.
In a post on her Instagram Story, Leray revealed that Lil Durk stopped her from quitting music. “Almost gave up one day and he told me don’t ever stop,” she wrote next to a picture of herself and the Chicago rapper. “Most artist show love from a distance on some weird sh*t, but this man right here believed in me, believe[d] in ‘No More Parties’ and been behind me ever since. He know a star when he see one, and I just wanna thank you for all your support. OTF FOREVER.”
The rapper recently dropped her latest single, “Twinnem,” which was the follow-up to her confident single, “Okay Yeah,” released last month.
Pooh Shiesty is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
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