Tate McRae is quickly becoming one of pop’s most exciting new voices, and her new single is already making waves. Tate released “She’s All I Wanna Be” a few weeks ago, following the insanely catchy pop anthem up with — what else? — a quirky dance video a few days later. But this kind of single is a gift that keeps on giving, and the rising pop star is going to get the most out of it. Today, in partnership with Vevo, she released a stripped-back, live performance of the song that showcases exactly how versatile McRae is.
One of her strengths has been the ability to make sad, downtempo pop songs that still resonate with listeners, and that’s exactly what today’s live performance turns “She’s All I Wanna Be” into. Then again, one of the reasons Tate’s latest song has been racking up streams is because it’s a lot bouncier and more upbeat than some of her past work, even if the lyrics are still a little (okay, a lot) on the sad side of things. One thing is for sure, as a live performer, Tate has an uncanny ability to command a stage. Check out the performance above to see for yourself.
It’s time to leave the average bottles of bourbon behind and dive into some unique releases. Bourbon whiskey under $70 tends to start leaning into barrel strength releases (more bang for your buck, so to speak) alongside single barrel picks, limited editions, and true craft drops. It’s a nice place to be, price-wise — you’re not spending a ridiculous amount of money on a bottle (yet) while still getting something well above average.
For this roundup, I’ve selected ten bottles of bourbon that I think are worth checking out at this price point. I’ve ranked those bottles and offered tasting notes, with the top picks being the ones I really think are worth seeking out. Prices are pulled from Total Wine’s online service in Louisville, Kentucky — so expect prices to vary slightly in your region.
Also Read: The Top 5 UPROXX Bourbon Posts Of The Last Six Months
This craft whiskey from Kentucky is made with a mash bill of 65 percent corn, 30 percent rye, and five percent malted barley. The barrels have aged a minimum of six years before batching, proofing, and bottling.
Tasting Notes:
Butterscotch leads the nose on this sip as ginger snaps mingle with rich and sharp toffee candies next to a touch of vanilla, pepper, and cherry lurk underneath everything. The taste really amps up the creaminess of the vanilla and the butteriness of the toffee, as a slight marzipan flourish arrives with a thin layer of freshly cracked black pepper and salted black licorice. That pepper marries to the ginger as the heat levels off and fades out leading towards a finish with more of the vanilla and dry wood than anything else.
Bottom Line:
This whiskey is made by the titular “horse soldiers” who returned from The War in Afghanistan and started making whiskey. Overall, this might still be a slightly regional favorite that’s only starting to get national attention. All of that aside, this is a very accessible whiskey that pretty much anyone (from a beginner to an expert) will dig.
Chicken Cock has some serious bourbon history going back to 1856. It was also the bourbon of the infamous Cotton Club in Harlem during Prohibition. Fun fact, the hooch was smuggled into the club in tin cans that they cracked open tableside. The juice in this bottle is sourced from Kentucky. Today, the whiskey is being contract distilled at Bardstown Bourbon Company.
Tasting Notes:
Granny Smith apples and Red Hots jump out on the nose with a hint of black Necco Wafer, a touch of soft and wet oak, and hints of caramel. The palate leans into the buttery ends of toffee with burnt sugars leading toward dried fruits, fatty nuts, and holiday cake spices. The vanilla arrives late and is tied to the sweeter edges as a light dried tobacco leaf note leaves a little heat on the back end.
Bottom Line:
This is a great, classic bourbon. There are no bells or whistles but it also doesn’t need them. It’s just an easy-drinking bourbon on its own and a very solid cocktail base.
These bottles are part of an exclusive run of bourbon barrels that are “hand-picked” by Steve Beam out at Limestone Branch Distillery (from sourced barrels). Beam pulls these exceptional barrels in and releases them for special retailers, bar accounts, and collections. Each release is around 200 bottles and they tend to be rare finds.
Tasting Notes:
Sweet spice, stewed pears with saffron, and a chocolate cream pie nose greet you. The taste leans into vanilla hard candies with almond-encrusted toffees, soft cedar, and a hint of potting soil. Pears and soft apricot-laced tobacco leaves drive the mid-palate towards more pear and hint of that soil, tobacco, and nutty toffee.
Bottom Line:
This has those savory and earthy notes that’ll either hook you in or push you away. I really dig whiskeys that go in this direction, especially as sippers. That being said, the lower-proof versions of these barrel picks will lean more into classic bourbon notes.
This whiskey, from the much-beloved Bulleit, is a no-age-statement blend of five to eight-year-old barrels. Those whiskeys are hewn from a mash of 68 percent corn, 28 percent rye, and four percent malted barley. The blended barrels are then bottled at barrel strength to let them shine as-is.
Tasting Notes:
These will vary depending on which release you snag. Expect sweet woody notes next to oily vanilla and a big note of black pepper. The taste delivers ripe peaches next to more peppery spice and a hint of Christmas spices, with the vanilla taking a backseat and the oak really stepping in to shine. The end is spicy, hot, oaky, and peachy, with a hint of caramel corn.
Bottom Line:
These have yet to disappoint, especially if you’re already on the bandwagon for Bulleit. Overall, you’re getting a little more ABV — or that aforementioned “bang for your buck” — while still holding onto that signature Bulleit smoothness.
Bardstown Bourbon Company is one of the best blenders/distillers in the game right now. Their Fusion Series #6 release marries 56 percent three-year-old high-ish rye bourbon with 30 percent eleven-year-old low-rye bourbon and 14 percent three-year-old low-rye bourbon to create this mix. Both three-year-olds are from Bardstown’s own still with the eleven-year-old being sourced juice.
Tasting Notes:
Honey really stands out on the nose next to tart apples leaning towards apple cores or seeds, supported by classic notes of vanilla pods, caramel, and light oak. That apple becomes slightly stewed and spicy with the caramel lending sweetness as a hint of walnuts arrive with a buttery crust vibe that’s very apple pie. The end is slightly oaky but sweet in the way that cherry-flavored pipe tobacco is.
Bottom Line:
These are unique releases that are worth tracking down (which might mean a trip to Kentucky to find). Still, these are masterful blends of whiskey that highlight the wonderful things happening over at Bardstown Bourbon Company right now.
This is a very old whiskey, all things considered. The juice is from single barrels, aged 15 years or more, and the proof varies accordingly (sometimes it’s cut with water, too). The whiskey showcases Dickel’s vast warehouses and the gems they have hidden deep on those ricks.
Tasting Notes:
This is all about the cherry pie with a big scoop of vanilla ice cream next to a slight apple-tobacco vibe. It’s also light on the nose and on the palate with red berries leading towards a cherry-choco soda pop, more vanilla cream, and a light touch of bourbon-soaked oakiness. That woodiness leans into a musty corner of a cellar as a spicy cherry tobacco finish leaves you with a dry, almost chalky, yet sweet mouthfeel.
Bottom Line:
A 15-year-old whiskey for under $100, sign us up! Seriously, this whiskey could cost $100 or more easily and people wouldn’t think twice. This is an easy sipper that’s also available on the open market. Those are wins.
Belle Meade, the blending arm of Nashville’s Nelson Green Brier, sources some of the best barrels for their expressions — though they’re now contract distilling at Bardstown Bourbon Company. This whiskey is a hand-selected, marrying of high-rye (30 percent) seven to eleven-year-old bourbons that are bottled at nearly barrel strength (it’s just touched with water when needed), allowing the juice in the barrel to speak for itself.
Tasting Notes:
Cornmeal that’s been spiked with stewed and spicy peaches, caramel, softwood, and vanilla greet you. The sip really leans into the classic bourbon vibes on the palate with an apple pie with plenty of cinnamon, clove, and nutmeg inside a buttery crust with hints of cedar, library leather, and tobacco chew. Hints of raisins and walnuts arrive late in that apple pie as the sip slowly fades, leaving you warmed and wanting more.
Bottom Line:
This remains a pure-bred classic bourbon from top to bottom. We’re getting into the territory of “If you find it, buy a case” because you’ll want this one to last longer than one bottle.
The juice in that bottle is a cask-strength blend of whiskeys from Indiana, Kentucky, and Tennessee. This whiskey is all about the blending process that Stellum (part of Barrell Spirit Company) employs to make this special and award-winning juice. Basically, the process is a sort of hybrid reverse solera technique where the blend gets more juice to keep the proof high and the blend consistent in flavor as the batch is drained off.
It’s a delicate balance of mixing great whiskeys to make something better than the individual parts.
Tasting Notes:
The nose is a holiday cake with fatty nuts next to woody spice barks — think anise, clove, and cinnamon — with a nice dose of dried red fruits and honey-dipped over-ripe Granny Smith apples. The palate edges away from the spice towards a powdered sugar sweetness with a hint of dry vanilla. Then a counterpoint bursts onto the scene with a hit of spicy, dried chili pepper flakes next to blackberry pie with a nice dose of cinnamon and nutmeg. The end lingers for just the right amount of time as the spice fades back towards the honeyed sweetness and a final touch of vanilla tobacco buzz lands in the back of the throat.
Bottom Line:
This is a damn fine workhorse. It shines in the glass with a little water or on the rocks as a sipper. It also makes a mean cocktail, especially if you go simple like a Manhattan or old fashioned.
First introduced in 1997, the juice is hand-selected from barrels on the upper floors of Jack’s vast rickhouses. The whisky is bottled at a slightly higher proof to allow the nuance of the juice (and JD’s process of sugar maple filtration) to shine.
Tasting Notes:
There’s a mix of almost old cherries next to dry leather and a sticky firewood sap. There’s a light and sweet kettle caramel corn touch with a hint of vanilla and spicy toffee-covered apples that leads towards a hint of banana bread with walnuts and plenty of spice and butter. In the end, it’s really the fruit that shines the most in this dram with a stewed apple/pear vibe that ends up on a woody box full of chewy cherry tobacco.
Bottom Line:
This is refined and deep. While it’s on the sweeter-fruity side (which turns some folks off), I find it comforting. Drink it neat or make a killer cocktail with it. Either way, you’ll be all set.
Kentucky Peerless Distilling takes its time for a true grain-to-glass experience. Their Small Batch Bourbon is crafted with a fairly low-rye mash bill and fermented with a sweet mash as opposed to a sour mash (that means they use 100 percent new grains, water, and yeast with each new batch instead of holding some of the mash over to start the next one like a sourdough starter). The barrels are then hand-selected for their taste and bottled completely un-messed with.
Tasting Notes:
Expect notes of blackberry next to worn leather, rich toffee, vanilla oils, and wet tobacco leaves. The taste holds onto the toffee and vanilla as the tobacco dries out and spices up, with touches of cedar bark and a few bitter espresso beans. The end is long, holds onto the vanilla and tobacco, and touches back on the berries as it fades through your senses.
Bottom Line:
This remains one of the best bourbons under $100. It’s a small craft with a truly deep history. Add in people who are innovative behind the stills, and you have a whiskey worth stocking up on and sipping.
Scarlett Johansson seemingly has a lot of time on her hands since she closed the book on her Black Widow character last year. She has been featured in Super Bowl ads, dropped out of an Apple+ movie, and also had a baby, which is a pretty hefty undertaking. Now, she is adding another venture to her plate by launching a skincare line called The Outset.
Johansson shared a collection of mysterious but appealing photos to The Outset’s Instagram account, with the expected launch date of March 1st. The brand’s tagline is “Clean and effective skincare to elevate your everyday.”
While details are a little sparse, the actress admitted last year she wanted to venture into a beauty brand at some point. She told Vogue Magazine that she wanted something to represent who she is. “I’ve been the face of several luxury brands throughout my career, and all of those experiences were really wonderful, I guess I always felt that I was sort of playing a character in those campaigns, and as I evolved, I wanted to create and represent a brand that was true to me. ”
The Outset has yet to announce their products (or their prices) but from the looks of their Instagram, there will be creams, lotions, and various items so that you, too, can look like a fresh-faced Scarlett Johansson.
John Mayer is currently touring behind his surprisingly great new album, Sob Rock (a sh*t-post, if you will), and since it’s a No. 2 album, the sh*t is obviously resonating. But fans at last night’s show at Madison Square Garden got an unexpected treat. At the last minute, Mayer’s touring drummer, Steve Ferrone was out with Covid and couldn’t play the show — so Mayer hit up his friend Questlove, who was supposed to attend the show, to see if he could fill in.
Here’s what Quest had to say about the experience:
Welp. I thought I was hangin with the crew tonight. the plan was seeing a kick ass band at @thegarden —-I came home from LA early to do @fallontonight then me & my guys @bsherman2222 @sugasteve (from @qls) & @rayangry headed to see @johnmayer & @greg_phillinganes_live & @pino_palladino_official_ & @drh3 & @sharkey335 @steve_ferrone & the rest of “the avengers of music”——-I got out my show clothes all exited & then I checked my phone: “Ferrone got covid, can you sit in?”
Truth be told I coulda played the whole show. I texted Jimmy earlier I felt like Don Henley in 1988 when last min he played drums for @gunsnroses at the @amas (weirdest version of #Patience ever) I was anxious, amped, timorous, excited, scared & hyped!!
Gotta say once onstage it was gravy. I haven’t played with this combo since the @rootspicnic in nyc 2013 w D’angelo & we haven’t lost a step. It was hella fun tonight!
This also marks the THIRD time a circumstance kept me from seeing my idol drum (Ferrone is literally WHY I drum—-first time Petty’s unfortunate passing prevented me from seeing him drum & then I went to the 8th floor at 30rock to watch him sit in on @latenightseth & of course 3/16/22 the world shut down so that was strike two——and now this lol—-ONE OF THESE NIGHTS imma see my hero play drums.
Thanks Y’all.
Mayer also had to chime in on the situation, explaining his side of things and appreciation for Quest. Mayer said that the night will “bond us forever.”
Tonight’s show was special in ways that I’m still processing. We send our love to @steve_ferrone and @made4good in hopes they traipse through Covid and return to the stage quickly.
My boundless appreciation goes out to the legendary @questlove, who stepped in on an hour’s notice to help end the show on such a powerful and definitive note.
The brilliant musicians in this band stepped up in ways that I will never forget, and will bond us forever.
Most importantly, I thank everyone in attendance whose enthusiasm and energy in the face of some disappointing news lifted us all to something far greater than I could have ever expected. It’s the honor of my life to share these nights of music with you. The next couple of tour stops will feature this format (minus the very otherwise-engaged @questlove) and I will devote every moment to making sure we bring you the best show we can. Thank you, NYC.
Not going to lie, a little jealous I didn’t get to witness this firsthand. Is there a supergroup project in the future?
Mark Lanegan, a central figure in both the grunge rock movement of the 80’s and 90s, and the desert rock rise of the early 00’s, has died at the age of 57. Born in Ellensburg, Washington and a staple in the Seattle scene, Lanegan passed away earlier today at his home in Killarney, Ireland.
“Our beloved friend Mark Lanegan passed away this morning at his home in Killarney, Ireland. A beloved singer, songwriter, author and musician he was 57 and is survived by his wife Shelley. No other information is available at this time. We ask Please respect the family privacy.”
Known for his deeply psychedelic vocals, Lanegan formed the Screaming Trees in 1984 and fronted the band across their eight albums. The 1992 single, “Nearly Lost You,” is undoubtedly one of the cardinal data points in the rise of the grunge rock era, which also featured contemporaries like Nirvana, Mudhoney, Soundgarden, Alice In Chains, and others.
When Screaming Trees broke up in 2000, Lanegan found new life as a singer and songwriter with the Josh Homme-led desert rock band Queens Of The Stone Age. He appeared across a number of the band’s albums, from Rated R, to Like Clockwork… He also never stopped focusing on his solo work, which began with 1990’s chilling cult classic, The Winding Sheet on Sub Pop Records and culminated with 2020’s collision of genres, Straight Songs Of Sorrow on Heavenly Recordings.
Throughout his prolific career, he collaborated with acts like Nirvana, Mad Season, Afghan Whigs, Unkle, Martina Topley-Bird, Moby, Neko Case and more. He co-wrote the theme music to Anthony Bourdain: Parts Unknown with Homme and was never nothing short of a tireless creator.
The battle between Megan Thee Stallion and her label, Carl Crawford’s 1501 Certified Entertainment, had simmered down over the past two years after a judge granted the rapper an order allowing her to release music again, but today, hostilities flared up again as Megan sued the label over the classification of her most recent project. Complex reports Megan is upset that Something For Thee Hotties wasn’t counted as an “album” according to the terms of her contract, despite being 21 tracks and over 45 minutes long.
The point of contention here is that Meg’s contract with 1501 is for four albums and that despite releasing Tina Snow, Fever, Suga, Good News, and Something For Thee Hotties in the four-odd years since she signed the contract, only Good News was counted against that total. Obviously, she wants out of her original contract, and her popularity is such that she may never actually need to sign another one. But having her under contract is (ostensibly) a good thing for 1501, which gets a percentage of all her royalties, whether they come from “albums” or “mixtapes.”
Unfortunately, 1501 is operating from a well-established playbook — it’s actually common practice for labels to count projects as mixtapes to keep artists under contract for longer, a problematic legacy of hip-hop’s penchant for putting out unauthorized, unofficial, or surprise releases. However, by the strictest terms, anything 45 minutes or more should technically count as an album as they’ve been defined for the past 80 years or so (EPs are 22 minutes, leaving a lot of wiggle room between the two designations). That’s Meg’s argument here; her lawyers write in the suit, ” There are no other parameters or requirements under the contract for what can be deemed an ‘Album’ other than total run time of the album. As such, Something for Thee Hotties satisfies her ‘Minimum Recording Commitment’ for the second option period of the agreement.”
Incidentally, Megan showed her teeth earlier today after Crawford posted a headline boasting of a victory in their previously existing case; however, it seemed he had misunderstood which of the cases against him she’d dropped. The suit regarding fair royalty splits is still ongoing and now, Megan’s added another one to the collection in the hopes of no longer dealing with Crawford again.
Now that she’s free of The View, conservative commentator Meghan McCain has been leaning even harder into the reactionary bag of tricks in her new column for the Daily Mail, where she routinely spouts right-wing talking points and even hurls bombs at her old workplace. Recently, McCain blasted the new Sex and the City revival series, And Just Like That…, for being another victim of Hollywood “wokeness.” (Yup, she’s that predictable now.)
Here’s just one of the excerpts from McCain’s Daily Mail column:
The problem with the new series is the clumsy attempt to reformat the show into the woke and puritanical times we are living in. For example, Carrie now plays the part of the ‘cisgender woman’ on a podcast with younger co-hosts. One of them is — of course — queer and nonbinary. Because it’s so boring and un-evolved to be a straight white woman. I don’t know who to blame, the writers of the show or this particularly stupid and repressive time we are living in.
Over the weekend, the cast of And Just Like That… called into Andy Cohen’s SiriusXM show, where he asked them to respond to McCain’s criticism. (An interesting move considering Cohen and McCain are believed to be close friends.) Naturally, the cast had some thoughts, starting with Cynthia Nixon, who said the show has always “pushed every kind of boundary.” Nicole Ari Parker, however, went right at McCain
“Comments like that say more about the person saying them. … What’s too much? Maybe in your living room or when you step outside, it looks the same as inside, and you go to the grocery store and it’s the same,” she said, addressing McCain directly. “Maybe it is too much for you. For these characters in New York City, it’s not.”
After catching wind of the cast member’s response, McCain was uncharacteristically diplomatic and actually starstruck that they even talked about her.
“Honestly, I’m just entertained the cast of ‘and just like that’ took time to respond to my column,” McCain tweeted. “I continue to disagree and felt the reboot was a missed opportunity (as do many longtime fans) but that’s ok, and what’s so great about freedom of opinion in America!”
Honestly, I’m just entertained the cast of “and just like that” took time to respond to my column.
I continue to disagree and felt the reboot was a missed opportunity (as do many longtime fans) but that’s ok, and what’s so great about freedom of opinion in America! https://t.co/4XftgDfWz6
Aziz Ansari will make his directorial debut for Searchlight Pictures with a movie starring legendary actor Bill Murray. Not only will the Parks and Rec actor be directing, but he also wrote the script, will produce, and star in the project alongside Murray.
The untitled movie will be a comedy-drama based on the book Being Mortal: Medicine and What Matters in the End, a non-fiction account of Dr. Atul Gawande and his experience working as a surgeon in hospice and end-of-life care. (That is probably where the “drama” aspect of the movie comes in.)
In a statement from Searchlight Pictures presidents David Greenbaum and Matthew Greenfield, the studio is “thrilled” to work with the duo. “Aziz Ansari is an incredible talent and, with this script, he brings a singular combination of insightful humor and pathos. We’re thrilled to be partnering with him on his feature directorial debut, which is long overdue, and, of course, working with the genius Bill Murray once again.”
Ansari is known for co-creating Netflix’s hit Master of None, which has snagged two Emmys. This will be his first time in the director’s chair for a major motion picture, though the actor previously directed a handful of episodes of Master of None. Ansari also has a new comedy special Nightclub Comedian which just premiered on Netflix last month. Ansari took a brief hiatus from Hollywood after alleged sexual misconduct allegations in 2018. No charges were ever filed.
Murray has recently joined the MCU as a “bad guy” in the upcoming Ant-Man and the Wasp installment, alongside Paul Rudd and Evangeline Lilly, who has been spewing some questionable takes about vaccines. Maybe Murray can take over as Wasp?
If you aren’t already following “Weird Al” Yankovic on Twitter, first off, how dare you. Also, you really should, because he’s been posting photos from the set of Weird: The Al Yankovic Story, a tongue-in-cheek biopic coming to The Roku Channel that “promises to hold nothing back and explore every facet of his life, from his childhood through his meteoric rise to fame with early hits like ‘Eat It’ and ‘Like a Surgeon,’ while touching on his torrid celebrity love affairs and famously depraved lifestyle.” Here’s a sample tweet:
Things got real on day four when Yankovic tweeted, “SHOOT DAY #4: Breaking news – @Zendaya is NOT joining the cast of #WEIRDTheAlYankovicStory! We didn’t even ask her! Just figured she’d be too busy.” But you know who has joined the cast? “Cosplayer weirdo” Daniel Radcliffe, who plays the “Smells like Nirvana” singer in Weird.
SHOOT DAY #8: It never fails – we’re trying to shoot a movie here, and this cosplayer weirdo tries to crash our set. Ugh! I mean, I love my fans, but… boundaries, people! Don’t worry, we had security throw him out. #WEIRDTheAlYankovicStory@TheRokuChannelpic.twitter.com/XdHZBlrsPM
“Wearing the Hawaiian shirt is a huge responsibility that I don’t take lightly,” the Harry Potter star told People, “and I’m honored to finally share with the world the absolutely 100 percent unassailably true story of Weird Al’s depraved and scandalous life.”
You won’t believe what this sicko “Weird Al” did in his college bathroom (record “My Bologna”).
Evan Rachel Wood’s advocacy for sexual assault survivors took a turn after she came forward in 2021 to name Marilyn Manson (real name Brian Warner) as the alleged abuser that she had discussed for several years, including during legislative testimony. In director Amy Berg’s two-part documentary, Phoenix Rising (which debuted at Sundance), the Westworld actress elaborates upon her previous allegations (that Manson terrorized, groomed, and abused her during their relationship) against him.
The documentary will soon debut on HBO, and in the above trailer, you can watch Evan discuss how grateful she is to feel that people believe her allegations. The documentary seeks to bring visibility to survivors of domestic and sexual abuse. From the synopsis:
PHOENIX RISING, a two-part HBO documentary, follows actress and activist Evan Rachel Wood as she takes her experience as a survivor of domestic violence to pursue justice, heal generational wounds and reclaim her story. Almost a decade after escaping a dangerous relationship, Wood co-authors and successfully lobbies for passage of The Phoenix Act, legislation that extends the statute of limitations for domestic violence cases in California.
Within the documentary, Wood accuses Manson of “essentially raping” her on the set of 2007’s Heart-Shaped Glassesvideo, in which she says that she agreed to simulate sex before Manson allegedly had nonconsensual intercourse with her on camera. In a later statement, Manson denied the accusations via a representative, who declared, “Brian did not have sex with Evan on that set.”
Phoenix Rising premieres (on HBO) on March 15 and 16.
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