Coachella’s 2022 festival is set to kick off in less than three months, with Kanye West, Billie Eilish, and Harry Styles serving as headliners. It’ll be the festival’s first iteration since 2019, after they were forced to cancel the ones set for 2020 and 2021 due to the pandemic. When first announced in 2020, Travis Scott, Frank Ocean, and Rage Against The Machine were announced as the headliners. It was originally believed that the trio would headline his year’s show, but Frank’s set was postponed until 2023 while Scott and Rage Against The Machine were dropped from the lineup.
Many Travis Scott supporters are upset that he won’t be there, which most likely came as a result of the tragedy at his 2021 Astroworld Festival. So they’ve taken matters into their own hands. A petition calling for the rapper’s appearance at Coachella next year currently has nearly 70,000 signatures, with the goal of obtaining at least 75,000. It also calls for Kanye West to help deliver a Scott performance at Coachella.
“Book Travis for 2023 or have Ye bring him out!” a statement on the petition reads. “After Coachella unfairly removed Travis Scott for Harry Styles, they need to do the right thing and rebook him immediately.” It continues, “Coachella switched Travis and Frank for Harry Styles and Billie Eilish? What kind of message does that send? Fans are demanding refunds and selling their tickets. Coachella needs to fix this asap.” The statement concludes, “We all know Astroworld tragedy wasn’t Travis fault. Let him get back to performing on the biggest stages!”
It should be noted that Coachella did not intentionally switch either Frank Ocean for either Harry Styles or Billie Eilish. Back in August, months before either the two were announced as headliners, Coachella’s co-founder said Frank would miss the 2022 festival because he was unavailable for the rescheduled dates. Frank will instead perform in 2023.
If you allow Donald Trump to keep talking, he’ll go in some strange, unexpected directions. That’s one of the key traits SNL cast member James Austin Johnson has glommed onto for his celebrated impersonation. And it was on full display during a recent appearance on former Fox Business anchor Lou Dobbs’ podcast.
As per Raw Story, what began as a simple bleak-o-rama summary of American life under his successor, Joe Biden, derailed into him ranting about him being unable to find leather for some book that will soon be published.
“Well, nobody even heard the term supply chain,” Trump bizarrely claimed when discussing how some goods have become hard to find in parts of the country. “We didn’t sit around talking about supply chain. Now, that’s all of a sudden, that’s all — the two words people are using most because you can’t get anything.”
Trump then did what he often does: exaggerate to the point of absurdity, claiming that “sixty, seventy percent” of “big grocery stores” are empty. He added, “In some cases, more than that. They can’t get food, they can’t get clothing.”
He then moved the focus away from the American people to his favorite subject: himself. “I just did a book — which is very successful, they sold 240,000 copies and we just ordered another 240,000, I guess, or more,” Trump claimed. “And the publisher — the printer, who is one of the biggest in the country, I think he said he has eight plants, he said, well we have one problem, we can’t get paper, we can’t get ink.”
He added, “We can’t get glue,” Trump continued. “And we can’t get leather, for the covers. He said, ‘I’ve been doing this for forty years, I’ve never had a problem getting anything.”
What book is he talking about? Presumably not the one actually penned by a ghostwriter who hates him. He probably meant Our Journey Together, a hardcover picture book documenting his lone term as president, billed as “President Donald J. Trump’s first official book since leaving the White House.” There are two versions, and neither is exactly cheap: A standard version costs $74.99 while a signed one goes for a whopping $229.99. Alas, the latter is sold out. The book is due out in February, so maybe they found some glue and leather after all.
Anyway, it looks like SNL may have received some more Trump fodder.
Imagine rummaging through secondhand finds in your local thrift store, only to find that some items include a bonus feline at no extra charge.
Montequlla the orange tabby had somehow not gotten the memo that he and his family were moving. As they dropped off furniture, including a big recliner chair, to the Denver Arc Thrift Store on New Year’s Eve, they had no idea that poor little Montequlla was tucked away inside.
Luckily, the staff began to notice the chair meowing.
Though the family had already left, the store called Denver Animal Protection to make a report.
Jenna Humphreys, the DAP officer who responded to the call, told the Denver Channel:
“Sure enough, there’s a recliner out front, and there’s a little orange tabby stuck inside. Very friendly, couldn’t get out. They said that they had noticed the meowing shortly after somebody had dropped it off.”
Officer Humphreys scanned Montequlla’s microchip and tried to call his owners, to no avail. According to the Denver Animal Shelter, the microchip had not been updated.
A friendly reminder to keep your microchips updated, pet owners!
Meanwhile, Montequlla’s family were back home, frantically searching for their beloved pet. When they eventually realized he might have accidentally become a furniture stowaway, they immediately called the thrift store.
The stress of moving can often cause cats to hide. They are notoriously averse to change and try their best to escape the chaos in favor of something familiar. Fortunately there are ways to help soothe your anxious kitty into the unknown.
While we’re on the subject, recliners can pose a huge risk to cats. There are several horror stories out there, and I won’t punish our readers by going into detail. But suffice it to say, you should always check underneath a chair to avoid serious injury.
But this story does have a happy ending, as Montequlla is very much unharmed and back safely in the arms of his owners, who are “relieved” to be reunited with their furry adventurer, according to Humphreys.
Judging from the look on his face in this photo, this cat will not forget his trip anytime soon.
If you haven’t checked out Wordle, I’m sorry to tell you you’re missing out on a delightful cultural phenomenon. You don’t have to play it to appreciate it—word games aren’t everyone’s cup of tea—but you should at least know why you keep seeing these weird rows of gray, yellow and green boxes filling up your social media feeds.
First of all, Wordle itself is fun. The play is easy, but the puzzle can be challenging. The basic gist is you have six tries to guess the day’s five-letter word. With each try, you’re told which of your letters are correct and if any of those correct letters are in the correct spot. After you play, you can share your results without giving away the word at all.
But the gameplay isn’t actually the most appealing thing about it.
Wordle is simple in all the best ways. There’s no app. No ads. No purchases. No registrations or logins. No leveling up. You can only play once a day, and it takes just a few minutes. The game doesn’t even have its own dedicated domain—it’s just a page on a guy’s personal website.
It was created by a software engineer named Josh Wardle for his partner who loves word games, and he decided to make it public a few months ago. He’s not trying to make money off of it. He even decided not to put a link to the game in the results sharing function because it looked cluttery. The wholesome simplicity is refreshing, and the capitalismlessness of it is a big part of its appeal.
Wordle results sharing is actually one of the best things about it.
Some people have poked fun at—or expressed annoyance with—everyone sharing their Wordle results. But hear me out—we all want this. We really do.
It’s exceedingly rare that we all get to enjoy something together that isn’t pushed by some big corporation or doesn’t have the purpose of plucking away our pennies. The organic growth of the game’s popularity is simply delightful, as is the fact that there’s this unspoken social contract that people don’t give away the day’s Wordle word.
For the most part, people are miraculously on the same page here. Don’t ruin the game for anyone else by sharing the actual answer. You can share your results, but not the answer. A Wordle spoiler trollbot tried to ruin the fun, but that account was met with utter derision. In a world where everything feels increasingly complicated and chaotic, people want this nice thing.
One of the great things about humans is that, despite a handful of miserable folks who want to ruin things, there are lots of people who want to make good things just for the sake of making good things. In that vein, some people have figured out a way to make Wordle results sharing even more fun.
A couple of people started sharing their Wordle results in the form of townscapes from the Chrome browser version of Townscaper by Oskar Stalberg, which end up looking like this:
Wordle 211 x #Townscaperpic.twitter.com/7eLB7Vggve
Then, someone else created a tool that automatically transforms your results into one of these townscapes, with options that allow you to create four different townscape styles.
There are now 2 options, so the same Wordle result can produce 4 different Townscaper buildings.pic.twitter.com/fgbZ2ILOur
You can create the townscape by going to this link in a Chrome browser and pasting either a tweet with Wordle results in it or pasting your actual Wordle results (which are copied to your clipboard when you click “share” from the Wordle site) directly into the box. Click “Parse,” then “Generate,” then see the link at the bottom to view your townscape. You can alter the results by clicking one or both of the boxes that say “Fill gaps on walls” and “Remove gaps on ground.”
Fair warning: Townscaper is a time trap.
I feel the need to add a word of warning here. One of the great things about Wordle is that it doesn’t suck away your time like many games do, because you can only play once a day. But if you put your results into the Townscaper tool, there’s nothing to prevent you from embellishing it with some fun add-ons. It’s ridiculously easy to do and it makes a satisfying plunking noise when you add things, which can get a little addicting.
Here’s a screenshot of my Wordle results from this morning with a few add-ons, which only took about 30 seconds. So. Fun.
Well done, awesome people. Maybe if we channel this same creative energy and desire for simple, wholesome goodness into more areas of human existence, we could solve more of the problems that plague us.
In the meantime, keep Wordling and sharing, folks. Let’s lean into this good thing while it lasts.
On Tuesday, Upworthy reported that actor Peter Dinklage was unhappy with Disney’s decision to move forward with a live-action version of “Snow White and the Seven Drawfs” starring Rachel Zegler.
Dinklage praised Disney’s inclusive casting of the “West Side Story” actress, whose mother is of Colombian descent, but pointed out that, at the same time, the company was making a film that promotes damaging stereotypes about people with dwarfism.
“There’s a lot of hypocrisy going on, I’ve gotta say, from being somebody who’s a little bit unique,” Dinklage told Marc Maron on his “WTF” podcast.
“Well, you know, it’s really progressive to cast a—literally no offense to anybody, but I was a little taken aback by, they were very proud to cast a Latino actress as Snow White,” Dinklage said, “but you’re still telling the story of ‘Snow White and the Seven Dwarfs.’ Take a step back and look at what you’re doing there.”
“It makes no sense to me, because you’re progressive in one way and then you’re still making that fucking backward story of seven dwarfs living in a cave. What the fuck are you doing, man?” Dinklage added. However, he could get on board if Disney made some drastic changes to the fairy tale.
“If you tell the story of ‘Snow White’ with the most fucked-up, cool, progressive spin on it—let’s do it!” he said.
Dinklage is one of the most high-profile dwarfs in the world, so when he speaks out about matters facing the dwarfism community, his words carry a lot of weight. They clearly caught the attention of Disney, which responded with a statement on Tuesday.
“To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters and have been consulting with members of the dwarfism community. We look forward to sharing more as the film heads into production after a lengthy development period,” a Disney spokesperson said in a statement to The Hollywood Reporter.
The Hollywood Reporter notes that the film will have cultural consultants and that the updated “dwarf” characters will be “CG/animated.” Disney has employed cultural consultants in the past on films such as “Coco” and “Mulan” to avoid promoting any harmful stereotypes. It’s a tough lesson that the company has had to learn. Some of Disney’s most classic films now come with a disclaimer notifying people that they contain outdated depictions of certain groups.
The story of “Snow White and the Seven Dwarfs” is a sensitive topic for the dwarfism community. Although it’s a cartoon, it’s often a child’s first exposure to dwarfs, or “little people” as they are sometimes called, and it promotes some of the worst stereotypes attached to them.
Throughout film history, dwarfs have been depicted as magical, communal people, villains or characters to be laughed at. Only recently has Hollywood has begun telling stories where little people are portrayed as fully developed humans. Dinklage has been a wonderful example of someone with dwarfism playing characters that are about more than simply being short-statured.
Historically, bigots have used “Snow White” as a cudgel against little people by comparing them to the characters in the story and by playing cruel jokes such as shouting “Hi-ho” at them in public. So it’s important for Disney to get the characterization of Snow White’s short-statured friends right or risk giving more fodder to those who wish to victimize them.
The hosts of Fox & Friends aren’t always friendly. At the start of the year, Steve Doocy — proud father of the reporter President Joe Biden recently called a “stupid son of a bitch” over a hot mic — caught COVID amidst the emergence of the Omicron variant. He got really sick; he could have died. But when he returned to hosting duties, hoping to warn their unvaxxed viewers — who are overwhelmingly the ones hospitalized and dying from COVID — he was met with hostility from co-host Brian Kilmeade.
Now the two are at it again. On Wednesday, the team belatedly discussed one of the big controversies from last weekend: Bill Maher and former New York Times reporter Bari Weiss saying they were “done” with COVID, despite it currently killing over 2,000 Americans a day. Doocy thought that was dumb. Kilmeade did not. And so things got a little testy.
“The survivability is 98 percent. And you want to live your life running around hiding for two and a half years? Are you kidding? She’s 100 percent right,” Kilmeade said about Maher and Weiss’ reckless attacks on mandates and restrictions.
Doocy attempted to be measured. “I’m certainly not hiding, I’m just being careful,” he replied. “A lot of people, I’m in my 60s, a lot of people over 60 are being careful because they don’t want it and it’s killing 10,000 people a week.”
Kilmeade, who hosts a show where he just yaps about whatever, claimed that health experts “don’t know what the hell they’re talking about,” saying that they “change the rules and never acknowledge that they told us the wrong stuff.” (He didn’t mention that their rules change because our understanding of a constantly evolving virus is itself changing.) Kilmeade suggested that Biden’s message should be about “living with it, not running from it.” (Again, over 2,000 Americans — almost all unvaccinated people, who may be listening to people like Kilmeade and Tucker Carlson — are dying every day.)
When Doocy offered an olive branch, saying “you got to be careful,” Kilmeade shot back.
“In what way?” he replied, not letting him answer. “What mask? Does the mask work being careful? Then they tell us the cloth mask doesn’t work. Really? Two and a half years later I’m wearing a mask that doesn’t work?”
Then Doocy pointed out, “Brian, everybody in this building for the most part except us is wearing a mask,” alluding to the building’s strict vaccine mandate for on-site workers.
Bourbon whiskey (already) starts to hit its stride at this price point. You really can find pretty damn good bourbons in the $20 to $30 range. In fact, you can find some stone-cold classics at this price point. Why? Well, the biggest reason is that bourbon doesn’t have to be aged forever (two to six years is a loose average) and it’s largely a local product.
Just for clarity, I’m not saying a $25 bottle of bourbon is going to blow your socks off. What I am saying is that bourbon whiskeys in this price range are going to be a) very easy to drink, b) findable, and c) versatile. You’re going to find complexity. You will find great cocktail bases. Hell, there are even a few bourbons I sip on the rocks on this list from time to time.
The ten bottles of bourbon whiskey below are great-tasting standard bourbons. These are everyday pours. They all clock in at under $30 based on prices at Total Wine in Louisville, Kentucky (your local prices will vary slightly). Let’s dive in!
Larceny is Heaven Hill’s wheated bourbon. The mash bill is 68 percent corn, 20 percent wheat, and 12 percent malted barley. The wheated juice is “small batched” with no age statement and proofed down to a very accessible 92 proof.
Tasting Notes:
There’s a note of freshly baked biscuits with butter and toffee dripping through on the nose. That butter gets very creamy on the palate as the toffee leads towards rich vanilla, sweet oak, and very slight berry fruitiness. The real star of the show is the buttery toffee, biscuits, and hint of sweet wood that lingers the longest throughout the short-ish finish.
Bottom Line:
An accessible and tasty wheaty is a good place to start on this price-point journey. This whiskey highlights the graininess with a nice sweet edge coming through, making this an easy mixing bourbon.
This juice hails from one of Sazerac’s many other distilleries. In this case, Clear Spring Distilling Co. is behind the brand (they’re also rumored to be behind Costco’s Kirkland Signature bourbons). This juice is a pretty straightforward bourbon that’s aged around two years before blending, proofing, and bottling.
Tasting Notes:
This does taste a lot like the Kirkland Signature stuff. There’s a clear sense of vanilla, caramel, and oak that’s neither bold nor muted alongside a hint of sourdough crust and maybe mint. The sip has a moment of orchard fruit next to the caramel that then leads back towards the vanilla. The end is short, a bit hot, and sweet-ish with a cherry edge tied back to the vanilla.
Bottom Line:
This is a whiskey that’s best suited to shots and highballs, especially ginger ale ones.
This introductory juice from Four Roses is a blend of all ten of their whiskeys (they produce two mash bills — one high rye and one low rye — with five different yeasts). The barrels are a minimum of five years old when they’re plucked from the warehouses, blended, brought down to proof, and bottled.
Tasting Notes:
There’s a bit of steeliness to the nose that’s mellowed by hints of dried florals, apple, and a touch of honey and spice. The taste doesn’t veer too far from the nose as the apple and honey move toward mild vanilla and more sweetgrass. The end is subtle and short with a touch of green oak, spice, fruit, and one more dash of honey.
Bottom Line:
If it wasn’t for that steely note on the nose, this might be at the top of this list. Still, this is a solid mixing bourbon that works well as shot with a beer back too.
Old Forester’s 100-proof expression is made in the same way as their 86 proof (with a mash bill of 78 percent corn, 18 percent rye, and ten percent malted barley). The key difference is that after these barrels are blended, they’re barely touched with water, keeping the proof on the higher side.
Tasting Notes:
Oak and caramel draw you in on the nose with a nice dose of cherry candy and a hint of coffee bitterness. The palate wallows in vanilla as a spicy apple pie with a vanilla-flecked, buttery crust drives the taste. The oak, apple, and spice really power the dram home with a medium-length fade and plenty of bourbon/oaky/spicy warmth.
Bottom Line:
This works really well in old fashioneds and Manhattans thanks to that higher ABV. Though, I tend not to pour this on the rocks all that often.
This whiskey, distilled at Lux Row Distillers in Bardstown, is kind of like a Tennessee whiskey made in Kentucky. The juice has a pretty standard mash bill corn, rye, and barley. But, once the spirit comes off the stills it’s filtered through charcoal, just like Tennessee whiskey, before it’s filled into the barrels. That whiskey is then batched, proofed down with limestone water, and bottled.
Tasting Notes:
This also leans very classic bourbon with hints of corn on the cob with melty salted butter next to hints of soft leather pouches filled with roasted peanut shells, a touch of caramel, and a vanilla/chocolate ice cream vibe. The palate keeps things super easy as that rich vanilla ice cream leads towards holiday spices, tart green apples, and a freshly baked cornbread bespeckled with dried chili flakes and black pepper. The finish is soft and fast with that spice leading back towards a leather tobacco chew.
Bottom Line:
The higher ABVs on this one make it great for mixing up easy cocktails (think old fashioneds and highballs). I have poured this over the rocks from time to time as a sort of everyday table whiskey.
This bourbon from Kentucky Bourbon Distillers (or more familiarly, Willett) is a bit of a mystery. Willett doesn’t really show its hand with any of their releases and this one is no different. We do know it’s a “small batch” and from barrels that are a minimum of four years old (some say as old as ten). But that’s about it.
Tasting Notes:
The whiskey opens with a note of wintry plum pudding next to oatmeal cookie, a hint of worn leather, and dried mint leaves. The palate luxuriates in vanilla-laced pancakes dripping with real maple syrup, a touch of orange zest, and a little more of that leather next to a mild spicy tobacco leaf. That tobacco leaf attaches to a woodiness that’s almost wet like cordwood as the vanilla smoothes out the finish and leaves you with a smooth menthol tobacco vibe.
Bottom Line:
This is a light bourbon. There are distinct notes throughout but they never “Wow” the palate or sense. That being said, this folds into a cocktail very easily and opens up a bit more over a rock than on its own.
This unique offering from Brown-Forman celebrates the coopers who make all their barrels, including those for Woodford Reserve and Jack Daniel’s. The juice isn’t just aged in those Brown-Forman barrels, it’s also filtered through beech and birch charcoal, adding a Tennessee whiskey-like edge to the Kentucky bourbon expression.
Tasting Notes:
Toasted and charred oak both come through on the nose with a clear sense of tart apples stewed in butter and Christmas spices with a hint of lemon zest. That lemon turns into a creamy pudding as the spice from the stewed apples amps up and marries with the cedar notes from the wood. With a little water, nutty notes pop with a bit of orange zest and mint. The end is deliberate and hits on the toasty oak, spice, apples, and sweetness as it fades.
Bottom Line:
This is where we start getting into the versatile pours. This works wonders in a cocktail but is also perfectly well-suited to an on the rocks pour.
This is Maker’s signature expression made with Red winter wheat and aged seasoned Ozark oak for six to seven years. This expression’s juice is then sourced from only 150 barrels (making this a “small batch”). Those barrels are then blended and proofed with Kentucky limestone water before bottling and dipping in their iconic red wax.
Tasting Notes:
The nose is full of those heavily charred oak barrel notes next to classic hints of caramel and vanilla with a grassy underbelly. That grassiness becomes vaguely floral as slightly spiced caramel apples arrive, along with a chewy mouthfeel that leads towards a soft mineral vibe — kind of like wet granite. The end holds onto the fruit and sweetness as the oak and dried grass stays in your senses.
Bottom Line:
While this is a little low in the ABVs for cocktails, it still makes a mean Manhattan. Otherwise, pour this on some rocks after a hard day’s work and take your time enjoying it.
This tiny and new distillery was founded in West Louisville by brothers Victor, Chris, and Bryson Yarbrough. The distillery is the first African-American-owned brand working in the state. For now, this bottle is contract-distilled (distilled at a big distillery based on their own recipe/concept) in Indiana from a mash bill of 75 percent corn, 21 percent rye, and four percent malted barley.
Tasting Notes:
You’re greeted with dried roses, marzipan, and creamy eggnog on the nose with a hint of apple and dry corn. That apple drives the taste with more orchard fruit (think pears) as the nutmeg really spikes and the marzipan takes on a rosewater note next to a very distant flutter of pepper spice in the background. The finish sweetens with a spoonful of fresh and floral honey as those orchard fruits affix to a mildly spicy and vanilla-forward tobacco leaf.
Bottom Line:
This is a whiskey that punches way above its price point. It’s unique and deeply hewn while still feeling accessible (and very drinkable). I do like mixing this into a nice Sazerac (thanks to the florals) but it 100 percent works on the rocks as a sipper too.
This higher-end whiskey from Jim Beam is a nine-year-old bourbon that’s bottled at a higher proof. The mash bill is the same as standard Jim Beam with 75 percent corn, 13 percent rye, and 12 percent malted barley. It was a no-age-statement bourbon between 2016 and April of 2020. Then Beam brought the age statement back due to popular demand and solid supply.
Tasting Notes:
Buttered kettle corn with caramel meets mild notes of vanilla, worn leather, and a hint of orange zest up top. The sip delivers a very mild peppery spice that never overpowers while caramel corn, vanilla, and slightly musty oak mingle with cherry tobacco with an edge of wintry spice. A soft woodiness leads towards an end that retouches on the orange, cherry-spice, and vanilla while fading away slowly.
Bottom Line:
This expression never disappoints. It’s so easy to drink neat, on the rocks, or mixed into your favorite cocktail (thanks to those amped-up ABVs). Though, I really do prefer it on a couple of rocks.
Anthony Eugene Sheriff, known to people across the Los Angeles area as Sheriff Drumman, had his life turned upside down last December when his truck and drum set were stolen at 4:30 a.m. outside his apartment in Hawthorne, California.
“When I got outside, I had a total panic attack,” Sheriff, 34, told the Los Angeles Times. “I fainted in front of my neighbors. I started screaming, I was calling for help like someone had shot me. It felt like the devastating news of a loved one being murdered.
“It means the world to me,” he said about his music. “Without drums, my life would have went a completely different way. There’s no other way to say it. It’s my therapy, it’s my fun, it’s my life.”
After his truck was stolen, Sheriff immediately took to social media to tell his followers to be on the lookout.
Sheriff’s truck and drums weren’t just for transportation and self-expression, they were his livelihood. He built a special rig in his truck’s flatbed so that he can play drums while being driven all over town. They also allowed him to easily set up and play at Los Angeles Rams’ tailgate parties and in shopping centers.
Sheriff was “discovered” at a gas station and subsequently made an appearance on “The Steve Harvey Show.”
“I went to a part in my life and I said ‘You know what? These drums is keeping me going,'” he told Harvey. “I said, why have a gift being able to do something and not be able to make money from it?”
During the pandemic, Sheriff was playing up to six gigs a day, getting paid $300 a for an hour’s gig.
The truck also had sentimental value. Sheriff spent six years building the rig, handcrafting the metal supports and eye-catching #SheriffDrumman sign that hovers above the makeshift stage.
A few days after his truck went missing, it was located near train tracks on Slauson Avenue. But unfortunately, his drum kit and the elaborate setup he created to play on the truck’s flatbed were gone. Sheriff started a GoFundMe campaign to help pay for the repairs he needed to get working again.
So far, the campaign has earned nearly $20,000.
Last week, Sheriff got a big help from people who understand the importance of music, Metallica. A representative from the legendary heavy metal band caught up with Sheriff in Hollywood and gave him a new drum set.
Videos on Sheriff’s Instagram page show that he did have a kit to play when he received the new set, but as any musician will tell you, one set of drums is never enough.
Sheriff couldn’t believe the band’s generosity. “Man, thank you guys so much,” he said. “Thank you for taking the time and the resources to support and help what I do. I love you for that.”
We’re honored to be able to help out a fellow artist. Keep the music going, Sheriff Drumman!https://www.nbclosangeles.com/news/local/sheriff-drumman-whose-drums-were-stolen-gets-new-set-thanks-to-metallica/2800734/u00a0u2026
Even though Metallica is known for songs such as “Creeping Death” and “Ride the Lightning,” it’s touching to see they still have some love in their dark hearts to help out a fellow musician. Now, it would be great if Sheriff could post a video on his Instagram page of him playing a cover of Metallica’s “Fight Fire With Fire.”
It looks like a new streaming show is slowly making its way up to totem pole, sorry to lovable robot 8D8 from The Book Of Boba Fett. HBO Max’s latest series, Peacemaker is gaining momentum amongst some of the other most popular streaming shows of the moment, including Disney+’s Boba Fett and Netflix’s The Witcher.
The show, which stars John Cena as the titular “peacemaker” is a spin-off of James Gunn’s The Suicide Squad (NOT to be confused with…that other one). The series follows Cena’s Suicide Squad character as he joins a black ops squad to eradicate extra-terrestrial beings.
Peacemaker, also created by Gunn, was the most popular streaming series as of January 22nd, reportedly 69.5 times more popular than other shows, according to Parrot Analytics. Parrot measures audience demand and engagement of a TV series to quantify its popularity.
This is a shock to anyone who watches these shows, or anyone who loves data, since HBO Max notoriously has less subscribers than its competitors. Netflix leads the streaming business with 222 million subscribers, while Disney+ totaled 118 million at the end of last year. HBO Max ended 2021 with just 73.8 million subscribers.
This is a good sign for DC fans, as HBO has several other superhero shows in the works, including Justice League Dark, and Green Lantern (not to be confused with…that other one).
Earl Sweatshirt‘s new album Sick! has become a critical darling in the weeks since it dropped (if not a complete commercial success, debuting at No. 80 on the Billboard 200), but that didn’t stop rapper turned podcaster Joe Budden from utterly trashing it on his show.
Budden denied even listening to the album, using Earl’s relationship with Tyler The Creator to undercut Earl’s impact. “Yo, when your man stop inviting you to the studio, you’re not getting me to listen to what you’re doing,” he said. “Sorry, that’s like a rule of thumb for me.”
However, Earl doesn’t seem fazed by Budden’s assessment — although he did have a clever response. “Its weird that bro didn’t like my mood muzik,” he joked on Twitter, referring to Budden’s fan-favorite mixtape series Mood Muzik and drawing a not-so-subtle comparison between the similar emotional content of both rappers’ catalogs. “LOL what happened twin?”
its weird that bro didn’t like my mood muzik LOL what happened twin?
Earl’s got a point; Budden’s Mood Muzik series could easily be seen as a precursor to many of Sweatshirt’s own beloved, super-introspective albums, as they deal with many similar themes and subjects such as addiction, anxiety, and depression, with both of their output grinding against the grain of the mainstream sounds. Knowing that, it’s unsurprising that Earl chose to take the high road in this case, making Joe Budden’s loud criticisms of his project sound a lot more like sour grapes — something that the elder rapper has been chewing on for a long time.
Earl Sweatshirt is a Warner Music artist. Uproxx is an independent subsidiary.
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This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
