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The Clippers, Nets, And Pistons Agreed To A Three-Way Trade On Draft Night

The 2020 NBA Draft was not as trade-heavy as people expected early on. As we got into the middle of the first round, though, a trio of teams came together to work out a deal that involves a pair of players moving on to new places and a pick changing hands.

According to Adrian Wojnarowski of ESPN and Shams Charania of The Athletic, the Los Angeles Clippers will send sharpshooting guard Landry Shamet to the Brooklyn Nets in exchange for the No. 19 pick in the 2020 NBA Draft. The Clippers will then take that pick and flip it to Detroit, which in exchange will send back another sharpshooter in Luke Kennard.

With the pick, Detroit opted to take Saddiq Bey, a solid three-and-D wing from Villanova.

Detroit also acquired Rodney McGruder in the deal.

Bey gives the Pistons a third first-round selection in this Draft, alongside French guard Killian Hayes and Washington big man Isaiah Stewart. Last season, Shamet appeared in 53 games for the Clippers, scoring 9.3 points per game and connecting on 37.5 percent of his triples. As for Kennard, he battled with injuries during the 2019-20 campaign, but showed signs of taking a leap into become a really impressive scorer — he only appeared in 28 games, but Kennard averaged 15.8 points and hit 39.9 percent of his threes.

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Inside The Wild World Of ‘The Eric Andre Show’ And Rapper Warrior Ninja

“I know the appropriate amount of torture,” Eric Andre assures us while explaining the laundry list of implements at his disposal in the return of Rapper Warrior Ninja. The bit, back for the long-awaited fifth season of his eponymous hyperchaotic and inventive Adult Swim late-night show, was established in 2016 for season four as a thrown together swing at merging hip-hop and weird game shows by way of an obstacle course. Andre compares it to a cross between Lip Sync Battle, Killer Karaoke, and Carpool Karaoke. Jackass meets hip-hop is another way to look at it. But none of those shows feel like they take place in the basement of a demented game master who is having the time of his life watching people fall down, freak out, and tussle with the hard reality that they have, for a few moments, put their brand in the hands of Eric Andre. I’ll throw a comp out there too: it’s like watching Saw with a better soundtrack and slightly lower stakes. So far.

The ambition exhibited in season 5 (which will include three Rapper Warrior Ninja segments with guests ranging from Lil Yachty to Freddie Gibbs, and Steve-O when all is said and done) and the possibility of a stand-alone spin-off (which is in limbo right now) do make you wonder how big and sadistic things might go. Director and EP Kitao Sakurai ponders the possibility of one day having Megan Thee Stallion on to run the gauntlet. Head writer and EP Dan Curry fantasizes about leaving the tight confines of the studio to take over a real American Ninja Warrior course. Season 5 production designer Ben Spiegelman perks up when thinking about massive slides and all the fun he could design if this keeps going and growing.

But to understand how far this can go and what Andre defines as “the appropriate amount of torture,” you need to explore the origins and the level of plotting and creative chaos making that went into that cult favorite season 4 bit and this season’s supercharged version. And with the help of Andre, Sakurai, Curry, Spiegelman, rappers and obstacle course participants Open Mike Eagle and Trippie Redd, and hip-hop icon, People’s Party host, and season 5 judge Talib Kweli, we’re bringing you the story of the past and present of Rapper Warrior Ninja. From the on-set hijinks and party vibe to the weird crazy love affair between The Eric Andre Show and hip-hop culture.

But first, let’s revisit the insanity of the original bit.

The Economics Of Torture

Rapper Warrior Ninja elevates the show’s usual efforts to torture its musical guests, drawing inspiration from sources as diverse as Double Dare and sadistic Japanese game shows. All on a shoestring budget.

Eric Andre: The idea came out of the season 4 writer’s room where we had a bunch of different torture devices for various musical acts. We were looking at our board full of torturous happenings and then we were like, “Why don’t we consolidate and combine all of these into one massive torture gauntlet with rappers?”

Dan Curry (writer/EP): Who doesn’t want to run through a gauntlet?

Andre: It’s so high stakes. You have rappers who are like the epitome of cool, suave, swag, bravado, machismo, but they’re being treated like the cast of Jackass. So it’s like the rappers are out of their comfort zone and out of their element.

Kitao Sakurai (director/EP): Any time somebody is self-serious or takes themselves seriously, seeing them fall on their face in a childlike way is just intrinsically comedic. And I think that’s a core operating principle of why Rapper Warrior Ninja works. And obviously, we don’t do it in an ill-intentioned way or try and really embarrass or humiliate people. It’s all obviously in good fun.

Curry: I think about Double Dare a lot. I think about how the flow of that show was just chaotic and disruptive. It’s kind of like an energetic kid show thing that we get to do. And I think because the rappers are down… If people are down to do crazy shit, we’re going to give it to them.

Sakurai: Eric and I have a love of sadistic Japanese game shows. It’s what I grew up watching as a Japanese kid. And I think that that quality of sadism has seeped into my bones. I think, ordinarily in American culture, sadism is associated with darkness or sexuality or something like that, but sadism has a very different context in Japanese culture. And I think that there’s a quality of sadism in Japanese culture that’s actually very joyous and in good fun, and which is really enjoyable. And it’s almost like Japanese sadism is a cousin of slapstick comedy. And so, in Japanese culture, slapstick comedy has such a long history and that unbroken tradition. So we love that. And that’s what we tried to do with the Rapper Warrior Ninja.

Andre: You don’t see this on any other show or on the internet. So it’s exciting for people to watch.

Curry: Eric and I write the scripts. We riff the whole thing, so I don’t ever worry about production stuff. Then that’s the kind of thing that I always feel guilty about. It’s just the idea, and I laugh, then I write it down, and then I walk away. And then the whole production comes up around that.

Sakurai: We have very limited resources to accomplish anything. The way our season four obstacle course looked was kind of by nature of the limitations that we had. How do you make an obstacle course that takes our art department an hour to set up? We just had to come up with cheap, easy, dirty… a bunch of mouse traps and a plank, some swinging [heavy] bags.

Adult Swim

Good Time Vibes

A behind-the-scenes party turned into the good kind of on-screen mayhem while Andre and company convinced a group of rappers to endure torture and potential embarrassment leading to hilarious results and the birth of an underground favorite.

Andre: Everyone says no when you pitch them. [Laughs]

Curry: I don’t know why rappers want to do it. I wouldn’t want to do it. I wouldn’t trust Eric with that.

Open Mike Eagle (Rapper and season 4 guest): I was thirsty like that to be on TV. Actually, I’ve been knowing Eric for years. I remember the sizzle reels that he made to get that show greenlit. I actually went to a taping of the first season and I was very jealous of people like Killer Mike and rappers who have been on there. When he extended the invite I was like, “Fuck yeah I’ll do it!” I didn’t care what it was.

Sakurai: Behind the scenes and for myself, it’s a lot of work making sure everything is happening from a logistical standpoint. But the audience can smell the vibe, you know what I mean? And the vibe wants to be all these rappers hanging out, partying, and Eric’s torturing them. But it’s also a really fun, good time. And people are laughing and having fun and making fun of each other. And nobody’s taking anything too seriously. And that’s also the kind of tone that we want to create on set.

Andre: When you’re watching it on TV, it’s like fun and funny, and you don’t think of the torture that goes into it. But it took me, especially in the first one with Danny Brown, A$AP Rocky, and Open Mike Eagle… like it took me probably like a solid hour of convincing. They were like smoking weed and drinking, and Danny Brown brought like a ton of KFC for everybody.

Eagle: We were there four or five hours. I spent most of the time hanging out with Danny Brown, A$AP Rocky, Nocando, and Go Dreamer.

Andre: Danny Brown was like, “Dude, I can’t break my leg. I’m going to China to perform tomorrow.” And I was like, “No, trust me, you’re not going to break your leg. It’s going to be fucking awesome.” It took a lot of work. And then I think Danny just shot up out of his chair and he goes, “All right, fuck it. Let’s do this.” And then everybody like rose to the occasion. They were all like, “All right, we’re doing it. We’re here now. Let’s fucking do it.”

Eagle: We got zero [warning about what to expect]. None. And at this point, I’m sure that was part of the whole thing: being very vague about what it was and kind of spontaneously throwing people in the middle of it.

Andre: I didn’t tell them a goddamn thing. They are walking into it literally blind. Blindfolded. They didn’t know anything. They knew it was an obstacle course of torturous devices and they had to keep rapping. That’s all they knew.

Eagle: When they called me out of the green room, they said it was time for me to go to makeup. And it was actually time for me to go do the damn course. Like they wouldn’t even let us know, you know? Go Dreamer was going in front of me. I was blindfolded so I could hear the shit that he was going through. It was fucking crazy. Fucking crazy. I actually killed my whole freestyle. I kept rapping the whole time. Not everybody else did that.

Andre: Hannibal doesn’t read the script, so he didn’t know what was coming. So all of his laughs and shit are genuine. He was like, “Wait, what is this bit? This is amazing.” To this day it’s his favorite.

Eagle: I was really concerned with the cattle prod. That’s the type of shit I don’t fuck with. So like, that’s the only thing that, to me, was over the line. He had a goddamn cattle prod out there. He didn’t hit me with the cattle prod. I think I would have gotten really mad. I don’t know. Would I have fought Eric on his own show? I don’t know! [Laughs]

Andre: I keep [the cattle prod] next to my bed. It sucks. That thing fucking sucks when you get hit with it, but it’s like a fleeting pain. You definitely don’t want to get hit with it, but it’s not like a taser… like a police-grade taser that sticks barbs in you and takes you down. This is a temporary pain, but it wakes you up. I’ll tell you that.

Sakurai: The cattle prod isn’t that bad. I never want to inflict on a guest what I wouldn’t do myself. So I’ll always give it a shot.

Andre: I wouldn’t put anybody through a gauntlet that I wouldn’t do myself.

Curry: I have kids, so I’m a regular Ninja Warrior fan now. But I didn’t know, at the time, that it wasn’t also American Gladiator. So we had the American Gladiator guy because I didn’t know that that wasn’t in American Ninja Warrior. Because that show doesn’t have people with those joust things nailing you.

Andre: [Open Mike Eagle] almost took down the set. The Gladiator kind of nailed him.

Eagle: I used to play football in high school so I thought I could juke and get around. But I’m older now, so I kind of got caught. I went through the wall. I wasn’t prepared for that. It hurt quite a bit.

Sakurai: It just goes to show that the fundamental aspect of what makes something funny isn’t how big or fancy it is, it’s how the people going through it and experiencing it are reacting.

Andre: It’s out of my hands, it’s not my performance really. I’m just like the writer and producer in that situation. So I was just happy how hard everyone committed once we were up and filming and how fucking funny it was and how high stakes it was. When we started doing it, we were like, “Oh, shit, we’re onto something.” We knew we had a hit on our hands.

Sakurai: There was such underground love of that bit. And for us, it works so well. So, it was just a no brainer for us to do more Rapper Warrior Ninja.

New Tech, Same Mayhem

A cult favorite sketch within a cult favorite show, it was all but guaranteed that Rapper Warrior Ninja would return, but the show found a way to go even bigger spread across three separate segments in season 5 that benefited from the reputation of the earlier bit and Andre’s unpredictability.

Andre: I don’t know if we’d be able to do it in season 1, but I think season 4 and 5, rappers loved the show. Especially this younger generation of rappers. Like, they’re my biggest fans. So I think it just comes from admiration for the show.

Trippie Redd (Rapper and season 5 guest): I love Eric Andre, his shit’s funny. I used to watch him on Adult Swim a lot. And he actually was me for Halloween or whatever. He’s a cool dude. I like the dude so I went and did the shit because of him.

Talib Kweli (Rapper and season 5 judge): It was weird for me, I kind of felt out of place because a lot of the rappers there were way younger than me, I didn’t really know who they were. They just looked like rappers to me. I respected them, though, because I respect Eric Andre’s musical taste. So it actually made me want to research the rappers that were there.

Curry: Because everyone saw it, [Rapper Warrior Ninja] and it became a hot thing that everyone liked, the rappers this year kind of knew what they were in for and they got it harder.

Andre: We kicked it up a notch for sure. The snake pit’s a little hacked, as they say. This is new tech. Yeah, we went hard for sure.

Ben Spiegelman (Season 5 production designer): They wanted to go big and schmaltzy and glitzy [in season 5]. It was over the top egomaniac Liberace design, so they wanted to bring some of that again. And they wanted to pump up the visuals, but at the same time keep it janky and half-assed. [Laughs]

Sakarai: We didn’t consider the ultra-low budgetness to be the fundamental building block of the segment. The fundamental part of the segment is taking these swagged out rappers and putting them into situations that are funny. The show itself didn’t have more budget, but what we did was we allocated more resources to Rapper Warrior Ninja. So even though globally we didn’t have a bigger budget to do bigger, fancier things, we just put a little bit more time and attention into those segments.

Andre: We have a dog shock collar. We had like a tennis ball shooter this year. Oh, I have a gun full of blanks! A real handgun. And I would hide it around set. I would hide it and whip it out while they’re in the middle of rapping and like fire it at them and they don’t know it’s full of blanks. It’s loud as fuck! It’s like, “bow bow bow!” So I have all these guns hidden. We also have this harness. We were putting the rappers up in this harness and spinning them around, like 360, so they’d get really dizzy and I’d be like hitting them with the cattle prod and throwing dildos at them and dumping them in ice water and waxing their leg hair and shit like that.

Spiegelman: There was a rig put up. Sometimes Eric might get zapped by something and he needed to be shot out of his chair or something like that. So it was pulleys and harnesses and winches that you could use to lift a human up or drop them down from the ceiling or whatever it was. We tried to go “Big Show” with it. So there are trucks, there are CO2 cannons, there are flashing moving lights. Everybody’s got special wardrobe on, so it’s a bold new world.

Kweli: My first thought [when seeing the set] was, “I can’t believe that they gave him a budget for this.”

Redd: That shit would have be funny if I got injured. That shit would have been hilarious.

Spiegelman: We did have a safety advisor on this thing. So we would run stuff by him.

Andre: I don’t know [how much insurance the show has], you’d have to ask my line producer. But it ain’t cheap.

Curry: I think they probably had to sign a waiver. I felt like there was a pretty high wall this year that people were falling off.

Sakurai: That was like “The Wall of Fear,” or something. [Laughs]

Curry: Eric shot paintballs, and hoses, and threw things at them and terrified them. It’s really funny. It’s a really funny thing to watch. Eric is at his most joyful when he’s fucking with rappers.

Redd: At first it was kind of like, okay, I’m getting the hang of it. And then out of nowhere it just got hard as fuck. [Laughs] Just shooting at shit. That shit’s funny. We had to balance against a wall while getting shot at and all types of crazy shit. If he would have hit me with anything, I would have went up on him with full force. [Laughs] Take him out the game.

Spiegelman: They were designed to be quasi obstacle courses and pretty much there wasn’t any way to win. There was no way to succeed. [Laughs] So let’s say you were one of the contestants, you’d embark on this thing and then you would be assailed by the obstacles themselves or Eric might run up and try to zap you with a stun gun.

Andre: I really went trigger happy with the cattle prod this year. Murs grabbed it and nailed Talib Kweli with it. Because I was going to nail Talib Kweli with it and I felt too bad because I just grew up listening to him. [Laughs] The younger rappers are easy, but Talib Kweli, I grew up worshiping him, so I couldn’t do it. And then Murs was like, “Come on, do it!” And he grabbed it and he fucking nailed him in the leg with it.

Kweli: I got hit with the cattle prod by Murs because he was jealous that I got more respect from Eric Andre than he did. First off, I want to say that…[Laughs] So shout out to Murs, definitely. [For more on that story] I was down for the shenanigans. I’ll be honest with you, I wasn’t looking forward to getting cattle prodded, but I know what The Eric Andre Show is, so I went in there with an open mind to just be… when in Rome, right?

Redd: I think it’s a good way to bring a lot of artists together and just do something creative and fun to put laughs on people’s faces and shit. Make our fans laugh, but ultimately for the artist to have a good time too. Have fun. It shows personality for sure. It shows a lot of personality. It shows who you are as a person, on your funny side. Kind of cool.

Adult Swim

Epilogue

There’s no longer cut of the first Rapper Warrior Ninja, believe me, I asked. But in nearly two minutes and in the subsequent all-too-brief bits, the trust rappers have for Andre and the affection he has for them shines through. And it’s reflective of both the show and Andre’s heart and how people see it and him. Believe it: we’re getting emotional at the end.

Kweli: I think Eric is brilliant and I think that the way he tries to dismantle, what we think of rappers, comes from a loving place. He’s a guy who studied music. He knows how to play bass, he went to school for it. He’s the guy who grew up loving and being a part of hip-hop culture. I enjoy what Eric Andre does because, a lot of people look at Black comedy and hip-hop in a monolithic way, as if everyone is supposed to be one way. And Eric Andre destroys all those boxes. The way he invites so many hip-hop people, it just speaks to his character and how much he really enjoys the craft.

Sakurai: Over the years Eric has built up a reputation, and the show has built up a reputation for being very boundary-pushing, and the show does things that other shows don’t do. And also the voice of the show speaks to people that are into hip-hop and into music, and Eric is a very genuine and fun guy. And that’s also a quality I think that musicians and rappers pick up on. His love for hip-hop is not disingenuous, it’s very honest. He very much authentically loves and respects the people that he wants to have on the show.

Eagle: I think just his commitment to whatever it is that he’s doing. And it’s really… You know how shit can sometimes really connect when it’s somebody really, truly being themselves? Like, that show is Eric being himself. Like, back when he was broke, he would do stand up naked. You know what I mean? Like in places where that wasn’t what you do and he goes out there. He’s just always been that person. He doesn’t care and he’s not fucking afraid of anything.

Andre: My show is like the comedy version of the new state-of-the-art rap aesthetic. Everything that like Tyler, The Creator and Odd Future have built, and Yachty and even Future… I feel like I’m subconsciously making the show for rappers. So it’s like we’re simpatico. I think on the same creative wavelengths.

‘The Eric Andre Show’ airs Sundays at midnight on Adult Swim.

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Rick Ross Says He Has ‘Unfinished Business’ With T.I. While Teasing A ‘Verzuz’ Battle With Him

Gucci Mane and Jeezy will go head-to-head to kick off the new season of Verzuz on Thursday in what has lined up to be the online platform’s most anticipated battle to date. While much of the focus is on Gucci and Jeezy’s battle, it hasn’t stopped some artists from inserting their name into the mix for a future spot on the Swizz Beatz and Timbaland show.

Just a little over a day away from the Verzuz season premiere, Rick Ross hopped on Instagram to call out T.I. and get his attention for a future matchup with the Atlanta rapper.

Ross sent a direct message to The L.I.B.R.A. rapper saying, “Tip got unfinished business. Rozay got unfinished business. Rozay got unfinished business.” He added, “And after this event, mhmm. It’s time for us to weigh the work. We gotta weigh the work.”

T.I. was originally slated to face Jeezy, but it appeared as if he stepped out of the ring to allow Gucci to go up against his longtime rival. Rick Ross has also participated in a song-for-song battle as he faced 50 Cent said he would consider a battle with The Game — someone he has not seen eye-to-eye with over the years — under one condition: “He can’t play no records with my voice on it.”

You can watch Rick Ross’ video in the post above.

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The Best Anime Series On Netflix Right Now

Last Updated: November 18th
Netflix
hosts an embarrassment of riches in almost every genre imaginable, and anime is no exception. If you’ve never watched any before, or if you’re just worried you might have missed some of the best of what the service has to offer, we’ve got you covered. Romance, action, sci-fi, history, or even all of the above — there’s something for everyone on this list of best anime on Netflix right now.

Related: The 15 Best Animated Movies On Netflix Right Now

Nippon

Death Note

1 season, 37 episodes | IMDb: 9/10

Death Note, the anime series, not the Netflix horror film that borrows inspiration from it, is one of the most inventive shows on this list. It’s also one of the darkest. Ryuk, a god of death, can kill anyone by simply writing their name in a notebook (hence the title of the series). He gets bored one day and tosses his supernatural journal down to Earth. There, it falls into the hands of high school student and prodigy Light Yagami, who’s a bit disenfranchised by humanity and starts using the book to take out criminals. Of course, that makes him a target of the bad guys but also the cops. You never really know who to root for on this show, which makes it all the more interesting.

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Adult Swim

Attack on Titan

3 seasons, 69 episodes | IMDb: 8.8/10

This series is a juggernaut in the anime world, spawning movies and multiple seasons and garnering a legion of devoted fans. To understand the hype, you’ll have to watch, but expect inventive action and a gripping storyline. Set in an alternate universe where humanity has caged itself off from giant monsters known as Titans, the show follows a group of fighters trying to protect their people when one of those walls is breached, and the Titans attack.

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Adult Swim

The Promised Neverland

1 season, 13 episodes | IMDb: 8.7/10

A group of intellectually gifted orphans discovers a dark secret about their origins in this inventive anime series. There are some dark-fantasy vibes at play here as the 38 siblings living in a seemingly idyllic abode break their Mother’s one rule, opening up a world of secrets and betrayal in the process. We’re suckers for a good mystery, and this has the added benefit of a truly suspect parental figure to heighten the tension.

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Fuji TV

Erased

1 season, 12 episodes | IMDb: 8.5/10

This time-travel drama offers an inventive twist on your normal anime fare, turning the story of a young man trying to prevent his mother’s death into a winding mystery filled with fantasy tropes and colorful characters. Satoru Fujinuma experiences something called “Revivals,” tiny jumps back in time that let him help others and prevent tragedies. But when he’s sent 18 years into the past to solve a string of kidnappings somehow related to his mother’s future death, things get complicated.

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Netflix

Castlevania (2017)

3 seasons, 23 episodes | IMDb: 8.1/10

Even those unfamiliar with anime are likely to have heard of Castlevania (as the franchise is one of the jewels in Konami’s crown). The anime series is produced by Netflix, and boasts a voice cast including Graham McTavish as Count Dracula, who vows revenge against Wallachia after the death of his wife, and Richard Armitage as Trevor Belmont, the last of a clan of monster hunters, who leads the fight against him. (Matt Frewer also features in the cast, which should be a treat for any fellow Max Headroom enthusiasts.) There’s blood a-plenty, and a nice balance between monster and man as per most gothic horror stories — as well as a somewhat romantic aspect, as Dracula is portrayed as a sympathetic villain. The series is also just gorgeously animated, and with a first season of only four episodes, well worth your time.

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Cartoon Network

Parasyte: The Maxim

1 season, 24 episodes | IMDb: 8.3/10

Parasyte is basically the plot of Venom but in anime form and without that stomach-churning lobster scene. No really, this series is a hell of a lot more fun than expected. A teenage kid named Shinichi Izumi is partially infected by a Parasyte: monsters that butcher and consume humans. He’s got to figure out how to feed the beast without killing people and eventually coexist with his evil counterpart.

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Netflix

Blood of Zeus

1 season, 8 episodes | IMDb: 7.9/10

This new anime series from Netflix represents the platform’s initiative to churn out more of the genre. That’s a good thing if Blood of Zeus is anything to go by. An anime series about Greek mythology is pretty rare, and this one, which follows a commoner who discovers he’s a descendent of Zeus with a destiny to prevent a world-ending war, is an exciting, addictive watch.

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Netflix

Beastars

1 season, 13 episodes | IMDb: 7.9/10

BoJack Horseman fans might like this anime series, which also follows a handful of anthropomorphic animals and dives into mental health issues. Of course, this show is set in a school, not Hollywood, and it follows an anxiety-ridden wolf, who finds himself investigating the murder of a classmate. It’s got a mystery/thriller element to it, but that’s not the only selling point.

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Aniplex of America

Fullmetal Alchemist (2003)

1 season, 51 episodes | IMDb: 8.6/10

Fullmetal fans and newbies alike are somewhat spoiled for choice when it comes to Netflix’s offerings: Fullmetal Alchemist and Fullmetal Alchemist: Brotherhood are both available on the streaming service, alongside the recent live-action film. But we’re here for anime, so we’ll just discuss the first two. For the purposes of this list, we’re counting both series as one entity, as Fullmetal Alchemist is a seminal property, but not to fear, I’m not about to leave you in the dark. Both Fullmetal Alchemist and Fullmetal Alchemist: Brotherhood are adaptations of the original manga, which tells the story of two brothers, Edward and Alphonse Elric, as they search for the Philosopher’s Stone. In an attempt to bring their mother back to life through alchemy, they’ve been transformed. Edward has lost his leg, and sacrifices his arm as well in order to save Alphonse’s soul, binding it to a suit of armor. The Stone is their ticket to restoration. The more recent Brotherhood hews much more closely to the manga, whereas Fullmetal Alchemist essentially turns into an original series about halfway through. In the end, they complement each other’s strengths and weaknesses, but if you have to pick just one, I’d go for Brotherhood as the “canon” experience.

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Viz Media

Inuyasha (2000)

2 seasons, 167 episodes | IMDb: 7.9/10

Inuyasha is the rare franchise that manages to strike a balance between cute and horrifying. To liken it to a current pop culture phenomenon, it’s similar to Outlander, in that its basic plot sounds like something out of a romance novel: a young woman, Kagome, is sent back in time, and must then contend with forces beyond her reckoning, all while getting to know a rambunctious man (well, in this case, half dog-demon), Inuyasha, to whom she seems to be mysteriously bound. There’s plenty of time-travel fluff to go around, but in Inuyasha’s case, it’s augmented by nightmare fuel in the form of a host of demons searching for the magic jewel in Kagome’s possession. The centipede monster in the first episode sets the bar for how unsettling these monsters look, as well as the show’s overall structure as a sort of monster-of-the-week affair. To that end, the show can get a little repetitive, but the cast is uniformly great (including Inuyasha’s antihero brother Sesshomaru, who I think I can confidently say is “the hot one”), and the balance between fun and horror is a rare find.

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Netflix

Aggretsuko

3 seasons, 30 episodes | IMDb: 8.1/10

If an anthropomorphic horse navigating Hollywood just seems too far-fetched, even by cartoon comedy standards, maybe this show about an anthropomorphic red panda working in the accounting department of a Japanese trading firm feels a bit more down to earth. Retsuko is 25 years old, single, and completely fed up with her place of work. Her boss is a pig (literally), her coworkers are manipulative and selfish, and her love-life is nonexistent. Her only escape: The karaoke bar she goes to every night to vent her frustrations with life by dubbing death metal tracks. If cute Japanese anime, hard rock, and shows about self-discovery are your thing, check this one out.

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Adult Swim

One Punch Man

1 season, 12 episodes | IMDb: 8.8/10

This fan-favorite anime series has two things going for it: a killer heavy-metal theme song and more action than a Marvel flick. That feels appropriate since the show follows an invincible superhero, who can take out his enemies with just one punch. What’s truly brilliant about this series, though, is how it ranks and classifies lower-tiered vigilantes and how it subverts stereotypes by making Saitama, the hero, apathetic about his own abilities. It’s darkly comedic as some of the best anime typically are.

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best netflix anime - ouran high school host club
Funimation

Ouran High School Host Club (2006)

1 season, 24 episodes | IMDb: 8.3/10

For anyone unfamiliar with the term, “host club” refers to an establishment where female patrons can pay to drink and chat with the male hosts. Ouran High School Host Club, adapted from the manga of the same name, centers on — you guessed it — a host club operating out of Ouran High School, and serves as equal parts a parody of the stereotypes rampant in shōjo manga (manga specifically aimed at young women) and a sort of bizarro Twelfth Night, as much of the series revolves around the fact that its female protagonist is initially mistaken for a boy. She becomes one of the club’s hosts when she turns out to be a hit with the school’s female student body, though, as is always the case with shenanigans like these, trouble quickly ensues. It’s a fun series, especially as it becomes obvious that the show is poking fun at the very tropes it seems to embody.

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Bleach (2004)

3 seasons, 366 episodes | IMDb: 8.2/10

Bleach has it all. It’s stylish as hell, it’s incredibly well-acted, it’s genre-fluid, and on top of that, it’s well-written. Though it starts out fairly simply, it builds and builds, transforming into an epic that more than earns its place in the pantheon of great anime. The story begins when Ichigo Kurasaki, a high schooler capable of seeing ghosts, takes on the duties of a Soul Reaper in order to protect his family. As he battles evil spirits and ferries departed souls to the afterlife, he begins to discover that some of his classmates have supernatural abilities as well, and to make matters even more complicated, just when it seems like he’s getting the hang of things, he’s brought into the spirit world to answer to the Soul Society. It’s a transition that the show handles beautifully, and does again and again as it progresses. The world of Bleach (and the mythology involved) just keeps getting bigger, without ever falling short, or falling flat. The series is also impossible to peg as one genre or another, as there are elements of almost everything baked in. It’s an epic, and unmissable as such. Creator Tite Kubo’s style is just the cherry on top of the cake.

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Rurouni Kenshin (1996)

3 seasons, 95 episodes | IMDb: 8.5/10

Like most other entries on this list, Rurouni Kenshin was adapted from a manga series (which appeared in the legendary Shōnen Jump magazine). The title refers to its protagonist, Himura Kenshin, a former killing machine who is now committed to helping others to try to atone for his sins. Of course, his love of peace is challenged when it becomes apparent that someone else has assumed his former mantle as an assassin and plans to throw the Meiji Government into chaos. The characters are all well-defined and well-developed, with the biggest hook being the contrast between Kenshin’s apparent happy-go-lucky attitude and vow never to kill again, and what we know him to be capable of due to his reputation. He’s also a walking example of the way the series focuses on period to tell a story rather than using it simply as set dressing: the show takes place during a transition period in Japanese history, and Kenshin is just as much in flux.

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King Von’s Family Thanks Fans For Their Support And Promises New Music In A New Statement

This Friday will mark two weeks since Chicago’s King Von was tragically killed in a shooting in Atlanta. The early November incident shocked the hip-hop world and the rapper was just the latest young act to be unfortunately taken away from fans at a premature date.

Since his passing, King Von would posthumously earn his highest debut and land three of his projects on the Billboard 200 chart. Now, after taking their well-deserved time to collect their thoughts, the rapper’s family has put out a statement thanking fans for their support as well as sharing plans for future releases.

The statement was shared on King Von’s social media pages and begins by sharing appreciation for fans’ unconditional love for the Chicago rapper.

“Thank you to everyone who has shown their outpouring of love for King Von,” the message reads. “You all played a massive role in Von’s legacy, and by continuing to play his music and sharing your stories about how he has inspired and influenced you all, you’re keeping his legacy alive.”

Next, his family revealed plans to continue the rollout for his recently-released Welcome To O’Block album and release new music in the future.

“To celebrate Von’s artistry, vision, and the immense love that he had for his fans, we will be continuing his roll out of Welcome to O’Block, while working to share unreleased music and interview that he devoted his creativity into completing,” his family said in the statement. “Von had also been working on new endeavors that we will be announcing down the line.”

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The Timberwolves Are Reportedly Working On A Ricky Rubio Trade With The Thunder

The Minnesota Timberwolves opened the NBA Draft by taking Anthony Edwards first overall, choosing the swingman out of Georgia over LaMelo Ball and James Wiseman. They still had one more pick remaining in the first round, holding the 17th overall selection, and it appears they will be using that to bring home an old friend via a trade.

According to The Athletic’s Jon Krawczynski, the Wolves are in talks with the Thunder that would send Ricky Rubio back to Minnesota, where his career started, along with the 25th and 28th overall picks in this year’s draft to move up to the 17th spot.

Given that Minnesota passed on adding another ball-handler to the backcourt, it makes sense that they’d look to add one in a trade and Rubio is a veteran who can help bring some stability to the team. The Thunder, meanwhile, have been widely reported as active in trying to move up from their spots in this draft, and having already acquired the 28th and 34th overall picks in trades, had ample ammo to push themselves into the middle of the first round, where there’s been speculation they have an eye on Aleksej Pokusevski.

This deal may not be completed until the Wolves are on the clock as the Thunder will surely want to be sure the player they are targeting is still there, but it would be a fascinating reunion for Rubio in Minneapolis.

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Author/Historian Thomas Frank On Why The Democratic Party Needs To Reclaim Populism From Republicans

Joe Biden won the popular vote by more than five million votes, but still squeaked out a relatively narrow victory Electoral College. And he did it against one of the least popular candidates in history, in the midst of a pandemic, while his party was losing seats in congress.

Whether Democrats will come to see this as a glorious victory for the Third Way or as a belated wake-up call will determine what they do for the next four years. That even amid a steady drumbeat of “appealing to the white working class is inherently racist,” Biden’s support among minorities was less than Hillary Clinton’s in 2016 should be a big red flag.

From his first book, What’s The Matter With Kansas (2004) through Listen, Liberal (2016) to this year’s The People, No, author and historian Thomas Frank has been documenting the way the Democratic party has been increasingly shedding its New Deal, working-class coalition roots to become the party of the educated professional class: a largely non-ideological coalition of effective managers who evangelize the meritocracy. This seemed like a brilliant strategy if judged only by election victories for Bill Clinton(*) and Barack Obama(**), but, as Frank points out, it was the Democratic party’s rightward lean in the 90s that “coincided with a period of ever more conservative governance” and set the stage for Trumpism in the first place. (*Who won in 1992 with just 43% of the popular vote, thanks to Ross Perot) (**Who campaigned as a transformative progressive, at least in the beginning).

As Frank recently wrote in The Guardian, “It turns out that when the party of the left abandons its populist traditions for high-minded white-collar rectitude, the road is cleared for a particularly poisonous species of rightwing demagoguery. It is no coincidence that, as Democrats pursued their professional-class ‘third way,’ Republicans became ever bolder in their preposterous claim to be a ‘workers’ party’ representing the aspirations of ordinary people.”

In The People, NO: A Brief History Of Anti-Populism, Frank attempts to explain a few interconnected stories: the history of the populist movement in the United States, the elitist (and usually racist) language used to denigrate it, and the way racist demagogues eventually co-opted some of the original populists’ language. Finally, he connects it to the environment of today, in which Donald Trump, in unconsciously parroting the co-opted, “anti-elitist” talking points of demagogues past, has inadvertently convinced a significant swath of the media and the political class that populism is racism. When in fact it has a strong tradition of anti-racism and trans-racial solidarity.

I spoke to Frank this week about whether — with another centrist, third-way Democratic president on the way — the party can still reclaim some of its old coalition and harness some of the forces of “populism” for good, not to mention nostalgia and even religion.

What is your take on the election? Will Democrats see any impetus for improving their messaging or is this just going to be four years of arguing about whether this was or was not a massive victory?

Wow. That’s a good question. Messaging is a chronic problem for the Democrats, but it’s also a way of acknowledging that they did a bad job with messaging, which they will often do. It is a way of brushing off the deeper problem of the Democratic party, which is that they’ve abandoned their base and their identity. That’s a much bigger problem that has consequences for society. It’s like we’re running a 30-year experiment here in America in what happens to a middle-class society when the party of the left decides it doesn’t want to be a party of the left anymore, which is what they decided back in the Clinton days. That has been as consequential for the big change in our society as has the radicalization of the Republicans. The two go hand-in-hand. As Republicans push further to the right, the Democrats concede more, and sort of reimagine themselves and emerge as another party of the market, of the elite. So, there’s two parties of the elite in this country. It’s a curious situation.

In terms of the Democrats’ shift to the center, that was kind of the Clinton third-way thing, and then we sort of interpreted that as this winning strategy, but didn’t Clinton only win in the first place because Ross Perot screwed up that entire election?

Yeah, that’s right, and then screwed up the election in ’96 too. When I was writing Listen, Liberal, a lot of it is a sort of study of the Clinton years. I decided to do that part of the book by reading the pro-Clinton literature, the books that regard him as a great president, and there’s a lot of them. They admire him, they’ll tell you why they admire him, and you go down the list and it’s these five things: bank deregulation, NAFTA, the great crime crackdown, welfare reform. Every single one of them has ended in disaster. All of them were Republican agenda items that Bill Clinton got done.

It’s important to remember, American politics isn’t just about teams winning. There’s a lot of other things that go on — legislating, ruling, and the things that third-way, new Democrats have stood for have all turned to ashes in their mouths.

But now we’ve elected another third-way-type Democrat-

That’s right. We sure have.

–so now, I feel like a lot of Democrats are just going to see this as, “Well, we won.” Do you have an answer to why we need to move away from the third-way even though it won?

The main response is because the third-way has yielded policy disaster. It’s led to soaring inequality. There’s no labor movement to speak of. Kids coming out of college are routinely $100,000 in debt. The bill of grievances, the decline and disappearance of the middle-class, all that is due to the third-way. On the one hand, I don’t really care if they succeed at winning elections here and there. It’s really not a great accomplishment. We have a two-party system locked in by law. Neither party is ever going to go extinct, and even with the biggest scoundrel in the world, Donald Trump, at their helm, the Republicans showed us that they can still win an election. So, [winning] was really not that great an accomplishment.

But the bigger problem is that their way of governing basically gave us Donald Trump. Obviously, Donald Trump’s base, as they’re now referred to, is the white working class. That’s how journalists refer to them. He talks about the Republican party as a worker’s party. If you watched his convention and his speech at the convention, he talked constantly about all the great things that he’s getting done for working-class people — which is a tremendous exaggeration, and in my mind, he hasn’t done very much for them at all — nevertheless, it’s impossible to deny that he is trying to move the Republican party into that market niche. This is only possible when the Democrats have abandoned that market niche in the first place.

I would actually go further, Vince, this is the story of our lives. This goes back to Nixon. This is not just Donald Trump. This has been gradually building for years and it’s only just come to a head.

So Newt Gingrich had the “Contract with America” with a specific list of demands, but didn’t that sort of start in the populist movement and with FDR, where there was a specific workers’ bill of rights?

Oh, yeah. Well, there’s been many examples of people having an agenda like that, but yeah, Roosevelt had the Second Bill of Rights, is what it was called. I don’t think any of that ever got passed. Then you had Martin Luther King had this thing called the Freedom Budget, which was very similar. It’s basically calling for a massive expansion of the New Deal or Great Society stuff. People have been proposing things like that for a long… Well, nobody’s proposing that anymore. People like me are, but none of the leadership is.

I guess the big question is why don’t the Democrats bring up FDR as much as the Republicans bring up Ronald Reagan? I got into an argument with someone the other day who said that the New Deal was only popular because it excluded black people.

That’s hilarious. What’s the only New Deal program that’s ever been repealed? It’s AFDC, welfare. The reason it was repealed is because it was perceived as being too generous to black people. So, the exact opposite is the case. Black voters, up until after the Civil War, were loyal Republican voters, and they remained loyal to the Republican party up until 1936. This is the year that they, by and large, and it’s not universal, it’s not a monolithic group, of course, but by and large, they shifted over to the Democratic party. It’s a famous story and it’s because of the New Deal. With The New Deal, black Americans were able to get jobs through the WPA and the Civilian Conservation Corps and stuff like this. Now, there were parts of the New Deal that were poorly crafted. Sharecroppers were not able to take advantage of the farm programs, but there were a lot of white people who were sharecroppers too back in those days.

The worst part was redlining. In their home loan program, the New Deal people, they accepted the real estate industry’s redlining — something that had existed for a long time, but they accepted it as part of their program for giving loans, and it was a terrible mistake. We now that know, but I don’t know how apparent that was at the time. It led to terrible consequences because white people were able to build wealth through real estate and black people weren’t. Nevertheless, there are those aspects of it that were bad, but it wasn’t perceived that way at the time. In fact, there were all these racist attacks on the New Deal and on Roosevelt, with the eugenics people and stuff like that. There’s a whole chapter on it in the book.

I mean, the book is about the anti-populism movements.

Anti-populism bleeds over into racism all the time. For a really simple reason: they’re both about maintaining social hierarchies. So, anti-populism, the hierarchy usually is the hierarchy of social class, but back then, that also meant racial hierarchies. That was an important element to it. The two were cross-fertilizing each other all the time, the racism and the anti-populism.

Was also painting populism as racist, was that part of the anti-populism strategy?

You didn’t see that until years later, the 1950s. So, Richard Hofstadter famously said that populism was anti-Semitic. That was debunked very quickly afterwards. When it started being called racist was with George Wallace in the late 60s. That’s when people decided that that’s what the word meant. It’s really weird how these things move. First, they defined him as populist, then they said, “Yeah, he’s a real bigot,” which he was. Then it just became a hop, skip, and a jump to say that’s what populism is. Nevermind that it actually wasn’t that.

What was the populist tradition in America? I know that’s what the book’s about, but in a nutshell.

To put it really, really briefly, populism is trans-racial working-class movements that are looking for economic democracy. So, the Farmers Alliance, back in the 1890s, the Labor Movement in the 1930s, I would say, and then Martin Luther King and the Civil Rights Movement, there was a big populist flavor to that. He was working on that when he died, on moving the Civil Rights movement into the economic realm.

It seems like part of that tradition was, “here is what you get out of voting for us, we’re going to fight for X, Y and Z.” Now, I’m not sure what the Democratic message is. What do you get when you vote for us?

Yeah, well, you get inspirational figures. I was just reading the New York Times this morning and there’s a big op-ed about how inspirational Kamala Harris is. It doesn’t say anything about what Kamala Harris believes in but what an inspiration she is as a person. So, you get that. Look, it depends on who you are. If you’re Silicon Valley, you get all kinds of favors from them. You get everything you’ve ever dreamed of. If you’re a big donor to the Democratic party, you’re going to get all sorts of neat things. I don’t want to be too negative. At least we’ll get competence.

Yeah, a competent manager is, it seems like, the pitch now. Trumpism seems to confuse Progressives, but it seems like what he is offering is this in-group solidarity, even if it’s this really reactionary nationalistic version of in-group solidarity. Why can’t the Democrats seem to be able to build in-group solidarity the same way?

Do you mean in the sense that his base didn’t desert him?

I mean, I think people are confused about why he’s popular, but his pitch seems to be that you get the sense of belonging to a group, that you’re tough and no nonsense and anti-snowflake. I feel like the Trump rallies are kind of like, it feels like, Comic-Con, where they’re kind of dressing up and they get this sense of being together…

Okay, that is a good comparison. I’ve never heard that one before.

Anyway, I feel like the Democrats haven’t been able to build a sense of belonging in the same way. I was just curious whether the populist tradition did that and how you could recreate that.

It definitely did. Populism is about solidarity, it’s about people coming together around shared economic interests despite other things that would ordinarily divide them. My best example is the Labor Movement in the 1930s, which was, again, an enormous movement that tripled in size in the course of the decade. Before the ’30s, organized labor, by and large, had been about organizing skilled craftsman. What it became in the 1930s was reaching out to everybody — a lot of these people were immigrants or first-generation Americans — and bringing them together. That sense of solidarity was just overwhelming back then. It goes further than that. It’s kind of a cliché and kind of schmaltzy to even talk about it, but that sense of solidarity that you see in World War II movies where you’ve got all the different guys from different ethnic backgrounds and walks of life going to fight the Nazis. It’s a cliché, but that sense of solidarity was real and persisted for years after World War II. That really was identified with the Democratic party, with Roosevelt, with Truman. That’s really who we were and who the Democratic party was.

You say, “Well, where has that gone today?” Well, they don’t have that message anymore. It all came apart in the late ’60s. That’s the pat, historical answer, is that America was coming apart.

I don’t know if you’ve gotten to this part in the book yet, but there are all of these intellectuals from the late ’60s, they turn on organized labor and on working-class people in a really shocking way, including, among other things, blaming them for the Vietnam War. Which is a really remarkable thing to do because the Vietnam War is basically a product of the Harvard Political Science Department. I’m sorry, that’s a really mean thing to say. But yeah, the ’60s, this is when you have the rise of identity politics, though they had a different word for it at the time. Anyway, it’s manifestly anti-solidarity. You do see solidarity in the upper reaches of the professional elite in this country. They’re very respectful to one another. What’s funny is you don’t see any of that expressed by Democrats towards ordinary rank-and-file Americans anymore.

It seems like one of the things that this shift away from populism allowed the Republicans to do is it allowed them to own nostalgia. The “Make America Great Again” is like a recycled nostalgia-pimping slogan from Reagan.

Well, the master of that was Ronald Reagan. In some ways, that social solidarity from World War II and from the ’30s and ’40s, he repurposed that as his own selling point, this sort of Readers Digest, Frank Capra solidarity. This is the same president that basically de-industrialized this country, but he was very good at evoking that nostalgia. That was his calling card. He was kind of a nostalgic figure in a nostalgic period. This is also the time when people were watching Happy Days and The Waltons. Of course, he didn’t bring American back together again. Economically he tore this country apart. But [nostalgia] was the superficial appeal.

It seems like [Republicans] weaponized that yearning for a simpler time. But in reading about your history of the populist movement, it seems like the left could use that. FDR was wildly popular. It seems like they run away from it because they’re just used to attacking nostalgia on the grounds that it’s racist.

Yeah, which I don’t really understand because there’s also progressive nostalgia, nostalgia for a middle-class society where everybody could afford nice things. The society of the ’50s and ’60s. 30% or whatever of the country, of the working population, was in labor unions. Healthcare was affordable. College was affordable. You hear liberals talk about things like that, but you’re right, they don’t want to embrace nostalgia. I think I’m the only one that does. I’m like the only nostalgic liberal.

It’s the idea of progress. Liberals are given to the idea of progress. You remember when Obama used to say, “The arc of history bends in a certain way,” or whatever it is? He fundamentally believed that things always got better. When you believe that, you believe that the past is a bad place. This is flatly not true. Things change one direction, things change the other direction. Lyndon Johnson was a great president in some ways and a terrible president in other ways, but on, say domestic issues, he was a hell of a lot better than anybody we’ve had since then. Harry Truman proposed the best healthcare program — a lot better than Obamacare — in 1948.

The idea that history only moves in one direction is one of the greatest popular delusions out there. The arc of history doesn’t bend itself. It does whatever we make it do.

Some of the early populists that you write about, there was a religious tradition involved there, too, wasn’t there?

Well, yes, some of them were, but it’s important that you put the emphasis on some. William Jennings Bryan was a very religious guy and later became this leader of the Fundamentalists. He had this very sad, embarrassing career trajectory where he became this leading Fundamentalist later on, but it’s important to remember that he was at the famous monkey trial in Tennessee. The guy who argued on the opposite side was Clarence Darrow. Darrow was actually a Populist candidate for Congress. Bryan was always a Democrat, but Darrow was actually a Populist. Darrow was a serious Agnostic. So, if you read populist newspapers, they dabbled in a lot of cultural radicalism. Their mass-meetings had a kind of Evangelical flavor to them. They were styled on religious revivals.

But a lot of their leaders were not particularly religious people. There’s a term that they have in Kansas — the town infidel, the town atheist. In those days, that guy would have been a populist for sure. You know, the guy who’s scolding the church-goers for being hypocrites or something. So they had both evangelicals and your kind of more questioning types. The way they resolved that was just by never talking about it. They tried to avoid it.

There are a lot of things that I think are understandable about Trump, but the one that’s most confusing to me is how fervently he’s been able to get the Christian/Evangelical vote.

That is something I don’t understand. I know what their explanation for it is. They say “he might not be a man of God but he’s a tool of God,” but that doesn’t make any sense. You look back over the years and they demand that politicians be these really pure people and then to suddenly suspend those rules for this really awful guy… I honestly don’t really get it either, except to just blow the whole thing off as, they’re all hypocrites. But that’s not right either.

Is it just maybe the structural church reasons? Like the churches have become so…

Well, he did make them all these promises having to do with, I don’t even remember what they are anymore, but he was going to get their judges confirmed. There’s some tax issue that they’re dealing with and he was going to resolve it. He did make a straight-up politician promises to [churches], but then again, he also promised to bring back the Glass-Steagall Act! That guy would say anything.

Was there anything surprising you found in researching the book?

Just a point that I think is important, that we mentioned earlier, that anti-populism, up until very recently, went hand-in-hand with racism. This kind of shocked me when I discovered this. I have a lot of fun with these humor magazines from the 1890s. They’re cartoons attacking populism. I did not realize how incredibly racist these magazines were — racist, anti-Semitic, and xenophobic. They hate immigrants, mock immigrants all the time, mock their accents, mock their appearance. They’re incredibly mean to black people — just vicious, and incredibly mean to Jews.

It’s actually difficult to read them it’s so loathsome. What’s funny is that they just included in their hierarchy of the world, where the WASP elite were naturally at the top, and people like farmers and industrial workers were just naturally grouped in with these ethnic groups that they hated so much. So, what’s interesting to me is the way that the whole modern critique of populism completely misunderstands the nature of anti-populism in those days. You see it again in the 1930s where you have those anti-New Deal speakers referring to eugenics. I did not know they did that. That was a complete surprise to me. “Populism” is now defined as racist demagoguery. The definition is absurd, but there is this larger connection in liberal minds that working-class movements are automatically racist movements or there’s something authoritarian about them. I’m here to say it just ain’t so.

Now there’s this argument about whether saying “socialism” and “defund the police” were helpful or hurtful to Democrats and their election chances.

Well, I don’t know because I haven’t seen the research on it yet. I know this about the word “socialism,” that Republicans are going to call you that no matter what. They called Joe Biden that! This is a guy that’s done so many favors for banks over the years… The thing about defund the police, again, I have no idea if it was helpful or not. I just don’t know. But I will say this, I think that it’s a shame that we have poisoned the word populism because that’s what American socialism is. Populism is the American language of class, and we’ve poisoned that word, but this socialist tradition in America is pretty limited. The populist tradition in America is massive and powerful and strong. The Democrats need to get in touch with that. I’ve been saying that all my adult life.

Well, here’s to hoping it’ll work this time!

[laughs] Yes.

Vince Mancini is on Twitter. You can access his archive of reviews here.

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The Minnesota Timberwolves Selected Anthony Edwards With The First Pick In The 2020 NBA Draft

The 2020 NBA Draft looked an awful lot different than usual, with Adam Silver in a studio in Bristol, Connecticut at ESPN’s headquarters and all of the draft picks sitting at home with their families rather than in a large green room on the floor of the Barclays Center.

It also was a draft without a consensus No. 1 player and, as such, there was plenty of intrigue as to what the Minnesota Timberwolves would do with the first overall pick. There were rumblings of them looking to trade the pick, but as their time on the clock came and went, a deal never came to fruition and Gersson Rosas and his staff decided to take Anthony Edwards, the 6’5, 225 pound swingman out of Georgia.

Edwards has tremendous potential, particularly on the offensive end where he at times took over for the Bulldogs, scoring at will from all three areas. His biggest question is motor and decision-making, as he has immense talent but at time could fade to the background on the floor and didn’t consistently dominate at the level his abilities seemed to indicate was possible. The Timberwolves will slot Edwards in the backcourt alongside D’Angelo Russell with Karl-Anthony Towns in the middle of what could be a potent offensive team, but defense will be the chief concern of how they’ll function as a trio.

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2020 NBA Draft Tracker: Grades For Every Pick

The 2020 NBA Draft will take place on Wednesday night. Like everything that has happened this year, things will look a little differently — the fanfare of a Barclays Center event is replaced with something far more subtle due to the COVID-19 pandemic. Still, this is one of the biggest nights on the NBA calendar, and all 30 teams will assuredly be jostling to try and figure out which first-year player can help their franchise the most.

Helping matters this year is the lack of a no-brainer star. While the 2019 Draft had Zion Williamson and Ja Morant, the 2020 Draft is defined by a number of role players who should be able to help impact winning from day one in the league. Still, there is talent at the top of this Draft, with names like LaMelo Ball, Anthony Edwards, and James Wiseman expected to go early in the night.

Tonight, we’ll track all of the activity of in the Draft, and you can follow along with us live as we offer updates each draft pick, as well as initial reactions in the form of grades and quick analysis. In an important note, grades are based on how well the team did in their position in the Draft given who was available, not necessarily an edict that the player selected is a sure-fire star or a likely bust.

1. Minnesota Timberwolves

2. Golden State Warriors

3. Charlotte Hornets

4. Chicago Bulls

5. Cleveland Cavaliers

6. Atlanta Hawks

7. Detroit Pistons

8. New York Knicks

9. Washington Wizards

10. Phoenix Suns

11. San Antonio Spurs

12. Sacramento Kings

13. New Orleans Pelicans

14. Boston Celtics (via MEM)

15. Orlando Magic

16. Houston Rockets (via POR)

17. Minnesota Timberwolves (via BKN)

18. Dallas Mavericks

19. Brooklyn Nets (via PHI)

20. Miami Heat

21. Philadelphia 76ers (via OKC)

22. Denver Nuggets (via HOU)

23. New York Knicks (via UTAH)

24. New Orleans Pelicans (via IND)

25. Oklahoma City Thunder (via DEN)

26. Boston Celtics

27. Utah Jazz (via LAC)

28. Oklahoma City Thunder (via LAL)

29. Toronto Raptors

30. Boston Celtics (via MIL)

31. Dallas Mavericks (via GSW)

32. Charlotte Hornets (via CLE)

33. Minnesota Timberwolves

34. Oklahoma City Thunder (via ATL)

35. Sacramento Kings (via DET)

36. Philadelphia 76ers (via NYK)

37. Washington Wizards (via CHI)

38. Utah Jazz (via CHA)

39. New Orleans Pelicans (via WAS)

40. Memphis Grizzlies (via PHX)

41. San Antonio Spurs

42. New Orleans Pelicans

43. Sacramento Kings

44. Chicago Bulls (via MEM)

45. Milwaukee Bucks (via ORL)

46. Portland Trail Blazers

47. Boston Celtics (via BKN)

48. Golden State Warriors (via DAL)

49. Philadelphia 76ers

50. Atlanta Hawks (via MIA)

51. Golden State Warriors (via UTA)

52. Sacramento Kings (via HOU)

53. Oklahoma City Thunder

54. Indiana Pacers

55. Brooklyn Nets (via DEN)

56. Charlotte Hornets (via BOS)

57. LA Clippers

58. Philadelphia 76ers (via LAL)

59. Toronto Raptors

60. Milwaukee Bucks

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Billie Eilish And Finneas Reflect On Creating Their ‘Everything I Wanted’ Track

Billie Eilish seems to have fully shifted her attention to her upcoming sophomore album, one that her fans hope they won’t have to wait too long for before it arrives. The singer recently released her “Therefore I Am” single, one that was paired with a video that found her enjoying the space in an empty mall.

The track also followed her “My Future” release from this past summer. Before moving forward with any other new releases, Billie and her brother Finneas stopped by Song Exploder to deconstruct the creation of their 2019 single, “Everything I Wanted.”

The song was Billie’s first official release since she dropped her critically-acclaimed album When We All Fall Asleep, Where Do We Go? in spring 2019. The duo brought listeners on a journey through the song’s creation by letting listeners know that the song came as a result of second-guessing the completeness of Billie’s debut as they were putting the finishing touches on it.

“We were at the tail-end of working on Billie’s debut album and we were having that sort of second-guessing moment where we thought, ‘Do we have every song for this album?’” Finneas said. “‘Should we try writing one or two more?’”

The “Bad Guy” singer then revealed that a dream where she dies after jumping off a building inspired the “Everything I Wanted” track. “The whole dream was me watching how everything went after I’d died,” she said. “I was there for it and I could see everything. I remember in the dream there were newspapers that said, ‘Problematic 16-year-old Billie Eilish has finally killed herself.’” She added, “My best friends were doing an interview and they were like, ‘Oh, we never really liked her.’”

After telling her brother about the dream, Eilish said that Finneas “didn’t want to write about it.” “I think it was actually really scary to me to hear her articulate her depression in a way that was more obvious than she was making it on a day-to-day basis,” Finneas said. “So that was kind of alarming. I got pretty flipped out – and told her so.”

The duo concluded the episode by saying that despite the song taking an additional half a year to finish because of the intensity of Billie’s dream, they were able to revisit it while they were on tour after she saw improvements in her mental health.

You can listen to the full episode here.