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NBA Home Courts Reportedly Could Be Shipped To Orlando For Its Bubble League

Now that the final details are being put in place for the scope and schedule of the NBA’s season in Orlando this summer, some of the finer points are being nailed down as well.

According to Keith Smith of Yahoo! Sports, who has been on top of the Walt Disney World story from the start, Disney has enough professional-level courts available at the Wide World of Sports complex where the season will be played, but is leaving it up to teams to transport their home courts if they want.

Admittedly, if one team does this, they sort of all would need to follow suit. If there are eight games in one night and two of them have Mickey Mouse at center court and the other six have NBA logos, it’s going to seem a bit silly.

However, the NBA has been highly focused on the legitimacy of this season, wanting to keep intact the traditional playoff structure and not condensing things too much. They’re giving teams a long runway for training camps and practices to avoid major injuries. They tried to wait as long as possible to not absorb needed testing supplies as America continues to fight against its pandemic.

Home courts may seem like a trivial thing, but if branding and team pride are the reasons to try something like this, a sense of home for teams is a nice touch.

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Drake Is ‘Praying For Harsh Justice’ For The Officers In The George Floyd Case

On Friday, Derek Chauvin was charged with third-degree murder and second-degree manslaughter for his role in the death of George Floyd. However, the three other officers on the scene — Thomas Lane, J.A. Kueng, and Tou Thao — have yet to be charged. That said, it is being reported that Minnesota Attorney General Keith Ellison has apparently made a decision on the fate of the other officers, and an announcement is expected to come this afternoon.

Ahead of that, Drake is nervous. Today, he took to his Instagram to share his thoughts on the situation, saying that he is “praying for harsh JUSTICE.” He wrote in a Story, “The decision on the other officers will be announced this afternoon and it BETTER reflect the cries and outrage of the people…this is an opportunity for those in power who are used to protecting each other to show the nation they are being heard…pivotal moment in history is upon us and I am praying for harsh JUSTICE…can’t say I’m not nervous though.”

@champagnepapi/Instagram

Drake has been active on social media lately. He recently spoke up to address old lyrics about Kylie Jenner, and he also revealed a surprising list of his top five rappers.

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‘Madden,’ ‘NBA 2K’ And The Future Of Sports Video Games

Sports games have carved out their own gigantic niche in the video game marketplace, and a schedule all their own. Unlike a title in the Call of Duty or Super Mario universes, you know that every single year, EA Sports will drop its latest FIFA, Madden, or NHL game, or a new NBA or WWE 2K release will hit the shelves. The clockwork of the gaming calendar is well-established: The next 364 days are spent playing said game, and on the 365th, the cycle begins anew, with the little number at the end of the release increasing by one.

In terms of brand loyalty, sports sims are as strong as any genre of video games. This is despite the fact that sports games are oftentimes quite flawed. Sure, they’re fun, and getting a look at the new bells and whistles each series adds over a year of development can be a blast, but it is exceedingly rare to find a perfect sports video game. And in a lot of ways the innovation possible in the genre is largely unexplored as deadlines on each title loom year after year.

The good news is that in gaming, support and sales can create the opportunity to innovate. And considering the two authors here play a lot of sports video games and are often up playing FIFA and NBA 2K until 3 a.m., we’ve given some considerable thought to how these games can improve. It may not be realistic, but we tried to stay within the realm of possibility that major changes can be made within the span of a year or two.

1. Space, space, space

Video games, just in general, are getting bigger and bigger. Players can oftentimes deviate from main stories and take a more choose your own adventure path, pouring hours into exploring gargantuan worlds and doing side missions. Sometimes, it’s nice to just run around and mindlessly marvel at the carefully-crafted scenery. The main thing that stood out to me about, say, Final Fantasy VII Remake or Marvel’s Spider-Man was how there were lengthy stretches where I forgot that I was playing a video game, because it just looked like I was consuming something real.

Sports games are not afforded this luxury, as there is a finite amount of space upon which games can be played. You have assuredly played games of 2K or NHL where your teammates just cannot get out of your way, a deep irony as the modern NBA is embracing the pace-and-space era. Or perhaps you’ve played Madden and found the attempt at making something as simple as “running the football” ultra-realistic to be remarkably and unnecessarily clumsy — think of every complaint that one friend has about how NCAA was fun and modern Madden can be so frustrating.

The drive to make games realistic just does not gel with sports games. They oftentimes feel clunky, trying their best to fit into the confined space they are given by nature of the sports we are virtually playing. An exception to this are soccer games like FIFA and PES, as the 10 outfield players have more than enough space to operate, but even they can get rather frustrating when space is at a premium — the newest FIFA game, for example, received critiques for being too favorable to defenders and not as free-flowing as some of its predecessors.

At a certain point, sports games will be similar to the evolution of iPhones. For years, Apple’s thinking was that people did not want big, so iPhones began getting smaller and smaller before Apple changed course. Now, iPhones are bigger than ever. For sports games, the emphasis in recent years has been on being as realistic as possible. Here’s to hoping that 2K, EA, and other game publishers realize that’s not necessarily the best thing for sports games.

2. Embrace being a game

Modern sports sims seem to have split in this regard. The main feature of a title is a product as photo-realistic as the sport you watch on TV, and in many ways the game has tried to mimic the television product as much as possible. But the more realistic games get, the less fun they tend to be. Each year it’s tougher to create a major sports sim that is fun and joyful and lets you turn off your brain while you pour hours into something that is never trying too hard. This isn’t to say that basketball games need to be more NBA Jam than NBA 2K, but feeling the influence of the former on the latter might not be the worst idea in the world.

The “fun” arcade-y version is often siloed away in faraway corners of The Neighborhood or in a game mode that’s experimented with for a few years and usually sundowned due to lack of attention or creative neglect. In many ways, games tend to feel too big, but not in a way that gives you too many fun things to do. They’re just trying to be all things, and most of them are not actually executed very well or presented in a coherent way.

The classic games that people go back to aren’t enduringly popular because they are lifelike, but because the mechanics are extremely fun, the learning curve creates the sense of real progress and there’s often nostalgia that comes with the experience. Much of what games have become — platforms for major musical releases, opportunities for brand collaborations or celebrity integrations — have nothing to do with actually making a game fun to play.

3. Tighten it up

Apologies for another metaphor here, but sports games are like a steak. They’re quite good, and a little fat is a good thing. When the fat gets to be overwhelming, and to the point that it feels like it is taking away from what you’re there to do, it can be a bit much.

An example: There are times when NBA 2K can be a remarkably frustrating game. It’s fun when you’re actually playing basketball, but it could use a few tweaks. It is hard, however, to feel like gameplay is all that important when you hop into The Neighborhood and see all of these things that aren’t really all that necessary, like the ultimate frisbee course that exists around the perimeter or The Cages, which exist because … I’m not totally sure.

NBA 2K has done a great job in recent years, for example, of adding advanced analytics to help evaluate your gameplay. It’s an excellent feature for a hardcore 2K player looking to sharpen skills and train more like a pro, and embracing an area the real league is headed is a smart one for a dedicated simulation. Those advanced features are often buried in clunky menus that are increasingly difficult to navigate.

It’s an understandable problem, and one that’s inevitable on titles that are so huge that entire teams are working on specific features and modes independently. But in many ways these big sports titles need to follow the simplicity and ease of use that indie games made by small teams create with ease. Not every game can be What The Golf, but if every game had a title screen like it we’d all be much happier.

4. Microtransactions, no

This is the genie that would be the toughest to shove back into the bottle. Microtransactions are an unavoidable reality in many games, and in sports games, they can be particularly pesky. For Ultimate Team players in the EA Sports universe, microtransactions that unlock loot boxes and other various card packs are a nuisance — in the final quarter of 2019, FIFA 20 brought in nearly $1 billion from microtransactions, an absolutely staggering number that led to lawsuits in France. This problem also exists in Madden and NHL.

And of course, there is NBA 2K, a game built so brazenly on you spending money beyond the $60+ you forked over for the game that it would be funny if not for the fact that it is so exploitative. Microtransactions are as much a part of NBA 2K as layups, as constant in FIFA and Madden as the blades of grass that make up virtual fields. That doesn’t mean it’s a good thing, or necessarily something that makes the games any better.

It’s a system that has spun out of control, even as it provides the backbone that props up and stabilizes the industry. And the worst part is that doing this can be necessary — for those who head into The Neighborhood for the first time in 2K, microtransactions make your player better and, if you value this, give your player a sense of style that makes them less boring. In Ultimate Team, microtransactions are crucial as you work to build better teams. They exist in MLB: The Show as well, but Sony has at least attempted to curb them in the past.

Gaming companies need to either figure out ways to either reduce microtransactions or reduce their importance in games. It takes away from the experience of actually playing and growing as a player in them, incentivizing cutting the line in its place. And just from a moral standpoint, people are already spending money to play in the first place, double dipping beyond that feels like pure greed.

If microtransactions need to exist, though, there is an opportunity to use that model to institute many of the hopes and dreams mentioned above. If you talk to game developers they’ll tell you many of the major ideas and areas for innovation in sports sims take far longer than a single development year to institute. There just isn’t the time to dream big when yearly deadlines for incremental updates loom large.

While new features will always make their way into game releases, an overwhelming amount of players buy new games simply because their team’s players will appear on the right roster in the newest edition. If many of these major titles were to, say, offer roster and uniform updates as a microtransaction and spent the majority of that development year on major updates and streamlining, the developers could have considerably more time to fine-tune and streamline various game modes to make a much more cohesive and polished title. It may be a missed opportunity for the traditional $60 game and microtransactions that come with it, but the result could dramatically shift the industry for the better.

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How ‘Fuller House’ Casually Wrote Off Lori Loughlin’s Aunt Becky In The Series Finale

Not long after Lori Loughlin was arrested during the Operation Varsity Blues scandal, reports began pouring in that the actress would be booted from her well-known role as Aunt Becky on Netflix’s Fuller House while she awaited trial for the college-bribing scheme. And sure enough, Loughlin was missing from the final episodes when they began streaming on Tuesday.

As a nod to younger Fuller House fans who presumably have no idea about the college scandal or the media circus caused by Loughlin and her influencer daughter Olivia Jade, the show did provide casual explanation for Aunt Becky’s absence before wrapping up its fifth and final season. Via Entertainment Weekly:

In the episode titled “Be Yourself, Free Yourself,” Uncle Jesse (John Stamos) is seen in a pickle of his own when he tries to turn a playdate into an investigation as to who bit his daughter Pamela.

“You don’t think you should run this by Aunt Becky first?” D.J. (Candace Cameron Buree) asked.

“Becky is in Nebraska helping out her mother,” Jesse said. “I don’t want to bother her with a tiny little thing like this.”

And that was Aunt Becky’s big sendoff: “She had to go help her mom,” which Entertainment Weekly notes is also how her character was written off of The Hallmark Channel’s frontier drama When The Heart Calls.

But Aunt Becky wasn’t the only character who got a passing nod during Fuller House‘s last batch of episodes. The Olsen Twins have been notably absent from the revival series despite Stamos’ efforts to convince at least one of them to come back for a quick cameo as Michelle, which never materialized, and it seems like the sugary-sweet show got tired of playing nice about it, according to Bustle.

While preparing for a triple wedding with DJ and Stephanie, Kimmy Gibler (Andrea Barber) takes the final shot at the Olsen Twins’ absence with the following line: “Hey, how long are you going to keep Michelle’s bike? If she hasn’t come for it by now, she’s not coming.” As if that wasn’t enough, Barber then turns and winks directly into the camera just to make it very clear that audiences shouldn’t hold their breath for a surprise Michelle appearance.

(Via Entertainment Weekly)

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WWE Tweeted A Condemnation Of ‘Racial Injustice’ And Fans Showed They Remember The Company’s History

After the death of George Floyd, many WWE wrestlers were among the voices speaking out about racism, from Titus O’Neill sharing how it feels “to raise two Black Men in this country” to CM Punk making a strong statement on white allyship on WWE Backstage. Yesterday, WWE joined the legion of brands making official statements condemning racism, but many fans weren’t buying it.

WWE’s statement was:

WWE supports an inclusive society and condemns racial injustice. We stand beside our Black performers, employees and fans around the world, and encourage everyone to use their voice to speak out against racism. We offer our sincere condolences to the family of George Floyd and the families of countless others who have lost their lives due to senseless violence.

Like many other recent comments by brands, WWE’s statement condemns racism and acknowledges the death of George Floyd, but remains politically non-specific, attempting to enter the conversation without weighing in on the issue of police brutality or mentioning police at all.

The tweet doesn’t have the dreaded ratio of more comments than likes, but since it was posted yesterday, it has received thousands of replies and quote-tweets pointing out WWE’s history with black performers and it’s involvement in American politics. Examples brought up by fans include:

Twitter user @arxherarios commented on this mass dunking on WWE by saying “This is going in the This You? Hall of Fame.” It definitely shows that while WWE would like to present itself as an organization against racial injustice, that’s unconvincing to many, and they have examples of past and ongoing company behavior to support that belief.

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A Man Spoke Very Plainly About Police Brutality On A Zoom Call With The Los Angeles Police Commission

It’s really worth a listen.


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Big Sean Explains The History Of Police Brutality And Protest: ‘I Don’t Feel Equal, I Don’t Feel Free’

Detroit rapper Big Sean joined the chorus of artists’ voices speaking out against injustice over the past weeks, posting a long video to social media explaining the United States’ history of police violence and expressing solidarity with protestors.

The video sees Sean speaking directly to his followers “from the heart,” according to the caption, “Wishing my brothers and sisters strength, ’cause I know we tired and I know we need it now more than ever.” Sean acknowledges that protestors now “got the whole world’s attention and justice has to be served, period. If it’s not, I don’t think things are gonna change or get better.”

After revealing that he himself has been among the protestors, he also noted like many observers online that much of the disruption to the peaceful protests appears to come from external sources who he says, “look like undercover cops.”

Later in the video, Sean expresses his view that “this government and this country are build on a racist foundation… some of the first police forces ever was made during slavery, down South, and the main focus was to capture, apprehend, beat, discipline slaves,” tying that racist history to modern day tactics and letting the parallels speak for themselves.

The video concludes with Sean comparing that legacy to a gash in the flesh of the nation and admonishes those who don’t see it, “You wanna talk about, ‘land of equality and freedom,’ I don’t feel equal and I don’t feel free… Things have to change.”

Watch Big Sean’s video above.

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The Best Rap Albums Of May 2020

There don’t seem to be many things going right nowadays, but at least this was another strong month for the best rap albums. The month was kicked off with a mega drop from Drake, and also had a trio of sophomore albums from Gunna, Polo G and KOTA The Friend that were all impressive in distinct manners. Future released his latest project, as did seasoned rhymers like Ka, Conway, and Freddie Gibbs. Check out the full list of the best rap albums from May below:

Drake — Dark Lane Demo Tapes

Drake is one of the most prolific artists of his time. He has so many loosies laying around that he put together a compilation called Care Package last year — and he already has enough for another compilation entitled Dark Lane Demo Tapes. Aside from relatively upbeat moments like “Toosie Slide” and “Demons,” the project is another dose of doleful lamentations and existential discontent for the world’s most distressed superstar. There has been mounting criticism that Drake no longer seems to be leading the wave as much as chasing it. But, songs like “Chicago Freestyle,” “Losses,” and “From Florida With Love” show that even if he’s not in his creative prime (a question his next studio album will answer), he’s still compelling at his best.

Gunna — Wunna

Gunna might have already won the 2020 award for most creative branding around a project. His Wunna era has come complete with and a “Wunnascope” collaboration with @TheHoodHealer but that doesn’t mean he’s all about positive vibes. Consider these bars from “Cooler Than A Bitch” featuring Roddy Ricch: “Your favorite rapper burnt and he runnin’ out of hits / Say the wrong word, and I’ma shoot him in his sh*t.” It’s unmistakable that Wunna’s thematic grounding is still the streets of Atlanta on his latest collection of slinky flows over immersive Wheezy beats. The album’s 19-tracks could eventually wear for those who aren’t diehard Gunna fans, but songs like “Skybox,” the erotic “Nasty Girl / On Camera” and the “Hot”-adjacent “Top Floor” show Gunna at his best.

Polo G — “GOAT”

Polo G’s sophomore studio album Isn’t just one of the best albums of May, it’s some of the best work you’re gonna hear all year. The Chicago rhymer’s melodic flow and technical lyricism is an elite combination. He infuses his lyrical gift with grim, honest depictions of Chicago that explore themes of grief, self-medicating, and violence — and how they’re all interconnected. So many young artists are being forthright about how the trauma of systemic oppression manifests in their life. Polo is doing the same, from chemical dependency (explored on “21” with the late Juice WRLD) to romantic relationships on “Beautiful Pain (Losing My Mind),” where he rhymes, “it’s hard to love with dysfunction, wish my scars was thinner.” Polo’s GOAT title is a lofty aspiration, but in time he just may have a claim as he continues to experience life and refine his artistry.

Freddie Gibbs — Alfredo

Last year, Freddie Gibbs declared himself the best rapper in the world, and he’s given those in agreeance no reason to let up off that claim. He’s been in the zone for over four years now, and that run doesn’t slow up on Alfredo, a soulful collaboration album with Alchemist. Gangsta Gibbs is one of the game’s best examples of sticking to the script and excelling, as the project shows him rattling off flows and quotables like “Michael Jordan, 1985, b*tch, I travel with a cocaine circus” on Alchemist’s soulful, lowkey production. Griselda artists Conway and Benny The Butcher both appear on the album, each giving a taste of what a joint EP with Gibbs could sound like.

Mozzy — Beyond Bulletproof

Mozzy got subversive with the title of his latest project, Beyond Bulletproof, noting that, “In my neighborhood and the ghettos of America, ‘bulletproof’ means ‘love.’” He shows love to his native Sacramento throughout the project, exploring the good, bad, and ugly of Northern Cali with features like Eric Bellinger, Polo G, G Herbo, and King Von. The latter two appear on “Body Count,” an album standout where the three artists trade menacing bars over a piano loop fit for a horror scene. But beyond the no-nonsense bangers, Mozzy is also beloved for his introspection, and “Betrayed” and “I Ain’t Perfect” fit that bill, where he laments the toll oppression has taken on his community and expresses “compassion for the hopeless and the homeless ’cause they been through enough.” Mozzy has been through his own share of turmoil, and the game should be thankful that he’s so adept at expressing it on his latest.

Little Simz — Drop 6

In late April, Little Simz took to Instagram to speak for many right now by lamenting that, “I don’t mind being alone…however choosing to be alone is different from being forced to be alone and that’s where the difficulty comes in.” The forced quarantining in the wake of Covid-19 has society feeling a myriad of emotions, and Simz culled through her own emotional stage on Drop 6, the latest entry of her Drop mixtape series. As she noted on project intro “Might Bang, Might Not,” she’s a “one-woman army” on the five-song project, looming over the album’s sparse production with her vulnerable poetics. The project feels like a portrait of the moment, as she explores matters of life and career, surmising on “You Should Call Mum” that “times we livin’ in don’t seem real / But it was never a fairytale to begin with.”

KOTA The Friend — Everything

KOTA The Friend’s FOTO project was a portrait of Brooklyn through the lens of twentysomethings experiencing life trials amid the beast of gentrification. He has expressed wanting Everything, his latest project, to be a bit more upbeat for his burgeoning fanbase. He accomplishes that goal with fun, feel-good tracks like “B.Q.E.” with Bas and Joey Badass, “Always” with Kyle and Braxton Cook and the title track, which he posits as that “spend a week up in the mountains just to heal some“ type music. His slick, ever-confident delivery bolsters lyrics about his ascension and rhymes about people who are always “jackin that you know me but you knew me” on “Morocco.” Indeed, the versatility of Everything shows that KOTA The Friend is constantly evolving as an artist, which can only reflect personal evolution.

Ka — Descendants Of Cain

There are probably a lot of people culling through the bible these days — but few, if any could transfuse the good book’s contents into a work as compelling as Ka’s Descendants Of Cain, the Brooklyn rapper’s seventh studio album. Ka is one of the rap game’s best-kept secrets, mostly because the lowkey lyricist wants it that way. But tracks like “Solitude Of Enoch” and “Sins Of The Father” with Roc Marciano speak loudly for his presence. The masterful rhymer gets off his thought-provoking witticisms in sparse, spoken word-esque couplets, darting through minimalist beats with reflective gems like “My past bent me, see it half-empty / My theme’s still tryin’ to get clean from last century” that act as passages on their own.

Key Glock — Son Of A Gun

Released right in time for mother’s day, Key Glock’s Son Of A Gun project is a tribute to his mother, as well as an exhibition of why he’s one of the game’s most intriguing trap rappers. He’s in his wheelhouse throughout the 15-track album, rhyming over a collection of hypnotic loops that serve as the perfect framework for his gun-toting, braggadocious lyrics. The beats lure you in, and Key Glock keeps you enthralled with his intense mic presence. He talks big on “Money Talks” and “Flexxxin,” where he lets us know “I still ain’t touch my stash.” But it’s not all good. Album standout “I Can Tell” shows him in paranoia mode, rhyming, “It’s a lot of rappers hatin’ on me, I can tell.” As much as rappers shout out imaginary haters, the knack for quality street music that Son Of A Gun displays makes it believable.

Larry June & Cardo — Cruise USA

If you’re new to Larry June, get ready to bask in a lush catalog of Bay game over laidback beats. But if you’re familiar then you already know what’s going on when June and Cardo link up. They’re one of the game’s most underrated rapper-producer combos, and they got to it again on Cruise USA, a feel-good 8-track project. The title harkens to the ideal vibe to take in June’s game-heavy raps over smooth soundscapes that veer from the glitzy “Meet Me In Frisco” to the hypnotic “Orange Juice” with Dom Kennedy, which is an intriguing fusion of dripped-out Houston with laidback Cali vibes. If you find yourself taking a lengthy drive this June, this is surely one for the rotation.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

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HBO’s ‘Lovecraft Country’ Looks Like Your Summer TV Obsession In The Latest Teaser

Lovecraft Country — the highly-anticipated (and very timely) HBO series from creator Misha Green and producers Jordan Peele and J.J. Abrams about monsters, both human and otherwise — still doesn’t have a premiere date. But it does have a premiere month: August 2020. HBO also released an ominous new teaser for Lovecraft Country, featuring secret legacies, socially conscious horror, mysterious attacks in the woods, a James Baldwin voiceover, and whatever the heck this nightmare is.

HBO

I’m both intrigued and terrified. “I love stories. Heroes go on adventures in other worlds to fight unsurmountable odds. Stories are like a living thing,” Atticus (played by Jonathan Majors) says in the teaser. I’m thinking I’ll love this story, too. Here’s the plot synopsis:

Based on the 2016 novel by Matt Ruff of the same name, Lovecraft Country follows Atticus Freeman (Jonathan Majors) as he joins up with his friend Letitia (Jurnee Smollett) and his Uncle George (Courtney B. Vance) to embark on a road trip across 1950s Jim Crow America in search of his missing father (Michael Kenneth Williams). This begins a struggle to survive and overcome both the racist terrors of white America and the terrifying monsters that could be ripped from a Lovecraft paperback.

Lovecraft Country also stars Wunmi Mosaku, Aunjanue Ellis, and Abbey Lee.

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Tony Hawk Clarified He Didn’t Call Into An L.A. Police Commission Town Hall

Demonstrations are continuing across the United States as individuals take to the streets in support of the Black Lives Matter movement and in protest of the death of George Floyd. The fallout from this has included a frank discussion about policing in the United States, both because of how Floyd died and the numerous examples of excessive force that law enforcement has used against those peacefully protesting.

One city where these demonstrations have been particularly notable has been Los Angeles, which has a lengthy history of frayed tensions between its citizens and its police force. On Tuesday, the city’s Police Commission held a virtual town hall in which members of the community excoriated the group and called for chief Michael Moore, who previously said Floyd’s death was as much on looters as it was the police officer who was arrested for murder, to resign.

The call featured someone claiming to be renowned skateboarder Tony Hawk, who echoed the calls for Moore to resign or be removed and said that he lost the faith of residents of Los Angeles.

The voice sounded like Hawk’s, but was just a bit off. That’s because, as he clarified on Twitter, it was not him. Hawk posted that he would have been a bit more eloquent, then advocated for civil rights advocacy organization Color of Change.

Since we are not ones to disagree with Tony Hawk on much of anything, here’s a link to Color of Change’s website.