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‘The Bear’ Has Viewers Pushing For A Second Season After Getting Hooked By The Show’s Addictive Intensity

The Bear (now streaming on Hulu) finally gives Jeremy Allen White the leading man showcase that he deserves. It’s a show that reminds you who was doing a lot of heavy lifting on Shameless without enough recognition, and it’s a food-fueled frenzy that’s about finding one’s true family. Before all is said and done, though, you might find yourself stressed out to the max by Carmy’s pressure cooker of a work-and-life environment, but don’t worry. Just call everyone “Chef” and enjoy this re-teaming of White with Chicago while everyone shouts at each other and it feels very Uncut Gems but with a side-serving of you attempting not to think of Ebon Moss-Bachrach and a certain Girls scene.

That sounds like a lot of effort to watch, admittedly, but you’ll enjoy the roller coaster. Eight perfectly paced episodes later, people are finding themselves wanting to know what comes next for the former fine-dining chef who’s finally found home. There’s a lot of lust tweets from fans, but mainly, people want to know if there’s a Season 2 coming.

Surely, that’s possible. The ending left things wide open for more developments after the re-Christening of sorts, and it’s wild that there hasn’t been an announcement yet, but surely, the powers that be took notice of all the show’s buzz on social media. This prevailing thread (about the show’s “exclusive strain of Sexually Competent Dirtbag™ that only exists in a restaurant kitchen”) says plenty about the show’s appeal, not only aesthetically but also because the environment (and all of the clichés involving too-expensive knives and no apartment curtains) rings true.

The show sure knew how to sell itself. And again, the realism of “Chef” life as portrayed by White and his co-stars rings all too true, and you may have known a Carmy or two in your life.

The Bear is streaming on Hulu. You should watch this show!

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Ask A Music Critic: Is Music Criticism Getting Worse?

Welcome to another installment of Ask A Music Critic! And thanks to everyone who has sent me questions. Please keep them coming at [email protected].

I’m not that old (34), but I feel like there’s been a dramatic, across-the-board writing quality dip — regarding both prose and critical insights — in the world of music journalism. Are things getting worse? Or am I simply becoming a grouch? — Jay from Minneapolis

Hi Jay! I’m going to assume you are not subtweeting yours truly with this question. Surely, if you are seeking my opinion on these matters, you must view me as an island of brilliant insight, keen wit, and evocative prose in an otherwise arid landscape of crappy music writing. Right, Jay? Right?

Anyway, my short answer to your question is, “Actually, I don’t things are getting worse at all.” As part of my job — and also because I just like reading about music — I often go back and look at music writing from the 1960s, ’70s, ’80s, and ’90s. I’m generally reading work that was published in the very best and most prominent music publications of those eras, including Rolling Stone, Spin, Musician, and The Village Voice. And let me tell you something: A lot of it is … not good. Some of it is fantastic, of course, but most of the time the writing simply doesn’t hold up. The prose is kind of hokey and dated, and the opinions are reductive, half-baked, and even ignorant. Also, writers back then tended to have the same sorts of backgrounds — straight white guys from the east coast, mostly — which resulted in same-y opinions.

The truth is that the first draft of history tends to read like, well, a first draft. (Hello to the person reading this 20 years from now and dragging my own dated and short-sighted ass!) Critics always have a deadline, which means that almost never have a proper amount of perspective on whatever it is they’re writing about. But the writers of today have the advantage of standing on the shoulders of those who came before. We can learn from their mistakes. Which means we’re better by default.

As a discipline, pop music criticism was invented in the ’60s and writers today have the luxury of refining and updating an ancient template. For starters, modern music criticism is more diverse than ever in practically every sort of way, but especially in terms of the types of music that are covered. Even a general interest culture website like this one, on any given day, will include articles on pop, hip-hop, rock, country, R&B, electronic, and scores of other genres. Is there a lot of bad music writing these days? Yes, but there’s also a lot more writing, period, which means there’s also more good and even great stuff.

And then there’s the matter of technology — the critic Simon Reynolds once made a great and under-appreciated point about how writers back then had an inherent disadvantage because they didn’t have access to computers, which obviously makes researching and revising your work infinitely easier. Imagine not having the ability to Google or easily delete and replace blocks of text! Of course your writing would suck! Let me put it this way: If you’re a working critic now and you’re not better than a typical working critic from 1972, you have no excuse.

Now, lest I sound too positive and not “critical” enough, I do have one big pet peeve with modern music writing. When I started my career in 2000, many young critics aspired to write with the loopy, hopped-up, conversational, and Beats-obsessed rhythms of Lester Bangs. The result was a lot of embarrassing, overstuffed prose — the literary equivalent of an endless, self-satisfied drum solo — but at least there was a premium put on a sense of humor. Today, that humor has mostly gone missing. Many music critics now aspire to write like college professors, infusing their record reviews with academic jargon that’s so incongruous with the subject matter that it becomes unintentionally hilarious. “Goop On Ya Grinch” should have been regarded as a wake-up call — the Walk Hard of the music criticism industry! — but the satire seems to have gone over many people’s heads, since so much music writing now still reads like it.

Every music critic has a different approach; for me, the goal is for the reader of my writing to feel like they’re listening to a record. Like great music, great music criticism should address the mind but rest with the heart. It should be emotionally engaging and above all fun. We’re talking about music for crying out loud! Let’s not turn it into homework! Anyway, that’s my philosophy. Not saying I always hit the mark, but it’s what I’m aiming for.

How many times do you listen to a record prior to writing a review? — Dan from St. Paul

Lots of inside baseball questions this week! I like it! It makes my job seem way more interesting than it is!

I have to tell you, Dan: This is the question I am asked the most. Every time I check the mailbag for this column, there’s always a new email asking, “How many times do you listen to a record prior to writing a review?” I have never answered it before now. But since you’re from St. Paul, I will answer it for you.

I wonder why this particular subject is so interesting to people. I suppose there’s this idea that there’s a scientific method to reviewing records, in which you must peruse the materials in question a set number of times in order to issue a proper assessment. Well Dan, my answer might be disappointing, but here it is: I have no idea. Well, actually, I have some idea. It’s definitely more than five listens, and probably not as many as 500. Sometimes, you receive an album several months in advance, which naturally allows for more spins. (That was the case with Big Thief’s New Warm Dragon I Believe In You.) Other times, you don’t get an advance at all, so you only have a handful of quick listens before filing a review. (That was the case with Frank Ocean’s Blonde, to name an example in which I made my rushed plays part of the review.)

In a perfect world, I’d be able to play an album a perfect number of times before writing anything. But what is the “perfect number of listens,” exactly? I’m not sure. Sometimes one or two listens are enough for me to know that I love or hate something. For other music, it might take years for me to finally “get it,” so to speak. Let’s say you played an album 12 times before writing a review. Twelve seems like a sufficient number, right? But let’s also say that your 13th listen occurs six months from now, during the winter, when you’re at a different juncture in your life. Maybe that 13th listen will hit differently, causing you to move away from your original opinion.

The fact is that a review is merely a snapshot of a moment in time; as I said in the previous answer, the first draft is practically designed to miss the mark in some way. What I’m saying is that this isn’t a science, which is good, because I was bad at science in school.

Why aren’t The Walkmen celebrated more? — Chris from Hanover, Minn.

Another Minnesotan! What’s going on here? Did Uproxx trade me to the Star Tribune?

Like you, Chris, I love The Walkmen. And I agree that they are overlooked in discussions about aughts-era indie rock. While they existed on the periphery of that Meet Me In The Bathroom NYC rock world, they were never as popular as The Strokes, Interpol, Yeah Yeah Yeahs, and TV On The Radio. As someone who observed that scene from afar in real time, I feel like there was a narrative about The Walkmen that they peaked with their ferocious 2004 single “The Rat,” and then retreated to a series of mellower and less visceral (but frequently great) albums. I know so many people who only know The Walkmen for that one song, which is a shame, because they have many cool deep cuts like this one.

I also wonder to what degree The National unwittingly marginalized them. This might be a crackpot theory, but it rings true to me: The year after The Walkmen dropped “The Rat,” The National put out Alligator, which operated in a similar lane of vibe-y, late-night, drunk male urbanite indie rock. As The National ascended, The Walkmen appeared to lose some popular momentum. As far as the market was concerned, The National took their spot.

Here’s a question for you: How could you leave goddamn Britt Daniel off your best lead singers list?!? — Philip from Washington D.C.

You know Philip, I was expecting more people to give me a hard time for that one. But you’re the first one to complain about it! (It’s also possible that you’re the first person who I noticed complaining about it.)

What can I say? I don’t have a good excuse! Britt Daniel should probably be on the list. Great voice, suave as hell, fine songwriter, swagger to burn, sexy middle-aged dude energy — he ticks all the boxes. I’m sensing a running theme in this column about how easy it is commit music-critic sins. This appears to be one of mine. I will pray to St. Lester for absolution.

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Saucy Santana Delivers A Picture-Perfect ‘XXL’ Freshman Freestyle

Saucy Santana has officially arrived. Despite only starting his professional rap career in the last three years, Santana has seen his fame skyrocket behind ultra-viral tracks like “Here We Go,” “Material Girl,” and “Walk.” His latest single, the Beyonce-sampling “Booty,” is already taking over radio stations and was even tabbed by fans as a song of the summer before it was even officially released. Last month, Santana’s status was sealed as he was one of the 12 artists selected to represent XXL‘s annual Freshman class for 2022.

In his swaggering freestyle for XXL, Santana postures behind an ornate portrait frame in a Givenchy hoodie, decked out in stunner shades, glistening jewels, and his ever-present long nails. Rapping acapella, Santana details his experiences as “the gay boy on the block selling a purse full of drugs,” and dismisses haters who’ve questioned his presence and popularity due to his sexual orientation. “I’m still snatchin’ y’all wigs,” he boasts. “Call me ‘hair physician’ / Million-dollar deal on a billion-dollar mission.” Like I said, Santana has arrived. It’s up to fans to get used to him.

Watch Saucy Santana’s swaggering XXL Freshman freestyle above. You can watch Nardo Wick’s Freshman freestyle here and Doechii’s Freshman freestyle here.

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Olivia Rodrigo Brings Out Natalie Imbruglia To Give A Charismatic Performance Of ‘Torn’ In London

A few nights ago, Olivia Rodrigo stopped by a dive bar in Manchester before her performance and launched into a cover of Natalie Imbruglia’s 1977 pop song “Torn.” Last night, the Sour star brought Imbruglia on stage at her show at London’s Eventim Apollo to perform “Torn” together.

The performance is as charismatic and amazing as you’d expect, with the audience prepared, singing along to every word. The two singers have obvious chemistry together, especially when their voices come together in a great harmony. The crowd for the show was definitely a lucky one.

In May, Rodrigo celebrated the one year anniversary of Sour, which launched her career and was undeniably one of the biggest records of 2021. “my first album SOUR came out a year ago today. it is impossible for me to sum up in words how much this album means to me and how grateful I am to have gotten the privilege to make it and watch it exist in the world,” she wrote. “thank u @dan_nigro for making it with me and believing in me more than anyone. and thank u to everyone who has embraced my 17 year old lamentations and forever changed my life in the process. [purple heart emojis].”

Watch Rodrigo and Imbruglia perform “Torn” above.

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Black Thought & Danger Mouse Take Over The Streets In Their ‘Because’ Video With Joey Badass And Russ

Black Thought, Danger Mouse, Joey Badass, and Russ take over the streets in the new video for “Because” from Black Thought & Danger Mouse’s upcoming joint project, Cheat Codes, which drops on August 12 on BMG. The trippy visual sees the trio of rappers perform via the massive screens in New York’s Times Square, as well as on the POV character’s phone screen. Indie singer Dylan Cartlidge continues to provide the song’s melodic chorus, while Danger’s presence is constricted to the beat and some extreme closeups on the screens.

Cheat Codes was selected as one of Uproxx’s Most Anticipated Hip-Hop Albums Of Summer 2022, with excitement focused on hearing one of hip-hop’s most gifted and skilled rappers over beats guided by the quirky ear of Danger Mouse, whose previous collaborations include The Mouse and the Mask with the late MF DOOM (as Danger Doom) and ASAP Rocky’s At.Long.Last.ASAP (ALLA). Other guests on the album will include prior Danger Mouse collaborators ASAP Rocky and DOOM, as well as Conway The Machine, Kid Sister, Michael Kiwanuka, Raekwon, and Run The Jewels.

Watch Black Thought & Danger Mouse’s “Because” video featuring Joey Badass, Russ, and Dylan Cartlidge above.

Cheat Codes is out on 8/12 via BMG. Pre-save it here.

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The ‘Stranger Things’ Creators Responded To Millie Bobby Brown Wanting The Show To Be More Like ‘Game Of Thrones’

The two biggest criticisms I’ve seen of Stranger Things season four are it’s too long and there weren’t enough deaths. Co-creators Matt and Ross Duffer have already settled the run-time complaint: season five will be eight episodes, instead of nine, and they’re “aiming for more like 10 hours” rather than 13 hours, not that Netflix minds the extra minutes. As for the lack of deaths, they’ll have to consult with Millie Bobby Brown.

“It’s way too big,” she said about the Stranger Things cast in an interview from May, before season four premiered. “Last night we couldn’t even take one group picture because there were like 50 of us. I was like, you need to start killing people off. The Duffer Brothers are two sensitive Sallies that don’t want to kill anyone off. We need to be Game of Thrones. We need to have the mindset of Game of Thrones.”

The Duffer Brothers responded to Bobby Brown (we don’t talk enough about how the actress who plays Eleven, a British teenage girl, has the same name as the guy who sang “Humpin’ Around”) on a recent episode of the Happy, Sad, Confused podcast.

“What did Millie call us? She said we were ‘sensitive Sallies.’ She’s hilarious. Believe us, we’ve explored all options in the writing room,” Matt said. “Just as a complete hypothetical, if you kill Mike, it’s like… That’s depressing… We aren’t Game of Thrones. This is Hawkins, it’s not Westeros. The show becomes not Stranger Things anymore, because you do have to treat it realistically, right?”

To be fair to the Duffers, “we need to be Game of Thrones” is the exact opposite of what you want to be heading into the final season.

You can listen to the podcast below.

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Trump Kept His ALL-CAPS Brand Strong While Lashing Out Over Rudy Giuliani And Lindsay Graham’s Subpoenas

Donald Trump is lashing out following reports that Rudy Giuliani, Lindsay Graham, and other members of the former president’s top circle have been subpoenaed by the grand jury in the Georgia election meddling probe. In the now infamous phone call, Trump is heard asking Georgia officials to “find” him votes to flip the 2020 presidential election in his favor. However, Trump didn’t know he was being recorded, resulting in a full fledged investigation in Fulton County that’s already targeting the upper echelon of MAGA world. There have also been reports that Trump himself may be next to be subpoenaed.

In an on-brand move, Trump has pushed back on his social media platform, Truth Social, where he defended his calls to Georgia election officials as “PERFECT.” Trump also claimed that he was vindicated by a retraction in the Washington Post. Via Mediaite:

BOTH of my phone calls to Georgia were PERFECT. I had an absolute right to make them &, in fact, the story on the one call was given a retraction, or apology, by the Washington Post because they were given terribly false information about it, & when they heard the actual call, they realized that their story was wrong. Thank you to the W.P. I, as does anyone else (just look at the Democrats!), have the absolute right to challenge the results of an Election. This one, CORRUPT, RIGGED, & STOLEN!

As for the retraction that Trump is touting, it was originally reported that the former president told Georgia’s lead election investigator, Frances Watson, that she’d be a “national hero” if she could “find the fraud.” Those weren’t his actual words, according to the correction from the Washington Post, but the initial quote wasn’t far off.

“Instead, Trump urged the investigator to scrutinize ballots in Fulton County, Ga., asserting she would find ‘dishonesty’ there,” the retraction stated. “He also told her that she had ‘the most important job in the country right now.’”

(Via Mediaite)

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Tyrese Haliburton Is Putting In The Work To Take Another Leap (And Can’t Wait To Prove More People Wrong)

As my 20-minute chat with Indiana Pacers guard Tyrese Haliburton approached its conclusion, one in which I inquired about his dietary progression, training habits, playmaking, and scoring maturation, Haliburton suddenly decided to swap roles between interviewee and interviewer.

“Jackson, I have a tweet of yours from June 18, 2020,” he says. “Can I read it to you?”

Since joining Twitter in February 2019, Haliburton only owns 832 tweets to his name. He does, however, find the app resourceful — “there’s certain people that I follow on Twitter that do a really good job of breaking guys down,” he says — and maintains a watchful eye. His pinned tweet from Dec. 29, 2020, after he began his NBA career 8-of-16 beyond the arc, conveys the tabs he keeps on his Twitter naysayers.

“I like to be able to prove people the wrong way,” he says.

Evidently, I am among those who Haliburton likes being able to prove wrong. He’s ready to wrap up our discussion with some lighthearted roasting of my faulty pre-draft evaluation — a roast that’s well-deserved, given how rapidly Haliburton has announced himself as a potential star since entering the league a year and a half ago.

“I got two tweets to read you,” he says, laughter peaking through his words. “First one is, ‘I think many people are intrigued by Haliburton as a top-7 pick b/c of his perceived versatility playing on or off-ball. But the issue for me is he can’t really play on the ball & needs multiple guys to create advantages for him, which most teams drafting that highly don’t have.’ ”

At that point, one of Haliburton’s reps chimes in: “Tyrese, this is the wrong interview. This isn’t Jimmy Kimmel Mean Tweets.”

This is all in good fun, though. I welcome Haliburton giving me the Old Tweets Exposed treatment. I was incorrect and he’s rightfully reminding me, reading one more tweet before we head our separate ways.

“I have these in my bookmarks. I got a lot of stuff saved up,” he says. “I was like, ‘Man, one day I’m gonna get to talk to Jackson Frank and I’m gonna read these to him. But it’s OK, because now you show me love.”

Showing Haliburton’s game love is easy as can be these days. He resembles that of a soon-to-be star and is the linchpin of Indiana’s rebuild. Over the past 4.5 months, the Pacers dealt a pair of former veteran cornerstones in Domantas Sabonis and Malcolm Brogdon. Myles Turner is reportedly also being shopped. The franchise seems to be pivoting toward a new dawn and is banking on Haliburton to lead the next prosperous era of Indiana hoops.

In preparing for those responsibilities, he’s spending much of the summer training with Drew Hanlen in Los Angeles. His offseason schedule is rather packed ahead of his first full year as a Pacer. He logs two, sometimes three, workouts every day.

Among his feathery passing, evolving pull-up jumper aptitude and constant, year-to-year strides, Haliburton is one of the NBA’s premier 22-and-under talents, despite being selected just 12th overall back in the 2020 Draft. In 26 contests with Indiana last season, he averaged 17.5 points, 9.6 assists, 4.3 rebounds and 1.8 steals on 62.9 percent true shooting — his gaudiest points and assists averages across any NBA or collegiate context. He anticipates his scoring duties to swell again next year. Growing more comfortable in that need for aggression continues to be an emphasis of his training habits.

“I’m not gonna lie to you to tell you it’s easy,” Haliburton admits. “I’ve never had to be a scorer in my life. … It’s a challenge, but one that I’m up for, and one that I’m really excited about. It’s not often that you have to tell somebody to shoot more.”

He says his sophomore year at Iowa State was the first time he “was really asked to score” throughout his basketball journey. Prior to that, he either scored selectively or was simply good enough to do so with ease, often in transition via steals and dunks. Honing his creation arsenal hardly entered the training regimen.

Last summer, one-on-one battles with Terence Davis — who Haliburton says would “torment” him — Davion Mitchell, Buddy Hield and De’Aaron Fox fostered his blossoming. During Haliburton’s year and half with the Sacramento Kings, Director of Player Development Rico Hines emulated a smattering of game-like reps, incorporating varying defensive coverages and looks to amplify his half-court creation.

With Indiana, assistants like Ron Nored and Jannero Pargo do the same. Everything is designed to prime him for any possible scheme he faces, be equipped with counters of his own and avoid bouts of passivity.

“Trust me, the growth period, it never looks amazing. Truthfully, it looks ugly sometimes. There’s days where I leave the gym, even today, even this last week. I’m like, ‘I look sloppy, like it doesn’t look right,’” Haliburton says. “But that’s OK. Because it’s kind of just part of the growth of it all. Somebody else is gonna make an adjustment, I gotta make an adjustment towards that.”

Learning how to optimally masquerade and operate as a natural-born scorer requires years of specialized work because Haliburton’s long been a maestro of a selfless passer. He’ll fit dimes through slender keyholes, unlock passing windows by shifting defenders with optical trickery and contort himself to wiggle around defenders for simpler deliveries. Few facilitators around the league approach his degree of ingenuity.

No singular player or pass sparked the origin of his distinct creativity. He considers himself a devout hoops connoisseur who pores over film from all sects of the basketball sphere: NBA, college, high school, youth levels, AND-1 circuits, mixtapes. If there is information and inspiration to be gleaned from the tape, Haliburton will entertain its merits.

He revels in opportunities to embed flair in his passes. Effectiveness is not always the lone priority. Basketball is a joyous sport, so he proudly graces the stage to merge his high feel nature with an artistic vision.

“I’ve always liked the oohs and ahhs, there’s nothing better than that to me. As a kid, you can’t dunk, so you got to figure out something,” he says. “I think that’s kind of the best part, is being able to put your own twist on things. … Sometimes, that stuff is necessary, having to deceit guys with the eyes or whatever the case may be. But sometimes, it’s just having fun and putting a little showmanship on it.”

Newfound attention on individual scoring is accompanied by amendments in his dietary habits. Following his rookie season, he “bit the bullet” and hired a full-time chef, who’s widely expanded his palette, targets healthier foods, and includes more fruits, vegetables, and green juices into his meals as well. The source of this added focus stemmed from a knee injury that sidelined for the final two weeks of 2020-21, along with “nagging” aches and pains he aimed to address.

“I just realized that, really, the best ability is availability, just being on the floor,” he says. “I was doing everything I could to do that.”

Both developments taught him to take better care of his body, honing on his diet and recovery patterns. Among those altered dietary choices is consuming Cheribundi, a brand of cherry juice introduced to him by Sacramento’s training staff early on last season, which facilitated this interview.

Roughly nine months later, he drinks three bottles every day, swears by its impact, and, recently, requested they be delivered to his place in Los Angeles while he trains there this summer. As he begins lifting regularly and immersing himself in multiple, daily on-court workouts, Cheribundi accelerates the wide-ranging components of recovery.

It helps alleviate muscle soreness, reduces inflammation and, after his trade from Sacramento to Indiana, aided his assimilation to an East Coast sleep schedule after spending the outset of his NBA tenure on the West Coast.

“When I was on the Kings, I slept so much easier because it’s timing and things like that. Like, sports get done later and the day starts later than it does being on the other side of the country,” he says. “But now, I got traded to the East Coast. I’ll get way less sleep because I was staying up watching the West Coast games and then getting up early to go to the gym. So, for me Cheribundi was huge in that sense, helping me get to sleep better.”

The present-tense manner in which Haliburton explains his NBA growth curve indicates he’s still acclimating himself at every turn. Year One ended prematurely because of a knee injury, which informed him that he must go to greater lengths with his diet and recovery tendencies.

Year Two jettisoned him across the country, brought about a radically different timezone and team environment, where he must reshape his professional routine. Year Three resides as an unknown. He expects opponents to defend him differently and a new cast of teammates will present other hurdles to navigate.

Yet problem-solving and adaptability are core tenets of Haliburton’s on- and off-court rise. Nothing suggests that’s changing anytime soon.

“It’s all chess at the end of the day,” he says. “Just one move after another.”

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Tyrese Haliburton Is Putting In The Work To Take Another Leap (And Can’t Wait To Prove More People Wrong)

As my 20-minute chat with Indiana Pacers guard Tyrese Haliburton approached its conclusion, one in which I inquired about his dietary progression, training habits, playmaking, and scoring maturation, Haliburton suddenly decided to swap roles between interviewee and interviewer.

“Jackson, I have a tweet of yours from June 18, 2020,” he says. “Can I read it to you?”

Since joining Twitter in February 2019, Haliburton only owns 832 tweets to his name. He does, however, find the app resourceful — “there’s certain people that I follow on Twitter that do a really good job of breaking guys down,” he says — and maintains a watchful eye. His pinned tweet from Dec. 29, 2020, after he began his NBA career 8-of-16 beyond the arc, conveys the tabs he keeps on his Twitter naysayers.

“I like to be able to prove people the wrong way,” he says.

Evidently, I am among those who Haliburton likes being able to prove wrong. He’s ready to wrap up our discussion with some lighthearted roasting of my faulty pre-draft evaluation — a roast that’s well-deserved, given how rapidly Haliburton has announced himself as a potential star since entering the league a year and a half ago.

“I got two tweets to read you,” he says, laughter peaking through his words. “First one is, ‘I think many people are intrigued by Haliburton as a top-7 pick b/c of his perceived versatility playing on or off-ball. But the issue for me is he can’t really play on the ball & needs multiple guys to create advantages for him, which most teams drafting that highly don’t have.’ ”

At that point, one of Haliburton’s reps chimes in: “Tyrese, this is the wrong interview. This isn’t Jimmy Kimmel Mean Tweets.”

This is all in good fun, though. I welcome Haliburton giving me the Old Tweets Exposed treatment. I was incorrect and he’s rightfully reminding me, reading one more tweet before we head our separate ways.

“I have these in my bookmarks. I got a lot of stuff saved up,” he says. “I was like, ‘Man, one day I’m gonna get to talk to Jackson Frank and I’m gonna read these to him. But it’s OK, because now you show me love.”

Showing Haliburton’s game love is easy as can be these days. He resembles that of a soon-to-be star and is the linchpin of Indiana’s rebuild. Over the past 4.5 months, the Pacers dealt a pair of former veteran cornerstones in Domantas Sabonis and Malcolm Brogdon. Myles Turner is reportedly also being shopped. The franchise seems to be pivoting toward a new dawn and is banking on Haliburton to lead the next prosperous era of Indiana hoops.

In preparing for those responsibilities, he’s spending much of the summer training with Drew Hanlen in Los Angeles. His offseason schedule is rather packed ahead of his first full year as a Pacer. He logs two, sometimes three, workouts every day.

Among his feathery passing, evolving pull-up jumper aptitude and constant, year-to-year strides, Haliburton is one of the NBA’s premier 22-and-under talents, despite being selected just 12th overall back in the 2020 Draft. In 26 contests with Indiana last season, he averaged 17.5 points, 9.6 assists, 4.3 rebounds and 1.8 steals on 62.9 percent true shooting — his gaudiest points and assists averages across any NBA or collegiate context. He anticipates his scoring duties to swell again next year. Growing more comfortable in that need for aggression continues to be an emphasis of his training habits.

“I’m not gonna lie to you to tell you it’s easy,” Haliburton admits. “I’ve never had to be a scorer in my life. … It’s a challenge, but one that I’m up for, and one that I’m really excited about. It’s not often that you have to tell somebody to shoot more.”

He says his sophomore year at Iowa State was the first time he “was really asked to score” throughout his basketball journey. Prior to that, he either scored selectively or was simply good enough to do so with ease, often in transition via steals and dunks. Honing his creation arsenal hardly entered the training regimen.

Last summer, one-on-one battles with Terence Davis — who Haliburton says would “torment” him — Davion Mitchell, Buddy Hield and De’Aaron Fox fostered his blossoming. During Haliburton’s year and half with the Sacramento Kings, Director of Player Development Rico Hines emulated a smattering of game-like reps, incorporating varying defensive coverages and looks to amplify his half-court creation.

With Indiana, assistants like Ron Nored and Jannero Pargo do the same. Everything is designed to prime him for any possible scheme he faces, be equipped with counters of his own and avoid bouts of passivity.

“Trust me, the growth period, it never looks amazing. Truthfully, it looks ugly sometimes. There’s days where I leave the gym, even today, even this last week. I’m like, ‘I look sloppy, like it doesn’t look right,’” Haliburton says. “But that’s OK. Because it’s kind of just part of the growth of it all. Somebody else is gonna make an adjustment, I gotta make an adjustment towards that.”

Learning how to optimally masquerade and operate as a natural-born scorer requires years of specialized work because Haliburton’s long been a maestro of a selfless passer. He’ll fit dimes through slender keyholes, unlock passing windows by shifting defenders with optical trickery and contort himself to wiggle around defenders for simpler deliveries. Few facilitators around the league approach his degree of ingenuity.

No singular player or pass sparked the origin of his distinct creativity. He considers himself a devout hoops connoisseur who pores over film from all sects of the basketball sphere: NBA, college, high school, youth levels, AND-1 circuits, mixtapes. If there is information and inspiration to be gleaned from the tape, Haliburton will entertain its merits.

He revels in opportunities to embed flair in his passes. Effectiveness is not always the lone priority. Basketball is a joyous sport, so he proudly graces the stage to merge his high feel nature with an artistic vision.

“I’ve always liked the oohs and ahhs, there’s nothing better than that to me. As a kid, you can’t dunk, so you got to figure out something,” he says. “I think that’s kind of the best part, is being able to put your own twist on things. … Sometimes, that stuff is necessary, having to deceit guys with the eyes or whatever the case may be. But sometimes, it’s just having fun and putting a little showmanship on it.”

Newfound attention on individual scoring is accompanied by amendments in his dietary habits. Following his rookie season, he “bit the bullet” and hired a full-time chef, who’s widely expanded his palette, targets healthier foods, and includes more fruits, vegetables, and green juices into his meals as well. The source of this added focus stemmed from a knee injury that sidelined for the final two weeks of 2020-21, along with “nagging” aches and pains he aimed to address.

“I just realized that, really, the best ability is availability, just being on the floor,” he says. “I was doing everything I could to do that.”

Both developments taught him to take better care of his body, honing on his diet and recovery patterns. Among those altered dietary choices is consuming Cheribundi, a brand of cherry juice introduced to him by Sacramento’s training staff early on last season, which facilitated this interview.

Roughly nine months later, he drinks three bottles every day, swears by its impact, and, recently, requested they be delivered to his place in Los Angeles while he trains there this summer. As he begins lifting regularly and immersing himself in multiple, daily on-court workouts, Cheribundi accelerates the wide-ranging components of recovery.

It helps alleviate muscle soreness, reduces inflammation and, after his trade from Sacramento to Indiana, aided his assimilation to an East Coast sleep schedule after spending the outset of his NBA tenure on the West Coast.

“When I was on the Kings, I slept so much easier because it’s timing and things like that. Like, sports get done later and the day starts later than it does being on the other side of the country,” he says. “But now, I got traded to the East Coast. I’ll get way less sleep because I was staying up watching the West Coast games and then getting up early to go to the gym. So, for me Cheribundi was huge in that sense, helping me get to sleep better.”

The present-tense manner in which Haliburton explains his NBA growth curve indicates he’s still acclimating himself at every turn. Year One ended prematurely because of a knee injury, which informed him that he must go to greater lengths with his diet and recovery tendencies.

Year Two jettisoned him across the country, brought about a radically different timezone and team environment, where he must reshape his professional routine. Year Three resides as an unknown. He expects opponents to defend him differently and a new cast of teammates will present other hurdles to navigate.

Yet problem-solving and adaptability are core tenets of Haliburton’s on- and off-court rise. Nothing suggests that’s changing anytime soon.

“It’s all chess at the end of the day,” he says. “Just one move after another.”

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Nicki Minaj’s Husband Was Sentenced To A Year Of House Arrest For Failing To Register As A Sex Offender

Kenneth Petty, Nicki Minaj’s husband since 2019, has been sentenced to a year of house arrest for failling to register as a sex offender in California, according to CBS Los Angeles. In addition, he must pay pay a $55,000 fine and complete three years of probation. Petty pled guilty to failing to register as a sex offender in September last year after being arrested in November of 2019 during a traffic stop.

Petty was convicted of first-degree attempted rape in New York in 1995. Despite completing his four-year sentence and registering as a sex offender in New York, he did not update his address with authorities upon the couple’s move to Los Angeles in 2019. He originally pled not guilty to failing to register, but considering a conviction could cost him up to ten years in prison with a lifetime of supervised release, he apparently changed his mind, taking the plea for a lesser sentence.

The alleged victim from his original conviction, Jennifer Hough, sued both Petty and Minaj in 2021, claiming that they or their representatives have been harassing her to recant her initial testimony. Nicki and her lawyer have called the lawsuit an attempt to shake her down for money and called for Hough’s lawyer to be “severely punished” for making certain claims in his filings saying Nicki was part of a New York street gang.