What started with a viral photo from Meyers Leonard of Jimmy Butler’s Bubble coffee shop has blossomed into a full-fledged business for Butler, who is now seeking a trademark for “Big Face Coffee,” according to a report from Ira Winderman of the South Florida Sun Sentinel.
The specifics of the filing, which Winderman acquired, are both pretty funny and very Jimmy Butler:
“The mark consists of The words BIG FACE over the words COFFEE, an asterisk before the C in the word COFFEE, a smiley face design in the O in COFFEE, and an asterisk after the E in COFFEE, with a squiggly line below the word COFFEE, and the words NO I.O.U.s in a white box beneath the squiggly line.”
Trademarking the brand name won’t be just a matter of jumping out in front of Floridians trying to make a buck. Lee told Winderman that Butler intends to sell a whole assortment of products and try to turn Big Face into a legitimate business.
More from Winderman’s report:
The filing said the Big Face Coffee operation includes goods and services such as “general apparel including hats and shirts,” “general housewares including mugs and cups,” “general café items including coffee beans, coffee grounds, candy bars, nuts, tea bags, loose leaf tea, sandwiches; baked goods including scones, muffins, cupcakes, bagels, cakes, cookies, bread, scones, cinnamon rolls, muffins, marshmallow rice treats.”
But wait, there’s more, with the filing also including, “produce including whole fruits, packaged, fruits, vegetables,” and, of course, “non-alcoholic beverages including coffees, teas, sodas, seltzer, bottled water; alcoholic beverages including wine and beer.”
The news of Butler’s entrepreneurial hopes come after Nick DePaula of ESPN reported on Wednesday that Butler had formed a partnership with the athleisure brand Lululemon with branded Big Face apparel, which Butler debuted in the Bubble this week.
Sources: Jimmy Butler’s “Big Face Coffee” clothing is made by Lululemon.
Butler has been wearing their apparel throughout the NBA restart and is closing in on a unique long-term partnership to become arguably the biggest face of the athletic brand. https://t.co/fWy0V2n26W
Not only is Butler making his conference finals debut in his first year with the Heat, but he’s also taking full advantage of the spotlight that playing on a great team gives him, as well as the marketing advantages of playing in the Bubble.
Seeking the best bourbon — or best anything for that matter — ends up being, at least in part, an exercise in futility. Beauty is in the eyes of the beholder (or the sipper, in this case). Yes, we all have a unique palate and certain things speak to our sensibilities more than others. But there really is no universally agreed-upon “best” of anything.
There are things we like and things we don’t. Pretending it’s more than that is a lie.
AND YET! We have to admit that just like some people cultivate really good taste in music — Rick Rubin, Pharell, our own Aaron Williams and Steven Hyden — others cultivate really good taste in whiskey. That’s why we asked some bona fide whiskey experts to reveal what is speaking to their palates with regards to bourbon at the moment.
The six bourbons below are bottles that wow people who work with whiskey every single day of their lives (yes, that includes me). Are these “the best?” Who knows? All we know is that they’re certainly worth tracking down and giving a try because some people who care about this stuff an awful lot believe that they’re goddamn delicious.
Treaty Oak Ghost Hill Texas Bourbon — Jared Himstedt, Head Distiller and co-founder Balcones Distilling
Treaty Oak Distilling
ABV: 47.5% Distillery: Treaty Oak Distilling, Dripping Springs, Texas Average Price:$50
The Whiskey:
There’s something about the Texas climate that you can’t get away from, and Treaty Oak is achieving a better mix than anyone else in the state. It has just enough familiar characteristics that speak to the Texas flavor that melds together nicely. Treaty Oak rides a line that helps transition people who are more skeptical about buying local bourbon.
Tasting Notes:
The body is really tight. It’s not washed out at all. It’s dry and lends an air of maturity to it. It’s a nice refresher to what you can typically find in Texas. You get notes of caramelized sugar, vanilla, cream soda with hints of cinnamon Red Hots. Herbal flavors like cola or bitters round this one out.
ABV: 45% Distillery: Wild Turkey Distilling, Lawrenceburg, KY (Campari) Average Price:$38
The Whiskey:
Russell’s Reserve 10 Year has become my go-to bourbon when I am visiting a friend or want to introduce someone to bourbon. The Wild Turkey Reserve selection has been a consistent overall great value from their portfolio. A sip of Jimmy Russell’s whiskey always brings me back to all the smiles and laughter when I am with him or his son Eddie sharing a bourbon.
It’s a small batch bourbon from bourbon barrels that are at least ten years old. Based upon their current shelf price of $38, it’s a terrific value. It also won a Double Gold in our 2020 New York International Spirits Competition.
Tasting Notes:
Bottled at 45 percent ABV, you still do not lose the fullness of the nose to alcohol. Wafts of vanilla that you expect from Wild Turkey fills your nose along with hints of leather and oak. It’s a solid bourbon with a hint of rye on the top of the tongue. The vanilla from the nose is still present in the mouth. The finish is not a long syrupy finish but a concise light medley of spice as it slowly enters into your chest with the warmth you desire.
ABV: 50% Distillery: Heaven Hill, Louisville, KY Average Price:$50
The Whiskey:
There are two bourbons I’ve had this year that I think are truly extraordinary. The first is a straight bourbon whiskey by definition, but also a Tennessee Whiskey, so I hope that’s okay.
Nicole Austin, the master distiller and general manager of George Dickel, is doing something truly special with her Bottled-in-Bond. Her first BiB was greatly lauded, but ironically, I prefer her newest bottle. For obvious reasons, I am biased to stellar Tennessee Whiskeys so you’d be hard-pressed to get me to choose a bourbon as my definitive “best.”
That said, a couple of weeks ago my husband picked up a bottle of the new Henry McKenna Single Barrel 10-Year-Old Bottled-in-Bond, and I must say, it may be the single best straight bourbon whiskey I’ve ever tasted.
Tasting Notes:
The nose was pure caramel and vanilla, and the palate was a perfect match to the nose. I may be late to the party with trying this award-winning bourbon (it’s won some of the most prestigious awards our industry has to offer), but I sure as hell am happy I finally made it to the celebration.
ABV: 50% Distillery: Jim Beam, Clermont, KY (Beam Suntory) Average Price:$35
The Whiskey:
Choosing a ‘best’ bourbon is a colossal task, but Knob Creek Small Batch edges to the top of my 2020 list for several reasons. The first reason is more symbolic. 2020 marked the return of the age statement to the popular whiskey after being absent for several years. At an age where a lot of age statements are going the way of the dodo, Knob Creek is doubling down on them with the re-introduction of this 9-year-old bourbon as well as a new 12-year-old expression.
It’s also easy to find on shelves for a very affordable price. That’s a massive plus in my eyes (and to my wallet).
Tasting Notes:
At 100 proof, Knob Creek Small Batch from Jim Beam is the perfect sipping proof. No ice or water required. The nose carries lovely hints of honey roasted nuts, caramel, oak spice, dried apricot, and sweet tobacco leaves. Taste-wise, candied fruit and caramel kick things off. Orange peel, salted peanuts, and oak spice soon develop. There’s not a lot of the slightly young-ish roasted corn found in some younger bourbons, making this release a bit more refined. The finish is long and somewhat sweet.
ABV: 68.7% Distillery: Willett Distillery, Bardstown, KY Average Price:Varies
The Whiskey:
When I first started working to resurrect my family’s distillery in 2006, my first “Industry Event” was WhiskyFest in New York. Meeting some of the legends of the whiskey world was an unforgettable experience. It was even more meaningful to meet a couple of rising stars closer to my age: Preston Van Winkle and Drew Kulsveen. They couldn’t have been nicer and more helpful. It’s folks like Drew and Preston — and all of the legends — who help ensure that the whiskey community feels like family.
So when I think about the best bourbon I have drunk in 2020 — other than any Belle Meade or Nelson’s Green Brier product, of course — my mind goes straight to Willett Barrel No. C22D, coming in at 137.4 proof.
Tasting Notes:
It’s a beast of a bourbon, packing an enormous amount of flavor. I think of it as a hot fudge sundae. The base is built with scoops of dark chocolate and creamy vanilla with black cherry chunks inside, then topped with toffee, hazelnut, cinnamon sugar, graham cracker, toasted marshmallow, a hint of coffee, and malted milk balls crumbled on top alongside dried apricot chunks.
ABV: 47.2% Distillery: Michter’s Distillery, Louisville, KY Average Price:$180
The Whiskey:
A barrel of this juice sold for $200,000 at auction this year. It’s also being lauded as a damn-near perfect bourbon. I was lucky enough to get to drink this stuff recently and it 100 percent stands up to the hype. It’s also fairly straight forward. The juice spends ten years in white oak. The barrels are hand-selected for their exactness.
This is a clear example of what bourbon can be when treated with utmost precision and care.
Tasting Notes:
Maple syrup and oak greet you on the nose. A rush of creamy toffee mingles with charred oak bitterness as the signature bourbon vanilla lurks in the background. It’s shockingly light for an old bourbon with a whisper of orchard fruit. The sip lingers for just the right amount of time as it retraces its steps through the oak, vanilla, and syrup with a hint of spicy warmth.
With police violence on the news seemingly every other night these days, the subject has become something of a preoccupation in hip-hop circles. The genre has always tackled the subject, but lately, it’s been much more overt. YG’s “FTP,” DaBaby’s “Rockstar” remix, Lil Baby’s “Bigger Picture,” and Denzel Curry’s “Pig Feet” have all emerged this year to take on the persistent, pernicious predicament of institutionalized violence in policing.
The latest artist to join the trend is the outspoken and eloquent Rapsody, who contributes the new song “12 Problems,” which plays on the street name for police and points out how their ever-present threat adds to an already insurmountable list of obstacles to overcome for the average Black person. “I got 99 problems and 12 still the biggest,” she chants on the hook, “I got 99 problems / Batons, bullets, triggers.” She also points to the hypocrisy of using “Black on Black violence” to counter anti-police protests using the death of Nipsey Hussle as an example. “33 Nip, gotta a heavy heart / His killer in jail, y’all don’t get that part / Cops kill lawfully, no remorse.”
“12 Problems” will appear on Roc Nation’s upcoming Reprise compilation aiming to bring light to social issues like “police brutality, hate crimes, and other violations of civil rights.” Some proceeds of the project will benefit organizations fighting these injustices and supporting their victims. In July, the initiiative shared Jorja Smith’s “By Any Means.”
It’s been nearly two years since Saba last released a solo track, but that doesn’t mean the Chicago rapper hasn’t been busy. The low-key Windy City native was busy all 2019 helping to promote his Pivot Gang crew’s debut full-length album, You Can’t Sit With Us, as well as appearing on group member MFnMelo’s “What A Life” and generating buzz for the Ghetto Sage supergroup album featuring Smino and Noname with “Häagen Dazs.” He also shared a standout verse on Dreamville’s Revenge Of The Dreamers III cut “Sacrifices.”
Today, though, Saba began teasing the long-awaited follow-up to his critically-hailed 2018 album Care For Me with the video for “Mrs. Whoever.” After building up buzz with cryptic clues via social media for the past week, Saba shared the moody song with its simple music video that finds him roaming through an orchard, zoning out with his headphones and lamenting the ways public life has short-circuited his personal relationships. He also details the lesson in watchign a former flame switch her attitude once he’s acquired fame: Patience and persistence pay off in the long run.
Saba also shared a statement that may help explain why it’s taken him so long to step back into the spotlight. “For me, releasing music is me letting go and getting out of my own way,” he admitted. It’s me shutting down my own ideas of perfectionism, and me accepting my shit for what it is. I can keep holding on to shit and looking for the next best thing, which I think I’ve done my whole life, but I wanna combat that idea of something not being enough by just letting go and sharing my thoughts in real time.”
When the Houston Rockets dealt Clint Capela and acquired Robert Covington in February, the intent was to usher in a micro-ball brand of hoops that separated themselves from everyone else. They’d always have at least four shooters on the floor, enabling James Harden and Russell Westbrook to feast off of what the organization perceived to be the best spacing in the NBA.
While other teams might tout a talent advantage, this “optimal” offensive context would be enough to compensate and turn the Rockets into a title contender. Bigs were to succumb to the chaos of constant perimeter responsibilities and nobody else had the personnel to mirror their small-ball lineups. Or, at least, that was the hypothetical in which they invested. A second-round matchup with the Los Angeles Lakers, who formulated a counter contingent on Anthony Davis’ rare blend of rim protection and mobility, ensured Houston’s vision remained a hypothetical on the grand stage.
In Davis, the Lakers rostered a scheme-breaking variable unaffected by Houston’s equation. The result was a 4-1 series victory for Los Angeles that illuminated precisely why Davis finished second in Defensive Player of the Year voting this season, showcasing his versatility.
Scanning through any raw data from these games without having watched them would make it challenging to uncover how the Lakers thwarted the Rockets’ distinct philosophy. Houston’s offensive rating of 106.8 was poor, but not abysmal. It shot 36.8 percent from deep and 60.8 percent at the rim, two reasonable clips in line with its post-trade production during the regular season. The crux in execution, though, was slowing the Rockets’ tempo and limiting their offensive volume, a plan that mandated Davis as the bedrock.
In 22 games following the Covington trade, Houston launched an average of 48.6 threes and 28 shots at the rim, and zipped around at a pace of 103.83. With Westbrook on the floor, the latter number jumped to 106.6. Against the Oklahoma City Thunder in round one, the Rockets hoisted 51 long balls and 33 shots at the rim each game, playing at a pace of 100.65 (106.04 with Westbrook). This past round, those marks depreciated to 40.8, 24, and 97.1, respectively. Westbrook suffered dramatically, seeing his pace dip to 99.35 for the series. Such a sizable decline was not deliberate from Houston. It was the collateral of a dominant run from Davis, who delayed and deterred a bevy of shots to elongate possessions.
On the ball, he assumed Westbrook as his primary assignment. Sprawling enough to contest jumpers if Westbrook settled and agile with the size to contain drives, Davis erased most of the 2016-17 MVP’s offensive value. The power and burst package Westbrook wields to compromise defenders, generating looks inside or collapsing help for kick-out threes, dissipated in impact. Davis enveloped him, prompting passes after futile slashing attempts or bothering his pull-ups, holding the former All-Star to 9-for-25 shooting for 25 points across 78.4 partial possessions in the series. These were not gimmes sometimes associated with NBA.com’s matchup data, either; Westbrook incurred roadblock after roadblock against the big man.
Once Westbrook’s dribble penetration was curbed, his decision-making shortcomings exacerbated the downward spiral offensively. His easiest reads, those derived from his rim pressure and athleticism, dried up and he unsuccessfully replaced them with off-the-bounce attempts hinging on a deteriorated jumper. Davis limited Westbrook’s advantage creation and manifested his drawbacks when asked to turn elsewhere for offense. Houston’s attack was constrained because the micro-ball experiment necessitated his slashing to thrive in space and as a complement to Harden’s pull-up wizardry, which often induces traps.
That deteriorated jumper also permitted Davis to be aggressive in his help defense strategy. He baited Westbrook into threes or exploited his lack of shooting gravity by brazenly leaving him open off the ball. The Lakers did not concern themselves with Westbrook beyond the arc. Thwarting any other offensive action took priority. Davis’ combination of length (7’5.5 wingspan, 9-foot standing reach) and mobility coalesce in an elite recovery speed and shot contest domain for a big man, and were the at the core of his expertise as a team defender against the Rockets.
Although Davis spent the most time defending Westbrook in this series, he bounced across assignments, embodying a sort of “delayer” role on the perimeter and interior. Houston’s three-point rate of .518 and rim frequency of 30.4 percent resembled its post-trade regular season outputs (.551, 31.8 percent), so Davis didn’t radically shift its shot profile. Rather, he reduced the volume, as articulated earlier. With the Rockets short on big wings or anyone boasting consistent dribble-drive prowess outside of Westbrook and Harden, Davis’ weaponized his 7’5.5 wingspan to deter threes while playing far enough off or brandishing the lateral quickness to dissuade anyone from attacking the rim.
Harden bested him on some drives, but Davis also significantly affected the eight-time All-Star’s pull-up three volume. During the regular season, 48.9 percent of his shots were pull-up threes; against the Lakers, that dropped to 37.2 percent. Some of the fall is attributed to Los Angeles trapping him regularly or funneling him to the bucket, but Davis’ efforts warrant credit as well. On various occasions, he negated a shot in the paint and from deep in the same possession. His defensive performance off the ball and on the perimeter against the Rockets was a masterclass intersection of instincts, physical tools, and awareness. Davis created hurdles all over the court for his counterparts.
His range of coverage on the floor extends to lengths virtually nobody else in the NBA matches. This past round, he could have a hand in the outcome of almost any play defensively. Deterrence is priority No. 1. Davis checked that box. Alteration is priority No. 2. Davis also checked that box. Rather than acting as the traditional rim protector whose services are largely confined to the paint, he acted as a shot protector, applying his size wherever necessary. Location almost felt immaterial (buckle up, it’s a lengthy and worthwhile compilation of plays).
Avoiding hyperbole about Davis’ defense in this series is a delicate tightrope. He isn’t the lone reason Los Angeles tripped up Houston. Danny Green, LeBron James, and Alex Caruso were all very good on that end. Fellow rotation players had their moments, too. Properly timed traps and doubles against Harden, thrusting others into ill-suited decision-making and creation duties, proved highly effective. But it was starkly apparent the degree to which Davis stamped his defensive mark and how the Lakers’ entire approach stemmed from his skill-set.
Trapping, in which he was intermittently featured, relied on him picking up any cutters/slashers or bounding out to make shooters second-guess themselves. Those ball screens the Rockets love that yield switches for Harden weren’t as profitable as they’d prefer when Davis was involved. He rooted himself near the level of the arc to contest any potential Harden three and even stayed in front on enough drives to convince Houston this tango wasn’t the “mismatch” it should consistently target.
Most centers cannot regularly factor into both rim protection and three-point defense. Davis did exactly that because he is not most centers. Moreyball’s hierarchy of these shots and the franchise’s roster construction was unprepared for Davis, who might be the only defender capable of the performance he authored last round (maybe Giannis Antetokounmpo).
Daryl Morey, James Harden, and the Rockets fashioned a legitimately unique brand of offense. Their ruination was an anomalous big man with the arsenal to unravel this style accompanied by the requisite surrounding personnel. Few opponents bring about the entirety of Davis’ defensive versatility. Houston is one of them, and he illustrated his elite malleability for a Lakers club that resembles the title favorite at this juncture.
A Western Conference Finals bout with the Denver Nuggets will present a varied challenge. Nikola Jokic, often operating from the elbows and high post, is going to draw Davis farther from the rim while also confronting him on the block. Denver’s off-ball motion is more complex and prevalent than Houston’s, requiring him to be even more attentive in help. Davis will be tasked with quelling Jamal Murray, too, whose budding pull-up shooting and initiating craft have morphed him into a star of the playoffs.
The Nuggets should serve a stiffer all-around challenge for the Lakers and Davis, but Denver will not roll out the same platform as the Rockets that reinforced what makes him one of the NBA’s three most valuable defenders.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
There are many paths to revolution. On Dallas, Texas rapper Bobby Sessions’ debut album RVLTN 3: The Price Of Freedom, the route lies in self-reliance and ownership. It’s a message he hammers home over and over again across the project’s 13 tracks; thankfully, he’s skillful enough to keep the content engaging throughout. Part J. Cole-ish, regular guy rumination and Nipsey Hussle-esque proselytizing, Bobby propagates his ideal world well, even if his vision seems a little rough around the edges.
Like all revolutions, the groundwork for RVLTN 3 had to be laid long before the album itself was released and just like the massive social upheaval currently sweeping through America’s cities and social media, the first step was acknowledging the flaws of the system needing overhaul to begin with. It’s why Bobby kicked off the RVLTN series with a project titled The Divided States of AmeriKKKa. The 2018 EP was rife with blunt observations about the country’s centuries-long history of abuse of Black people, kicking off with the lynching narrative “Like Me.”
Told from the first-person perspective of the victim, the song detailed the atrocities and attitudes that form the foundation of every other injustice that has befallen Black folks since Emancipation. “Politics” covered just what those are, then RVLTN 2: The Art Of Resistance set up the response. If the projects could be compared to the stages of the literal revolution currently taking place on the streets of America’s cities today, the first EP is the one that ties most directly to the deaths of Trayvon Martin and Tamir Rice, the way those tragedies brought light to a history spanning hundreds of years.
The second EP could be likened to this past year, when Black people and allies truly began to research the history of resistance movements. Reading lists proliferated, debates spilled from online forums to real-world organizing, infographics detailing the complex systems of oppression and proposed solutions to them filled social media timelines. RVLTN 3, then, works as a vision of the future, tying in how each of the previous iterations should inform the idealized outcome, optimism beaming through, even as Sessions contrasts that vision with the dilapidated conditions that plague our society today.
The preaching begins in earnest on “Reparations.” Sessions advocates for “gentrifying our own sh*t.” In his vision, there is no fixing America’s moral compass — real-life reparations aren’t soon in coming. So, the solution, in his mind, is self-sufficiency, communalism, and support for Black businesses. He elaborates on these concepts in the raucous “Black Wall Street” featuring fellow Dallas natives, The Outfit, TX. “I ain’t trying to claim no hood, I’m trying to own the hood,” one of his co-conspirators crows over the hook. “Don’t touch my hair, shout-out to Solange / Bought my own barbershop, I own the salon,” Sessions champions, stringing together a list of businesses rife for potential.
One problem with “message music” is how quickly it can turn into talking down to the artist’s audience. Bobby narrowly avoids this trap — although he comes dangerously close to falling in several times — by couching these financial tidbits in his own “boy from the hood who made it out” narratives. “Made A Way,” with its gospel sample and perky, piano-based loop, draws on the traditions of Black religion and Southern traditions to tie him more closely to the audience, framing him as less a pulpit preacher than one of the congregation sharing his testimony. Likewise, “Raised By The Internet” is a “how do you do, fellow Millennials” moment, lamenting the intruding ubiquity of technological distractions but leavening the tongue-lashing with a light-hearted notification ping that throws him off his flow.
That flow — his cleverness with wordplay and syllable-a-second cadence — is often what saves the project when it starts to get preachy or the politics seem questionable. Though Black Capitalism is falling somewhat out of vogue with would-be revolutionaries thanks to the aforementioned proliferation of infographics stating that “Capitalism is bad” in so many words, Sessions’ vision of the future seems out-of-step with current events. Fortunately, over the last few albums he’s shown an ability, willingness, and hunger to evolve his artistic vision. The next phase of his RVLTN will evolve with his worldview and with the world that is shaping it.
RVLTN3: The Price of Freedom is out now via Def Jam. Listen to it here.
As the controversial decision to open theaters in America narrowed down to an inevitably in late August, Mulan and Tenet repeatedly changed their release dates as industry watchers waited to see which film would be the first out of the gate. But then Disney pulled a game-changing move, announcing that the live-action remake would bypass American theaters completely and go straight to Disney+ where it would be available for a $30 premium access fee. It was a huge gamble for a major blockbuster, and it appears to have paid off.
According to a new report, nearly 29% of Disney+ subscribers pulled the trigger on purchasing Mulan. While that might not sound like a lot, Disney+ has a robust user base, which translates to some serious returns when the numbers are crunched. Via Yahoo! Finance:
During the company’s last earnings report, Disney said that the streaming platform has amassed over 60 million global subscribers. Assuming that U.S. households make up 50% of that total base (Disney has not yet broken out the exact number of U.S-based subscribers), 7Park’s data suggests that roughly 9 million users purchased the “Mulan” film for $30 a pop (29% of our estimated 30 million users.)
Under that scenario, net profits would pile up to $261 million for U.S. markets alone — and that’s on the conservative side.
For the record, not unlike Netflix, the streaming numbers for Disney+ come from third party analytics and should be taken with a grain of salt. However, Disney recently made public statements that it’s “very pleased” with Mulan‘s release strategy, albeit without getting into specific numbers. But if Yahoo! Finance‘s numbers are in the ballpark of Mulan‘s haul, that currently places the film well ahead of Tenet‘s entire box office haul. Global and domestic.
We’re already starting to see the effects of these competing release strategies. Within days of Tenet‘s risky theatrical debut, Warner Bros. already pulled the trigger on changing Wonder Woman 1984‘s release date. As for Disney, no official confirmation has been made, but Variety is reporting that release date changes are coming for Marvel’s Black Widow and Pixar’s Soul. While the latter is extremely likely to make the jump to Disney+, all eyes are on Black Widow to see if it makes a similar move or continues to wait for the right time to burst into theaters. If that day ever comes.
A few weeks ago, Chicago rapper Vic Mensa made an inspired return to form with his V Tape EP. Eschewing trend chasing or wild experimentation, Vic got back to basics, doing the thing that first brought him to the attention of fans back in the early 2010s — rapping his ass off over beats the bang the picture frames off the living room walls. The albums revitalized fans hopes for the once-burgeoning star and displayed a rejuvenated Vic taking on the various controversies that had plagued him throughout his career.
Today, he has released an extended version of the lead single’s music video, turning “Machiavelli” into a short film illustrating the dangers of street life in his hometown. While it opens with the original video but cuts it short for a spoken word interlude from Vic over a heart pounding chase scene. The song switches to the Jay-Z-sampling “SC Freestyle” as Vic raps a menacing verse at a wake and spooky imagery of nooses flashes by on the screen. “Like fire to a match, I’m designed to react,” he intones in another interlude before the video closes with the V Tape closer “Rebirth” as the camera zooms in on a body lying in the street and is given last rites by a group of elders.
Lady Gaga’sChromatica is a cathartic dance-pop album, but the road to it wasn’t easy. In a new Billboard profile, Gaga describes how she dealt with the depression she felt following her Joanne tour.
Gaga said that after getting off the road, she “used to wake up every day and remember I was Lady Gaga — and then I would get depressed.” She said she was reluctant to leave the house and had not yet dealt with her fame and “idea of her every waking move being available for public consumption” on an emotional level, saying, “I was peeling all the layers of the onion in therapy, so as you dig deeper, you get closer to the core, and the core of the onion stinks.”
The feature goes on to note, “Instead of working through the discomfort, she resisted it. She’d spend hours outside chain-smoking and crying, wondering why she couldn’t flip the switch inside of her back on.” Gaga said, “My existence in and of itself was a threat to me. I thought about really dark sh*t every single day.”
She noted that when friends tried to help her out, she pulled the “Lady Gaga card”: “It’s the one where you go, ‘I’m Lady Gaga, you don’t understand what it feels like, I want to dress how I want and be who I am without people noticing, why does everybody have to notice, I’m so sad, I don’t even know why anymore, why are you making me talk about it?’”
Gaga said songwriting was helpful for her, as there would be moments when she would see her old self: “I would cry and go, ‘There it is — hi! How’s it going? Why do you got to hide?’” This process gradually helped her find her way to a better place.
“If there’s one glimmer inside you, celebrate it,” Gaga said. “When you find another one, celebrate it. One more? Call a friend: ‘I did this today. I’m winning.’”
The third drop of Travis Scott’s McDonald’s collaboration has arrived. While previous drops included far-out items like Chicken Nugget Body Pillows and french fry-adorned house shoes, the latest collection is much more subdued and utilitarian, with useful items like a double-walled plastic cup, a variety of tote bags with surrealist designs on them, and even a cardigan sweater for the impending temperature drop we’re all hoping for this autumn (in surprisingly season-appropriate colors, considering it’s based on a 40-year-old ad campaign).
Travis Scott
There are also two pairs of shorts touting another duo of McDonald’s promotional items, the McRib sandwich and Shamrock Shake. Like Travis’ merch, both of these items tend to fly out of stores when available, although neither has ever caused a shortage of everyday ingredients the way the Travis Scott meal (a regular Quarter Pouder with bacon on it) has. A long-sleeve shirt touts its wearer’s experience in grabbing the burger, a pair of sweatshirts read back the script from Travis’ television ad announcing the collab, and a floor rug brings an abstract version of the artist munching on a burger to your living room (or wherever you put it).
Travis Scott
As usual, you can check out the merch at Travis Scott’s website, and be quick about it — the last two drops sold out within days, so you can expect this one to do the same.
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