While Sharon Van Etten’s latest album Remind Me Tomorrow came out in early 2019, the singer has remained prolific ever since its release. Most recently, Van Etten offered a cover of Nine Inch Nails’ “Hurt” to raise awareness surrounding mental health, and before that, the singer appeared on Idles leader Joe Talbot’s raucous quarantine talk show. Now, the singer shares a song she wrote for a documentary about the iconic Pepe The Frog meme.
Van Etten’s “Let Go” single features a slow-paced rise to a crashing medley of instruments. The track is leisurely and moving, not the first thing that comes to mind when thinking about the Pepe meme. But the documentary, titled Feels Good Man, isn’t as lighthearted as it may seem. Originally debuting at Sundance, Feels Good Man follows artist Matt Furie, Pepe’s creator, as he attempts to reclaim the image which had quickly morphed into a symbol of hate on 4Chan boards and concerning corners of the internet.
In a statement about writing the song for Feels Good Man, Van Etten said she wanted to create a sense of serenity after she first saw the film: “After watching the documentary, I just followed the feeling of coming to terms with something and tried to evoke peace through my melody and words. The song and film’s producer, Giorgio [Angelini], was a great collaborator and communicator and I was given a lot of freedom. That says a lot about the film and the people who made it.”
Listen to “Let Go” above.
Feels Good Man premieres 10/16 via PBS. Watch it here.
Proving that there’s a crossover between any two shows if you look hard enough (who could forget the Mad Men parody on Sesame Street?), Netflix’s The Haunting of Bly Manor has an unlikely connection to Peppa Pig.
Mike Flanagan’s horror series, currently the most-watched title on the streaming service, includes a breakout performance from nine-year-old actress Amelie Bea Smith, who plays creepy Bly Manor resident Flora. She’s also, as many viewers are just finding out, the voice of everyone’s second favorite kind British pig. (Piglet will always be number one; there is no shame in Peppa Pig finishing a respectable second.)
Bea Smith, who also had a recurring role on EastEnders, is the fourth voice artist to take on the role, following Lily Snowden-Fine, Cecily Bloom, and Harley Bird. Her first episode, “Valentine’s Day,” aired this year. As for Bly Manor, Smith isn’t allowed to watch the show, “because I think I’ll be scared. But I did have to still ask a few questions about how I should play [certain scenes] because I didn’t know much about it.” She might not watch the show, but plenty of others are, and they’re delighted by the Peppa revelation.
The perfectly splendid feeling when you find out Flora from Haunting of Bly Manor also does the voice of Peppa Pig: pic.twitter.com/gFNzanOh8U
Cloud Nothings have been super productive over the past few years. After releasing new albums in 2017 (Life Without Sound) and 2018 (Last Building Burning), the band’s Dylan Baldi and Jayson Gerycz put out a free jazz album a few months ago. Now Baldi is readying yet another new album, and this time, it’s a Cloud Nothings Effort: The Shadow I Remember, which is out on February 26, 2021.
The group also released the first look at the record, “Am I Something,” a raw rocker accompanied by a psychedelic, Lu Yang-directed video. Baldi says of the visual, “I became familiar with Lu Yang’s work through her exhibit in Cleveland, Ohio at MOCA Cleveland in 2017. I was really drawn to her approach of tying religion into gender and various gendered bodily functions. The animation style of some of her work is also exactly on my wavelength -i like a psychedelic genderless Sims game. Very excited to be able to work with Lu!”
Baldi also revealed the band worked on the album with esteemed producer Steve Albini, with whom they made their 2012 album Attack On Memory, noting, “we worked with albini again on this new album. he is the best. it felt like we were all adults this time around? whereas before i was simply a baby. anyway i am prepared for 700 interview questions about it, bring it on.”
we worked with albini again on this new album. he is the best. it felt like we were all adults this time around? whereas before i was simply a baby. anyway i am prepared for 700 interview questions about it, bring it on
In 2018, Jeff Tweedy published Let’s Go (So We Can Get Back), one of the funniest and most insightful rock memoirs of recent years. For anyone interested in the Wilco frontman’s creative process and personal outlook, Let’s Go is as essential as any Wilco record. Tweedy must have felt that he was on a hot streak, because he’s back again with a new book out today, How To Write One Song, that delves even deeper into his artistic approach, only this time with a motivational twist.
As the title suggests, How To Write One Song aims to instruct the reader on how to do what Tweedy himself has done successfully for more than 30 years. Unlike many songwriters, who often bat away questions about their work habits by claiming that ideas simply come to them from some unseen higher power, Tweedy is refreshingly practical about the act of writing songs. In his book, he gives tips on how to write lyrics (taking a nap can be very helpful) and the best way to record a demo on your phone (singing in the bathroom will add reverb to your voice). He also offers tips on how to fight the existential battles that prevent people from pursuing their dreams, such as the tendency to judge ourselves as unworthy before we’ve even done anything.
More than that, however, Tweedy makes a case for songwriting — as well as creativity in general — as a way to improve your life. It doesn’t matter what the final result is, he writes. It’s the process of making something, and the way it allows us to live in the moment by discovering something new while also losing ourselves, that matters.
“I want to be a person who encourages more humans to do that — to have some private moments of creativity, whether they share their creations or not,” Tweedy writes. “We should have an army of people advocating for that. I think it’s the coolest thing in the world when someone steps outside their so-called station in life to indulge in a personal ‘art for the sake of art’ moment.”
Tweedy himself in recent years has been as creative as he’s ever been, putting out a series of solo releases along with the usual Wilco records. His latest LP, Love Is The King, drops October 23. (There is also a massive box set commemorating Wilco’s 1999 masterpiece Summerteeth due out November 6.) Ahead of that, I spoke with him about How To Write One Song and his overall philosophy about how songwriting is something anyone can do.
I wouldn’t want to call this a self-help book, per se. But there is an element of How To Write One Song that posits songwriting as a way to improve your life. Is that a fair summation?
I philosophize about this a lot. I think art is an essential part of life. Beauty and artwork that creates introspection and meaning and all kinds of ways to think about the world and have our perceptions changed, that’s all incredibly important. I feel like one of the best aspects of embracing art in your life is that it’s a better life. I know that kind of flies in the face of a lot of people’s opinions about what artists’ lives are like, but I don’t feel like that’s necessarily worthwhile to perpetuate. It is an incredibly great thing to do: to actively participate in your own life and your own imagination.
A lot of the book is talking about the process of creation and it seems like you’ve really put a premium on that — just enjoying the process and not being overly concerned with what the end result is going to be. Have you always thought that way? Or is that something that has evolved as you’ve gotten older?
I think it’s always been the case, it’s just an observation that became clearer to me as I got older. I’ve always benefited the most, personally, from the time spent creating, and the things that I struggle with and have caused me any type of minor suffering related to art has always come after that period. Like, just putting it out in the world and the melancholy feeling you get with other people weighing in sometimes. Just the frustration that comes with trying to get a song right with a live performance or something like that. But the act of creation itself that has generally been the part that, over time, has made itself clearly to be the most beneficial.
That part of the book really resonated with me, because I didn’t come to appreciate the process of writing until later in life. When I was younger, I was more preoccupied with the end point. In a way, you believe that making this thing will also make me a different person in some way, either because you’ll be more successful or because you’ll realize something about yourself. But I try not to get hung up on those “reward” aspects now, in part because you don’t really become “different.”
I’m embarrassed to say that I do still probably harbor some distorted belief that, once everybody hears this one song, they’re going to stop saying mean things about me. [Laughs.] I do sometimes have those weird little daydreams that a song’s going to be important or something like that. I’ve been much better off as I’ve learned to recognize what that is, and also remind myself of the reality that some of the songs I’ve written have become important to some people. I don’t always feel that, and I can’t feel that in a way that I can carry around with me. So, it’s much better for me to focus on the creative side and the act of creating than what the songs become or what it makes me. I don’t become anything really “different” ever.
You really demystify the process of songwriting. I interview songwriters a lot, and many times they don’t want to be analytical of their own work almost out of fear that if they’re too self-conscious about what they do that it’ll ruin their inspiration. So they’ll talk about being a “conduit” for ideas sent from some mysterious higher power.
There is a tendency to feel sort of superstitious. That in itself is self-conscious. I can’t think of anything more self-conscious than to not want to talk about something because you’re afraid that it’s going to change it somehow. What’s to stop you from having thoughts? Just putting them out into the air isn’t going to change anything.
I’ve thought a lot about the things that get mythologized, and none of that type of thinking is ever nearly as interesting to me as the reality of what’s happening. The reality is fascinating enough. The fact that people do this and reliably make stuff all over the world all the time in lots of different ways with lots of different motives and results and traditions, that’s pretty incredible to be a part of. It’s like pseudoscience. When you look at science, it is way more fascinating than pseudoscience. Bigfoot is nowhere near as interesting as just your typical garden spider.
What demystified songwriting for you? Was there a particular person who made you feel that you could do it?
I don’t really know. I think that the gift that I had was just pure delusion. That maybe is something I share with the greats. [Laughs.] Just this initial impulse that was completely oblivious to the facts. That I didn’t know how to play the guitar or I was really bad in school or all the things that should’ve stood in my way, I was pretty inoculated from all that for some reason. Then over time I think I demystified it for myself by just doing it a lot and ending up with different results, from learning to focus on the part of it that was basically process. But early on it was just a drive to do it, and I think you have to have that. Like, just being able to picture yourself as somebody that does that. It’s hard to do something that you can’t picture yourself doing.
You write about it in your first book, too, just the importance of thinking of yourself as a songwriter or a musician before you actually are one.
That’s one of the appeals of rock ‘n’ roll. That’s a word I always gave it. Punk rock would’ve fit. But basically just now I think of it as just being creative and having an artistic outlook on life. One of the main appeals, one of the main selling points, is this idea of self-liberation, self-freedom, feeling of freedom, freeing yourself from the constraints of your own mind, your own self-doubt, the slings and arrows of your friends and neighbors wanting you to stay in your place.
Are there any songwriters that are still mysterious to you, just in terms of what they are able to produce? Take Bob Dylan — you’re a songwriter, you know how songwriting works, but can you still wrap your head around what he does?
I don’t contemplate it a whole lot. If I think about Bob Dylan, what he does, what he gets out of himself year after year, all I think is he must read and write and think about it a lot more than a lot of other people and he’s been able to maintain that energy for a long time. He has protected the part of himself that is inspired, I think, in a way that I find inspiring myself. But as far what kind of process he might use, it’s not that important to me, I guess. All I really know is that there is a process that has to be at work for almost everybody. There isn’t a pure conduit lightning-rod songwriter out there that doesn’t even want to write songs, and yet they just keep coming to them.
You write about how judgment can be an impediment to creativity, and how the willingness to write a bad song can be the path to eventually writing a great song. Is getting past the impulse to judge yourself during the creative process the main roadblock you have to overcome?
I think that that’s obviously the biggest struggle for most people, myself included. Even right now when I hear you say, “You have to be okay with writing bad songs,” I picture this being in an interview and I can hear the voices of the people saying, “Well, that’s all he’s done for the last 15 years.” [Laughs.] I hear those voices. Sometimes I project them out onto the voices that you see and feel from the internet or from fan pages. But it’s the same commentary that everybody else has. There is some part of your ego that is going to protect your ability to be hurt and vulnerable and one of its only options, in a lot of cases, is to dissuade you from doing anything, from sticking your neck out and participating. I’ve learned to circumvent that and my life’s work is to figure out ways to push that side of myself away as much as possible. Anybody that wants to do anything creative and put it out into the world is going to have to navigate that and find other ways to protect themselves.
You started your career before the internet. Was it easier to be creative, in a way, before anyone could say what they thought and make it public, or was there just some other way to feel bad about yourself before the internet?
There just wasn’t as much. I think it was all the same ways to feel bad about yourself. You could argue it’s better now because there’s so much — you could probably find confirmation about almost any feeling you have about yourself as a creator. I could definitely go online and find a bunch of people that think I’m really great and I could find a bunch of people that hate my guts. That wasn’t at your fingertips back in the day. I kind of look at it, a lot of it, as stuff that’s not meant for me and isn’t really offered up with any kind of conviction or seriousness, like just basically being able to hear every conversation at every table at every bar in the world all at once. It’s just people talking shit most of the time.
But back in the day, I will say that fanzines were pretty vicious, and because there was less of it they carried a lot of weight. There were people that just reveled in writing meanly about other people’s art. Like, early punk rock and post-punk fanzines and independent rock fanzines were extraordinarily negative in a lot of cases, I thought, growing up. That would land and sting for quite some time. Some of those journalists, like Gerard Cosloy, became sort of semi-celebrities in their own right and their opinions were heavily weighted.
I’m curious about your work habits, which you write about a lot in the book. It sounds like you are either writing something every day, or you’re picking up a guitar, or doing something that is involved in creating something throughout the course of a day. Have you always been like that? Did you write your forthcoming record, Love Is The King, the same way that you wrote Summerteeth 20 years ago?
Well, I can’t remember 20 years ago. I think it would be the same except more so now: the same energy for just wanting to think of something new to sing. In the most basic way, I like having a new song to sing. It gives me a great deal of satisfaction to come up with something new to sing. So I feel driven to do that and it is a work ethic but it also really soothes some part of me. I’m trying to convey in the book how beneficial that is. So I would answer, even though I can’t remember, that it had to have been, for the most part, created the same way, at least in the initial songwriting stages.
In the book you write about the song “Can’t Stand It,” which was famously added to Summerteeth as a potential “pop” single at the request of the record company. You talk about how writing a song on demand was actually beneficial, even if you didn’t necessarily appreciate the request at the time.
I think it was fun to learn that. It wasn’t fun dealing with the record company at that period in time, or ever, but what it taught me was that I could give myself assignments and keep it closer to things that I really wanted to make, more so than the ambiguity of a “hit” song, which I’ve obviously never had a real clear idea of what that is. At that time my idea of writing a “hit” song was just to think a bit more about tempo and modernity, that maybe it was just a recording thing. Because I didn’t feel like I was writing not-pop songs.
I’ve read about songwriters who can improvise songs on the spot. You mention being able to do that in the book. How is that possible?
Right now, I am improvising language to respond to you. There are simple blocks of language and pieces that you can get pretty good at shaping together on the fly. I would assume that that’s kind of how you could do it, and some people are better at it than others. Sometimes I can do it and sometimes I can’t. I definitely stopped allowing myself to do it quite as much early on because I didn’t end up liking the lyrics as much and they were hard to shake if I’d already sung them in the studio as we recorded them.
You write in the book about being able to write songs in your sleep, too. I wonder if there’s a part of your brain that’s always writing songs, even if you’re not aware of it.
It makes sense to me that you would build neural pathways that are so used to thinking along those lines, like solving a crossword puzzle or a Rubik’s cube. It’s just a habitual movement that your brain likes to exercise. I don’t think I have the ability to turn it off all the time and it seems obvious to me that my brain keeps doing it somewhat while I’m sleeping just based on how often I wake up with song ideas and lyric ideas that finish songs.
You’ve made several albums outside of Wilco in the past five or so years. Is there a difference between a Wilco song and a Jeff Tweedy song?
No. I make stuff and I try and get it in a place that feels really good to me. Sometimes I record and build a demo in the studio and then move on to the next thing. Then I’m working on a record. If it’s me I’ll just find the stuff that feels best to me to sing at that moment. If it’s Wilco, I really rely upon just the feeling in the room when we listen to songs that I’ve written. I don’t want to force anything on them, so it generally ends up being what everybody else picks and seems to have some energy for.
Does putting your own name on a song, as opposed to a band name, inherently make it more personal?
I don’t think that I consciously try to be more personal. I just try and sing the things that feel good to sing, feel accurate. I would say that there are a lot of songs on the most recent Wilco records that feel very personal to me. I think that overall, though, when you put a band name on it and when the band has an identity, it does add a layer of anonymity to the singer. The way I’m perceived as a voice in that context changes, and I probably utilize that somewhere in the back of my mind when I’m writing lyrics or finishing lyrics for those songs that we’ve decided have become Wilco songs. There might be some part of me that understands that dynamic a bit better than I would be able to articulate it.
You write in the book about the necessity of “stealing” from your influences, because emulating something you like and failing to match it is a way to discover your own voice. I’m curious what you think about the idea of “originality” in songwriting. There have been instances of estates for older music legends suing new artists for essentially stealing ideas, like the Marvin Gaye estate going after Robin Thicke for “Blurred Lines.” But given that every artist borrows from other artists, can anything really be considered truly original?
Well, I think I would come down on the side of the Marvin Gaye estate on something like that, because it was very specifically built almost as a soundalike track, the way some commercials utilize old records to side-step paying people. But I don’t really know if I have any super strong opinions about it. In folk music — the musical tradition that I’m probably closest to — originality is not a primary concern. What the primary concern would be is telling the story effectively and making a connection and relating what you want to relate. Woody Guthrie always claimed that he never wrote an original melody on purpose, and it was only if he misremembered something he was trying to steal. At the same time, I think Woody Guthrie sounds like nobody else and he’s an icon of individuality and originality and uniqueness. He just used that as a platform to be himself.
I think we do absolutely narrow our views of what constitutes originality and it leaves out a lot of intangibles about how something can be taken in a novel way. I try not to think about it too much because the main thing I really want is the connection part, and it’s really rare for somebody to come out of the blue and make something that has a completely new shape, a completely new, novel approach, and yet still maintains this sort of connection, which is kind of an inescapable core of what we want in a song.
I know that for me, whenever I thought something was completely original, it was only because I was unfamiliar with whatever influenced it.
For sure. You hear a lot of young bands and there’s a lot pastiche going on and a lot of outright just, “I’m just going to take this and this is going to be my band now.” And I think it’s cool. There’s so much personal DNA at work in everything. Even if you really want to completely mine someone else’s vein, you are inevitably going to sound like yourself. I don’t know how successful you could be at being someone else.
How To Write One Song is out now via Dutton. Get it here.
EA Sports got a whole lot of flack for what happened with Madden NFL 21 earlier this year. The game had its charms, but on the whole, a certain kind of staleness and a bunch of gasp-inducing glitches caused the game to get panned by reviewers and gamers alike. While they are, of course, very different games, EA Sports got the chance to save face a bit a few months later with the release of its other behemoth video game franchise, FIFA 21.
Picking out why FIFA has a much better reputation than Madden is hard to identify. Perhaps it’s because of the inherent nature of the sports themselves, and one is more conducive to gaming than the other. Perhaps it’s because of the existence of a legitimate rival, as Madden has nothing while FIFA has Konami’s delightful PES series. Or perhaps it’s something else altogether, like this being a completely wrong read on the entire thing by someone who just likes FIFA more.
But whatever it is, EA Sports rolled out FIFA 21 last week, and unlike Madden, this is a solid, cohesive game that understands what it is and made improvements exactly where it had to. There’s one gigantic change in the game’s Career Mode, but otherwise, a number of the changes in FIFA were designed to make the game a little better in a bunch of different ways, rather than changing everything up in one fell swoop. The result is a wonderful game, and one that I am going to sink a whole lot of time into … well, at least until FIFA 22 comes out.
Let’s start with gameplay, which follows a pretty familiar path for those who are loyal to the series: Things feel awfully similar to the last game, only with a few tweaks. This has become commonplace among versions of the game under the Frostbite engine, which is very much a blessing and a curse. The familiarity that comes with playing FIFA is something that EA Sports seems to pride itself on, but every now and then, this leads to the game either feeling stale or a change not working, a la the game becoming far too defensive-minded last year to the point of feeling clumsy.
EA Sports
This year’s game finds the balance between “feel familiar” and “make little tweaks” nicely. The defending was the thing that stuck out to me — instead of games becoming hideous slop-fests, which they could easily feel like during FIFA 20, defending is more balanced this year. To add a counterbalance to that, though, you get punished if you dive into a tackle that does not work, so those who like to mash X/square or B/circle are put at an immediate disadvantage.
Passing feels far more controlled and not nearly as loose as it has in games past, which is bad for me as someone who likes to rip through balls like there’s no tomorrow, but is generally good for the game. And for those who are big fans of crosses and feel like they have been unnecessarily tricky, that isn’t quite as tough. EA Sports made it a point to tweak the fundamentals of football in this game — per its side: Passing, Blocking, Responsiveness, Manual Headers — and it was an unmitigated success.
Even something like how players move and interact with one another works. Agile Dribbling is fluid, Positioning Personality and Creative Runs are sharp additions to the game that make it feel more lifelike and responsive based off of how you want to play, and the Natural Collision System (the lynchpin of the improved defending) makes things feel less chaotic when players interact with one another on the pitch.It is important to mention here that I have not run into any sort of glitchy messes, so perhaps I am lucky there, but in terms of the gameplay, this is one of my favorite versions of FIFA in some time.
To get into the bells and whistles, FIFA largely kept its game modes the same, although it changed up Skill Games in a way that I think works perfectly, as it’s now a monster skill trainer. The House Rules are still there doing their thing, the act of playing VOLTA Football isn’t all that much different (although, full disclosure, I did not get to dive in too deeply and therefore have not gotten to use The Groundbreakers, which include everyone from current and former star footballers to Diplo and Anthony Joshua), and Ultimate Team understands not to mess with the formula all that much. The downside is that microtransactions are still a thing, which is bad, and will always be bad, even if I have spent my own money to acquire packs, because you kind of have to if you do not want to be left behind in FUT.
This year’s FIFA decided to go all-in on making tweaks to its Career Mode, which had grown so stale that Philadelphia 76ers star Joel Embiid took to Twitter last year and begged that something would be different this time around. Before diving into how the Manager mode is different in a good way, Player mode is as frustrating as that is better. You go somewhere, you train, you play, and … that’s kind of it. In every game where I have played that mode, for some reason, my manager puts me out of position and in a weird formation. Last year, I played as a winger who spent all of his matches as a midfielder. This year, I am a midfielder who was moved to center back. While a comprehensive, NBA 2K-style single-player story mode would be a nightmare, I feel like FIFA can do a little more here.
EA Sports
Being a manager, however, is more fun. There’s far more planning into getting your team ready for a game than usual — in past games, you’d put individual players through one of five allocated drills and that was it for a week. Now, there is a weekly training/rest schedule, and as the manager, it is your job to balance fitness, sharpness, and morale. It’s a bit tedious, but I generally like the idea.
I love the process by which a player gets a developmental plan, one which lets them change positions — understandably, it’s easier to change to a similar position (i.e. a center back to a defensive midfielder) than if you wanted to make a fullback into a striker — or change how they approach positions. I was also a big fan of the new mechanism through which you can simulate a game but follow along. Now, you are still managing an entire match, but you’re truly serving as manager, following along with dots that float on the field, managing fitness and player ratings, adjusting how your team plays, and if the situation calls for it, hopping in and taking care of business on your own.
That second thing is, quite possibly, my favorite addition to FIFA in years. While it is not quite as immersive as Football Manager, it is hard not to see the inspiration drawn from the legendary soccer sim. If you’re the kind of person who likes to build a team and leave their games to the computer, legitimately letting them feel like they’re turning FIFA into a game where they are the manager, it’s a blast. I do have a gripe with the amount of adjusting you can do to your various players’ instructions and your tactics, which is still a bit stale, but for a first attempt, this is quite good and quite fun.
Overall, FIFA 21 didn’t try to reinvent the wheel in a bunch of ways. Gameplay has the right tweaks, while FUT and VOLTA Football don’t try to do anything they do not need to do. If you buy a game for those things, you don’t really need to pick this one up right away, but if you want to get it for those things, you won’t be disappointed. But for the Career Mode fans, pick it up as soon as you can.
The NFL season has begun, bringing with it the Songs of the Season campaign. The aim for Songs of the Season is to highlight emerging artists by incorporating their music into broadcasts throughout the season, donating the proceeds to organizations chosen by the Jay-Z-led Inspire Change initiative. While last year’s season included contributions Lecrae, Royce Da 5’9″, and SASH, the first song of this year’s campaign is Ghanaian-American rapper Blackway’s “Heavyweight.”
Blackway, born in Brooklyn and raised in Ghana, is best known for contributing the song “What’s Up Danger” to the Spider-Man: Enter The Spider-Verse soundtrack. “I like to make music that motivates people,” he explains of “Heavyweight” in the press release. “My fans tell me those types of songs make them feel like a superhero. I wanted to bring that same energy when I got the opportunity to work on this song for the NFL. I feel like athletes are the closest thing we see to superheroes and being able to give back through my music with Inspire Change makes me feel like one, too.”
The NFL recently rescheduled eight games as a result of positive COVID tests among players, while things are looking grim for the Cowboys and Falcons; Dallas QB Dak Prescott was carted off the field after a gruesome ankle injury in Sunday’s game against the Giants, while Atlanta fired head coach Dan Quinn and General Manager Thomas Dimitroff after a horrendous 0-5 start.
Adam Sandler’s latest Netflix original Hubie Halloween contained a noticeable amount of callbacks to the actor’s deep bench of comedy classics. Heck, the movie opens with surprise cameo from Ben Stiller, who hasn’t appeared in a film since 2017, yet reprised his role of medical orderly Hal L. from Happy Gilmore. With shared cinematic universes being the new normal now, Yahoo! Entertainment couldn’t help but wonder if Hubie Halloween is the start of the “Sandlerverse,” so they asked the Sandman himself what prompted the callbacks, and whether this means he’s open to a massive, onscreen team-up of his most iconic roles:
“It just happens that we run out of stuff to talk about so just bring that s**t back from 1961,” Sandler says.
If Hal L. and the O’Doyle family also exist in Hubie Halloween, that means so could Billy Madison, Happy Gilmore, Bobby Boucher and the rest of Sandler’s gamut of goofballs. Could they someday all come together, Avengers-style?
“I’d like that, I just gotta get mentally prepared for that,” Sandler cracks dryly. “So that’ll probably happen in another 35 years. We’re gonna get to that.”
Sandler might joke, but the conditions are prime for a Sandlerverse to launch on Netflix. The streaming service loves his Netflix originals, which have racked up over two billion hours of viewing time since 2015 prompting Netflix to re-up their deal with Sandler. On top of that, the social media reactions to Hubie Halloween were plentiful. Maybe it’s the quarantine, or just the sheer raw power of nostalgia, but folks were going nuts for the Easter eggs from Sandler’s classic comedies.
Five minutes into @AdamSandler ‘s Hubie Halloween and there have already been Waterboy, Billie Madison, and Happy Gilmore references. I am here for it. O’Doyle rules!
This probably gets my critic card revoked but HUBIE HALLOWEEN was funny, touching, and an amazingly meta callback to HAPPY GILMORE and BILLY MADISON. Hard recommend!
The 2019-20 NBA season is (finally) over, with LeBron James, Anthony Davis and the Los Angeles Lakers hoisting the Larry O’Brien Trophy in Orlando. While the campaign took a calendar year to complete, the offseason is officially here for all 30 teams in the league, all while acknowledging that eight franchises have been in offseason mode for more than seven months.
To that end, the 2020 NBA Draft is now nearing in mid-November and the attention of the basketball-observing public shifts back to the next wave of talent that will enter the league. Though the 2020 group isn’t lauded on the level of other classes, there are appealing prospects up and down the board and, for the first time since the lottery in August, it is time to project how the first round might go.
Things will change in the next month or so, but without further delay, the Minnesota Timberwolves are on the clock in mock draft fashion.
Trade winds will be blowing a lot in the next month, but the Wolves are a bit of a black box. None of the consensus top guys are ideal fits in Minnesota, but it is never a good idea to draft for fit at No. 1 overall. As such, we slot in Ball, who is No. 1 on my big board and the player that might have the highest ceiling in the draft. The Wolves might not take him, but another team might be motivated to make the big jump, and there are at least rumblings that Minnesota might just snag Ball if they stay put at the top.
2. Golden State Warriors – Anthony Edwards (G, Georgia)
Speaking of trades, this is the spot that everyone has discussed for months. The Warriors are in win-now mode in a way that no other team in the lottery can match and, since even the best rookies can’t be counted on to help you in that pursuit right away, Golden State could be motivated to move on. We’ll slot in Edwards almost as a place-holder, because a) the Warriors could simply take him as the best player available, and b) if Ball is gone, Edwards is the player most likely to garner a significant trade return.
3. Charlotte Hornets – James Wiseman (C, Memphis)
I came very close to mocking Obi Toppin to Charlotte. Toppin was the National Player of the Year and he is someone that would very much fit Charlotte’s traditional mold. However, there is some noise with Wiseman, who still has big fans in NBA circles, and the Hornets are certainly in the market for a center. Charlotte might choose to fill that position via free agency, but Wiseman projects as a potentially impactful defender, and he is quite talented.
4. Chicago Bulls – Killian Hayes (G, Ulm)
The Bulls could do a lot of different things here and I want to emphasize that. To add to the intrigue, this is also a new front office approaching its first draft. This scenario may seem a bit odd given that Chicago invested a lottery pick in Coby White last year, but it actually makes some sense. Hayes is a lead guard by trade, but he’s 6’5 and virtually has shooting guard size. From there, there are still questions about White as a primary initiator and that pairing would actually work quite well together. Then, you have Zach LaVine, who is currently Chicago’s No. 1 option but, quite honestly, that trio makes a ton of sense together and Hayes just happens to be the top remaining player on my big board.
The top four isn’t set in stone by any means, but the Cavs would probably enjoy this outcome. Avdija would give them a two-way forward to pair with their (heavy) investment in the backcourt, and Avdija can be a connecting piece for Cleveland. I’m more skeptical of his ultimate upside than some, but he doesn’t take much off the table and he is an appropriate top-five pick in this class.
6. Atlanta Hawks – Isaac Okoro (G/F, Auburn)
Getty Image
The Hawks could go in several directions, but a dynamic, two-way wing is never a bad idea. Okoro definitely has question marks with his jump shot, but he is the best on-ball defender in the class, and the local Atlanta product also has intrigue as a secondary creator offensively. Atlanta invested heavily on the wing with two lottery picks last year, but that shouldn’t dissuade them from adding another piece.
7. Detroit Pistons – Tyrese Haliburton (G, Iowa State)
The Pistons, along with the Knicks, are seemingly in prime position to maybe trade up and take a swing. Detroit doesn’t have “the guy” moving forward and, to say it plainly, Haliburton also isn’t that player. He is well-liked in NBA circles, though, as a potentially interesting supporting piece, with an efficient jump shot, sky-high basketball IQ and interesting playmaking ability defensively.
8. New York Knicks – Obi Toppin (F, Dayton)
New York desperately needs a lead playmaker, unless of course you believe that RJ Barrett is that guy. Unfortunately, there isn’t a ready-made solution with the way this draft breaks, and Toppin is the best option as a result. The National Player of the Year does have defensive flaws, to be sure, but Toppin projects as a highly efficient play finisher in the NBA that could also pop as a shooter and short-roll passer.
9. Washington Wizards – Onyeka Okongwu (C, USC)
This is the best possible outcome for the Wizards. With all due respect to Thomas Bryant, Washington doesn’t have a full-proof plan at center long-term and Okongwu is also the best player available on my board by a clear margin. He may not be a star, but Okongwu may have the highest floor of any prospect in the 2020 class.
10. Phoenix Suns – Patrick Williams (F, Florida State)
On my personal board, Williams isn’t the best prospect from his own team. With that said, Devin Vassell is a polarizing prospect in some circles, and he might be duplicative, at least on some level with Mikal Bridges and even Cam Johnson. In Williams, the Suns don’t get a home run point guard as some project, but he is an intriguing pick with real upside as a special athlete with high-end defensive potential.
11. San Antonio Spurs – Devin Vassell (G/F, Florida State)
Getty Image
The Spurs are a fascinating team, both for the present and the future. As such, they could explore different avenues but, if Vassell is still available at No. 11, they should just take him. One of the more prominent comps for Vassell is prime Danny Green, and that pretty much explains it. He’s probably the best off-ball defender in the class, and he has some offensive juice as well.
If the Kings hold on to Buddy Hield, this pick doesn’t make much sense. If they move him and hang on to Bogdan Bogdanovic, Sacramento might peg one of the draft’s best shooters, and the buzz seems to be that the Kings are in the market for a wing. It should be noted, though, that this is a new front office that doesn’t have a track record just yet.
13. New Orleans Pelicans – Tyrese Maxey (G, Kentucky)
I projected this in our last installment, and I stand by it. The Pelicans could certainly use a low-usage floor-spacer (bringing Saddiq Bey into play), but Maxey is now violently underrated. He is a supporting piece ideally, but Maxey would fit next to Jrue Holiday and Lonzo Ball in the backcourt, giving New Orleans some additional creation and a player who can perform well defensively.
14. Boston Celtics (via Memphis) – Aleksej Pokusevski (F/C, Olympiacos B)
Lewis is still flying under the radar but he shouldn’t be. He is a potential starting point guard with an intriguing offensive skill package. At No. 15, the Magic should certainly be in the market for that kind of player, even if they are in love with Markelle Fultz.
The Blazers definitely don’t need another combo guard, and that is what Hampton projects to be. With that said, Portland has been leaning upside in the recent past, and Hampton might have the highest ceiling of anyone remaining. Portland could certainly opt for a safer pick like Saddiq Bey, but it might be time to swing.
Achiuwa isn’t a guy I love in the lottery but, at this point, the value is better and so is the fit. Achiuwa might be a small-ball 5 long-term given his limitations, but he’s hyper-athletic and the fit next to Karl-Anthony Towns is quite good. Achiuwa can play the 5 on offense while Towns spaces the floor, defend forwards and also provide the Wolves with a different look off the bench.
18. Dallas Mavericks – Cole Anthony (G, North Carolina)
I like this a lot, both for Anthony and the Mavs. There are whispers of a potential fall for Anthony and, honestly, slipping all the way to No. 18 would be wild given where we were a year ago. Still, it’s a good situation in that Anthony might not be a full-blown primary ball-handler at the NBA level but, in Dallas, he definitely doesn’t need to be next to Luka Doncic. Anthony can also defend better than you might think, and Dallas is probably in the market for their “point guard” of the future.
19. Brooklyn Nets (via Philadelphia) – Saddiq Bey (F, Villanova)
This is a bit of a slip from where Bey is often projected, though nothing too severe. He’d actually fit quite well in Brooklyn, particularly given the fact that the Nets are trying to win now and Bey is more “ready” than most rookies. On top of that, his shooting is a real weapon and he has a winning pedigree. Brooklyn may look for more of a swing, but this is pretty good value.
20. Miami Heat – Tre Jones (G, Duke)
The Heat have big decisions to make this summer, namely with Goran Dragic. There is a reason that Miami is linked to a point guard in many mock drafts, though, and Jones seems like a player they’d enjoy. He plays very hard defensively, made strides offensively this season, and fits into Miami’s culture with his motor and toughness.
21. Philadelphia 76ers (via Oklahoma City) – Tyrell Terry (G, Stanford)
Getty Image
Terry is reportedly (much) bigger than he was during the college season and that is helpful. One of the knocks on his game is his lack of physicality but, make no mistake, Terry can flat-out shoot. Philly needs another ball-handler, too, but the spacing is priority No. 1 on the perimeter. Terry brings both and the fit makes sense.
22. Denver Nuggets (via Houston) – Jalen Smith (C/F, Maryland)
The concern with Smith is that he might not be physical enough to play center, nor quick enough to play the 4 full-time. That is less of an issue in the modern game than it used to be, though, and the buzz surrounding Smith is pretty strong in NBA circles. He would be a backup for Denver, but his versatility and shooting would give Mike Malone some interesting lineup options.
23. Utah Jazz – Josh Green (G/F, Arizona)
The Jazz performed admirably in the playoffs, even without Bojan Bogdanovic. With that said, it was very clear that Utah was at least one player short, and one of the issues was a lack of wing defenders. Royce O’Neale is a favorite of mine, but Green is a reasonable value here and his defensive tools are appealing. Offensively, it is a mixed bag (which is why he’s available at 23), but we’ve reached the point where it makes sense to try it.
Bane is a favorite of Draft Twitter and there is a reason for that. He’s good at basketball. Yes, he’s old as a four-player at TCU, but Bane can really shoot, can defend more than adequately, and even has some on-ball equity. There aren’t many prospects who could help Milwaukee in 2020-21, but he might be the best bet at this slot, and you can’t have too many 3-and-D options.
In the last few months, this has been an exceptionally popular projection and it is one we also used in the last mock. The Thunder just seem to have a thing for wings that have tools and defined weaknesses, with McDaniels falling directly into that mold. In addition, you’re maybe “buying low” on a former consensus lottery pick that slips to No. 25.
26. Boston Celtics – Theo Maledon (G, ASVEL)
Getty Image
This might be a touch low for Maledon in practical terms, but the Celtics could both use him or stash him if they so choose. There is a lot to like with Maledon, particularly offensively with his shooting, and he brings some upside to the table this late in the first round.
27. New York Knicks (via LA Clippers) – Grant Riller (G, Charleston)
The Knicks would certainly love to get a lead guard in the lottery but, with the way this mock went, that guy really wasn’t available. In Riller, there is more risk than with the guys in the top 10, but Riller has genuinely impressive offensive upside as a creator and play finisher. He’s (very) old for a 2020 prospect and his defense was brutal in college, but Riller could be a starting guard if he clicks on offense in the way he could.
28. Los Angeles Lakers – Malachi Flynn (G, San Diego State)
Many have projected the Lakers to grab a point guard here, and that makes a ton of sense. It may not be Flynn, especially considering just how many point guards are in the same range, but Flynn can run a pick-and-roll and defend. That’s a good place to start, and he’s worthy of a first-round investment.
29. Toronto Raptors – Xavier Tillman (C, Michigan State)
The Raptors are a very smart organization. The Raptors also need future-facing depth in the frontcourt. Smart organizations will value Tillman as a potentially dynamic role player, and Toronto gets a heist here in my view.
30. Boston Celtics (via Milwaukee) – Isaiah Stewart (C, Washington)
As discussed previously, the Celtics could do just about anything with these three picks, and I would wager heavily that Boston doesn’t make them all. Without projecting trades, we send Stewart to Boston, knowing that NBA scouts still view him as a first-round pick, and he might be able to excel in the role the Celtics need in the middle, all while doing it for a low cost.
While older songs tend to be the ones that top lists of the greatest tunes ever, contemporary tracks fare much better in the ranks of the most-streamed music. Songs from the past decade are the ones that dominate these all-time lists; Ed Sheeran’s “Shape Of You” has over 2.6 billion plays, which is the most ever. Now, though, one older track has snuck into the billion streams club and made some history in the process: Oasis’ “Wonderwall” has become the first song from the ’90s to crack 1 billion plays on Spotify, as Chart Data notes.
.@oasis‘ “Wonderwall” has now surpassed 1 billion streams on Spotify. First ’90s song to achieve this milestone.
Additionally, it’s also only the second song from before the year 2000 to surpass a billion streams. The other is Queen’s 1975 classic “Bohemian Rhapsody,” which has over 1.3 billion streams.
Technically, as of press time, my desktop Spotify application shows that “Wonderwall” has racked up only 999,925,038 plays. Perhaps my app isn’t displaying the most recent data, but even if “Wonderwall” hasn’t topped a billion streams quite yet, it is likely to very soon.
This achievement puts Oasis in rare company, as only a small number of artists have ever had a song hit a billion Spotify streams. It’s not quite the same list, but artists with songs in the top 100 most-streamed Spotify tracks ever (all of which have at least a billion streams) include Post Malone, Justin Bieber (7 songs each), Sheeran (5), The Weeknd, Imagine Dragons, Dua Lipa (4 each), Drake, The Chainsmokers, Shawn Mendes, DJ Snake, XXXTentacion, Twenty One Pilots, Charlie Puth, Halsey, Cardi B (3 each), Ariana Grande, Billie Eilish, Charlie Puth, Maroon 5, Sia, Travis Scott (2 each), 5 Seconds Of Summer, Adele, John Legend, Juice WRLD, Justin Timberlake, Lauv, Lil Uzi Vert, and Tones And I (1 each), among others.
Anyway, here’s “Wonderwall”:
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
There’s a lot of single malt scotch out there. Big brands tend to make headlines when they drop big bottles, which, in turn, means a lot of smaller bottles of scotch remain under-appreciated or under-hyped. That’s especially true if you’re not in Scotland or not entrenched deeply into the world of Scottish single malts.
Our focus today is under-hyped single malt scotch whisky. We’ve gathered a quorum of whisky experts — whisky distillers, whisky bottlers, whisky judges, booze writers, and whisky ambassadors — to shout out the bottles of single malt from Scotland that they think need a little more love on the international whiskey stage.
The nine single malts below may already be on your radar. Or they may not. Either way, these are bottles of the good stuff that our experts think are worth seeking out, giving a try, and maybe adding to your whisky rotation.
ABV: 55.3% Distillery: Inchgower Distillery, Buckie, Speyside Average Price: $300
The Whisky:
Not so much underrated as unsung! Inchgower is a magical single malt whisky. It’s a fruity Speyside malt with a whisp of salt tang that’s usually associated with the heavier styles of Scotch. This makes it a unique liquid and a great starting point for someone looking to explore coastal malt whisky.
The distillery was founded in 1871 and sits on the site of a ghost distillery, Tochieneal. It even uses the same equipment. As such, releases are few and far between (other than their 14-year Flora and Fauna). Plus, Inchgower is often reserved for special releases like the 27YO from 2018. It’s also featured in the blended malt Claddach from the same year.
It’s awesome juice, from a solid distillery, with a complex character. What more do you want?
Tasting Notes:
A huge amount of barley sweetness, fruit sweets, cedarwood, hay, blossom, and a touch of chocolate. On the palate, a hit of citrus (first lime, then orange), ginger ice cream sweetness flanked with tannin, and salt finish. It’s awesome on the rocks and as part of a cocktail, a Morning Glory fizz or a sour are my two favs.
Glenfarclas Aged 12 Years– Jared Himstedt, Head Distiller and co-founder Balcones Distilling
Glenfarclas
ABV: 43% Distillery: Glenfarclas Distillery, Ballindalloch, Speyside Average Price:$55
The Whisky:
The topic of over and underrated whiskies is a tricky one, the landscape changes so fast. Yesterday’s underdog can be tomorrow’s darling if it gets traction with an influential group or club or wins in a spirits competition. That said, I still have a go-to that I feel is underappreciated and has been for some time: Glenfarclas 12.
The allure of being independent and family-owned and their continued use of direct fire stills adds a layer of romance to the Glenfarclas brand. We have so many other sherried single malts — some subtle and some completely over the top — and this little gem has always struck me as being better and more interesting than some pricier and higher profile brands.
The value is there.
Tasting Notes:
It’s a dram that starts with the expected sherry notes. Some varnish on the nose, nutty, vinous, just the right amount of sulfur. Maybe a hint of heavy cream and a crisp, almost eucalyptus, evaporativeness. It’s expressive for 43 percent ABV, with a creamy and coating texture. Grain and soft oak sweetness join the nuts and fruit mid-palate before a nice pop of acid and citrus meets you at the finish.
ABV: 40% Distillery: Glenfiddich Distillery, Dufftown, Speyside Average Price:$50
The Whisky:
In 1963, Glenfiddich became the first single malt scotch whisky to be exported out of Scotland, essentially establishing the category as we know it. As the youngest expression in the Glenfiddich range, I find that The Glenfiddich 12-year-old Single Malt is often overlooked for its older, more elusive siblings. That’s a real shame.
Glenfiddich 12 offers a truly refreshing dram which can be enjoyed by all. The whisky is matured for 12 years in Olorosso sherry and American oak casks before being married in specially designed, uniquely sized oak tuns for nine months.
Tasting Notes:
This dram really reminds me of freshly cut pears! It’s fresh and fruity on the nose; sweet, creamy, and malty on the palate and has a long, smooth, and mellow finish.
ABV: 40% Distillery: Speyburn Distillery, Aberlour, Speyside Average Price:$34
The Whisky:
Lots of single malts out there get tons of attention, but there are even more that fly under the radar, especially here in the States. Speyburn 10-year-old is definitely a whisky that doesn’t get the credit it rightfully deserves.
Given its pleasing aromas and captivating flavors, it’s a perfect everyday pour. As important as that is, the $30-ish per bottle asking price is what really cements this malt as a must-have. Find me another 10-year-old whisky as delicious as Speyburn for that price!
It’s matured in a combination of ex-bourbon barrels and ex-sherry casks. The distillery bottles Speyburn 10-year-old at 43 percent ABV, which is a great sipping proof.
Tasting Notes:
Speyburn 10 starts with hints of subtle sweetened malt, caramel chews, and a floral top note. Ripe nectarine, vanilla, and spice notes make an appearance with a little airtime. On the palate, honeyed malt is complemented by candied orange peel, stewed orchard fruits (think pear), pie crust, and vanilla bean. The clean, slightly dry finish features butterscotch and the slightest oak note.
It’s a Speyside single malt that beautifully captures a classic whisky profile at a very affordable price. You can’t beat that.
ABV: 40% Distillery: Pulteney Distillery, Pulteneytown, Highlands Average Price:$48
The Whisky:
I believe one of the most underrated distilleries in the Highlands is Old Pulteney in Wick. Wick, in its earlier glory, harbored the largest herring fleet in the world. The town became so unruly with drunken sailors that at one point it was ordered to become a “Dry Town.” Sailors looked at that distillery every day, longing to satisfy their thirst, with night watchmen standing guard ensuring the casks stayed safe.
The Old Pulteney 12 is a true maritime malt. It is aged in ex-bourbon casks and has a deeper amber color than one would expect for a 12-year-old.
Tasting Notes:
When you bring it to your nose, you almost feel transported to the edge of the sea as brine fills your nostrils. Through the brine comes a light touch of honey and vanilla to bring balance to the nose. When you taste, you feel the malt presence in your mouth with a light spice and honey as it moves around. The finish is a smooth, long finish but not syrupy.
The dram ends on light smoke, spice, and the expected faint hints of the sea.
ABV: 43% Distillery: Aberfeldy Distillery, Aberfeldy, Highlands Average Price:$190
The Whisky:
Aberfeldy is a distillery nestled in the Highlands of Scotland. They are famous for being the spiritual home of Dewar’s and are still owned by the brand today. Lead by Master Distiller Stephanie Macleod, they are well known for their high-quality malt. This malt was first distilled in 1998 and has been matured in bourbon casks for 16 years, before being transferred to sherry casks to finish for four years.
Tasting Notes:
The nose begins with notes of honey, caramel, and oak. Sherry spices appear with dried fruits and a lovely moist Christmas cake note. It’s rich and warming. Citrus fruits give it a nice liveliness and crystallized orange peels add a wonderful sweetness.
The palate is full of caramel and honey with a hint of vanilla oak. Coffee and dark chocolate give it a nice edge. The bitterness is excellent against the sweetness. The mouthfeel is smooth and brings out a lot of chewy dried fruit notes. Marzipan and Christmas cake continue through the sip.
ABV: 43.4% Distillery: Mortlach Distillery, Dufftown, Speyside Average Price:$220
The Whisky:
Mortlach has been admired and respected by those “in the know” for decades — by the people who actually make whisky, including distillers and blenders. However, apart from a small cult following within the malt whisky cognoscenti, it seems to fly under the radar.
Mortlach 20 for me strikes the perfect balance of rich, powerful, elegant, and complex. It’s one of the finest examples of Speyside whisky you’ll ever encounter.
Tasting Notes:
This whisky has it all. It’s robust and rich, elegant, and intriguing. On the nose, there are notes of dried fruit, cedarwood, leather, barbecue ribs, and cocoa nibs. On the palate, these carry through along with aromatic spice, berries, jam, and a touch of ginger. The flavors and aromas are beautifully integrated and perfectly balanced, making this a truly exceptional whisky that deserves to be savored.
ABV: 47% Distillery: Glenfiddich Distillery, Dufftown, Speyside Average Price:$88
The Whisky:
The Glenfiddich Project XX is a delightfully unique whisky that I don’t believe has been spoken of enough in recent years. It was created at the distillery in Scotland by Malt Master Brian Kinsman and twenty of the industry’s leading experts. Each person chose a cask that stood out to them and these casks were married together to create this delicious spirit.
Tasting Notes:
Due to this distinctive creation process, the whisky is very complex. At its core are the warm, fruit flavors you expect from any Glenfiddich whisky but, as you savor it, the spirit opens up to reveal notes of baking spice, toffee, and a touch of anise brightness. It then has a long finish that circles back around to those classic candied citrus notes Glenfiddich is renowned for.
ABV: 43% Distillery: Caol Ila Distillery, Port Askaig, Islay Average Price:$80
The Whisky:
Caol Ila — pronounced “Cull Eela” — was a revelation to me when I tried it last year (thanks to Ewan Gunn’s recommendation in a small Edinburgh whisky bar). The distillery hides away on a small Islay bay. They pull their malt from the historic Port Ellen peat-fueled malting floors. The water is sourced from Loch Nam Ban as the water from the lake meaders past the distillery towards the briny sea. The result is a perfect marriage of Islay malts and seaside atmosphere in each sip.
Tasting Notes:
The nose opens with a nice rush of citrus fruitiness next to moments of old leather, olives, and almond with a very distant hint of mouthwash mint. The fruit edges away from citrus towards sweeter notes as the sip mellows into hints of dried flowers, leather, and brine with an easy-going billow of smoke in the background. A light sourness arrives late as a counterpoint to the sweetness as this sip slowly fades away.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
(@andythelemon_) 
that portfolio 
𝔪𝔞𝔡𝔰
(@bsolutemadsness) 
and there is a reason for that. He’s good at basketball. Yes, he’s old as a four-player at TCU, but Bane can really shoot, can defend more than adequately, and even has some on-ball equity. There aren’t many prospects who could help Milwaukee in 2020-21, but he might be the best bet at this slot, and you can’t have too many 3-and-D options. 
