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.
Juicy J — and by extension, Three 6 Mafia — have been involved in a number of disputes with other artists in recent months, suing everyone from Travis Scott to Trippie Redd to Suicideboys for sampling their work without permission. Now, they may have a new target: Fast food chain Arby’s, which Juicy claims sampled a Three 6 Mafia beat in one of its TV commercials. Juicy tweeted “I Just found out Arby’s used a three 6 sample in their commercial with out clearing it” early today before deleting the tweet.
Twitter
While it’s not completely certain which commercial Juicy may be referring to, the Boxden hip-hop forum does have a post from 2017 that posits “Whoever does Arby’s commercial is a Three 6 Mafia fan.” The poster provided links to the 2017 ad for Arby’s Triple Thick Brown Sugar Bacon and a YouTube upload of Three 6 member Koopsta Knicca’s “Now I’m Hi Part 2” from his 1999 album Da Devil’s Playground Underground Solo. They certainly seem similar.
If the Mafia’s past actions are any indication, they may very well be taking legal action soon. The group has been adamant about protecting their copyrights, even going so far as issuing a bar in Lansing, Michigan 500 DMCA (Digital Millennium Copyright Act) notices because someone downloaded the Three 6 Mafia discography using the bar’s WiFi during a party. The Arby’s commercial is no longer airing — if it is the one Juicy found out about today — but if Arby’s did indeed sell a few sandwiches using DJ Paul’s production, it’s guaranteed that the Memphis rap pioneers will want a slice of the profits.
Today, three months to the day that news first broke about Tory Lanez’s arrest for carrying a firearm in a vehicle, Tory will be arraigned for not just having the gun but also using it on fellow rapper Megan Thee Stallion. Tory stands accused of two felonies — assault with a semiautomatic firearm and carrying a loaded, unregistered firearm in a vehicle — and will appear in court to enter a plea after originally only being charged with the latter. Apparently, an investigation into the widely publicized incident returned enough evidence to charge him with assault.
When the news that Tory had been charged broke on this past Friday, many of Megan Thee Stallion’s supporters took it as a confirmation that Megan’s accusation — that Tory had shot her in both feet, forcing her to have surgery to remove the bullets — was true and celebrated what looked to be a rare instance of the legal system forcing accountability for a man’s violent actions against a Black woman. The moment was incredibly poignant for many due to its timing, just weeks after Kentucky Attorney General Daniel Cameron announced that there would be no murder charges filed against the three police officers involved in the death of local EMT Breonna Taylor.
However, justice, in this case, has yet to be done — in fact, we’re not even sure what justice for Megan Thee Stallion should look like. As 2020 threw the debate over criminal justice reform into stark relief, Megan and Tory’s violent clash highlights the complexities of the discussion while standing at the intersection of multiple movements including the impulses to “protect Black women,” to “defund the police,” to pursue “restorative justice,” and to “cancel” celebrities accused of wrongdoing. What happens next and how will it affect the discourse? No one can know for certain, but here’s some food for thought.
While reactions to Meg and Tory’s saga on social media are decidedly mixed, one thing is for certain: We need to get better at talking about why we need to hold entertainers accountable for their rotten behavior and how that would even work in the modern world. Perhaps inspired by movements to #MuteRKelly, September and early October saw drastic declines in Tory Lanez’s streaming numbers, as well as Tory’s lowest first-week debut ever for Daystar, his album inspired by the incident. Tory certainly saw consequences for his actions, but it doesn’t seem that those have prompted any feelings of remorse from him; instead, he reportedly embarked on a smear campaign designed to undermine Megan’s story.
And while denying him sales and thus royalties from those sales might deplete whatever war chest he’d have to combat the charges against him — and all indications certainly point to a lengthy courtroom battle — do we really want to see another Black man sent to the very prisons we’ve spent the better part of the last five years protesting against? While it’s true that many progressive journalists, including ones at this very publication, have argued that supporting violent artists only gives them more finances to fight legal charges stemming from their actions, trying to cut their support seems to have only made their more hardcore fans more vocal and entrenched, digging in against the perceived encroachment of “cancel culture.”
That persecution complex only seemed to give Tory more ammo to incite his base (a little like a certain public figure with a cult of personality who tries to spin all his missteps into victories for the benefit of his increasingly delusional supporters) — 17 songs worth, in fact. It’s a tiny base, all things considered, but it’s enough to still provide him another top 10 Billboard debut, albeit one in a slow week that saw few other noteworthy releases. Despite authorities finding enough evidence to charge him with the exact crime that Meg accused him of, Tory seems unfazed, arguing on social media that the “truth” will come out — which isn’t to say that the facts will.
If history can be any indication, there’s plenty to draw on to show that even when held accountable for their actions by legal means, abusive stars will always find their supporters and apologists. When Tory was compared to Chris Brown, Brown’s fans rose up to defend him on Twitter, even when the parallel is pretty reasonable to draw. NBA Youngboy, who dragged his girlfriend down the hallon tape just recently celebrated his own No. 1 debut with Top despite a haphazard rollout that saw him get dragged for its uncreative cover art. And XXXTentacion, perhaps the most notorious of them all, basically got a traveling festival in his honor, courtesy of a cadre of Rolling Loud regulars who ensure his music gets turned up but the allegations against him get downplayed whenever possible.
“Canceling” may work in the short term, but as in the case of Chris Brown, it takes less than two years to get back to business as usual, even with a conviction. The ongoing plights of incarcerated entertainers like Bobby Shmurda and the efforts of Meek Mill to reform the prison industry render a 22-year sentence for Tory untenable. Tory apparently can’t be counted on to see the error of his ways unassisted, as he vacillates from deflection to gaslighting, playing the victim all along in his efforts to come out as the “good guy” in all this. “Protecting Black women,” as Megan implored from the SNL stage last week, presents a complex, tangled problem with few solutions as easy as repeating a catchy slogan.
Unfortunately, justice may not look like what many of us want it to look like. It may be needed counseling for offenders like Tory Lanez, rather than prison sentences or (more likely) probation. It may mean curbing our curiosity when abusive entertainers release new material, knowing that we can only ever hope to turn down the volume rather than muting them entirely. It might just mean fending off the tribalistic impulse to paint either side in broad brush strokes because of a few opportunistic trolls — and letting the trolls talk amongst themselves without response, even when it feels like they need correcting.
Because if anything, 2020 has taught us that some folks just won’t learn the lesson, even when it’s staring them in the face. It’s taught us that more often than not, Malcolm X was right — at least when it comes to the so-called “justice system.” Punishment can only work retroactively — after the harm has been committed. Truly protecting Black women — or anyone, really — will mean a commitment to holding ourselves accountable as men, along with our brothers, cousins, fathers, friends, neighbors, nephews, sons, and favorite entertainers. It means reminding each other that we have to do better at mentoring a generation that respects the personhood of every person, regardless of gender, orientation, race, and all the other dumb ways we find to hate each other. It means making hard choices instead of the easy ones. Protection is prevention, getting better now, so there won’t be a “next time.”
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
“In the weeks leading up to the election, Black women are expected once again to deliver victory for Democratic candidates. We have gone from being unable to vote legally to a highly courted voting bloc — all in little more than a century.
Despite this and despite the way so many have embraced messages about racial justice this year, Black women are still constantly disrespected and disregarded in so many areas of life.
I was recently the victim of an act of violence by a man. After a party, I was shot twice as I walked away from him. We were not in a relationship. Truthfully, I was shocked that I ended up in that place.
My initial silence about what happened was out of fear for myself and my friends. Even as a victim, I have been met with skepticism and judgment. The way people have publicly questioned and debated whether I played a role in my own violent assault proves that my fears about discussing what happened were, unfortunately, warranted.
After a lot of self-reflection on that incident, I’ve realized that violence against women is not always connected to being in a relationship. Instead, it happens because too many men treat all women as objects, which helps them to justify inflicting abuse against us when we choose to exercise our own free will.”
She goes on to express her hopes for Kamala Harris’ vice presidential candidacy, concluding the op-ed:
“Walking the path paved by such legends as Shirley Chisholm, Loretta Lynch, U.S. Representative Maxine Waters and the first Black woman to be elected to the U.S. Senate, Carol Moseley Braun, my hope is that Kamala Harris’s candidacy for vice president will usher in an era where Black women in 2020 are no longer ‘making history’ for achieving things that should have been accomplished decades ago.
But that will take time, and Black women are not naïve. We know that after the last ballot is cast and the vote is tallied, we are likely to go back to fighting for ourselves. Because at least for now, that’s all we have.”
She says plenty more between those two points, so read the full op-ed here.
While Adam Sandler’s Hubie Halloween is receiving unusually decent reviews for a Sandler Netflix film (51 percent on Rotten Tomatoes is 51 more percentage points than The Ridiculous 6), it’s also fun to remember one of the movies that originally made Sandler a movie star. Happy Gilmore came out 24 years ago, and it remains one of the most rewatchable and most quotable comedies of all time, not to mention one of the better sports movies ever.
Of course, the most iconic scene from that movie is the fight on the golf course between Adam Sandler’s character and then host of The Price is Right, Bob Barker, who also elicited from Sandler the most famous line from that movie, “The price is wrong, b*tch.” According to Sandler, it didn’t actually take a lot of cajoling to convince Barker to appear in the movie. Barker had only one condition, he told Sandler, according to the That Scene with Dan Patrick podcast. Barker insisted that he win the fight. Barker took boxing seriously, on account of the fact that his next-door neighbor was Chuck Norris, who helped train Barker. “I trained with Chuck,” Barker told Sandler. “We trained every night. He helps me with my punches and my kicks, but I have to win this fight.” To accommodate that, Sandler actually rewrote the script — because Sandler had won the fight in the original script.
What Sandler revealed that came as something of a surprise, however, is that despite him being absolutely perfect for the role, Bob Barker was not his first choice for that scene. “Well, [Tim] Herlihy initially wrote Ed McMahon,” Sandler told Dan Patrick, referring to the longtime sidekick to Johnny Carson and spokesperson for the Publisher’s Clearing House.
“I remember being so young and cocky then,” Sandler continues, “that we would literally say when we sent it to Ed McMahon, we thought, ‘Of course he’s going to do it. It would be good for him. It’d be good for his career to be in a movie with me and get in a fistfight.’” McMahon, however, didn’t even pass on the role. He never even responded.
One other interesting note from that scene: the iconic line, “The price is wrong, b*tch,” actually came from Judd Apatow, the writer/director of Knocked Up, Funny People, and 40-Year-Old Virgin. At the time, he was Sandler’s Los Angeles roommate. “Judd came up to Vancouver and did a couple of months of jamming with us,” Sandler told Patrick, saying that the line came out of those sessions. That more than makes up for the two-and-a-half hour slog that was Funny People.
The famed “Imagine” video, the one with overly-sincere and quickly-mocked performances from Jimmy Fallon, Mark Ruffalo, and Natalie Portman, seems like it came out four years ago. But nope, Gal Gadot shared the “celebs are at it again” clip in mid-March, and shockingly, the John Lennon cover did not cure COVID-19. In a new interview with Vanity Fair, the Wonder Wonder 1984 explained why she asked her famous friends to sing “Imagine” with her, and the subsequent backlash.
“Sometimes, you know, you try and do a good deed and it’s just not the right good deed. I had nothing but good intentions and it came from the best place, and I just wanted to send light and love to the world,” Gadot said. “I started with a few friends, and then I spoke to Kristen [Wiig]. Kristen is like the mayor of Hollywood. Everyone loves her, and she brought a bunch of people to the game. But yeah, I started it, and I can only say that I meant to do something good and pure, and it didn’t transcend.” I believe Gadot meant well with the video (maybe if she picked a better, less-covered John Lennon song?), but it’s a case of a famous and rich person not reading the room — the backlash to her being cast as Cleopatra in director Patty Jenkins’ historical epic isn’t helping, either.
As for Wonder Woman 1984, Gadot loves the opening scene featuring a younger version of her character, which “always get [me] teary — like good, excited tears,” she said. “One of the biggest things that I believe is that you can only dream about becoming someone or something after you’ve seen it visually. And for boys — lucky them — they got to experience, since the beginning of the movies, that they were the protagonist, they were the strong ones, they saved the day. But we didn’t get this representation. And I think it’s so important… to show them the potential of what they can be.”
As you are probably aware by now, Donald Trump busted out his dance moves to the Village People’s “YMCA” during his Florida (superspreader) rally. He joyously shook it despite a rising death toll (215,000+) and number of official U.S. COVID cases (7.83 million) and also despite the Village People asking him to please stop using their music for his campaign (President Roid Rage didn’t seem to notice that request).
The irony of Trump’s chosen tunes was not lost on those spectating from home, nor was it avoided by CNN’s Anderson Cooper, who had a live reaction to hearing that Trump was also playing “Macho Man.” There were two key facial expressions that the Coop made during this segment. The one above ^^^ that shows him attempting to process the situation and also not laugh. Then there’s the sheer incredulity of it all. While tweeting the below clip, Nikki NuVogue wrote, “Anderson Cooper is every gay man in America right now when he hears Macho Man playing at a Trump Rally. The irony of a gay anthem playing at a Trump Rally is lost on the crowd.”
Anderson Cooper is every gay man in America right now when he hears Macho Man playing at a Trump Rally. The irony of a gay anthem playing at a Trump Rally is lost on the crowd. #machoman#TrumpRallyFlorida # pic.twitter.com/A3LyiVrSNi
The whole Village People thing may or may not be why Joe Scarborough employed the word “macho” while hashing out how Trump’s rally was a largely maskless one, and that includes White House Chief Of Staff Mark Meadows while he spoke to reporters. As Scarborough described the situation, though, this is all “part of a macho death cult.”
Joe Scarborough (@JoeNBC) on @MarkMeadows talking to reporters without a mask while remaining 10 feet away: “reckless with the lives of people around him,” “part of a macho death cult” pic.twitter.com/I7gTrECKCN
Snoop Dogg is one of the highest-profile Los Angeles Lakers fans, so naturally, he is elated that the team won this year’s NBA championship. He was so happy, in fact, that he got a big tattoo to celebrate.
The ink covers his entire right forearm, and Snoop shared a video on Instagram showing off and explaining the tattoo, in which he says, “As you see, the tat is done. ‘KB’ on the bottom, Kobe Bryant. Larry O’Brien championship trophy with the Lakers [logo] going through the ball. Gates of Heaven up top, and it don’t stop. Laker Nation. Thank y’all Lakers, and thank you Mr. Cartoon in a real motherf*ckin’ way. We the west and we the best, f*ck out of here.”
Snoop had more thank-you’s in the caption as well, where he shouted out LeBron James, Anthony Davis, Kentavious Caldwell-Pope, Dwight Howard, Danny Green, Kyle Kuzma, Alex Caruso, Markieff Morris, Rajon Rondo, and “the bench mob.”
Musicians often aren’t too keen about Donald Trump playing their music at his rallies or other events. Artists like Axl Rose and Pharrell have insisted that Trump stop using their songs or even taken legal action against the president. Trump again got musical at a rally in Florida yesterday, this time dancing to the Village People classic “YMCA,” which many people found ironic.
After “Village People” and “YMCA” started trending on Twitter, one user summarized the situation well, writing, “The song’s lyrics appear to extol the virtues of the #YMCA. However, in gay culture from which the Village People stemmed, the song is understood as celebrating YMCA’s reputation as a popular cruising & hookup spot, particularly for younger gay men. And once more for the particularly delusional or hard of thinking: Trump’s support base is the Christian Right – who hate gay people. You’re welcome.”
The song’s lyrics appear to extol the virtues of the #YMCA. However, in gay culture from which the Village People stemmed, the song is understood as celebrating YMCA’s reputation as a popular cruising & hookup spot, particularly for younger gay men.pic.twitter.com/oYsZMwwTe7
Another user shared a clip of news coverage of the rally and noted, “Watch as Anderson Cooper stares off into the middle distance upon realizing that Trump is using gay anthem ‘YMCA’ to amp up his radically homophobic base at a mask free rally after testing positive for COVID-19 less than 2 weeks ago. Enjoy Macho Man!”
Watch as Anderson Cooper stares off into the middle distance upon realizing that Trump is using gay anthem “YMCA” to amp up his radically homophobic base at a mask free rally after testing positive for COVID-19 less than 2 weeks ago. Enjoy Macho Man! pic.twitter.com/F0XY3GhWbV
After Trump played “Macho Man” at an India rally earlier this year, Village People spoke out about the POTUS using their music, saying in a Facebook post that while they weren’t trying to block their songs from being played at his events, they be no means support him or his use of their music:
“TO OUR FANS:
We have received numerous requests demanding that we prevent or ban President Donald Trump’s use of our songs, particularly ‘Y.M.C.A.’ and ‘Macho Man.’
With the latest use of ‘Macho Man’ in India, we are being inundated and can no longer remain silent.
Since our music is not being used for a specific endorsement, the President’s use is ‘perfect[ly]’ legal.
He has remained respectful in his use of our songs and has not crossed the line; if he or any other candidate were to use any of our songs in a manner that would suggest our endorsement, or in a promotional advertisement, that would cross the line.
Like millions of Village People fans worldwide, the President and his supporters have shown a genuine like for our music.
Our music is all-inclusive and certainly everyone is entitled to do the YMCA dance, regardless of their political affiliation. Having said that, we certainly don’t endorse his use as we’d prefer our music be kept out of politics.”
One user re-shared that story and noted, “Doesn’t it seem that The Village People are sort of punking Trump with his desire to play their music at his Covid Spreaders. Sure, play our music they said. [laughing emoji]”
Doesn’t it seem that The Village People are sort of punking Trump with his desire to play their music at his Covid Spreaders. Sure, play our music they said. https://t.co/STjbcHgS4t
Check out some more reactions below, including some criticism’s of Trump’s dancing abilities.
And when his new exit song, The Village People’s “YMCA,” blaring over the loudspeakers, the president did what has become his trademark dance, pumping his fists somewhat in time to the beat as the crowd roared.
The village people are the only group that hasnt given Trump a cease and desist order to stop playing their music because its seriously funny to watch homophobes dance to a gay anthem.
Trump man There’s a need to feel down I said, Trump man Find yourself on the ground I said, Trump man Cause you’re soon out of town There’s a need to be unhappy
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