If there’s one thing DaBaby has made clear in his musical career so far, it’s that there’s no slowing him down. The North Carolina native rarely goes more than a month without some type of musical offering, whether it be a song, an album, or a video. Keeping that streak alive, DaBaby taps into the deluxe version of his album Blame It On Babyfor a new music video for the song “Practice.”
Calling on his huge squad of friends and associates, which includes his uncle, a young rapper who goes by the name of Big Caleb, and Billion Dollar Baby Entertainment rapper Stunna 4 Vegas, DaBaby and crew terrorize the streets. From cars doing donuts to $100 bills raining from the sky, the video shows DaBaby and his crew having a blast in the city.
The video arrives after DaBaby and Lil Baby announced a drive-in music festival, which is set to take place in Atlanta on October 11 at the Atlanta Motor Speedway. The announcement arrived after DaBaby tried his hand at a mid-pandemic concert back in July. Despite laying out protocols that would ensure the safety of everyone in attendance, video from the concert showed that the the rules were scarcely followed. As a result, he and public officials were thrashed and condemned on social media for going through with the concert despite the obvious health risks. Perhaps DaBaby can redeem himself with the upcoming drive-in concert.
Johnny Nash, who was best known for his 1972 hit song “I Can See Clearly Now,” has died at the age of 80. The news was confirmed to TMZ by his son John Nash III, who told the platform that his father passed away from natural causes at his home in Houston.
Nash’s music career began in 1957 with his major-label debut single, “A Teenager Sings the Blues.” The following year, the pop and reggae singer would land his first Billboard hit thanks to a cover of Doris Day’s “A Very Special Love.” In 1965, Nash released his highest-charting single to date with “Let’s Move and Groove Together,” which entered the top five on the BillboardUS R&B charts. He later moved to Jamaica with Arthur Jenkins and manager Danny Sims to form the JAD Records in 1967. Five years later, Nash released his most successful single, “I Can See Clearly Now.”
Aside from his musical career, Nash also had had a successful sideline as an actor. One of his major acting roles came in 1959 when he took the lead role as Spencer Scott in Take a Giant Step. The film, which was directed by Philip Leacock, was one of the first films about a black family written by a black writer.
For the second time in three years, the Seattle Storm have swept their way to a WNBA championship. The Storm capped off the WNBA’s Bubble in Bradenton, Fla. with an emphatic, 92-59 win over the Las Vegas Aces on Tuesday night, bringing this season to an end and giving Seattle the latest bit of hardware to toss into its trophy case.
Seattle entered Game 3 looking every bit the juggernaut it is, picking up back-to-back double-digit wins in the series behind Sue Bird’s brilliance as a floor general and the team’s bevy of ways to attack the Aces — Breanna Stewart was magnificent, as were Jewell Loyd, Alysha Clark, and Natasha Howard. On Tuesday, that formula proved fruitful once again.
Things stayed pretty close through the first two quarters. Despite the fact that Stewart (who scored 11 in the half) picked up her third personal foul with 7:13 left in the second and spent the rest of the frame on the bench, Seattle was able to take a 43-34 lead into the locker room. Las Vegas’ A’ja Wilson played like an MVP, scoring 14 points and pulling down four rebounds through the first two quarters, but Loyd picked up the slack while Stewart was on the bench, scoring 10 points and pulling in three rebounds.
Big 1st half buckets from @jewellloyd (10 PTS) helped put the Storm in front
And then, the avalanche came, and Las Vegas found itself so far behind the eight ball that the fourth quarter ended up being a mere formality. Seattle started the third on a 12-2 run, coming out of the locker room on fire and creating a cushion that ended up making things seem inevitable well before the final buzzer went off. The offense was crisp, the defense put the clamps on the Aces, and the Storm saw out an absolutely dominant 32-14 edge in the frame.
In the midst of it all, Stewart etched her name in the WNBA’s record book. Seattle followed an Aces miss by pushing the ball up the floor, with Stewart putting her foot on the gas and getting to the bucket unimpeded. Loyd made a spectacular pass, and because of that, Stewart set a record with her sixth-straight 20+ point game in a Finals game.
Seattle managed to lead by as many as 35 en route to the victory. Stewart was tremendous, scoring 26 points on 10-for-14 shooting and reeling in four rebounds in 25 minutes of work. Loyd’s 19 points, nine rebounds, four assists, and two steals stood out, while Jordin Canada scored 15 off the bench and Clark pitched in 10 with seven rebounds and five assists. Bird didn’t fill it up, scoring five points, but led the game with seven assists. On the other side of things, Wilson’s 18 points, six rebounds, and four assists led the way.
With the win, the Storm picked up their fourth title in franchise history. This mark ties them with the Minnesota Lynx and the now-defunct Houston Comets for the most in WNBA history. And while they’ll deservedly take a whole lot of time to celebrate this accomplishment, with how incredibly good this team is, Seattle will have aspirations of making it back to the promised land next season, whenever that may come.
This past weekend, Megan Thee Stallion appeared on Saturday Night Live, where she served as a musical guest for the show’s 46th season premiere. She preformed two songs, “Savage” and her newly-released single, “Don’t Stop,” while also contributing to a skit entitled “Hello.” While her appearance was newsworthy in itself, it’s the impactful message Megan made during her “Savage” performance that made headlines. She used her performance to advocate for the protection of black women and call out Kentucky’s attorney general Daniel Cameron for his refusal to arrest the police officers involved in the murder of Breonna Taylor. A speech by activist Tamika Mallory directed at Cameron played in the background, in which Mallory said, “Daniel Cameron is no different than the sellout negroes that sold our people into slavery.”
Stopping by Fox News for an interview Tuesday afternoon, Cameron responded to Megan, calling her comments “disparaging” and “disgusting.”
Let me just say, I agree that we need to love and protect our Black women. There’s no question about that … but the fact that someone would get on national television and make disparaging comments about me because I’m simply trying to do my job is disgusting … At the end of the day, my responsibility is to provide facts and truth and represent and stand up for justice. I think what you say there, in that display, is someone who instead wants to fashion facts to narrative; that narrative is simply not true in this particular case with Ms. Taylor. Again, it is a tragedy what happened to her.
He further explained that her comments “do not hurt” as it’s something he’s dealt with in the past.
The fact that a celebrity that I’ve never met before wants to make those sorts of statements — they don’t hurt me, but what it does is it exposes the type of intolerance that people, and the hypocrisy because obviously people preach about being tolerant. You’ve seen a lot of that from the left about being tolerant. But what you saw there is inconsistent with tolerance. In fact, it’s her espousing intolerance because I decided to stand up for truth and justice.
You can watch Cameron’s response in the video above.
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
After keeping fans on hold for over a year, 21 Savage finally delivered his Savage Mode II project with Metro Boomin last week. One of the most surprising aspects of the album is the presence of Morgan Freeman, who serves as a narrator for the project, providing introductions and explanations for many of the album’s themes. In a recent interview with GQ, the actor explained why he took the role on Savage Mode II.
What happens is you sort of get locked into a position […] Henry Fonda was in it, Spencer Tracy was in it, James Stewart was in it, even though he played a couple of bad guys. You don’t really don’t want to be cast into a mold, but after a few years, it’s bound to happen. Every [offer] that’s outside of what you consider [your] mold is fun to do. I got to jump at it.
Aside from his “Snitches & Rats” interlude, Freeman soon realized that he wouldn’t be as much of a bad guy on the album as he expected to be. “I read the copy and was like, ‘Wow, there’s some wisdom in here,” he said, then broke down what he perceived as the album’s themes. “It’s basically saying, ‘Don’t suffer fools and when you want something go for that,’” adding, “If [Savage’s music] is a young people thing, then this is stuff they need to be aware of. So it’s a good thing to do.”
The Ottawa Senators sat at No. 3 in the 2020 NHL Draft on Tuesday evening thanks to a trade the organization made with the San Jose Sharks. Following a year in which they finished seventh in the Atlantic Division, the Senators got to use this pick, along with their own pick that sat at No. 5, to load up after a down year.
When their time came to make a selection, the Senators kicked things over to a special guest. Alex Trebek, the indomitable host of Jeopardy! and a graduate of the University of Ottawa, took to his podium to announce that the team had opted to draft German winger Tim Stutzle.
Adding the Jeopardy! music as Stutzle celebrated after the announcement is, admittedly, a very nice touch to the whole thing. Trebek has appeared at Senators games in the past, although this is on a bit of a different level, as he’s doing the franchise a solid while simultaneously making the biggest moment of a young hockey player’s career a little more special. The only downside for Stutzle, in my opinion, is that the roles should probably be reversed during media availabilities for the remainder of his career, and he should only be able to respond to the media in the form of a question.
Last month, Rolling Loud and Twitch joined forces to debut Loud Stream, their first virtual festival of the summer. The event was an understandable compromise that allowed the live music experience to continue as the coronavirus pandemic raged, destroying outdoor festivals for the foreseeable future. The fest was a success, and now Rolling Loud and Twitch have announced they’re doing a second one at the end of October.
The upcoming festival will return with livestream performances and interviews, as well as gaming, music commentary, and freestyles from a number of acts. Rolling Loud also promised to take part in the Halloween festivities thanks to a “bevvy of rap frights,” on-stage decorations, and a chance for fans at home who dress up for Halloween to be featured on the festival’s stream.
Rolling Loud’s latest virtual festival announcement serves as the second of three upcoming festival the duo has planned together, with the third set to be announced at a later date. The first Loud Stream festival saw 4.7 million total live views on Rolling Loud’s Twitch channel, with fans watching performances from Swae Lee, Ski Mask the Slump God, NLE Choppa, Polo G, and more.
For more info on the second installment of Loud Stream, check out Rolling Loud’s website here.
NLE Choppa is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
There’s a new behind-the-scenes book on Game of Thrones called Fire Cannot Kill a Dragon, which features Entertainment Weekly writer James Hibbert talking to, among others, author George R.R. Martin. Some of the bigger tidbits were revealed before its publication; for one thing, we learned about his least favorite scene in the show based on his books. (It’s almost certainly not what you think.) But as per IndieWire (by way of Insider) now we know Martin’s stance on one of the more divisive parts of the pilot — a scene that did not follow the one in the novel.
The scene in question was the wedding night between Daenerys and Khal Drogo. In the book, they make consensual love. In the show they do not. Instead Daenerys is assaulted — one of many such occasions over the show’s run.
“Why did the wedding scene change from the consensual seduction scene to the brutal rape of Emilia Clarke?” Martin asks Hibbert. “We never discussed it. It made it worse, not better.”
In the Game of Thrones novel, Khal recognizes Daenerys is nervous on their wedding night, and after gently wiping away her tears and even having her unbraid his hair, she gives permission for them to consummate the marriage. But on the show, Khal strips her clothes off, bends her over while she cries, and the scene cuts to the morning after, leaving a much to the imagination but not that much.
Showrunners David Benioff and D.B. Weiss did try to defend the switch. “Here’s a girl who is absolutely terrified of this barbarian warlord she’s being married off to, it’s the last thing in the world she wants, yet somehow by the end of this wedding night she seems to be in a completely joyful sexual relationship with him,” Benioff said. “It didn’t entirely work for us.”
Weiss also points out that subsequent encounters between Khal and Daenerys are in fact assaults. They didn’t like going back and forth between two very different characterizations. “In the second episode she has to go back to the less consensual, rougher relationship,” Weiss said. “In the book that works, but we just didn’t have that amount of time and access to the character’s mind. It turns too quickly. It was something the actors themselves felt wasn’t gelling.”
Since the Game of Thrones pilot nearly a decade ago, there’s been much more focus on depictions of sexual assault in movies and on television, which was done far more cavalierly back then. Even when it was on, the show was criticized for too often showing sexual attacks on women.
While there’s no reason you can’t enjoy both, there’s a good chance you’re either a single malt scotch or a bourbon drinker. Whiskey novices might not always be able to tell the difference between the two, but to true whiskey fans, these two branches of the whiskey family tree couldn’t be more different. In the simplest terms, bourbon is corn-based while single malt scotch is malted barley-based. The result is a widely divergent set of flavors and finishes.
Bourbon is typically much sweeter than scotch — withs hints of charred oak, vanilla, and caramel. Scotch meanwhile is richer, oftentimes spicier and, if peated, smokier. Depending on the peat level, it can be like breathing in a bonfire.
“Scotch has so many different styles that it’s a little harder to recommend a bourbon for a scotch drinker unless you know what they like,” says Zach Wilks, bartender at Anthony’s Chophouse in Carmel, Indiana. “I’m a big fan of the super smoky, peaty, medicinal Scotches that come from Islay and those don’t remind you of too many bourbons.”
“An easy way to go would be to say try a bourbon with lots of barley in the mash bill,” he notes. “There are some great options for that.”
To help you discover those options, we asked some of our favorite bartenders for help. They were nice enough to tell us their picks for the best bottles of bourbon for fans of scotch.
Old Forester 1910
Jose Carrasco, bartender in Sacramento, California
In my opinion, Old Forester’s Whiskey Row collection has some great bourbon for the Scotch lover’s palate. Just like there are regions with unique taste profiles in Scotch, Old Forester was able to present bourbon at different proofs, mashes, and characteristics.
I think Old Forester 1910 would make some Scotch drinkers do a double-take. I think the “rules” are a little looser now, and distillers are making different whiskeys to enjoy.
Kings County Peated Bourbon is a bold robust whiskey that would captivate Scotch fans from Glenmorangie Lasanta to Lagavulin 16. The sweet combination from the bourbon paired with the peat from lends to a floral, fruity nose with smoldering wood accents.
It dances across the palate with dark berry, chai tea, honey, and vanilla notes ending with a grand finish of spice.
The Back Room Deal from Hudson Whiskey will be my recommendation. They send their ex-bourbon barrels across the Atlantic where they’re used to age peated whiskey, then emptied and returned to the distillery where they fill them up again with straight rye whiskey.
There’s nothing sinister about it, it’s just how the world works. A bit of smoke, a bit of spice. Good enough to seal the deal.
Buffalo Trace is my pick. It’s affordable and easy to find. The perfect spirit for perfecting your signature fall cocktail. Filled with caramel and vanilla sweetness. Great on its own or in a cocktail.
Belle Meade Sherry Cask
Jarred Craven, founder of Craven Cocktails and member of USBG in Los Angeles
With so many beloved Scotch whiskies finished in a sherry cask, why not try a sherry cask bourbon? Belle Meade Sherry Cask Finish is leathery with notes of dried fruit and caramel along with, of course, sherry. A great choice for a scotch drinker looking to explore bourbon
I’m going to recommend one from my favorite distilleries: High West out in Park City, Utah. It’s called Campfire and it’s a blend of bourbon, rye, and peated scotch whiskey so you get everything you love about bourbon with some spice from the rye and a big hit of that smoke and peat right upfront.
Angel’s Envy Port Cask
Gabriel Urrutia, co-founder Drink Miami and USBG member in Miami. Florida
I love Angels Envy’s Finished in Port Cask. It’s a perfect sipper that’s long-lasting, tasty, and perfect for the fall. It’s a great whiskey to bridge the gap between scotch and bourbon.
If you run out of scotch — and who lets this happen? — the scotch drinker might have to settle for bourbon. If this unfortunate occasion arises, he or she can attempt to make it through the night by holding his or her nose and drinking something strong, like Warbringer Mesquite-Smoked Southwest Bourbon.
Then get your ass to the store first thing tomorrow.
Yellowstone Bourbon
Andy Printy, beverage director at Chao Baan in St. Louis
Yellowstone bourbon from Limestone Distilling is perfect for those trying to mingle between categories. It’s a bourbon, but with a 12% barley finish in the mash bill, the lingering idea of single malts is haunting the background. It’s light in body and has a fair amount of wood and citrus on the nose. Upfront, it’s dry lumber, apricot, and black pepper. Eventually, it gives in to its “malty-ness” with honey and apricot and a lingering finish of malted barley.
Knob Creek
Efren López Fernandez, bartender at Banyan Tree Mayakoba in Play del Carmen Mexico
Knob Creek is my go-to. It has aromas that remind me of caramelized corn, in addition to the very subtle wood notes. It’s perfect for fans of Scotch who want to broaden their whiskey choices.
William Grant & Sons just came out with Fistful of Bourbon and it’s unique. It’s a blend of five different bourbons and is perfect for anyone that loves a smooth whiskey or is just trying to get into bourbon. Especially those who usually stick to scotch.
Writer’s Pick:
J. Riddle Peated Bourbon
This offering brings together two sides of the whiskey coin. It’s a well-rounded bourbon that pairs the corn sweetness of bourbon with the astringent, smoky flavor of a nice glass of Islay Scotch.
SNLreturned on Saturday, and it wasn’t even one of those virtual webcam deals, like they were forced to do at the end of last season. The cast, crew, and a spartan audience were all present on the famous studio set — not quite like old times but close enough. And yet they almost didn’t have an audience at all, as an audience, unlike the actors and crewpersons, are not considered essential workers under state COVID-19 workplace guidelines. So they had to find a creative workaround.
According to The New York Times, New York State dictates that TV shows “are not allowed to host live audiences unless they consist of paid employees, cast and crew.” So they made the audience temporary employees. Each person was handed a check for $150, effectively paying them for their time. Given that the show runs 90 minutes, that’s $100 an hour. What’s more, the audience had no idea they’d be getting paid to be entertained. “We were all very pleasantly surprised,” one of them told the Times.
It’s not clear exactly how many people were in the audience, but another one of the state’s rules is that, if TV shows do pay their audience, they still have to keep that size about 25 percent of what it was before, to ensure social distancing.
So good thinking, Team SNL! It’s a curious evolution from the before-time, when SNL tickets were still free but hard to come by, and sometimes were scalped to die hard live sketch comedy show fans. But it sounds like cutting each audience member a $150 check won’t dig too into the show’s finances: After all, the season premiere, hosted by alum Chris Rock, was a Nielsen rating smash.
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