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These Photos From Nite Rinse’s Three-Year Anniversary Event Will Put You In The Mood To Party

When I hear “underground warehouse party,” I can’t help but feel a little skeptical. Hundreds of people gathered in a dark space at a secret location? Slightly terrifying. But anyone who hits the warehouse party scene knows that at their best they’re incredibly safe and buttoned up. And also a ton of fun.

Nite Rinse, an LA and Denver-based warehouse events company, takes underground parties to the next level by creating a lineup of well-known and local DJs, integrating eye-catching art installations, and blasting party-goers’ eyes with epic laser shows that keep them dancing until the sun comes up (and often well-beyond). It also provides a unique and affordable music experience compared to your typical festival or concert.

According to the founders, “Nite Rinse was created to provide a platform for artists to share their sound and cultivate a space and community that values creativity and freedom of expression.”

  • Between the out-there outfits, bass-heavy beats, and neon lights, it’s safe to say that creativity and freedom of expression were oozing through the Nite Rinse three-year anniversary party at REELWORKS in Denver’s iconic RiNo District on Saturday, January 22nd. The lineup included Lee Foss and Westend, with support from local artists including CJ Music, HOUSEWIFE, and Josh Fedz.

If you need something to get you hyped for the weekend, check out the photos below. The scene from Nite Rinse’s three-year anniversary event is sure to put you in the mood to party.

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Report: The Lakers Offered ‘A Talen Horton-Tucker Package’ For Buddy Hield But The Kings Said No

Amid a struggling 24-25 season and fewer than two weeks ahead of the trade deadline, the Los Angeles Lakers are searching for reinforcements to an underwhelming roster. Much like last summer, one of those reinforcements appears to be Sacramento Kings sharpshooter Buddy Hield, who Los Angeles nearly acquired back in August before taking the package they reportedly offered for him, adding to it, and trading for Russell Westbrook.

According to Chris Haynes of Yahoo Sports, the Lakers have once again contacted Sacramento about a deal for Hield, this time centered around Talen Horton-Tucker. But apparently, no real traction has been made between the two parties.

“Obviously, the Kings are like, ‘No. We feel like there’s more lucrative deals out there,’ ” Haynes said on the “Posted Up with Chris Haynes” podcast. “The Kings are going to be active. They’ve got a whole bunch of people calling them.”

Sacramento certainly seems correct in its position that better deals for Hield are available. Through 2.5 seasons, Horton-Tucker has struggled to become an impact rotation player and the Kings already have three young guards as foundational players. Horton-Tucker, who is still only 21, doesn’t project to usurp De’Aaron Fox or Tyrese Haliburton and more pressing needs exist on the wings and inside for Sacramento.

Hield has his faults, but he’s a marksman from deep who’s drilled over 40 percent of his career threes. Many teams with the right structure in place would benefit from his floor-spacing and off-ball movement. The Lakers are one of those teams, though their avenues to acquire him seem quite limited for now.

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‘Dual’ Is A Goofy Sci-Fi Lark About Fighting Your Own Clone

Riley Stearns was last making the festival rounds back in 2019 with The Art Of Self-Defense, his arch indie take on masculinity and martial arts starring Jesse Eisenberg as a wimpy accountant. This year he’s back at Sundance with the far superior Dual, a sci-fi-tinged lark about having to fight your own clone for the right to your identity.

The hallmark of both movies is a detached, affectless style of delivery that makes every character sound like a chatbot sharing some interesting facts they’ve just learned about bread. While this conceit felt like an impediment to deeper understanding in The Art Of Self-Defense, Stearns’ aloof style is a far better fit in Dual, which stars Karen Gillan as Sarah, a terminally-ill millennial who pays a futuristic tech company to make a clone that will eventually replace her, who ends up having to fight the clone for the right to her identity.

Stearns shot Dual entirely in Finland during the height of COVID lockdowns, meaning all the locations are ineffably Scandinavian and the whole cast outside of the principals have a cornucopia of accents, from Finnish to British to everything in between, similar to the way Sergio Leone used Italian locations, crews, and extras for his English-language “Spaghetti Westerns” back in the 60s. I asked a Finnish friend for the Finnish equivalent of “spaghetti” and she suggested “pyttipannu,” a quick mix of old potatoes with sausage and onion. Which I guess makes Dual a sort of Pyttipannu Sci-Fi, though I admit it doesn’t roll off the tongue in quite the same way.

Yet the setting has much the same effect as Stearns’ spammy house style, giving Dual a slightly otherworldly, uncanny valley sensibility that only highlights the ideas of alienation and corporate dehumanization it explores. Its tertiary characters evoke the feeling of reaching some customer support technician somewhere out there in the ether, with opaque backstories and unplaceable accents. Does anyone actually care about me? Is true human connection even possible? Or are we all just going through the motions? Finland is a weird little place, and Dual is a weird little movie.

‘Dual’ is currently playing at the Sundance Film Festival, where it was recently acquired by distributor RLJE Films. Vince Mancini is on Twitter. You can access his archive of reviews here.

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What Is ‘The Righteous Gemstones’ Based On?

HBO Max’s brilliant megachurch comedy The Righteous Gemstones has been renewed for a third season, as the second season continues airing through next month.

The show follows a world-famous yet slightly dysfunctional televangelist family, led by Eli Gemstone, played by John Goodman. He and his children, Jesse (Danny McBride), Judy (Edi Patterson) and Kelvin (Adam DeVine), work to expand their network of megachurches while threatening smaller churches. Hilarity ensues, obviously, but the show sometimes feels too specific, almost as if it’s based on a true family. Could there be a Gemstone family really out there?

The quick answer is no — Eli and Co. are all fictitious. But, the mega-church culture and the televangelist business is definitely real.

McBride, who created the series, drew influence from growing up as a Baptist being raised by his single mother, and the cutthroat world of religious families and drama. After moving to South Carolina, McBride did research into mega-churches.

He told Uproxx in 2019, “I went to a few different mega-churches and talked to a few different pastors there and my aunt is a minister at a pretty big church in Atlanta. So yeah, I did try to research it and figure out what goes on in someone’s head when they’re creating something like this.”

So, while you won’t see the Gemstones out and about, you just might encounter another real-life family who likes to sing and tap dance the word of the Lord.

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Trevor Noah Had Some Fun With Fox News Being Mad Over Biden’s Commitment To Nominating A Black Woman To The Supreme Court

There are two words that seem to terrify the folks over at Fox News: “Black woman.” And now that Supreme Court Justice Stephen Breyer has officially announced he will be retiring at the end of his current term, all eyes are on Joe Biden, who vowed during his campaign that if given the chance to appoint a new SCOTUS, he would choose a Black woman. Needless to say, as Trevor Noah shared, Fox News’ most prominent anchors don’t really seem to know what to do with this information… except to endlessly deliver one bad take after the next.

On Wednesday night’s edition of The Daily Show, Noah shared a highlight reel of some of the most amazingly tone-deaf quotes to come from the Fox News team. Sean Hannity, seemingly oblivious to any sense of irony (or history), was offended that “right off the bat, [Biden] is excluding all potential candidates who are not African-American women.”

Tucker Carlson, meanwhile—empath that he is—suggested that “You almost got the impression that Joe Biden believes all Black women are the same. That they’re identical… This is exactly why decent Americans hated segregation. It dehumanized people. And why isn’t there an American Indian on the court? Or a genderqueer? Why isn’t there an Afghan refugee under consideration?” (For the record: As The Daily Beast noted, Carlson also snarkily suggested that “the obvious choice” to fill the SCOTUS vacancy was Bridget Floyd, sister of George Floyd… Which wasn’t racist at all.)

Noah totally got where Carlson was coming from and also wants to know why there’s not a “sexy M&M under consideration?”

For the second time this week, Noah was tasked with delivering a history lesson about Blackness and racism to his viewers:

“There’s a lot to unpack here. But most importantly: Being a Black woman isn’t the qualification, alright? Joe Biden is going to pick who is ALSO qualified. These people act like Biden is just gonna show up at the mall and be like, ‘Yo, Shaniqua—come with me!’… No! She’s going to be qualified. And why is that a bad thing? Why not try to make the Supreme Court a little more representative of the country it represents?”

Noah did concede that he understands why the Fox pundits are so upset. “I feel bad for Tucker Carlson,” he admitted. “Of course he’s upset. Think about it: For almost all of American history, the entire Supreme Court was white dudes with bowties and weird hair. Now that’s all gone. It’s all gone! Where’s Tucker’s representation?”

You can watch the full clip above.

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Japanese Breakfast Delivers A Lively Performance Of ‘Be Sweet’ On ‘Ellen’

Michelle Zauner had an amazing 2021 and she’s keeping that going here in 2022. We’re not even through January yet and she’s already been on national TV twice: Japanese Breakfast performed on The Late Late Show last week, then she popped up on Ellen today. She delivered a rendition of Jubilee highlight “Be Sweet” on the show, joined by a band and flooded in blue and purple stage lighting for the upbeat tune.

Zauner previously told Apple Music of “Be Sweet,” “Back in 2018, I decided to try out writing sessions for the first time, and I was having a tough go of it. My publisher had set me up with Jack Tatum of Wild Nothing. What happens is they lie to you and say, ‘Jack loves your music and wants you to help him write his new record!’ And to him they’d say, ‘Michelle loves Wild Nothing, she wants to write together!’ Once we got together, we were like, ‘I don’t need help. I’m not writing a record.’ So we decided we’d just write a pop song to sell and make some money. We didn’t have anyone specific in mind, we just knew it wasn’t going to be for either of us. Of course, once we started putting it together, I realized I really loved it. I think the distance of writing it for ‘someone else’ allowed me to take on this sassy ’80s women-of-the-night persona. To me, it almost feels like a Madonna, Whitney Houston, or Janet Jackson song.”

Watch Japanese Breakfast perform “Be Sweet” on Ellen above and revisit our recent interview with Zauner here.

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The ‘Meet Me In The Bathroom’ Filmmakers Want To Immerse You In The Music Of Late ’90s NYC

Based on Lizzy Goodman’s book Meet Me in the Bathroom, directors Dylan Southern and Will Lovelace (who also directed the LCD Soundsystem film, Shut Up and Play the Hits, which, like this, premiered at the Sundance Film Festival) take a different approach to the material in their new documentary. There are no talking heads explaining what it all meant or what it’s supposed to mean today. Instead, Southern and Lovelace tracked down a plethora of unseen footage of these New York City bands (which include The Strokes, LCD Soundsystem, Yeah Yeah Yeahs, Interpol) from the late ’90s and early 2000s to create a pure visual experience. The filmmakers here want the viewer to be immersed in the experience.

And as they say ahead, it’s not just an interesting time musically – one that probably won’t happen again, at least like this – but it’s an interesting time for fan recordings. It’s from an era where cameras that can shoot video are affordable, so people have them, but not everyone has them. And then the fact YouTube didn’t exist yet, so the footage wasn’t immediately uploaded. Which means the stuff we see in this film has been sitting in a lot of drawers for the past 20 or so years.

You’ve called this an experimental film, that you wanted it to just immerse people in that era, which it does. Was that always the intent from the beginning?

Dylan Southern: I mean, we always wanted it to be an experience, and we knew that nothing would take you out of the time more than cutting to a kind of a talking head of some of these live young rock stars that we’re seeing in their twenties. We didn’t want to be that behind the music, retrospective looking back thing. So, we always knew we wanted to make it immersive and to drop the audience into the time period and try it as much as possible not to break the spell as that. We didn’t know at the start that it was going to be a 100 percent archive, because we didn’t think we could afford to make it a 100 percent archive. But when COVID hit, it gave us leeway to kind of push harder on that route because we had more time on our hands.

Did you always know you’d have enough interesting footage?

Dylan Southern: We still don’t know.

Well, I would say you found enough interesting footage.

Will Lovelace: Well, it’s an interesting time. It’s not like now, making a film about now in 20 years will be a nightmare because everyone films on the thing, and takes thousands of photographs. But we were kind of confident that there would be enough of a document of that time because we were doing something similar in the UK filming smaller bands. No one as famous as these bands, but people were doing that.

Dylan Southern: We suspected we would find what we needed. It was just whether we could get our hands on it was the big question though.

Will Lovelace: And so in one sense, it’s great. Because people just hadn’t uploaded all of this stuff. If this film had been set into the late two-thousands, everyone would’ve uploaded everything to YouTube as it happened. So nothing would be unseen.

Was there any push by back at all from any of the bands you feature?

Dylan Southern: I’d say there were different degrees of collaboration based on relationships that we already had with people. They’d all done the book as well. So, there was a bit of persuasion in like, “This isn’t just going to be you rehearsing stuff that you said for the book.” So, another part of the process was the sort of diplomacy aspect of getting the buy-in from everybody, which was also fun and interesting process.

Even without talking heads, the footage you have forms a narrative and Ryan Adams doesn’t come off great in this. He’s kind of an antagonist to The Strokes, and the MTV stuff is really bizarre and the confrontation they have about drug use … I’m assuming he probably wasn’t helpful…

Dylan Southern: No, he wasn’t. Particularly. He didn’t want to be. But yeah, it was an interesting one because it felt like that particular story, that was the sort of most headline-grabbing narrative in the book. At the time when the book came out in 2017, it felt like, to not go there, would be as noticeable as going there. It felt like it was part of the story. So, yeah.

James Murphy and LCD Soundsystem have a big part in this. Did that worry you at all that you already you’ve done a full movie on them?

Dylan Southern: It was an interesting one because one aspect of the film is the way things change over time, and at the tail end of the film, things are happening, the technology’s starting to proliferate, and it is when James writes “Losing My Edge.” We don’t bring them in until past the halfway mark in the film, because we wanted to establish that they’re not the same scene. His transformation is quite fascinating as well. The fact that he’s so much older than everyone else and he’s floundering a little bit, but for us, each strand in the story is a coming-of-age story. We didn’t want to just retell the story in the book. We wanted to take the essence of the book and make a 90, a 100-minute film, and for us they’re all origin stories.

Are the legacies of these bands maybe more this era than the bands themselves at this point? Especially since rock music has a hard time breaking through today?

Dylan Southern: But I think it’s the tail end, isn’t it? Like a conversation, we kept having is, could this happen again now? Now that people consume music the way they do? Now that people make music the way they do? Now people are so polarized? Is there a counterculture anymore? Is there a perfect storm in which a musical scene can emerge because of a time and place? We still hope the answer is yes. But there’s also a slight worry that the answer is no.

Will Lovelace: I do think it was a perfect storm. They weren’t all living in each other’s pockets necessarily, but they were all in the same city, and that’s the big thing. It’s New York City at that moment in time, as the internet is starting, as cell phones are starting. It’s a very different world, and I do think that’s why it happened then, rather than 10 years later or 20 years later.

Dylan Southern: Also, there’s a sort of synchronicity between Lizzy’s afterwards in the book. She has that line where she says, “We were all chasing New York and for a few magical years, we caught it. I think, there’s that nature of it that, which is universal, and about having this moment in your youth that nobody else could have had. But then there’s also something about the time in that, it probably was the end of a more innocent period. Just as the internet was starting to emerge as something that everybody uses and the kind of utopian ideas about what the internet might do and, now flash forward 20 years later, and we’re in a dystopia. That time has this weird innocence that, if you lived through it, we’re all starting to hanker for it a bit. And I hope kids who didn’t live through that, see it, and there’s a little sense of something missing. And maybe someone picks up a guitar or a sampling machine or something.

You can contact Mike Ryan directly on Twitter.

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A New Poll Shows Biden Trouncing Both Trump And Ron DeSantis In 2024, With Over 70% Of Americans Against Trump Running Again

If today were November 5, 2024, the headlines would likely read “Joe Biden Wins Second Term In a Landslide Victory.” That’s according to the results of a new Marquette Law School poll. And if we were to take this survey one step further, Biden’s win would be over current Florida governor/Donald Trump archenemy Ron DeSantis.

As The Hill reports, the survey concluded that if Americans were casting their votes for the next POTUS today, 43 percent of them would vote to reelect Biden. That would put the incumbent 10 points ahead of Donald Trump if the two were to face off (again), but America has spoken on that matter, too. The short version? They’ve had enough of Trump, thank you very much. A whopping 71 percent of respondents have no interest in seeing #45 attempt another run at the White House.

While Trump may think that DeSantis is “dull,” a lack of charisma might just be what people want. In a hypothetical showdown between Biden and “Fat Boy” DeSantis (Roger Stone’s words), the Marquette survey suggests that Biden would again be triumphant—but the margin would be closer: 41 percent for Biden versus 33 percent for DeSantis.

These numbers don’t quite line up with a recent Harvard CAPS-Harris Poll survey that was shared with The Hill and showed that in an eight-person GOP primary, 57 percent of respondents would choose Trump as their presidential nominee. DeSantis came in second in that poll, but with a very distant 11 percent.

As Newsweek shared, Trump doesn’t seem to be paying much attention to these numbers. On Wednesday, while teeing off (and doing far more bending over than most people wanted to see) in a video posted to Instagram, Trump introduced himself as “the 45th and 47th president.”

(Via The Hill)

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300 Entertainment Makes The Leap Into Film And TV With 300 Studios And A Docuseries About Bubba Wallace

Long known as the label home of artists like Megan Thee Stallion, Young Thug, and Thug’s YSL Records imprint, 300 Entertainment has become a juggernaut in the music world. Now, after Warner Music Group acquired 300 in December of 2021, the label looks to expand its dominance into the worlds of film and television.

Today, the company announced the launch of its new endeavor, 300 Studios, as well as its first television project: A docuseries following Nascar driver Bubba Wallace entitled Race: Bubba Wallace. Set to debut on Netflix next month, the six-episode Race will follow the life and career of the only full-time Black driver in the NASCAR Cup Series, contextualizing his position in the wake of concurrent controversies. Wallace confronted the social tensions of race when a noose was discovered in his garage stall amid protests over the police killing of George Floyd. While it was later discovered that the “noose” in question was a pull tie for the garage door, the incident still drew parallels to the very recent, violent history of anti-Black bigotry in the US.

300 Entertainment CEO Kevin Liles, a 30-year veteran of the music business, said in the press release, “I have dedicated my career to telling the story of our culture and investing in the artists and creatives who have shaped it around the world. With 300 Studios, I look forward to incubating, developing, and producing content for all formats that tell the important and inspired stories from the next generation of cultural innovators.” The announcement also notes that the studio already has 20 projects in development, including films, TV series, and podcasts.

300 Entertainment is a Warner Music company. Uproxx is an independent subsidiary of Warner Music Group.

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Herbert Jones Has Embraced The NBA Grind As A Rookie And Is Making His Presence Felt In New Orleans

A few minutes of conversation with Herbert Jones reveals his introspective nature. His answers to questions include greeted pauses and drawn-out words, as if he wants to avoid being hasty and leave out crucial details as he curates a response on the fly.

Curiosities about his development as a shooter, defender, and assimilation to NBA life are met with patient, lengthy insights. Jones aims to welcome people into his basketball world, perhaps because the basketball world has so graciously welcomed him.

Midway through his rookie season with the New Orleans Pelicans, Jones is one of the brightest first-year players across a landscape flooded by them. Rising stars like Evan Mobley and Cade Cunningham dominate the headlines, but Jones’ play suggests they might be his contemporaries on the All-Rookie First Team come springtime. Unlike them, Jones had to wait quite a while to hear his name called during last summer’s draft. Thirty-four players were selected before him, but only a handful have been better thus far.

At 6’8 with a 7-foot wingspan, Jones is an omnipresent defender whose assignments this season feature a who’s who of modern NBA stars: Kevin Durant, Luka Doncic, Trae Young, and more. There is no shortage of trial by fire opportunities for the 23-year-old.

“It’s never a night off, and I love that about the NBA,” says Jones, who received the nickname “Straightjacket” from fellow Pelicans rookie Trey Murphy III. “My teammates, my coaches, they trust enough in my defensive abilities to go out and make it tough on these high-level scorers.”

Players like Durant, Doncic, and Young are all starkly different in how they ink their signature of stardom. Understanding their tendencies — the proper level of aggression to inflict, how many dribbles they prefer before shooting, whether they’re better driving left or right, etc. — are all part of the consistent learning curve.

“In college, you could send guys to their off-hand and they’ll probably struggle,” Jones says. “But in the NBA, sometimes, it’s better to send them to their stronger hand because they’re less efficient driving to their stronger hand because it’s harder for them to shoot pull ups. Most guys, like right-handed guys drive left, it’s easier for them to pull-up with their right hand.”

Rookies are not often tabbed for those matchups by default. Even though Pelicans have dealt with injuries much of the season, Jones earned these battles. He functions with the fluidity of a jittery guard defender, winds around screens like they’re weathered traffic cones, and is constantly sticking his mitts where opposing defenders don’t want them. His exceptional lateral quickness stems from footwork drills, he says. Jones aims to land softly before immediately exploding into another movement, ensuring he’s always light on his feet.

His block and steal rates both rank above the 90th percentile, according to Cleaning The Glass, and he’s fourth league-wide in total deflections. He’s already a borderline All-Defensive Team-caliber stopper. Hone in on Jones defensively for a few minutes and track how many times he’ll influence a play with his hands. The number probably hits double-digits before too long.

But he didn’t always operate this way. When Jones was a junior at Alabama, the school hired a new head coach in Nate Oats, who preached the importance of “high hands up on passes.” During practice, they performed drills that focused on “pass challenges.” Jones started to recognize the value of high hands, both in live action and film sessions.

“It was definitely a process because I wasn’t too cognizant of it before coach Oats got there,” Jones says. “Once I saw some results of how it affected the passer, and not necessarily me getting steals, but making it easier for the defense to recover — like, they had to make a skip pass — it was easier for me to make that transition to try to challenge every pass.”

Jones’ father, Walter, imparted the general gravity of defense many years ago. Growing up, Jones and his brother were told, “the shots might not fall some days, but your defense, it’ll follow you anywhere.” That mantra resonated, and Jones has validated it ever since.

His defense popping is not a surprise — popping to this magnitude so abruptly can be considered unexpected, in fairness — but Jones’ offense is the real kicker. After shooting 28.8 percent beyond the arc in college (35.1 percent as a senior), he’s opened his inaugural NBA campaign at 38.2 percent from deep on volume never achieved at Alabama. Over his past 14 games, tangible signs of development are bubbling. He’s averaging 13.6 points on 63.6 percent true shooting, including a 40.9 percent mark from three. Across his previous 30 games, he averaged just 7.2 points and drilled 34.4 percent of his threes.

These days, he’s quicker to launch triples, more successful snaking his way through traffic as a slasher, and is seeing a few more touches to create with the ball in his hands. Jones is aware of this stretch and the factors driving it.

He doesn’t merely brush everything aside with broad truisms of “trusting the work” or growing more comfortable and confident in his role. They’re justifiably mentioned — he says the confidence his teammates and head coach Willie Green bestow him is vital — but he’s again introspective and pulls back the curtain on those concepts.

During his second year at Alabama, Jones endured what he calls a “sophomore slump.” After an encouraging freshman season, the progress he, and perhaps others, anticipated didn’t quite manifest. “I had a bad year,” he says of a year that saw his numbers largely plateau or decline across the board.

Yet the words of an assistant coach, John Pelphery, helped him navigate the slump. They’ve stuck in the ensuing years and solidified his belief that becoming a good shooter was always a matter of when, not if.

“He gave me an example of a road to success, and a lot of people think it was a straight line. And then, there’s this other line that went all around the world,” Jones says. “He said, it might not happen in six months, it might not happen in two years. But if I kept working, it’ll eventually happen. And I just believed in that.

“A lot of the times before, when I was struggling from three, I’d get to a game and wouldn’t trust the technique that I had been working on in the gym by myself,” he continues. “I feel like now that I’ve been putting in a good amount of work, I just go out and trust my work.”

Jones acknowledges he’s playing heavy minutes for a rookie. Only three rookies have played more thus far. That doesn’t, however, mean his adjustment period is any shorter. Learning how to play alongside the Pelicans’ offensive pillars, Jonas Valanciunas and Brandon Ingram, requires time.

In 129 collegiate games, he only attempted 118 threes. In 44 NBA games, he’s already attempted 76, 44 of which have come over the past four weeks (14 games). Once a drive-first, shoot-second player, Jones maximizing NBA life demands a reshaping of his priorities.

He knows optimizing interior-inclined scorers like Valanciunas and Ingram means launching those threes more often. Sure, an attack off the catch might suffice and he’s capable of them, but what best suits the offense is taking advantage of the open looks from deep. Balancing all of that is a process.

“I’m just trying to figure out what other guys’ favorite spots are on the court, so I’m gonna complement those guys,” Jones says. “I feel like I’m getting more comfortable in that role. When I figure that out, I think it’ll be even easier for me to figure out how to chip in on the offensive end.”

He doesn’t solely “complement those guys” as a floor-spacer. He’s also a savvy off-ball screener and cutter. Playing under Walter as an underclassman at Sunshine High, Jones learned the value of moving, cutting, and screening.

“Whenever my man turns his head, I just try to find a gap in a defense to make someone either commit to me and somebody else is open. Or, they leave me open and I can score the ball,” he says. “I never wanted to be a guy that, when I passed the ball, liked to just stand there.”

Further illuminating the impact he could craft without the ball was a wrist injury he suffered his junior year at Alabama. In late January 2020, he fractured the wrist on his dominant left hand, which briefly sidelined him. Two weeks later, he returned to the lineup donning a bulky cast that interfered with his shooting and dribbling capacities.

Before the injury, he averaged 9.9 points and 7.3 shots per game. After the injury, he averaged 3.3 points and 1.9 shots, including three games where he didn’t even attempt a field goal. Jones still started seven of his eight post-injury games. The Crimson Tide relied on his services and he wanted to provide them.

As a result, he established other avenues to contribute, separate from the ball being placed in his hands. He mastered the delicate art and timing of pin-in screens to spring free corner shooters. During that period, high-level feel and instincts were reinforced as fundamental to his offensive mark. “I feel like it had more of an impact mentally than it did anything with basketball,” he says.

Ahead of training camp this fall, Jones dialed Pelicans wing Garrett Temple, who he immediately identifies as a veteran who’s been crucial in simplifying his rookie season. Jones heard stories about players who overextended themselves during training camp and were gassed by season’s end. As someone who “always tried to play as hard as [he] could,” Jones wanted to avoid that experience.

Temple gave him advice that helped Jones lay the foundation for his first year in the league: Get in ahead of veterans for pre-practice treatment. Take care of your body. Refine every part of your game, even areas beyond the ones addressed with the team. Establish a dietary routine — in college, treatment and meals were readily available. Jones didn’t have to organize much of it himself. Breakfast and lunch could be eaten at the gym. Snacks were accessible. A dining hall for dinner was nearby.

Now, he has to build his own structure, which was certainly not the case before. Critical habits like these can get buried amid newfound free time.

“My schedule,” Jones says, “is nowhere near as busy as it was in college.”

That schedule now includes nightly duels with NBA royalty. Thanks to his basketball background, they’re duels that Jones is equipped to win.