Following a beacon of hope in 2017-18 that doubled as the franchise’s first playoff appearance in more than a decade, the Minnesota Timberwolves struggled for three straight seasons. Those scuffles weren’t all bad, especially when they allowed Minnesota to land the No. 1 overall pick and Anthony Edwards, but the Wolves have endured organizational turmoil for quite a while and the on-court results have not been fantastic. After a 3-1 start to the 2021-22 campaign, things seemed to be potentially flying off the rails once again for the Wolves, as Minnesota lost eight of nine games to throw a cold blanket over any potential heat. Quietly, though, Minnesota is finding its stride, and the results through 21 games are encouraging.
The Wolves, under the direction of Chris Finch and led by Edwards and Karl-Anthony Towns, are 11-10 at this stage. Minnesota’s record is buoyed by seven wins in the last eight games, but it hasn’t been smoke and mirrors, with the Wolves landing in the top ten of the NBA with a +1.5 net rating. In an unforeseen development based on the team’s personnel, Minnesota has actually been a defense-first team this season, allowing only 1.05 points per possession and landing below the league average on the offensive end. The Wolves are scoring 1.14 points per possession in the last eight contests, though, and Minnesota is one of the best offensive rebounding teams in the NBA this season.
It would be fair to worry just a bit about Minnesota’s defense operating over its head. After all, the team’s best players are not exactly known for defense, and the Wolves have been fortunate in a few key areas. Minnesota’s opponents are shooting just 31.5 percent from three-point range, a number that is likely to regress, and the Wolves are comfortably leading the league in turnover creation, which may not fully sustain. Still, Towns has been dialed in to a level he hasn’t been in a long time defensively, and Edwards is using his physical gifts to translate into solid, across-the-board play on that end.
Unsurprisingly, Towns and Edwards key the offense and, when one or both is on the court, the Wolves have performed well. Towns’ health and availability may be the most positive development of all, with the talented big man averaging 23.5 points and nine rebounds per game while posting a 63.1 percent true shooting mark through 21 games. Minnesota’s key pieces have been healthy, but the term “proof of concept” may be apt in this case, even if the Wolves don’t fully sustain this defensive performance.
The majority of projection systems still peg the Wolves as a team battling for play-in position, and that may be accurate over the course of the 82-game marathon. That type of effort would constitute real progress for Minnesota, though, and it’s been a wild ride through 21 games, with the entertainment value (mainly of Edwards) helping to drive interest. If nothing else, it’s been fun to see the Wolves playing competitive basketball, and there are signs that it could continue for the long haul.
Where does Minnesota land in this week’s DIME power rankings? Let’s explore the space.
1. Phoenix Suns (18-3, Last week — 2nd)
We have a new No. 1, and it isn’t up for debate. The Suns haven’t lost since Oct. 27, navigating the entire month of November without a defeat. Phoenix’s 17-game winning streak says it all, but the Suns also defeated the Warriors on Tuesday even with Devin Booker leaving the game early with injury. They’re in a zone.
2. Golden State Warriors (18-3, Last week — 1st)
Golden State still boasts the best point differential and a tie for the best record in the league. The loss to Phoenix meant they had to drop, but it was a road game against a team that is playing out of its mind. The Warriors are doing just fine.
3. Milwaukee Bucks (13-8, Last week — 4th)
Hey, it’s the Bucks. Milwaukee is still without Brook Lopez, which is at least mildly concerning, but the Bucks have won seven games in a row. During that run, they’ve held opponents to less than a point per possession. With Giannis Antetokounmpo on the floor, Milwaukee has a +13.6 net rating, and the Bucks are 9-0 in games when Giannis, Khris Middleton, and Jrue Holiday suit up together.
4. Brooklyn Nets (15-6, Last week — 3rd)
Brooklyn has five wins in the last six games, and the only loss came to Phoenix. That isn’t a bad place to be, and the offense is beginning to show signs. The Nets nearly blew a significant lead against the Knicks on Tuesday, but Brooklyn held on and Kevin Durant and company still sit atop the Eastern Conference standings.
5. Utah Jazz (14-7, Last week — 5th)
It is the Jazz that rank No. 2 in the league in net rating (+9.8) and Utah leads the league in offensive rating by a comfortable margin. Utah’s strength of schedule will heat up in the coming days, though, and that will perhaps provide some additional clarity on how much of this dominance will continue.
6. Miami Heat (13-8, Last week — 6th)
Miami lost at home to Denver on Monday, but that defeat came without Jimmy Butler and Tyler Herro. Before that, the Heat beat the Bulls on the road, maintaining an edge over Chicago in this space. Miami’s depth concerns haven’t been fully mitigated, but they have been outstanding on the whole with a top-five net rating.
7. Chicago Bulls (14-8, Last week — 7th)
The Bulls remain fascinating. Since opening with a 4-0 mark, Chicago is just 10-8 and the Bulls are 4-4 in the last eight games. At the same time, the Bulls posted a +3.6 net rating in November, and the defense has held up, at least to some degree. Only time will tell.
8. Atlanta Hawks (11-10, Last week — 9th)
There is a bit of a gap between the top seven and the rest of the league, at least in terms of resume to this point. Atlanta slots in at No. 8 following a 7-1 stretch in which they throttled teams by 14.5 points per 100 possessions. The Hawks haven’t played since Saturday, but they have an interesting road tilt against Indiana on Wednesday before a potentially revealing game against Philadelphia on Friday at home.
9. Boston Celtics (11-10, Last week — 13th)
Boston doesn’t feel like a top-10 team, but the Celtics are 9-5 in the last 14 games. The Celtics are also out-scoring opponents for the season, and Boston’s defense is legitimately solid. Trying to figure out where the team’s baseline is on offense is a challenge, but Jaylen Brown is getting re-established and that should happen.
10. Minnesota Timberwolves (11-10, Last week — 21st)
The next four games will be quite challenging for Minnesota. The Wolves have road tilts against Washington and Brooklyn before returning home to play Atlanta and Utah. If the Wolves can keep it rolling through that stretch, Minnesota has to be taken seriously.
11. Philadelphia 76ers (11-10, Last week — 10th)
If you simply look at recent results, Philadelphia seems too high on this list. They are 3-8 in the last 11 games, and even with a solid overall profile, a slide down the list would be warranted on the surface. Digging deeper, the 76ers have a +8.3 net rating when Joel Embiid plays this season, and Philadelphia had ridiculous roster challenges during their losing dip. If anything, this is probably too low, and they could rise in the coming weeks.
12. Washington Wizards (13-8, Last week — 15th)
On one hand, the Wizards are just 3-5 in the last eight games. On the other, Washington has a top-eight winning percentage in the league. It doesn’t feel as if the Wizards are likely to actually stay in the top eight, but writing them off seems unwise. This kind of splits the difference.
13. Los Angeles Lakers (12-11, Last week — 20th)
The big story for the Lakers is LeBron James missing time in the NBA’s health and safety protocols. It remains to be seen how long he may be out but, on the positive side, Los Angeles is 3-1 in the last four games after a convincing win (sans LeBron) over the Kings on Tuesday.
14. L.A. Clippers (11-10, Last week — 12th)
L.A. suddenly can’t score. The Clippers are 3-6 in the last nine games, and Ty Lue’s team is scoring 100.1 points per 100 possessions during that stretch. That would be a bottom-five figure when expanded to a full-league sample, and the Clippers are turning the ball over on almost 18 percent of offensive possessions.
15. Portland Trail Blazers (11-11, Last week — 8th)
Portland has been all over the place in these rankings, and they drop back to reality this week. The Blazers did avoid total disaster by beating the Pistons on Tuesday, but three losses in a row before that explain the dip. Portland remains the second-worst defensive team in the league, and that’s tough to overcome.
16. Charlotte Hornets (13-10, Last week — 14th)
If these rankings arrived a few days ago, Charlotte may have cracked the top ten. The Hornets rattled off eight wins in nine games, and they were legitimately rolling. At the end of the week, though, the Hornets to the Rockets (yikes) and got smacked by the Bulls on Monday. Now, they have the joy of a road trip to Milwaukee to Atlanta. If the Hornets can split those two games, that would be a positive outcome.
17. New York Knicks (11-10, Last week — 16th)
Tom Thibodeau made waves by removing Kemba Walker from the rotation following a nice win over the Hawks this weekend. The early results were solid enough in a close loss to the Nets on Tuesday, but it will be interesting to see how this goes for New York. Famously, the Knicks’ starters have been brutal, so maybe this sorts them out to some degree.
18. Denver Nuggets (10-10, Last week — 17th)
The news that Michael Porter Jr. will miss extended time, and perhaps the whole season, following back surgery is brutal for Denver. The Nuggets did win a road game in Miami on Monday, but that victory simply stopped the bleeding. Nikola Jokic can only do so much.
19. Memphis Grizzlies (11-10, Last week — 18th)
Memphis is still hovering around the .500 mark despite the league’s worst defensive efficiency and a point differential well into the negative range. Beyond that, the Grizzlies have to be holding their collective breath about Ja Morant’s knee.
20. Cleveland Cavaliers (11-10, Last week — 22nd)
Following a five-game skid, the Cavs “got right” with a home win over Orlando. That didn’t move the needle, but Cleveland then closed the week with a sound win over Dallas on the road. Honestly, it’s still impressive that the Cavs are 11-10.
21. Dallas Mavericks (10-9, Last week — 11th)
Dallas was vastly overachieving in the standings for a while, at least compared to the team’s point differential. The reckoning may be here. The Mavs have dropped five of six, including a dismal home loss to Cleveland on Monday, and Luka Doncic has looked human in producing only a 53 percent true shooting clip this season. He’s not the problem by any stretch, but Dallas can’t win at a high level if he isn’t anything but excellent right now.
22. Indiana Pacers (9-14, Last week — 19th)
Indiana is 6-4 with a +3.8 net rating at home, and the Pacers will be at home for the next two full weeks. That might lead to some success, but Indiana is just 3-6 in the last nine games and will be aiming to stop a two-game mini-skid when the Hawks visit on Wednesday.
23. Toronto Raptors (9-13, Last week — 23rd)
Toronto’s 6-3 start seems like it happened six months ago. The Raptors are 3-10 since then, and Toronto’s defense is yielding more than 1.15 points per possession in the last 13 games. They are in the middle of an extended homestand, but the Raptors need to bank some wins.
24. Sacramento Kings (8-14, Last week — 26th)
There was some mid-week optimism for the Kings with a triple-OT win over the Lakers coming on the heels of a nice win over Portland. Since then, Sacramento was blasted by 52 combined points by the Lakers (in a rematch without LeBron) and Grizz. Yikes.
25. San Antonio Spurs (6-13, Last week — 27th)
San Antonio gets a small bump after back-to-back wins over Boston and Washington at home. The Spurs’ peripherals are much better than the unsightly 6-13 record, and they have a high-profile spot against Portland on the road Thursday in which to prove themselves.
26. New Orleans Pelicans (6-17, Last week — 28th)
Zion Williamson is getting closer and the Pelicans are playing better. New Orleans has won three of the last four games. That doesn’t erase a truly horrific start, but the vibes seem better lately, and Jonas Valanciunas is now making seven three-pointers in a single half. That really happened on Monday!
It was inevitable given the team’s recent schedule, but Detroit is in a free fall. The Pistons have lost seven in a row, and the final four of those games came on the road against the Bucks, Clippers, Lakers, and Blazers. It didn’t go particularly well.
29. Oklahoma City Thunder (6-14, Last week — 24th)
The Thunder were punching above their weight early in the season and that was pretty clear. In the last nine games, OKC is 1-8 with an offensive rating of 98.8 points per 100 possessions. I would still argue they’ve been more competitive than expected, and the Thunder are well-coached, but it’s not a lot of fun to consume on a nightly basis.
30. Orlando Magic (4-18, Last week — 29th)
Orlando is on a seven-game losing streak, and they’ve dropped 10 of 11. In addition, Jalen Suggs is going to be out for a while, and that takes away even more of the luster. It was always going to be a long season, but Orlando’s -10.8 net rating tells an ugly story.
An inexplicably successful revival series, a galactic bounty hunter, mockumentary cop action, and a no-longer-loner monster hunter. December overfloweth with must-see TV shows, both of the brand new and returning varieties. We’re working through the month by consecutive date in this list, but there’s no way to postpone acknowledging how successful the Cobra Kai series is while invigorating the Karate Kid franchise for new generations. As well, Star Wars universe follows up on a character who debuted in The Empire Strikes Back and, these days, has turned into a crime lord. Then Reno 911! updates itself past “New Boot Goofin’” territory to skewer the hell out of 2021, and The Witcher‘s Geralt of Rivia tackles more creatures of The Continent.
Elsewhere, It’s Always Sunny In Philadelphia somehow churns into its fifteenth season, Hulu brings us Olivia Colman as a murderess, HBO Max has male strippers and that new Sex and the City show, AMC+ launches a feminist period drama, and Netflix has returning shows of the frivolous and all-too-serious varieties. Whew, that’s almost too much TV, but we’re not complaining at all.
Here are the biggest shows worth noticing in December:
It’s Always Sunny in Philadelphia: Season 15 (FXX series returning 12/1)
Charlie Day, Rob McElhenney, and the rest of the gang are raising hell in Ireland, and for some reason, someone is clad as the QAnon Shaman while not even It’s Always Sunny can escape the fresh hell that is 2021. So, expect to see COVID-19 acknowledged, along with the rest of 2020, in the special way that only this show can do. Uh, even a Jeffrey Epstein reference happens as the group bounces across the pond, and it’s good to have this crew back.
Pen15: Season 2, Part 2 (Hulu series streaming 12/3)
Maya Erskine and Anna Konkle continue to play pre-teens as 30-something actresses, and expect even more cringeworthy vibes along with more unmistakably heartwarming moments. Relationships, both good and bad, rear their heads and test this show’s central friendship. Underneath it all, though, this show remains unyieldingly funny and more than a litte bit dark when it comes to what that dog’s doing in the above trailer.
Landscapers (HBO limited series streaming 12/6)
The dream pairing of Olivia Colman (The Crown, The Favorite) and David Thewlis (Fargo, I’m Thinking Of Ending Things) leads this inspired-by-real-life story about a couple that apparently murders one of their sets of parents. This ghastly turn of events launches a high-profile investigation, but don’t expect this to be a straight-up retelling in any sense of the word. Rather, director Will Sharpe (The Electrical Life of Louis Wain) isn’t afraid to explore fantasy along with the unusual love story of this couple.
Voir (Netflix docuseries streaming 12/6)
This documentary series serves as David Fincher’s love letter to cinema. Expect a swath of “visual essays” from Fincher in collaboration with his fellow cinephiles, who will dive deep into iconic movies to discover the true “purpose of filmmaking.” You’ll see some Jaws and Citizen Kane but also The Karate Kid, Mad Max: Fury Road, Kill Bill, Goodfellas, Lawrence of Arabia, The Talented Mr. Ripley, and more. It’s a master class in not only the art of filmmaking but the art of watching movies.
Welcome to Earth (Nat Geo and Disney+ limited series streaming 12/8)
Darren Aronofsky produces and Will Smith stars in this extraordinary global adventure that will remind everyone that there’s plenty of surfaces on Earth that humans have barely noticed as of yet. The show takes adventures to silently roaring volcanoes and journeys into morphing deserts and highlights all of the breathtaking moments that nature has to offer. Maybe, just maybe, Will’s sense of awe and palpable enthusiasm will take your mind away from all of those horror stories that he’s been relaying on the promotional trail. One can only hope.
And Just Like That… (HBO Max limited series streaming 12/9)
Carrie (Sarah Jessica Parker), Miranda (Cynthia Nixon), and Charlotte (Kristin Davis) are back, along with the Big Apple, y’all. No Samantha will be found, given that Kim Cattrall declined to return, but there will be returning dudes, including Chris Noth’s Mr. Big, who will hopefully be far less of an insufferable cad. Yet there’s going to be a bittersweet aspect to this revival, given that Willie Garson (Carrie’s BFF, Stanford Blatch) recently passed away. All of those swirling moods will possibly disappear in a whirl of overwrought flower hats or something, but the show professes to be more inclusive this time around. It’s also still about friendship and the complications of life.
Anne Boleyn (AMC+ limited series streaming 12/9)
Jodie Turner-Smith (Queen & Slim) stars in this reimagining of Tutor England’s era of King Henry VIII, and history will tell us that Anne, his second wife, did not fare well, given that no male heir surfaced from the marriage. The story leans toward psychological thriller rather than period drama, and the patriarchal society gets a feminist twist here. One mayor bonus here will be Paapa Essiedu (I May Destroy You), who portrays George Boleyn, brother of Anne. Expect a visionary take on a snapshot of time that people only thought that they understood.
MacGruber: Season 1 (Peacock series streaming 12/16)
This past spring, Will Forte told us that he was patiently waiting for Peacock to officially greenlight the MacGruber TV show, and it’s happening, approximately 11 years after the MacGruber film, which was (of course) based upon Forte’s recurring SNL sketch. The raunchiness of the film, co-starring Kristen Wiig as MacGruber’s sidekick (Vicki St. Elmo), surpassed the network incarnation of the sketch, but sadly, the title character’s sitting in prison these days, and that’s where this jailhouse interview picks up with an “eat my sh*t” moment. It’s no wonder that Forte once promised fans that that this series (written by Forte) was too “filthy” for network TV.
Finding Magic Mike: Season 1 (HBO Max series streaming 12/16)
Producers Steven Soderbergh and Channing Tatum bring their Magic Mike-themed reality series to life while zeroing in on a bunch of dudes who want to recapture their own mojo, so they go to a stripper bootcamp and let it all hang out. No word whether Ginuwine’s “Pony” will make an appearance or if we will see Tatum, but guest hosts will include Whitney Cummings, Nikki Glaser, and Nicole Scherzinger. Lighten up and enjoy this one from afar as these guys compete for a cash prize and notoriety aplenty.
The Witcher: Season 2 (Netflix series streaming 12/17)
It’s time to go on a swashbuckling rampage through destiny as Geralt of Rivia returns for more monster hunting on The Continent. Ciri and Geralt have finally found each other (in a paternal way), and she’s clearly now in training mode. The show’s got a lot to live up to, given that it defied expectations during its debut, and Henry Cavill has also revealed that his character will somehow be less grumpy this time around. Geralt will talk more, and maybe he’ll tell humble bard Jaskier to shove off again, but he will have to enlist the guy for help, so get ready for another banger in the process. Meanwhile, Yennifer’s out on her own, and not doing so well after the Battle of Sodden, as she’s apparently working her way back toward Geralt’s neck of the woods. Killing Eve‘s Kim Bodnia will portray Vesimir, Geralt’s mentor, and Game Of Thrones‘ Kristofer Hivju will wear highly unflattering prosthetics. Good times!
Emily In Paris: Season 2 (Netflix series streaming 12/22)
God help us all, this show will once again be binged into oblivion. Lily Collins returns as the stereotypically clueless and culturally offensive American who’s taking Par-ee by storm, one Instagram post at a time. The twist here is that Emily actually attempts to learn French this season, but of course, expect a ton of other drama because she slept with that hot chef and is still very good friends with the hot chef’s girlfriend. Please let the gross, unwashed skillet make a comeback and have some terrible karaoke tunes to accompany the Carrie Bradshaw of today, courtesy of primetime TV king Darren Star.
Dragons: The Nine Realms: Season 1 (Hulu series streaming 12/23)
Who didn’t love the How To Train Your Dragon movies? Only a monster, that’s who. This series takes place in the same world and approximately 1,300 years later when dragons no longer exist, other than legends. However, an enormous fissure appears in the Earth’s surface, and this allows room for official scientific research into exactly what’s going on here. If you guessed that a group of kids would be the ones who figure this thing out, you’d be correct. Long live the dragons.
Reno 911!: The Hunt for QAnon (Paramount+ special streaming 12/23)
Is it time for some more New Boot Goofin’? Probably not, but Lieutenant Dangle is back for the third incarnation of this show after the Quibi adventure and the Comedy Central storied history. In this special adventure, the Reno Sheriff’s deputies will somehow land on Jeffrey Epstein’s island and attempt to hunt for Q of QAnon fame. The gang will largely be back, so expect to see Thomas Lennon, Kerri Kenney-Silver, McLendon-Covey, Niecy Nash, Mary Birdsong, Ian Roberts, and many more to return to one of the most beloved mockumentaries of all time.
The Book of Boba Fett: Season 1 (Disney+ series streaming 12/29)
The iconic bounty hunter turns into a crime lord following his surfacing in The Mandalorian‘s second season. The very dead Jabba the Hutt has left a void in the galactic organized-crime realm, and Boba Fett is all too happy to fill it, but not by ruling by fear. Rather, he’s asking for respect, so we’ll see how that goes. Expect to see mercenary Fennec Shand along the way as these two head into underworld adventures that take them to Tatooine. It’s doubtful that we’ll see any Baby Yoda here, but one can hope for a miracle.
Crime Scene: The Times Square Killer (Netflix series streaming 12/29)
Alright, so the above trailer happens to be for the first installment (The Vanishing At The Cecil Hotel) in this series, which arrived through the game changing ways of director Joe Berlinger, who’s navigating from within the true crime genre. In this new installment, the Times Square Killer gets the spotlight, along with the the social and systemic forces that facilitated this serial murderer. In the process, all the danger and depravity of 1970s and early 1980s midtown Manhattan will make those few blocks a character of their own.
Cobra Kai: Season 4 (Netflix series streaming 12/31)
The O.G. All Valley Karate Tournament confrontation took place 30 years ago, and Daniel LaRusso and Johnny Lawrence can’t get over it. Likewise, their respective dojos, Miyagi-Do and Eagle Fang, attempt to join forces against John Kreese’s ownership of Cobra Kai, but of course, getting along will prove to be a bumpy road. Kreese has called in reinforcements in the form of form of his old Vietnam War buddy and co-founder of the Cobra Kai dojo, Terry Silver, who returns to the franchise. Who will win the spirit of karate in the Valley, and can Hawk and Tory keep their bully spirits alive while Johnny’s messing around with a crane kick? Most of the grown-ups are a-holes in their own way here, so hopefully, the kids can talk some sense into them.
“We must confront those who want to change the very soul of America and reimagine it with their toxic ideology. We need to fight for the benefit of our descendants. We have fumbled the baton we’re supposed to pass to our children. And I want to pick up that baton and start racing toward our promising future,” he wrote in a statement announcing his candidacy. But you know what he didn’t say? The word “Pennsylvania.”
Amazingly, the word “Pennsylvania” appears nowhere in this column from Dr. Oz about why he’s running to be the next Senator from Pennsylvania.https://t.co/QubqRtUaOV
Dr. Oz’s Senate run was a topic of conversation during Stephen Colbert’s monologue in Tuesday’s episode of The Late Show. “Before his run, Dr. Oz had a lucrative career as a liar, peddling questionable health advice on TV, like saying coffee bean pills can help treat weight loss, raspberry ketone will burn fat, and astrological signs may reveal a great deal about your health,” he said. “Sure, who doesn’t love it when their doctor says, ‘Mr. Johnson, you have cancer… as your star sign, which means an office friendship could turn to romance.’” But as Colbert pointed out, Dr. Oz is more than just a quack doctor.
“Dr. Oz may not just have fake medical claims, he may have fake Pennsylvania claims,” he said. “Because he’s running there despite living in New Jersey for years. And there’s a big difference between Pennsylvania and New Jersey. Something to do with hoagies. I don’t know what it is, but they will murder you over it.”
Let’s just say that being defended by Marjorie Taylor Greene isn’t a good sign, but rootin’ tootin’ Lauren Boebert will not be deterred after starting the worst congressional feud with Ilhan Omar through a string of “jihad squad” remarks and a suicide bomber “joke.” Boebert hit Fox News last night to chat with Laura Ingraham, and the far-right congresswoman didn’t seem apologetic over her remarks. In fact, she vowed that she won’t be cancelled.
In Boebert’s eyes, Omar and the Democrats do not “want an apology.” Rather, she believes, “They want public humiliation.” Further, Boebert insisted, “They want to cancel me and that is not going to happen.”
Boebert didn’t mention (of course) that voices on the right have also condemned her comments. Further, she’s only half-apologized in the public realm before engaging in a tense call with Omar, to whom Boebert refused to acknowledge her Islamophobic remarks (about Omar). The Colorado-hailing rep has even dropped them on the House floor as well as in multiple videos that have since emerged.
The Ingraham-hosted interview was as messy as expected. Boebert insisted that her half-apology happened not because she wished to “appease” anyone but, “I did that because I’m here to be a good congresswoman.”
Uh, what does Boebert want to debate? There’s no telling, but she does appear to believe that her “jihad squad” remarks are some sort of policy matter.
Sounds like someone told Boebert if she used the word “policies” multiple times, she could reframe this as a policy dispute pic.twitter.com/ZjkvQaMqHW
Meanwhile, a local Colorado news anchor recently went viral when he called out “the cruel, false, and bigoted things that Boebert says for attention and fundraising.” Yep, Boebert keeps telling that fake elevator story for far-right laughs, and possibly for more campaign contributions that she can funnel into personal expenses. It’s not a great look, in several ways.
Over the Thanksgiving break, Lauren Boebert said she was recently in a Capitol elevator with Ilhan Omar when a fretful Capitol police officer ran up.
Lauren Boebert said: “Well, she doesn’t have a backpack. We should be fine.”
In recent times, Britney Spears has taken to Instagram to offer direct and detailed messages about what she’s up to and how she’s feeling. Sometimes, though, she’ll share less verbose posts, which leads fans to come up with their own interpretations about what they might mean. So now, some of Spears’ followers reckon that Spears is teasing a collaboration with Lady Gaga.
Spears recently shared an image from makeup artist Vlada Haggerty, who specializes in lip-based art. This image (which Haggerty dedicated to Spears when she initially posted it) features “free woman” written on a backdrop of roses. Followers in the comments are convinced this indicates Spears’ interest in collaborating with Lady Gaga, as they think (or at least hope) a Spears-featuring remix of Gaga’s Chromatica song “Free Woman” is imminent.
This comes shortly after Gaga said she would “of course” want to work with Spears and noted, “She’s a woman in this business that showed a lot of power in her sexuality, even in her youth, in a way that for me as a young woman was just so inspiring and empowering. I’d like to say this, truly: We can all root for her, but the person that changed her life was her. So this change that’s happening for her, it happened because of her, I believe. I’m excited for her future and I wish her all the best.”
This year may have been filled with fewer unprecedented events than the previous one, but there was still a lot to adjust to. Little by little, cities across the world began reopening after nearly a year of lockdown and when they did, songs by our favorite artists were there to soundtrack it. Musicians delivered the perfect tunes to accompany a range of emotions felt this year from fun, flirty tracks and dancefloor-ready hits to heart-tugging ballads.
With chart-topping songs heard in reopened stores and restaurants, it was hard to miss some of the hottest tracks from this year by artists like Lil Nas X and BTS. But there are sure to be a handful of great releases that went under the radar. That’s why Uproxx is here to sort through the noise to round up the most memorable music from across genres. Check out Uproxx’s unranked list of all the best songs of 2021. And check out our favorite albums of the year here.
One of the most explicit songs Ariana Grande has ever released still does us all the favor of teaching solid math skills! That’s Ari, always multitasking. But if she wanted to ramp up the X-factor for this already outstanding Positions single, who better to ratchet the sexual tension up to eleven than Doja Cat and Megan Thee Stallion? Thanks to the two best female rappers currently doing it, “34 + 35” got the attention it deserved. These three were sweetly, simply, turning sex into wordplay until the morning light. – Caitlin White
Angel Olsen, Sharon Van Etten — “Like I Used To”
Sharon Van Etten has one thing in common with every other Angel Olsen fan: She has stood in the crowd of Olsen’s shows and cried her eyes out to the singer’s cathartic lyrics. The two famed indie songwriters hadn’t known each other too well before teaming up for the Americana duet “Like I Used To,” but they had always supported each other from afar. That air of mutual admiration is more than palpable in the collaboration, a song that boasts shimmering chords, a big-band chorus, and swirling harmonies that feature both singers’ velvety voices. The anthemic track calls back to the heart-wrenching ballads that arose out of the American heartland, but instead focuses on their own personal self-growth rather than a romantic relationship. – Carolyn Droke
Baby Keem — “Range Brothers” Feat. Kendrick Lamar
I want to offer some deep reflection, some thorough analysis to fully explain why this song belongs on the Best Of 2021. But to be honest, I can’t. There isn’t one. This one is solely here on the strength of its final 1:22 and those damned ad-libs. You can already hear them, can’t you? Listen, when a song so righteously burrows itself into your consciousness and hijacks all your good sense to have you screaming “Top o’ the morning” at your friends like a maniac… it’s a sign. Try not to think about it. Just enjoy the ride. – Aaron Williams
Bartees Strange — “Weights”
Bartees Strange, the most enjoyable indie newcomer of 2020, spent much of 2021 opening for seemingly every significant indie tour of the year. He also did a victory lap for his breakout album Live Forever, which he was reissued with a special bonus track that is every bit as good as the album it was somewhat inexplicably excluded from. “Weights” is Strange indulging his “fist-pumping Britpop anthem” side, in which shamelessly crunchy guitars give way to unexpected piano interludes and a swaggering vocal that represents his most “rock star”-like move yet. – Steven Hyden
Beabadoobee — “Last Day On Earth”
Beabadoobee made one of 2020’s best albums with Fake It Flowers, and she was quick to follow it up this year with Our Extended Play, a collaboration with The 1975. “Last Night On Earth” finds the middle ground between the two artists, living in the world of Beabadoobee’s shimmering ’90s-inspired alt-rock while also taking queues from some of the more reserved tracks The 1975’s recent output. There’s even a line on here that Bea basically delivers in the voice of Matty Healy. It’s awesome. – Zac Gelfand
BIA — “Whole Lotta Money”
BIA is certainly a new name to many, but the Massachusetts native spent years working towards the breakout moment she earned in 2021. Thanks to the powerful influence of TikTok, BIA’s “Whole Lotta Money” became one of the most popular songs of the summer. Its catchy hook and club-friendly production combined for a recipe towards a successful record. It later received a remix from Nicki Minaj, a guest verse that comes far and few nowadays, making BIA’s 2021 year all that much better. – Wongo Okon
BTS — “Butter”
The whole purpose of pop music is to help us forget the mundane doldrums of our banal everyday lives. The best songs should uplift and remind us that there’s always something sunnier and joyful on the horizon. Nothing accomplished those tasks with more precision this year than “Butter,” a goofy, sunny track from BTS that hit every mark on the perfect pop song list and kept right on climbing. Staying at the top of the charts for most of the year, “Butter” was a reminder of better days, and a promise that those lighthearted, celebratory moments are never fully out of reach. – C.W.
Cardi B — “Up”
For most artists, having a relatively quiet stretch doesn’t result in a No. 1 hit. Most artists aren’t Cardi B, though: Cardi’s last truly busy year (at least in terms of commercially available output) was 2019, but she still had a viral chart-topper in 2021 with “Up.” Cardi has proven herself to be a master when it comes to pumping out hooks that instantly implant themselves into the broad cultural consciousness, with “Up” firmly serving as another example of that. She insisted earlier this year she doesn’t try to make songs to inspire TikTok dances or for similar clout-chasing reasons, so it appears she just can’t help it. – Derrick Rossignol
Caroline Polachek — “Bunny Is A Rider”
Between her many years with Chairlift, and other solo project monikers like Ramona Lisa and CEP, it took a while for Caroline Polachek to finally settle into her own as an artist. But now that she’s there? She’s going full speed ahead. “Bunny Is A Rider” is more high-speed chase energy, run through the filter of summer flings and getaway cars. It’s an epic, left-field pop hit that should be on every year-end playlist, and hopefully means the follow-up to 2019’s excellent Pang will be coming next year. – C.W.
Cassandra Jenkins — “Michelangelo”
The opening track to Jenkins’ sweeping An Overview On Phenomenal Nature, “Michelangelo” is totally chorus-less. Jenkins takes us through a series of verses, contemplating our resilience as humans to deal with the circumstances of where we’ve been and how we’ve come to be how we are. She likens herself to “a three-legged dog,” an animal that finds harmony within a lack of balance and we begin to see ourselves reflected within her words. A drawn out guitar solo comes in midway through, acting as a giant mirror that makes you seemingly nod your head at, and agree with Jenkins, as if saying “Yeah…me too. I totally feel that way sometimes!” It’s what makes “Michelangelo” such an effective piece of music and a prime example of how Jenkins speaks to the listener through song in marvelous ways. – Adrian Spinelli
Chlöe — “Have Mercy”
This year marked the year of independence for Chloe Bailey. Not to say that Chloe X Halle are done as a duo, as many have oddly called for, but instead, Chloe will commemorate 2021 as her arrival as a solo entity. After months of unnecessary discourse about her social media habits and delightful covers of songs in varying genres, Chloe unloaded her debut single with the Murda Beatz-produced “Have Mercy.” If the bouncy trap-leaning track tells us anything about Chloe, it’s that the singer is set on doing things her own way and showing us what her own natural artistry looks like. – W.O.
CKay — “Love Nwantiti”
The success of afrobeats in 2021 will most likely be personified by the slow rise of Wizkid & Tems’ “Essence.” Another candidate for this is CKay with “Love Nwantiti.” The Nigerian CkKay takes slow-burning success to a new level as the original song arrived in 2019. However, thanks to numerous remixes and a viral moment on TikTok, a broader spotlight was placed on the infectious track. The song’s title translates to “small love” in Nigeria’s Igbo language, but the track received much more than its title suggests, and rightfully so. – W.O.
Coi Leray — “Twinnem”
Given the choice between “No More Parties” and Coi Leray’s other big standout from 2021, I’ll take the latter. There’s just something irresistible about that singsong chorus and the twinkling production. While the track does incorporate the crooning style for which Coi first garnered attention on her breakout, her choppy flow is fun, funky, and heartening to hear in just about any circumstance. – A.W.
Dijon — “Many Times”
This standout track from Dijon’s debut album perfectly showcases what makes Absolutely such an entrancing listen. Reveling in what Aaron Williams calls for Uproxx “a cycle of pain and confusion caused by a loved one who doesn’t understand the impact their chaotic actions are having,” the track bounces across genre boundaries seamlessly, from R&B to driving power-pop to introspective folk. Despite their seemingly conflicting sounds, all of these sonic influences actually function quite well together, working in tandem to reinforce what we all already knew: all eyes should be on Dijon. – Z.G.
Doja Cat, SZA — “Kiss Me More”
Drake — “Knife Talk” Feat. 21 Savage and Project Pat
There’s no telling what will be the fan-favorite record on an album Drake releases. That was made clear with “In My Feelings” and Scorpion in 2018. This time around, Drake’s sixth record, Certified Lover Boy, is spotlighted by the Houston-influenced “Knife Talk” with 21 Savage and Project Pat. It’s a menacing track from the trio that promises the worst for those who try them. A commanding intro from Project Pat, 21 Savage’s fear-inducing verse, and another installation of mob boss Drake combine for an ear-pleasing display of no-good evildoers. – W.O.
Dua Lipa — “If It Ain’t Me”
Opting to release her sophomore album, Future Nostalgia, a few weeks early as it became clear a pandemic was going to stop most fans from hearing these disco-bangers out on the dance floor last year, Dua continued to build on the wildly-successful album’s radiant sound with intermittent updates. “If It Ain’t Me” was part of one of these subsequent additions, as part of the The Moonlight Edition, and the glittering anxiety of being with someone you love but still worrying about it all falling apart was a very apt 2021 soundtrack. Sad disco forever. – C.W.
Foxing — “If I Believed In Love”
Foxing are no stranger to taking big swings, and this cut from Draw Down The Moon is one of the biggest jumps into new territory that we’ve heard from the band to date. Gone are the trappings of their emo beginnings, aiming instead for an indie-pop horizon. Showcasing Conor Murphy’s falsetto throughout, “the track is carried by synth hits and a drum machine beat, which start the song out calmly before it explodes into a more exuberant second half,” writes Derrick Rossignol for Uproxx. – Z.G.
Hovvdy — “Blindsided”
Hovvdy write truly beautiful music, and the additional resources provided to them for their new album True Love allowed the band to explore different soundscapes and truly create sonic worlds for themselves. “Blindsided” is the perfect representation of the band’s raw power as both songwriters and world-builders, serving as the centerpiece of what I called in a recent feature “the perfect album to throw on a fall drive with the windows down, hearing the leaves crunch under your car tires.” It doesn’t take long after hitting play on the track to get a full scope of its cinematic qualities. – Z.G.
IDK, Offset — “Shoot My Shot”
There’s something beautiful about a catchy record that also doesn’t see an artist compromise their natural style. That’s what you get with IDK’s “Shoot My Shot.” He and Offset arrive with overflowing confidence towards all the things in their life that they may want. Whether it’s women, money, or new opportunities, IDK and Offset use the song’s thumping bass and quick-fire hi-hats on the USee4Yourself highlight to make it clear that success comes their way when they shoot their shot. – W.O.
Isaiah Rashad — “Lay Wit Ya” Feat. Duke Deuce
At an outdoor daytime event on Fairfax premiering the leeead single from his long-awaitedcomeback album, I watched Isaiah Rashad whip the crowd into a frenzy, turning the 3 p.m. parking lot into a nightclub in full swing. Such is the power of “Lay Wit Ya,” which wisely pairs the supremely laid-back Zay with the incorrigible, chatterbox flow of his fellow Tennessean Duke Deuce. Splitting the difference between crunk and the languid TDE house sound, Isaiah Rashad found a way to push the boundaries while remaining firmly in his comfort zone. – A.W.
Jack Harlow — “Luv Is Dro” Feat. Static Major & Bryson Tiller
The three artists on this song have one thing in common: each call Lousiville, Kentucky home. For Jack Harlow, the city is a proud place to represent thanks to those who came before him like the late Static Major and Bryson Tiller. So on his official debut album That’s What They All Say, Harlow made sure to commemorate a moment for his hometown. “Luv Is Dro” is carried by a sample of Static Major’s “Love Is Dro” and held together by verses from Harlow for what lands as an ode to the city’s developed sound and a well-executed comparison of bedroom magic to the effects of weed. – W.O.
Japanese Breakfast — “Be Sweet”
Japanese Breakfast’s Jubilee is one of the best indie albums of the year, and “Be Sweet” was the first taste we got into Michelle Zauner’s joyful world. Built upon a buoyant bass groove, funky guitars, and driving synths, “Be Sweet” is a notable high point on an album that is full of high points. Zauner’s infectious vocal melody drives it all home, crafting a track that will be quick to get you dancing. – Z.G.
Jazmine Sullivan — “Pick Up Your Feelings”
At the apex of the pandemic, Jazmine Sullivan thought it was the perfect time to remind the world of her existence with a steamy stack of songs titled Heaux Tales. Its second supporting single “Pick Up Your Feelings” encapsulates everything we missed about Jaz. Pure vocals, women empowerment, encouragement, and anecdotes. “I deserve so much more than you gave to me / So now I’m savin’ me / And I made my peace / So you can run them streets,” she relents. “But don’t forget to come and pick up your feelings.” – C.J.
J. Cole — “Let Go My Hand”
The closest thing to introspection on Cole’s wind sprint drill of an album, “Let Go My Hand” finds the North Carolina native contemplating the future, the past, his legacy, and the rumors that have circulated online for the past few years about that supposed scuffle with Diddy. And then Diddy pops up on the outro. I mean, if that doesn’t deserve one of those Italian chef’s kiss gestures, absolutely nothing on Earth does. – A.W.
Jorja Smith — “Addicted”
Good pop music tugs at the strings of desire in unique ways and on “Addicted” Jorja Smith does it impeccably. “The hardest thing, you are not addicted to me / I’m the only thing you should need, You should be addicted to me,” she sings in a well-penned plea. Joel Compass’ atmospheric drum and bass production builds a classic British pop sonic trope; the convergence of dance floor beats with the silken-voiced singer. Smith is radiant and audacious at the same time. She doesn’t just want attention, she wants addiction, and she reaches incredible emotional heights in the process. – A.S.
The Kid Laroi, Justin Bieber — “Stay”
It’s always a treat when a well-established star pairs with an up-and-coming newbie, and the combined power of The Kid Laroi and Justin Bieber was exactly what both needed to skyrocket to the top of the charts. “Stay” is a mournful but almost-banger pop-punk tune that fit the strange, uncertain mood that dominated most of 2021. As long as everyone else is hitting up the emo revival, why shouldn’t Bieber get a piece of the pie? – C.W.
Lana Del Rey — “White Dress”
Lana Del Rey had an exceptionally busy year between releasing two full-length albums. But even with the whirlwind of events, her Chemtrails Over The Country Club track “White Dress” was her defining moment of 2021. The breathy ballad not only showcases her far-reaching vocals and knack for reinventing tired piano ballads, but it also tells a true story. Through her lyrics and chilling melodies, Lana details the discomfort of what it’s like to be perceived in the male-dominated spaces of the music industry, particularly at such a young age. Although the lyrics and instrumentation are quite sparse, the way Lana delivers each line allows the listener to understand the exact feeling of discomfort and quiet rage she felt upon reexamining a memory from her early career. – C.D.
Lil Baby, EST Gee — “Real As It Gets”
Lil Baby’s reign of terror continued throughout 2021 as he dropped his first solo single post-My Turn, introducing the world at large to Louisville rhyme sniper EST Gee. The frenetic beat would be a challenge for just about anyone to wrangle, but Lil Baby does so with apparent ease, ceding his spotlight to the young up-and-comer for the anchor leg. Gee refuses to let him down, bringing every bit as much energy while insisting he’s “really livin’ what I rap.” – A.W.
Lil Nas X — “Montero (Call Me By Your Name)”
In the event that you somehow managed to not hear anything about Lil Nas X since the historic No. 1 run with “Old Town Road” in 2019… well, a lot has changed since then. The rapper shed his squeaky-clean image (which he cultivated based on a song that references adultery and breasts) to make conservatives faint by becoming a gay icon and giving Satan a lap dance. The change was for the better, as “Montero (Call Me By Your Name)” made him a lasting cultural fixture, due to both the quality of the music and Nas’ masterful ability to promote it and himself in delightful ways. – D.R.
Mac Ayres — “Nothing Else”
Mac Ayres submitted yet another pristine body of work at the top of the year with Magic 8Ball. Just like a magic 8-ball, the project hones on the randomness of life, including a moment that finds Ayres looking to right his wrongs with love. That arrives on “Nothing Else,” a truly hypnotizing track backed by floating keys and a stuttering drum. As someone who tends to run away from his problems with love, Ayres goes against his natural instincts and decides to make things right with someone who he’s given his heart to. – W.O.
MICHELLE — “SYNCOPATE”
Although AFTER DINNER WE TALK DREAMS, the sophomore album from New York collective Michelle doesn’t drop until January, the samplings we’ve heard from the record so far are setting a very high bar. “Syncopate” arrived earlier this year with the album’s announcement, delivering a truly exciting number that is both groovy and seductive. According to the band in a statement, the song is, at its core, about exposing the vulnerabilities that come with communicating one’s desire. – Z.G.
Morray — “Quicksand”
If you’re looking for a contender for “most undeniable song of the year,” this one puts in a pretty strong argument. Not only did it more or less launch Morray’s career, but it also introduced a rapper for whom “soulful” seems a descriptor inadequate to the challenge of accurate labeling. He somehow croons and raps at the same time — kind of like Nelly — but with a melancholy that reflects the conditions he’s overcome, as well as a hopefulness that fully explains how he managed to do so. – A.W.
MUNA — “Silk Chiffon” Feat. Phoebe Bridgers
If you haven’t heard the lesbian anthem of the year, GTFO. Okay, sure, this song belongs just as much to bi women as anyone else (hi Phoebe), and it only takes a tiny stretch of the imagination to make it into a love song for just about anyone. But, in a heteronormative, patriarchal world that so often dismisses the idea that plenty of women could be completely happy loving each other, “Silk Chiffon” reclaims space in a deeply political way. The fact that it also happens to be a banger is just icing on the cake… or an extra bit of chiffon on the blouse. – C.W.
Olivia Rodrigo — “Good 4 U”
While Olivia Rodrigo‘s debut single “Drivers License” gave her a viral moment, her Sour track “Good 4 U” resonated with millennials and Gen Z alike to make her a certified star. Rather than singing about the woes of a broken heart, “Good 4 U” is instead empowering, sarcastic, and details the wildly relatable feeling of the jealousy and pain that comes from an ex moving on a little too quickly. As a whole, “Good 4 U” is an example of Rodrigo’s versatility that helped her become a household name. It showcases her genre-spanning songwriting along with the fact she can just as easily execute a rock-leaning banger as well as a piano-driven ballad. – C.D
PinkPatheress — “Just For Me”
PinkPantheress burst onto the scene via TikTok when her glitchy, footwork-style production and pristine house vocals hit a sweet spot for disillusioned Gen-Z listeners, stuck at home or full of the same longing her music contains. “Just For Me” is a bit more hopeful than some other tracks on her early mixtape, To Hell With It, but cut with just enough darkness to make things interesting. See if a single listen doesn’t get the melody stuck in your head for days at a time. – C.W.
Polo G — “Rapstar”
Polo G earned the first No. 1 album of his career this year with Hall Of Fame. With that also came the first No. 1 song, “Rapstar.” The track focuses on Polo G’s newfound stardom, one that became undeniably apparent when Hall Of Fame arrived. “Rapstar” is Polo G’s realization that he’s bigger than he’s ever been, and because of that, it requires a moment to stop and soak in the moment. It’s also a track that solidified the Chicago rapper’s presence in the mainstream realm of rap. – W.O.
Pooh Sheisty — “Back In Blood” Feat. Lil Durk
Before Pooh Shiesty’s “Back In Blood” was officially released, the song was highly-anticipated. On top of that, the fiery verse led by Lil Durk, which includes the popular line: “Pooh Shiesty that’s my dog, but Pooh you know I’m really shiesty,” immediately took a life of its own. In an episode of How I Blew Up for Uproxx, the Shiesty Season rapper said he knew the song was a hit when footage of him and Durk recording the video went viral. It was hard to go anywhere without hearing “Back In Blood” and even though Pooh is locked up, the song is still being played worldwide. – C.J.
Roddy Ricch — “Late At Night”
Everyone deserves as a special someone to place their trust in. For Roddy Ricch, past traumas and future fears can combine to make that reality a bit harder to attain. The Compton native overcomes both on “Late At Night,” his first single in almost two years. The uncertainty of how this romance may play out is an afterthought in Roddy’s mind as he focuses on the intimacy from his new lover that awaits. In the grand scheme of his promising career, “Late At Night” is an excellent start towards the upcoming chapter, one that will be completed with his upcoming album Live Life Fast. – W.O.
Saweetie — “Best Friend” Feat. Doja Cat
The explosiveness of Saweetie and Doja Cat’s “Best Friend” is what you get when you two of the industry’s most idiosyncratic creative artists together. It’s a literal bop that celebrates friendship and serves as an uptempo feel-good song. “Bitch, you look goodt, with a T at the end I’ma hype her every time, that my mothеrfuckin’ friend,” Saweetie affirms. Let’s also not forget the moment Doja had with the perplexing “she off her fish” line that was absolutely wrong but her fans insisted on saying it anyway despite her correcting it to “she off her fifth shot.” Complete with the cutest music video, unforgettable bars (i.e. “Beep, beep is that my bestie in a Tessie”), and catchy production, the undeniable hit quickly went double-platinum and is now nominated for Best Rap Song at the 64th Grammy Awards. – C.J.
Silk Sonic — “Leave The Door Open”
Bruno Mars and Anderson .Paak announced their Silk Sonic duo back in February and left the music world to simply imagine how great this pairing could be. The things they imagined were brought to reality with Silk Sonic’s perfect debut single, “Leave The Door Open.” Undeniably catchy, impressively smooth, and irresistible altogether, Silk Sonic squeezed every bit of juice out of the record for five months before offering a new track to their fans. Nowadays, singles rarely get worked and promoted for as long as “Leave The Door Open” did, with life of Silk Sonic’s debut track acting as a testament to just how good the song is. – W.O.
Snail Mail — “Valentine”
The title track from Lindsey Jordan’s sophomore album under the Snail Mail moniker quickly set a high bar for what was to be expected from the remainder of the record. Where many indie-adjacent artists returning for their second release in 2021 opted for more sparse, delicate arrangements, Jordan instead leaned into fleshing out the Snail Mail sound and incorporating new instruments to take the music in unexpected directions. “Valentine” is what Derrick Rossignol called for Uproxx “a song that starts out guided by mellow, atmospheric guitars before bursting into a kinetic chorus.” – Z.G.
Syd — “Missing Out”
Throughout 2021, Syd, the lead vocalist of The Internet, delivered three singles that injected hope towards a new solo project from her. While we’ve yet to receive that, the records are notable releases from her. A standout from that is “Missing Out,” the emotive record that dwells on what a well-crafted love could feel like. Syd accounts for her missteps in romance with commendable honesty and self-awareness, while reminding herself, and in turn reminding us, that love will surely find its way to you when the time is right. – W.O.
Taylor Swift — “Mr. Perfectly Fine”
One of the best parts about Taylor Swift re-recording her old albums has been getting brand new music from her as part of the process. As Taylor returns to the timeframe when she wrote each record, she’s rescuing unreleased songs from the vault along the way, and “Mr. Perfectly Fine” is one of the finest new breakup gems of the year. The fact that the song’s probable subject, Joe Jonas, and his wife Sophie Turner are now IRL friends with Taylor and her own Joe (Alwyn) makes it all the better. Come for the Fearless-era guitars, stay for the welcome perspective on those I’m-gonna-die breakup feelings. – C.W.
Turnstile — “Blackout”
With their latest album Glow On, Baltimore hardcore heavyweights Turnstile stepped out of their comfort zone a bit and started to experiment. “Blackout” represents the perfect mid point between Turnstile’s past and future, with 808 accents and non-traditional percussion working together to build the track’s tension. It all eventually explodes into a cathartic chorus that finds Brendan Yates screaming “if it makes you feel alive / well, then I’m happy to provide,” all before fully breaking down into a heavier hardcore outro. – Z.G.
Tyler The Creator — “MASSA”
“I paint full pictures of my perspective on these drum breaks / Just for you to tell me it’s not good from your lunch break.”
Look, hit dogs holler. I’m not one to jump in front of a stay bullet that doesn’t have my name on it. But just to be safe: This song is good. Tyler brags a bunch, he explains himself a little, he addresses some controversy, and he reminds you that yes, he is Black. Blackity Black-ass Black. Adjust your attitude accordingly. – A.W.
Vic Mensa — “Shelter”
As a longtime member of the Vic Mensa Protection Squad (est. 2011, shout out Kids These Days), all I wanted was for the Chicago rapper to return to the rap-inflected roots I knew still resided within him after a rocky past few years. Then “Shelter” happened, not only granting my wish but also reuniting Vic with longtime friend and collaborator Chance The Rapper. I’m afraid I’ve used up all my good karma for the next two years on this tender anthem. Totally worth it. – A.W.
Young Thug, Gunna — “Ski”
This year is divided into two chapters for Young Thug’s. The second half is comprised of his sophomore album, Punk, a project that’s much more timid compared to his previous bodies of work. The first chapter, however, comes with Thug and his Young Stoner Life Records’ compilation album Slime Language 2. All the fun and exuberant rhymes we’ve come to love from Thug appear on the project thanks to highlight records like “Ski” with Gunna. The frequent collaborators invite listeners to hit the slopes with them — quite literally thanks to its accompanying TikTok dance — for an infectious reminder to always have fun and enjoy life. – W.O.
The War On Drugs — “I Don’t Live Here Anymore”
On their 2021 album I Don’t Live Here Anymore, The War On Drugs once again deliver a collection of insinuating synth-rock songs that recall the glories of bygone stadium rock infused with a post-modern sensibility. On the title track, Adam Granduciel might have very well distilled his “indie rock Born In The U.S.A.” aesthetic down to its purest form. Backed by the sultry duo Lucius, he sings about going to a Bob Dylan concert and arriving at a life-changing catharsis, a momentous turn signified by the surging keyboards and guitars that bring the song gloriously home. – S.H.
Wizkid – “Essence” Feat. Tems
Afrobeats reached a new level of popularity in 2021. Proof of that lives in Wizkid and Tems’2 hit song “Essence.” Released at the end of 2020, the Made In Lagos highlight became the first afrobeats record to enter the Billboard singles chart, and thanks to a later remix from Justin Bieber, it propelled its way to No. 10 on the Billboard Hot 100. Tems’ captivating presence on the song, Wizkid’s smooth-guy demeanor, and the track’s hypnotizing production made it incredibly easy to fall in love with. And that’s exactly what happened as fans from all over the world belted its lyrics at the top of their lungs long after the song’s original release. – W.O.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
On October 2, 2020, Donald Trump revealed that he had tested positive for COVID-19. “Tonight, @FLOTUS and I tested positive for COVID-19. We will begin our quarantine and recovery process immediately. We will get through this TOGETHER!” he tweeted at the time (back when he still had a Twitter account). But in his new book, The Chief’s Chief, Trump’s chief of staff Mark Meadows claims that the then-president first tested positive on September 26, three days before his debate with Joe Biden.
The Guardianreports that “Trump’s positive result on 26 September was a shock to a White House which had just staged a triumphant Rose Garden ceremony for the supreme court nominee Amy Coney Barrett,” which would later be known as a super-spreader event. Trump seemed “a little tired,” but Meadows was “content” that he could travel to a rally in Middletown, Pennsylvania.
Before taking off, however, White House doctor Sean Conley called Meadows and said, “Stop the president from leaving. He just tested positive for COVID.” Trump’s response, Meadows writes, rhymed with, “Oh spit, you’ve gotta be trucking lidding me.”
Meadows says the positive test had been done with an old model kit. He told Trump the test would be repeated with “the Binax system, and that we were hoping the first test was a false positive”.
After “a brief but tense wait,” Meadows called back with news of the negative test. He could “almost hear the collective ‘thank God’ that echoed through the cabin,” he writes. Meadows says Trump took that call as “full permission to press on as if nothing had happened.” His chief of staff, however, “instructed everyone in his immediate circle to treat him as if he was positive” throughout the trip.
On the day of the debate, Trump’s face “had regained its usual light bronze hue, and the gravel in his voice was gone,” but “the dark circles under his eyes had deepened. As we walked into the venue around five o’clock in the evening, I could tell that he was moving more slowly than usual. He walked like he was carrying a little extra weight on his back.” Three days later, he tweeted about testing positive (and very nearly died).
In a year that has given us a surprise bounty of great films about porn — Bad Luck Banging out of Romania, Ninja Thyberg’s Pleasure, still awaiting a release — the homegrown one might be the best. In fact, Sean Baker’s origin-story-for-a-suitcase pimp, Red Rocket, is so good that “Simon Rex Oscar buzz” is no longer just a random assortment of words.
Personally, I doubt the average Academy voter is cool enough to recognize what Rex is pulling off here, or that Red Rocket will sufficiently penetrate the mainstream consciousness to make Rex winning a possibility, but should it happen they wouldn’t be wrong. The porn actor turned model turned MTV VJ turned whatever-he’s-been-doing-since-being-an-MTV-VJ shines as “Mikey Saber” in Baker’s follow-up to The Florida Project. In Red Rocket, Rex plays a down-on-his-luck male porn performer returning to his comically bleak hometown of Texas City, Texas to start again, in one of those cosmically perfect unions of fictional character and public persona that only happens once or twice in a generation, like Mickey Rourke in The Wrestler or Matthew McConaughey in Magic Mike.
Could anyone else play this character? First and foremost, Rex has the look: overtanned and hairless, curiously slim, slightly wizened in the face and slimeball affable, a guy that somehow still evokes a scumbag skateboarder teen even though he’s 44. It’s hard to imagine that you could find someone who looks this much like a guy who has jacked off on camera who hadn’t actually jacked off on camera. Maybe he exists, but why go looking when you already have Simon Rex?
Of course, the greatness of Sean Baker’s latest effort goes beyond casting. Red Rocket performs an incredibly deft tonal dance, getting us invested in Mike Saber’s journey without turning him into either an easy hero or an easy villain, both of which he could easily be. As a porn producer once told journalist Jon Ronson when he was exploring the porn world, “You can find whatever story you want to tell here.”
That remains true, and if Baker had wanted to make Red Rocket into The Wrestler for porn, in which Mike Saber finds redemption, he could have. If he’d wanted it to be a lurid and sensationalistic exposé of a scummy misogynist who grooms young girls for sex work like Hot Girls Wanted, he could’ve done that too. Red Rocket is sort of both of those and also neither, because porn is neither wholly “good” nor wholly “bad,” it just is. Likewise, Mikey Saber is both victim and victimizer, a lovable manchild and a flaky scumbag, impossible to exonerate but hard to entirely blame either.
In one of Red Rocket‘s first scenes, a bruised and bandaged Saber cajoles his druggy, estranged wife (Bree Elrod) and her mother (Brenda Deiss) to let him bunk there with them in their surely-reeking hovel (the smell of stale cigarettes permeates every frame). They reluctantly agree. Mikey being nothing if not relentless, though they demand rent. So eventually he goes for a series of job interviews around town, delivered in a montage. Having biked to a series of restaurants and other retail establishments in the only shirt he was able to scrounge, a girl’s tie-dyed number, which Rex somehow pulls off, as only a born model could, Mikey is repeatedly urged to explain the curious 17-year gap in his resume. “Look, fine, I’ll level with you,” Mikey finally admits, in a tone of mock sincerity finely honed from years of use. “My stage name was Mike Saber, you can Google me.”
Prospective employers have a range of reactions to this news, but the rub is always the same: “Good luck on your search and all, but we can’t, like, have a porn star working here! That would be weird.”
This is the societal cognitive dissonance on which Red Rocket is built, that no matter how mainstream porn watching, porn making, and porn culture have become (I remember “porn star” being a popular clothing label at least 20 years ago), actual porn performers are still effectively pariahs. They can be denied even the lowliest jobs, be summarily fired from others they’ve worked for years, be denied bank accounts, etc. Even working at Taco Bell has been deemed too good for someone who has dabbled in porn. It’s both shocking puritanical hypocrisy and also sort of emblematic of how we treat all “necessary workers.” We want to benefit from their labor (or maybe just jack off to it) without the pain of having to acknowledge their humanity.
Again, there’s an easy sob story there, but Red Rocket refuses to turn Mikey into an object of pity. He’s far too proud for that, for one thing, but also too squirrelly. Almost as soon as you acknowledge society’s cruel treatment of him you’re forced to reckon with your own feeling, that you probably wouldn’t want to live with this flakey motormouthed himbo either. Simon Rex rides that line perfectly, of being both lovable and insufferable, charming even as you know he’s trying to pick your pocket.
Mikey eventually finds his white whale/potential next meal ticket working at the local donut shop, a freckled, flirty teen three weeks shy of her 18th birthday and so porn-ready she already has her own porn name: Strawberry, played by Suzanna Son, who’s almost as perfectly cast as Simon Rex. Their ensuing relationship is downright chilling, each projecting some vision of a future self onto the other person, as Mikey carefully grooms her with one little lie at a time.
Especially in America but probably everywhere, we tend to want our exploited classes to appear sad, innocent, quasi-helpless so that we can feel good about rescuing them. Baker’s indelible portrait has the natural rebelliousness of characters who refuse to perform the societal script they’ve been handed.
‘Red Rocket’ is available in theaters on December 10th. Vince Mancini is on Twitter. You can check out his film review archive here.
It was … a lot. But it was also a worthwhile pursuit to find the best bourbons out there in a variety of styles and price ranges.
To that end, I decided to go back and pull the winning pick from every bourbon blind tasting of 2021. I ended up with 14 bourbons that fall into a wide swath of categories — from barrel proof to single barrel to cheap to crafty. I ended up with a hell of a list of whiskeys.
Then I re-tasted them all (blind). In the end, I was honestly shocked at the bottle I picked as the best overall. So shocked in the fact, that I’m eager to get right into it.
Candied fruit, fat nuts, and mild spice combine on the nose to create a holiday cake vibe with a nice line of worn leather throughout. The palate is very “plum pudding” with browned butter, almost molasses sugars, and very dark and dried fruits with a touch of sweet-yet-salty toffee drizzled everywhere. The end is like a velvet pillow of Christmas cake, soft sugars, and dried berries all wrapped up in some light tobacco leaves.
Taste 2
Zach Johnston
Tasting Notes:
Light toffee, spicy tobacco, maple candy, and raw leather drive the nose on this one. The taste holds onto that maple as a rich, malted, and silky vanilla pudding comes into play with a lacy, hard-candy sugar while hints of dry cedar bark mingle with dark fruits. The mid-palate veers towards a pecan/maple butter/tobacco vibe that sings across the senses.
Taste 3
Zach Johnston
Tasting Notes:
New leather pouches are filled with marzipan with a touch of vanilla and rosewater next to a hint of dry wicker on the nose. The taste is thin-ish with the wicker driving the palate towards berries touched with brown spices and a hint of vanilla oils. The finish spices things up with a tobacco chewiness that leans more into the dry wicker than anything else.
Taste 4
Zach Johnston
Tasting Notes:
This opens very “classic bourbon” with notes of caramel, cinnamon, apple, and vanilla with a thin touch of spice. That spice drives the palate with a cinnamon powderiness that leads towards brown sugar and apples. The taste sort of drops off after that, leaving you with spicy tobacco that’s just touched with apple and caramel.
Taste 5
Zach Johnston
Tasting Notes:
This is all about the red, tart, and sweet berries in vanilla cream with a clear sense of the berry brambles — think leaves, stems, seeds, thorns, and even a little dirt. That vanilla drives the palate with a hint of light green pepper spice that gives way to a mid-palate that’s a medley of fresh blackberry, blueberry, and raspberry. Those berries take on a dried rose note as a rich berry-laced and slightly spiced tobacco drives home the sip.
Taste 6
Zach Johnston
Tasting Notes:
Vanilla drives the nose with hints of roasted but sweet almond next to brittle toffee that’s just touched with salt. The palate teeters between smoked plums with a hint of spice and a tower of cream puffs with plenty of butter and vanilla. The mid-palate moves from cherry tobacco towards a dark chocolate powder until eventually an almost menthol note rounds out the finish.
Taste 7
Zach Johnston
Tasting Notes:
Eggnog spices and creaminess sit next to an old cedar tobacco box on the nose of this one. Cinnamon candy, buttery toffee, and dry wicker dominate the palate with caramel cinnamon apple Corn Pops with a lush background leading back towards that dry wicker on the finish. That old tobacco box fills with cinnamon candy as the finish fades away.
Taste 8
Zach Johnston
Tasting Notes:
This opens with a dollop of honey next to eggnog spices, soft leather, and green reeds that are almost grassy. The taste is all about the apple-cider-soaked cinnamon sticks with a touch of clove next to an Almond Roca vibe. The mid-palate leans into the toffee as a very light vanilla tobacco drives the subtle finish.
Taste 9
Zach Johnston
Tasting Notes:
Roasted corn husk leads towards a buttery vanilla sauce with a touch of generic oak on the nose. The palate dives into caramel apples with a touch of brown spice and maybe a hint of cherry, almond shells, and thin marzipan. The end has a pear/apple candy sweetness with a hint more of thin wood.
Taste 10
Zach Johnston
Tasting Notes:
This opens with rich and buttery toffee next to cherry tobacco, vanilla pods, and soft cedar staves wrapped up in old leather. The taste has lush dark cacao with a spiced toffee pudding silkiness. The spices mellow towards creamy eggnog on the mid-palate as green pepper and dry reeds linger on the senses.
Taste 11
Zach Johnston
Tasting Notes:
Dark chocolate-covered caramels that are just touched with orange oils draw you in on the nose. The taste has this light sense of cornmeal next to dark chocolate-laced tobacco with a hint of dried red fruit that feels like a red wine stave. The mid-palate has a Christmas cake feel with spice, fruit, and nuts all with a hint of vanilla leading towards an old cedar box that used to hold tobacco.
Taste 12
Zach Johnston
Tasting Notes:
Vanilla and butterscotch pudding cups mingle with burst sugars, leather, and woody spice on the nose. That butterscotch turns into toffee on the palate as those woody spices narrow down to dried cinnamon sticks, allspice berries, and a touch of ground nutmeg. The mid-palate has a sweet orchard fruit vibe with a touch of vanilla tobacco that leads towards a long, spicy, and chewy finish.
Taste 13
Zach Johnston
Tasting Notes:
Soft leather, spicy yet sweet mulled wine cut with oranges, and … I swear … Irish Spring soap mingle on the nose. Brandied cherries mix with marzipan covered in dark chocolate as a woody maple syrup drives the mid-palate. The finish takes on a cherry tobacco sweetness and spice on a slow, gentle fade.
Taste 14
Zach Johnston
Tasting Notes:
Leathery dates, soft marzipan, and apple cores lead the way on the nose with cedar and cherry in the background. The palate has this rich and moist vanilla pound cake vibe with poppy seeds mixed in and a touch of orange oil to help it pop. The end comes with a mild sense of spice and instead leans fruity with dark and mildly dried stone fruits and a mild tobacco buzz.
This Diageo bourbon has a high-rye mash bill, with 28 percent of the recipe consisting of the spicy grain. While most of the older juice is still sourced, Diageo has built a distillery that’s making the juice for Bulleit now.
Bottom Line:
This was fine, classic even. But it was also really thin compared to a lot of bourbons on this list, which made it the most forgettable today.
This is the entry point for Evan Williams. The juice is a mix of four to seven-year-old barrels of the standard Heaven Hill bourbon. The difference in this bottle is that it’s proofed at a slightly higher 43 proof.
Bottom Line:
This had a bit more depth to it but was still pretty thin. You really can’t get away from the “cheap” vibe of these whiskeys when tasting them right next to better-built juice.
Barrell Craft Spirits might be one of the best whiskey blenders working today (especially in the U.S.). This expression blends ten, 12, and 15-year-old barrels from Kentucky, Tennesee, and Indiana into a final product. On paper, this shouldn’t be this refined. Tthis is all about expert barrel selection and blending as the final product is bottled at cask strength with no proofing or filtration to hide behind.
Bottom Line:
This was a really nice sip. But it just sort of got lost in the crowd on this go-around.
This is Willett’s high-proof bourbon that’s barely cut down to a very high 114.3 proof. This is kind of like the big and bolder sibling of Willett’s Rowan’s Creek bourbon, which is cut down to 100.1 proof.
Bottom Line:
This is another bourbon that kind of got lost in the mix a bit. It was really distinct and tasty but there wasn’t any “wow” factor against these bourbons.
Jefferson’s Reserve is a masterclass in the power of blending. This expression is a marriage of only eight to 12 barrels from three different bourbons which are, for the most part, very old. How old you ask? There are 20-year-old barrels in the mix — sorta crazy, considering the price.
Bottom Line:
This was pretty tasty all things considered. Still, it didn’t pop for me. It felt more like something I’d mix with if I wanted to make some killer cocktails.
A lot of Wild Turkey’s character comes from the hard and deep char they use on their oak barrels. 101 is a high-rye and high-ABV bourbon that leans into the wood and aging, having spent six years in the cask. A little of that soft Kentucky limestone water is added to cool it down a bit before bottling.
Bottom Line:
This did not feel like a cheap bourbon in the same way some of the bottles in the lower slots did. It was deeply hewn and very tasty without being overdone, but it was still a little light at the end.
This is a vatted from 40 total barrels from three different states. While the team at Pursuit United doesn’t release the Tennessee distillery name, we know the juices from Kentucky and New York are from Bardstown Bourbon Company and Finger Lakes Distilling, respectively.
Bottom Line:
This was a solid bourbon. There wasn’t an “x-factor” that helped it rise above but I totally can see using this to make a Manhattan tonight, or just sipping it on the rocks.
This is sourced from Kentucky, Indiana, and Tennessee bourbons. The hand-selected barrels are sent to New York where they’re blended in small batches (no more than five barrels), proofed with New York limestone mine water, and bottled. What you’re paying for here is the exactness of a whiskey blender finding great barrels and knowing how to marry them to make something bigger and better.
Bottom Line:
This really did shine but lacked a little something I can’t quite put my finger on. It was deeply flavored and really tasty but it didn’t really stick with me today.
6. Blue Run 13.5-Year-Old “The Honey Barrel” — Taste 10
Jim Rutledge’s new project, after leaving Four Roses, is one of the most sought-after new bourbons on the market. The juice in the bottle is hand-selected by Rutledge and barreled as a single barrel at cask strength. That also makes each bottle unique … and fleeting.
Bottom Line:
This was in a good stretch of drams. It fell a little lower for being almost … small when compared to the other big bourbons on the list. But it still tasted great.
5. Heaven’s Door Redbreast Master Blender’s Edition — Taste 14
The juice in the bottle is Heaven Door’s low-rye ten-year-old Tennessee bourbon. They take that whiskey and fill it into Redbreast whiskey casks that had previously aged Irish whiskey for 12 years. After 15 months of final maturation, those barrels are vatted and slightly proofed down with soft Tennessee spring water.
Bottom Line:
I was also surprised that this ranked so low. That could be because my palate was fatigued by the time I got to dram 14. Or it just didn’t quite stand up to the others it had to go up against. Either way, it was still damn fine.
Michter’s is currently distilling and aging their own whiskey, but this is still sourced. The actual barrels sourced for these single barrel expressions tend to be at least ten years old with some rumored to be closer to 15 years old. Either way, the juice goes through Michter’s bespoke filtration process before a touch of Kentucky’s iconic soft limestone water is added, bringing the bourbon down to a very crushable 94.4 proof.
Bottom Line:
I would have put money on me picking this as number one. Still, the top five isn’t a bad place to be for this much-adored brand.
Woodinville Whiskey has been cleaning up awards recently. Their Port Cask takes their five-year-old bourbon and ages it for a final six months in Ruby Port barrels to add a whole new dimension to the whiskey.
Bottom Line:
I’d argue this still holds up, given that it took a top-three spot. Plus, it’s just so damn delicious that it’s hard not to still love after a year of tasting so many different whiskeys.
This wheated whiskey from 2008 eschews the more common rye and adds in North Dakota wheat. The juice is then barreled and stored in two warehouses where 73 percent of the whiskey is lost to the air in those Buffalo Trace warehouses. The juice is then bottled untouched and unfiltered.
Bottom Line:
I would have also put serious money on me picking this as my number one — I tend to love this juice. But here we are. I’m sure the good people at Buffalo Trace will survive this second-place ranking, somehow.
This expression is all about finding the best barrels in the Heaven Hill warehouses and letting that whiskey shine on its own. These are released three times a year and have been winning award after award. The whiskey in the bottle is generally at least 12 years old and bottled with no cutting down to proof or filtration whatsoever, thereby letting the barrel shine on its own.
Bottom Line:
I’m truly shocked I picked this blind as my favorite of the day. I’ve spent the last year really only using this for mixing cocktails but it was a delight neat in a Glencairn. This is why we do blind taste tests. You really never know what’ll stand out.
Part 3: Final Thoughts
Zach Johnston
I 100 percent thought that Michter’s 10, Heaven’s Door, or Weller would have won the day. That Elijah Craig won still has me scratching my head a bit. But here we are, and I learned that even my own preconceived notions from tastings ebb and flow throughout the year.
Issa Rae’s trademark television show Insecure has grown to be one the country’s most-watched shows through its four and a half seasons. In recent years, Insecure took home the award for Outstanding Comedy Series at 2021’s NAACP Image Awards. The show also earned an Emmy nomination for Outstanding Comedy Series last year. In addition to its storyline and its characters, the soundtrack for Insecure is also another aspect viewers love about the show. Now in its fifth and final season, Issa Rae unveils the tracklist for this season’s soundtrack and it looks like a good one.
The soundtrack for the fifth season of Insecure features familiar names like Saweetie, They., Jesse Boykins III, Ambre, Duckwrth, Thundercat, Mereba, and Teamarr. Elsewhere, ESTA, Mack Keane, Akeem Ali, 27Delly, Jorge Amadeus, B.K. Habermehl, Nnena, Josh Levi, Mikhala Jené, Amindi, 27Delly, Kiah Victoria, and Ace Henderson can also be found on the soundtrack. The full project arrives this Friday, December 3.
“Music has always been an essential part of every project I do and working with emerging talent is a personal passion,” Rae said about the upcoming tracklist to Variety. “Raedio allows me to continue that work within the music industry and audio entertainment space. The Atlantic Records team are innovators in terms of shifting and shaping culture. I’m excited to join forces with them to discover new artists.”
You can view the full tracklist for Insecure: Music From The HBO Original Series, Season 5 below.
Insecure: Music From The HBO Original Series, Season 5 is out 12/3 via Raedio/Atlantic.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
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