There is maybe no more dominant force in all of sports than the USA women’s basketball team, as they’ve won 55 consecutive games at the Olympics, good for seven straight gold medals. This year’s squad looks equally terrifying, as they boast 12 of the best players on the planet and bludgeoned Germany to the tune of an 84-57 win in their lone non-WNBA All-Star Game tune-up before arriving in Paris.
The Americans are led by A’ja Wilson and Breanna Stewart in the frontcourt, who present opposing teams with little in the way of good options for slowing them down with their combination of size and skill. While those two take central focus, there are some varying subplots on this roster, most notably Diana Taurasi’s quest for an outrageous sixth gold medal. There’s also the guard rotation, which features Chelsea Gray, Jewell Loyd, Sabrina Ionescu, Jackie Young, Kahleah Copper, and Kelsey Plum all vying for minutes.
We will get our first look at this squad in the Olympics on Monday afternoon, as they take on Japan to open group stage action in Lille, France.
How To Watch
Date: Monday, July 29 Time: 3:00 p.m. ET TV Network: USA Streaming: Peacock
The last time the two teams played on the Olympics stage, Team USA beat Japan in the gold medal game in Tokyo in 2021. This year, they’ll start their bid for another gold with Japan, before facing Belgium and Germany to round out group stage action this week.
In an Instagram Story on Sunday, Gaga teased a first listen to LG7, as fans have been calling it, her first album since 2020’s Chromatica. “I’m so deeply touched by my French fans this week outside the hotel,” she wrote, according to Billboard. “I’m gonna come out and say goodbye tonight with a few seconds of #LG7.” She did just that. It’s tough to make out the lyrics over the screaming fans, but from the sound of the overwhelming bass, this sounds like a club-ready album to dance to. You can watch the fan-shot videos below.
Back in May, Gaga teasedLG7 in an interview with Access Hollywood. “I have written so many songs, I’ve been producing so many songs, and it’s nothing like anything that I’ve ever made before,” the Joker: Folie à Deux star said. “I love to break genre and I love to explore music. There’s something really beautiful about knowing that you will be loved no matter what you do.” She added, “Something I’m definitely exploring right now is sort of the art of intensity and I think that the art of intensity actually began during this tour. But I’m not done with it yet.”
Drake has seemingly moved on from his feud with Kendrick Lamar. His last diss track in the battle was “Family Matters” from early May, and since then, he’s dropped a bunch of non-Kendrick-focused songs, including “U My Everything” with Sexyy Red, a couple tunes with Camila Cabello, and another pair with Gordo.
In fact, it looks like Drake is now ready to start joking about the whole thing.
In a now-expired Instagram Story posted over the weekend, Drake shared a video of an impersonator dancing to “Hotline Bling” and added the text, “Sometimes you gotta pop out,” which is a quote from Lamar’s “Not Like Us.”
Most onlookers have chosen their allegiances in Drake vs. Kendrick, but NBA star DeMar DeRozan is seemingly trying to keep a foot on each side of the fence. First, he appeared in the “Not Like Us” video, but then, he insisted he has no issue with Drake, saying, “Drake’s still my man, still my man, none of it changed.”
The penultimate episode of House of the Dragon‘s second season is here, and it’s wilder than the 2024 Olympics opening ceremony, French history lesson set to rock metal included. Team Black is hiring and their recruitment process is pretty brutal. The trade off is a lifetime of riches and power and a dragon, but the application process looks like too much work to us. Still, with more fire power, Rhaenyra sets herself up for a win in season two’s highly anticipated finale as Daemon finally makes some headway in the Riverlands. and the Hightowers scramble to level the playing field.
Rhaenyra Targaryen kissed a girl just once and now she’s ready to burn the realm to the ground. The rightful heir’s bisexual awakening is causing all kinds of problems for Team Green this week — and for her bastard kid who’s giving a whole new meaning to the term “coastal elite.” She makes a new ally (quite easily) in Addam of Hull, bringing him and his dragon back home to serve as the de facto mascots for her latest dragon rider recruitment scheme. Is it the best move to give the smallfolk a chance to claim a dragon and hold such sway over the kingdom during a civil war? At this point, who can say. At best, your earn the hella cool moniger of Queen of the Bastards and earn back your throne. At worst, you flirt a bit too much with the concept of democracy and the peasants start questioning your diving right to rule. But Rhaenyra isn’t one for pros and cons lists, and we’re not complaining if we get more parting shots like the episode’s end. This must be how patriots feel whenever they play the national anthem at high school sporting events. This is what coursed through Nicole Kidman’s veins when she left her lawyer’s office after divorcing Tom Cruise. This is what it was like to try a cronut at Smorgasborg in Prospect Park for the first time. This is cinema.
Corlys Velaryon
HBO
Sure, Corlys didn’t do much this episode, but he stays winning simply by being the opportunistic manwh*re he’s always been. One son is now a dragonrider, fighting for queen and country as a key player in this war, while the other is happy to fix up his daddy’s boats and ferry traitorous notes to King’s Landing and maybe, one day, inherit the Driftmark crown. For a man who lost both his children and his wife within the span of a decade, Corlys isn’t short of his pick of heirs at the moment. And let’s be honest, that’s the only thing he really cares about.
Mysaria
HBO
We’re convinced that Mysaria’s true goal is to overthrow the monarchy and establish an electoral system that would probably wind up putting that Ulf guy on the throne — because, you know, he’s the kind of guy you’d want to have a beer with. But, until that happens, she’s living her best life on Dragonstone, making out with the wife of her ex-lover while inciting a revolution and getting a glimpse of a dragon (or three). Good for her.
Lord Oscar Tully
HBO
Oscar Tully is now the lord of his House which means, when he returns to Harrenhal with his Riverlords in tow, he won’t be cowed by a middle-aged man tripping on shrooms and committing war crimes instead of just apologizing to his wife. There’s a bit of sass in the boy and he uses it to dress down Daemon in front of his men, forcing him to repent his sins against his bannermen by beheading the man who ordered all those terrible atrocities against House Bracken. It’s the kind of symbolic b*tchslap Daemon’s needed for a while now.
Addam of Hull
HBO
At this point, Addam of Hull is just happy to be here. Two seconds ago, he was digging clams on the beach and wondering if his deadbeat dad would ever legitimize him. Now, he’s a guest at Dragonstone, a member of the queen’s army, and the owner a brand new unbonded dragon. Life really does come at you fast when the kingdom’s at war and you’ve got Valyrian blood running through your veins, and a lonely mythical beast has an aversion to white men.
Hugh Hammer
HBO
Sad: Poor Hugh Hammer lost his daughter to the mysterious illness she suffered from for seven whole episodes without one visit to an urgent care clinic. Also sad: Poor Hugh Hammer is the bastard son of a Targaryen prostitute who may have been related to Daemon and Viserys. Not (so) sad: Poor Hugh Hammer caught the eye of the meanest, nastiest little dragon in the Seven Kingdoms and now, he’s got the firepower to demand Aegon pay him his money. Go get that check, Hugh!
Jacaerys Velaryon
HBO
Ok, does Jace just need a good dye job? It’s just hair, bro. If you’re tired of being a brunette, go to the Westerosi equivalent of Sally’s and buy some bleach.
Larys Strong
HBO
Larys Strong has gone from King’s Landing’s resident Deux Moi to nursemaid for a crippled king whose own brother hopes to kill him the minute he takes a milk-of-the-poppy-fueled catnap. Somewhere along the way, Larys Strong took a wrong turn.
Ulf
HBO
The only thing more disappointing than learning Robert Downey Jr. was returning to the MCU as an entirely different character in yet another Russo brothers production is, possibly, the reveal that the town drunk who boasted about his (fake?) Targaryen heritage in order to score free booze actually was worthy enough to ride a dragon. Jace may have had a point after all.
Alicent Hightower
HBO
Alicent has upgraded her sad bath routine. She’s now cosplaying as Ophelia from Hamlet, floating in a swamp somewhere in the Kingswood as her son’s f*ck up a kingdom and her girl crush gets busy with one of the hottest women in Westeros. Couldn’t have happened to a more deserving person, tbh.
Aemond Targaryen
HBO
Aemond desperate to convince Vhagar to turn back to King’s Landing, running scared with his tail between his legs because Rhaenyra is backed by half a soccer team’s worth of dragons with angry peasants for riders? Hang a GIF of it in the Louvre, please.
Daemon Targaryen
HBO
The good news: Another episode passes without the torture of watching Daemond nightmare f*ck his mom. The bad news: He’s still camped out at that haunted castle because his socially awkward ass just can’t seem to make friends with the Riverlords or its resident witch.
Old Forester bills themselves as a brand of firsts. They’re said to be the first bourbon to be sold in bottles, the first double-barreled bourbon, and they’re even responsible for launching the first commercially available single-barrel bourbon in the industry. While there may have been at least one defunct brand that sold its bourbon in bottles before Old Forester, there’s no denying that they revolutionized the industry with the practice — which was established to ensure quality.
Today, thanks to the success of their wildly popular Whiskey Row Series, there are very few contemporary bourbon fans who aren’t familiar with Old Forester’s game, as they’ve done an incredible job since their founding in 1870 of bringing high-quality American whiskey to the masses.
One of the reasons Old Forester has maintained such a storied history is its ability to meet the needs of a shifting whiskey landscape. This is seen in their ability to secure a medicinal distilling license during Prohibition, the fact they were the first distillery to convert their entire production to industrial-grade alcohol for the World War II effort, their creation of holiday decanters in 1950, and their introduction of an 86-proof bourbon in 1959 to feed the desires of a growing cocktail culture. Perhaps their most ground-breaking innovation would come in 1962 when the brand launched President’s Choice bourbon, which consisted of 8-year-old single barrels hand-selected by Old Forester’s President. Though, at the time, it wasn’t marketed as “single barrel bourbon,” the dye was cast more than 20 years before Buffalo Trace first released Blanton’s.
Today, Old Forester mostly shares these stories through its Whiskey Row Series, which features bottles identified by various years of import to the brand. For example, 1910 is an homage to their first double-barreled bourbon, and 1897 is a bottled-in-bond offering to reflect the year they pivoted away from the 90-proof expressions that defined Old Forester’s formative years. Highlighting those historic choices and celebrating their legacy with award-winning expressions today is part of what has kept Old Forester relevant for 153 years and counting.
Now that we’ve completed the history portion of today’s exam let’s move on to the multiple-choice portion. There can only be one correct answer regarding the best whiskey in Old Forester’s lineup. Let’s rank them all and find out which one it is!
While it features a spruce label, in line with the rest of Old Forester’s packaging, Old Forester 86-proof has a history that dates back to 1959 when consumers were thirsty for a lighter style of whiskey, well-suited for inclusion in cocktails.
Tasting Notes:
Nose: The nose has a bit of graham cracker, young oak, and cocktail cherries, but the volume of each aroma is turned down.
Palate: On the palate, all of the nosing notes come alive with a bit more vibrancy and are joined by a vanilla splash. With regards to the mouthfeel, this is a thin whiskey. Still, the texture isn’t overly watery or unpleasant, as it’s just substantive enough for the flavors to develop before washing out and transitioning to the finish.
Finish: On the finish, there’s a bit of oak, honey, and bright red cherry, but it’s so brief that you’ll find yourself reaching for a second sip rather than savoring your first.
Bottom Line:
There are outlines of a really flavorful bourbon here, so it’s easy to see why Old Forester originally introduced this expression in the late 1950s to ingratiate themselves with the growing cocktail culture. However, cocktail culture has changed a lot since then, and while this whiskey still works well in a refreshing drink like a Mint Julep, there are several far better options in their lineup for making mixed drinks.
Old Forester 1870, part of the brand’s Whiskey Row Series, was created in 2014 to honor the year Old Forester was founded. In its early days, Old Forester started as a 90-proof bourbon, and so this expression pays homage to that legacy by clocking in at 45% ABV. Furthermore, as a superficial nod to the brand’s early legacy of sourcing barrels, they pull barrels for this release from three different warehouses of varying ages and proofs.
Tasting Notes:
Nose: The nose on this whiskey has a touch of caramel sauce and maraschino cherries coupled with vanilla, cinnamon bark, and white pepper spice.
Palate: On the palate, there’s a bit more oak and a touch of rosewater, but overall, the nosing notes translate in the mouth with maraschino cherries and thin caramel sauce providing the sweetness. Youthful oak undergirds the entire experience, allowing the vanilla tones to blossom, while the slightly floral aspect takes root as this whiskey transitions to the finish.
Finish: On the finish, this whiskey is all young oak, vanilla extract, and dilute caramel. The flavors themselves are delicate, and pleasantly bright, as it succinctly falls off the palate.
Bottom Line:
At 90 proof, Old Forester manages to pack a lot of flavor into this release, which is an admirable homage to their early years and a flavorful low-proof option for sipping neat. For the sub-100 proof category, this bottle is a winner and well worth picking up, but in this tasting, it’s simply outgunned.
Originally launched in 2022, Old Forester King Ranch was created in collaboration with King Ranch, “the birthplace of American ranching.” For the release, Old Forester bourbon is finished through King Ranch mesquite charcoal and exclusively sold in Texas.
Tasting Notes:
Nose: Caramelized banana comes through at first before the mesquite aspect kisses the nose and introduces vanilla extract, toasted almonds, and a faint indication of maraschino cherries. It’s a cloyingly sweet nose with touches of maple candy and freshly baked bread.
Palate: The palate is less interesting than the nose, with the mesquite smokiness and subtle banana notes gracing the palate before a bit of salted caramel and fresh wheat bread begin transitioning to midpalate.
Finish: The finish slowly fades away, leaving some marshmallow fluff, crème brûlée, and the gentle reintroduction of the mesquite flavor and some barrel char.
Bottom Line:
As a direct competitor to Wild Turkey Longbranch, which has national distribution, this expression was initially released with plenty of intrigue and anticipation. Unfortunately, its limited nature and lukewarm reception have cooled some of that momentum, and after tasting it blind, I’m not surprised. This is a perfectly fine whiskey, but it strays a touch too far from what makes Old Forester great, over-relying on the mesquite charcoal for a flavor that is distinctly influenced by Texas, but also not very captivating on its own.
Old Forester 1897 is so-named because this Whiskey Row expression was created to honor the brand’s pivot to 100-proof bourbon in the wake of the Bottled in Bond Act passing in 1897. This offering follows the Bottled in Bond regulations, which in part means that it is bottled at 100-proof and the product of a single distilling season, aged for at least four years.
Tasting Notes:
Nose: On the nose, there are apricots and fresh cherries to go with graham crackers, gentle oak tones, and a touch of caramel. It’s a fairly straightforward nose, but it draws you in and leaves you anticipating the first sip, which is a strong plus.
Palate: Once this whiskey hits your lips, a touch of roasted mocha gives way to robust oak tones, caramel candies, and cherry cordials. With the first pass, it’s abundantly clear that this is a well-rounded bourbon blended to be approachable and easy to drink. The mouthfeel is a bit quotidian, but that’s not a knock, as this works really well as a middle-of-the-road sipper.
Finish: The finish reinforces the generally straightforward nature of this bourbon, offering caramel and gentle oak tones to go with more of the cherry cordial note found at midpalate. The length is short to medium, and I’m not complaining about it.
Bottom Line:
Old Forester 1897 offers a lovely depth of flavor that indicates that it’s been matured for longer than four years. With a cavalcade of traditional bourbon notes and a restrained textural profile, this is well-made whiskey, but what it suffers from is competition — both across the spectrum of Bottled in Bond bourbons and within Old Forester’s lineup, which sees the even more impressive Old Forester 100 Proof bourbon deliver a slightly better experience at a lower price point.
One of the most unique whiskeys in Old Forester’s portfolio, Statesman draws inspiration from a collaboration with the 2017 spy action comedy film “Kingsman: The Golden Circle,” which prominently featured the expression. Due to its popularity, Old Forester has continued to produce Statesman bourbon, which utilizes their classic 72% Corn, 18% Rye, and 10% Malted barley recipe.
Tasting Notes:
Nose: A sweet pastry note on the nose draws you in, along with orange zest and bright red cherries. Given a second sniff, there’s a distinct aroma of vanilla extract and white pepper to go with the fruit-forward tones that stood out initially, and the sweet pastry note becomes more of an undercooked sugar cookie.
Palate: In the mouth, there’s a welcome infusion of orange blossom, creamy custard, and some gentle oak tones. On the second sip, one notices that the texture is a bit lean but still slick, and the orange blossom becomes more of a spiced orange peel, while vanilla pods and the faintest bit of bright red cherry flit at the edges of the tongue.
Finish: The finish on this bourbon is gentle and fairly brief, but the bright cherries at the periphery of the palate become stronger, along with a bit of clove and youthful oak. It’s light and refreshing, which works well with the overall flavor profile.
Bottom Line:
Perhaps all-too-frequently dismissed as a “gimmick” due to its origins as a movie tie-in, Old Forester Statesman is a nuanced and exceedingly approachable offering that deserves wider appreciation. Whether kitschy spy films suit your tastes or not, Old Forester Statesman surely will if you’re a fan of well-made bourbon.
Originally launched in 2019, Old Forester Rye quickly became a fan favorite and a bar staple. Utilizing a historic mash bill acquired by Owsley Brown in 1940, Old Forester Rye consists of 65% Rye, 20% Malted Barley, and 15% Corn.
Tasting Notes:
Nose: Interestingly, on this blind tasting, there is a lot of mint, rye spice, and lemon meringue on the nose of this whiskey for me. The sweet, lemon meringue notes come with a bit of milk chocolate, and once the sweetness subsides, there’s a bit of black pepper and even cinnamon bark hiding underneath.
Palate: The palate is heavier than expected, and a rush of mint, milk chocolate, honey, and rye spice cascades over the tongue on the first sip. The first takeaway is that this multi-layered sipping experience can reward extended consideration. Chewing reveals a bit of youthful oak and a touch of leather.
Finish: The medium-length finish on this whiskey is where the spices return in full force with black pepper and a touch of cinnamon fusing with rye spice, mint, and honey for a balanced and appropriately timely send-off.
Bottom Line:
It’s easy to see why this rye quickly became a bartender’s favorite. With an impressive, well-defined set of flavors that up the ante on the rye content while retaining a base sweetness that appeals to bourbon fans, Old Forester Rye is one of the most versatile whiskeys on the planet, regardless of category. Whether you’re a neat sipper or a regular cocktail consumer, this bottle belongs on your home shelf.
Launched in 2018, Old Forester 1910 is the second newest member of the Whiskey Row Series. The whiskey was crafted to honor Old Forester’s happy accident — the creation of America’s first documented double-barreled whiskey.
Tasting Notes:
Nose: Black cherry cola rises out of the glass to greet the nose at first before the cherry aspect turns more medicinal and is followed by a thick layer of oak and vanilla extract. There’s also a bit of honey-roasted almonds behind the dense oak notes and a touch of leather.
Palate: On the palate, the first kiss is full of cola nut and barrel char, but the medicinal cherry note takes charge above all else. Once the cloying cherry note coats your palate, it leaves little room for other notes to develop fully, but you’ll find polished leather, vanilla extract, and a bit of barrel char all trying to punch through.
Finish: The finish causes the mouth to become phlegmy as your palate fights back against the cloying sweetness, but some black pepper and barrel char help to slightly cut through as the back of your palate soon becomes dry before this pour dissipates.
Bottom Line:
While Old Forester began the trend of double-barreled American whiskey in 1910, thanks to a bottling line inferno, the craze has since caught fire significantly. Many brands now produce double-barreled bourbon, and the originators need to catch up to competitors like Parker’s Heritage, 2XO, and one of Brown-Forman’s other big brands, Woodford Reserve. That’s not to say this isn’t a solid bourbon, but if you’re particularly interested in a twice-barreled bourbon, you can comfortably look elsewhere.
As one of only six distilleries allowed to continue production through Prohibition, it only made sense for Brown-Forman to pay homage to that legacy with this Whiskey Row expression. During Prohibition, whiskey had to be bottled at 100 proof, but due to maturation conditions, the 100-proof distillate Old Forester was filling barrels with would often increase ABV to 115 proof. This explains why the brand bottles Old Forester 1920 at 115 proof with the fanciful moniker “Prohibition Style.”
Tasting Notes:
Nose: The nose on 1920 features a flourish of cherry cola, swirling cinnamon bark, and fairly faint dark chocolate. Given some time to rest, the aroma of barrel char and vanilla extract can be expected as the cherry cola note turns slightly medicinal after a few swirls in the glass.
Palate: The medicinal cherry note from the nose transitions to the palate, along with a bit of cola nut, barrel char, and dense oak. The liquid itself has a prickly mouthfeel, which causes some of the flavor to come across as disjointed, interrupted by spikes of ethanol, making it a tad rough around the edges.
Finish: 1920 has a solid medium-length finish, which gently curbs the medicinal cherry tone with more oak, some toasted almonds, and gooey caramel sauce.
Bottom Line:
Many bourbon fans hail Old Forester’s bourbon as one of the standouts in their lineup. However, a combination of a medicinal cherry note and general rough edges can sometimes make it less approachable than some of the brand’s other expressions. In this blind tasting, that certainly was the case, as this is an unmistakably solid bourbon but one too uneven to overtake bottles eight through one.
After the success of Old Forester Rye, the brand followed that up in June 2021 with the release of their very first single-barrel, barrel-proof rye. This expression takes the same 65% Rye, 20% Malted Barley, and 15% Corn mash bill as its 100-proof alternative and bottles it undiluted at cask strength.
Tasting Notes:
Nose: The nose opens with honeyed green tea before plunging you into deep caramel, nutmeg, dense oak tones, and even some chalky dark chocolate. Mint and rye spice run a ring around these aromas, eventually growing in prominence with a few swirls in the glass.
Palate: On the palate, the chalky dark chocolate and deep caramel notes lead the charge as mint sprigs, allspice, and mocha flavors shoot up the roof of the mouth. Black pepper and dense oak begin the transition to the finish on this full-bodied pour before the alcohol intensity begins to catch up to the flavor, which is a bit distracting.
Finish: The finish is lengthy and undulating, displaying mint and rye spice on the peaks with barrel char and nutmeg accenting the valleys. It’s a bit more interesting than enjoyable, making one wish it were a bit shorter.
Bottom Line:
What separates Old Forester 100 Proof Rye, the bartender’s best friend, and this expression (besides the leap in proof) is that it leans more heavily into variation as a single barrel. It also brings a much bolder flavor profile to the fore at barrel-proof. The results are often stunning, as Old Forester Single Barrel Barrel Proof Rye delivers a depth of flavor unmatched in Old Forester’s limited rye lineup. That makes one wonder if Old Forester’s barrel-proof rye can be this good; what flavors might they be able to unlock with age-stated rye?
Made with a grain recipe of 72% corn, 18% rye, and 10% malted barley, Old Forester’s 100-proof offering is a budget-friendly beauty. Following in the longstanding tradition of Old Forester’s commitment to 100-proof bourbon, this expression carries no minimum age statement, unlike their Bottled in Bond 1879, which is guaranteed to be at least four years old per the Bottled in Bond regulations.
Tasting Notes:
Nose: On the nose, Old Forester 100 Proof begins with a medicinal cherry note, which opens the curtains for a wave of complementing aromas like caramel, barrel char, hazelnut spread, and moderate oak. After a few swirls, the cherry note becomes more robust, as does the underlying caramel, which rises to greet the nose like an eager puppy out of the glass.
Palate: The medicinal cherry note from the nose of this whiskey very quickly finds its way to the palate, coating the tongue and laying a foundation for accenting notes like cinnamon, oak, black pepper spice, and toasted almonds. The texture in the mouth is moderately slick, with just enough grip to reward “chewing” the bourbon. Chewing also rewards repeat sips as the liquid coats your palate and allows you to unlock more flavor.
Finish: The finish reveals a more natural black cherry flavor, along with some clove and caramel notes. The liquid hangs on for a medium length, making this a great sipping whiskey to enjoy neat.
Bottom Line:
I’ve long considered this one of Old Forester’s hidden gems, and that sentiment holds up even in blind tasting. The flavor profile is true to everything the brand does well, with black cherry, vanilla, and caramel showing up in full force. The cherry on top is that it does all of this at a budget-friendly price point that puts it ahead of the Whiskey Row Series in terms of value.
Released annually on September 2nd to honor the birthday of George Garvin Brown, Old Forester first launched Birthday Bourbon in 2002. It was an instant success, and today, it is perhaps the brand’s most sought-after release, eclipsing even the rarer President’s Choice. For the 2023 Birthday Bourbon, 103 barrels from floor five of the brand’s Warehouse I were blended together.
Tasting Notes:
Nose: On the nose, there’s a lot of honey and vanilla cream at first, along with dried raspberries and cola nuts. It comes across as a bit tame, but the flavors are still pleasant and well-developed, leading to intrigue at how they’ll translate on the palate.
Palate: Once in the mouth, several suspicions from the nosing notes are immediately confirmed as the whiskey comes across a bit austere, taking some time for the flavors to blossom. Once it opens up, notes like dried raspberries and cola nuts offer a tasty introduction, while caramel sauce, vanilla, and toasted coconut flakes add more nuance. The texture is pleasant without being remarkable, and even though the flavors began a bit muted, overall, this is a gratifying sipping experience.
Finish: On the finish, there’s an uptick in the influence of oak, owing in all likelihood to the fact this whiskey was aged for at least 12 years. The oak tones fuse with black tea and a bit of almond flour through the lengthy finish, which is a sharp, albeit not unpleasant, departure from the sweetness found early on in this sip.
Bottom Line:
Frankly, Old Forester’s Birthday Bourbon has seen better days. While the expression continues to be an intriguing peek behind the curtains at Old Forester’s choice barrels and what they can bring to bear in unique blends each year, the 2023 version’s impressive depth of flavor is held back by its modest proof point and disjointed experience from the front of the palate through the finish. There have been years when Birthday Bourbon has been the center of attention in Old Forester’s lineup, but you shouldn’t feel too bad if you missed the party last year.
5. Old Forester Single Barrel Barrel Proof Bourbon
Nose: The nose immediately comes off hot, with an alcohol punch that initially makes it difficult to get at the underlying aromas. Once acclimated to the alcohol burn, a strong banana flambé note fuses with pralines, rich oak, and burnt pie crust. Those fiery notes prepare the palate for a dense, darkly sweet experience in the mouth.
Palate: The intense note of banana flambé finds its way to the palate, and it’s bolstered by dense oak, dark chocolate, and some faint mesquite notes reminiscent of vinegar-based barbecue sauce. The overall flavor profile is brooding, and those flavors are encased in a force field of high-alcohol burn, which admittedly prevents those well-developed layers of flavor from being readily accessible. The mouthfeel is heavy and punctuated by the prickliness of the alcohol burn.
Finish: The finish actually sees some of those flavors escaping their alcohol-heavy enclosure as a bit of dark cherry and juicy orange notes pair up with leather and freshly cracked black pepper throughout the lengthy finish.
Bottom Line:
When Old Forester’s Single Barrel Barrel Proof Bourbon first hit the market, it was a bit polarizing as the highly anticipated expression dazzled fans of the brand but came off a bit hot to those unaccustomed to its particular brand of bold flavors. In the intervening years, Old Forester has continued dialing in the flavor profile, establishing this bottle as a robust barrel-proof option to separate itself from its tamer offerings. The hair on your chest will hate to see this one coming, but your palate will welcome it heartily.
Often overlooked in the Old Forester single-barrel program, this 100-proof alternative to Old Forester’s barrel-proof single barrels has flown under the radar. As the original entry in the brand’s single-barrel portfolio continues to be of great value, contrary to rumors, Old Forester will continue to offer them to single-barrel customers.
Tasting Notes:
Nose: The aromas on this Old Forester Single Barrel are wild, with caramel corn, clover honey, and cherry fruit leather joining a splash of vanilla extract. After a few waves of the hand, some flaky pastry and lemon custard notes come out.
Palate: On the palate, this pour leads with cherry fruit leather and clover honey, but those notes are more restrained than they initially seemed on the nose. Instead, they clear the way for vanilla ice cream and pie crust to claim the midpalate while a light dusting of nutmeg and a flourish of black pepper emerge as it transitions to the back of the palate. The texture is mouth-coating but spry, allowing enough room for the flavors to find their footing without becoming an attraction unto itself.
Finish: The medium-length finish is marked by the addition of some clove spice, while a bit of caramel corn and soft oak tones round out the affair with a gently sweet kiss.
Bottom Line:
While Old Forester’s barrel-proof single-barrel bourbon gets a lot of love for being a full-bodied flavor explosion, the 100-proof single barrels are even more deserving of praise. What they lack in proofy boldness, they more than make up for in well-rounded flavor. The fact that they tend to be more affordable only adds to their attractiveness.
Old Forester’s 117 Series was initially launched in the spring of 2021 to showcase some of the distillery’s most exclusive whiskey. For the latest iteration in the series, they’ve taken barrels that held rum for at least four years and used them to finish the base bourbon for approximately six months.
Tasting Notes:
Nose: Banana hard candy Runtz is the first aroma to greet the nose, immediately transporting you back to childhood in the best way possible. Butterscotch, cocktail cherries, and rosemary soon rise in prominence, along with black pepper and palo santo sticks.
Palate: A slick viscousness that coats the entirety of your palate stands out the most at first. The fun begins as a touch of milk chocolate and a ton of cocktail cherry, bruised peach, and overripe banana flavors cascade over your tongue. The tip of the tongue has a bit of creme brulee sweetness and dark chocolate, and that palo santo aroma from the nose finally hits the palate and builds a bridge between the tip of the tongue and the back of the throat. Repeated sips make the overripe banana quality more like banana bread with some sweet baked notes hanging out at the back.
Finish: The 117 Series’ Rum Finished Bourbon has a lengthy finish marked by that tongue-coating texture. The length of the finish is nice, albeit a bit cloyingly sweet, which is its only knock. The flavors are all tasty, but it could use a bit more spice to curtail the sweetness, and a shorter finish would serve it well in this regard.
Bottom Line:
Old Forester’s 117 Series: Rum Finish is a delightful display of the delicate balance finishing casks can exert on American whiskey. While the rum is evident, particularly in the banana-forward flavors that this expression exudes, it is moderate for much of the sipping experience. While it goes a hair too far on the finish, that does little to detract from what is an incredibly tasty bottle.
Launched in spring 2024, Old Forester 1924 is the newest entry in the brand’s Whiskey Row Series and the first to feature an age statement, having matured for at least ten years before being bottled at 100 proof. This more mature whiskey uses the same mash bill as other Brown-Forman bourbon expressions like Early Times.
Tasting Notes:
Nose: The nose on this whiskey always stands out for its considerable richness, making it a pleasure to sit with. Full of ripe plums, honey, and buttery pie crust aromas, this bourbon can stop you in your tracks. It’s that good. Turn the whiskey over in the glass a few times, and you’ll pick up black cherry, leather, and polished oak notes.
Palate: On the palate, those notes of black cherry take the reins, providing a juicy sweetness that pairs well with a touch of oiled leather. At 50% ABV, I refuse to apologize to proof hounds because this is perfectly proofed whiskey. As the viscousness coats your palate, the flavors you get from 10+ years in a barrel are on full display without ever becoming overaked.
Finish: As this pour comes to a close, some signs of hyper-aging begin to infringe on the experience. The whiskey becomes a bit drying, and the length needs to be longer, considering how rich the flavors are.
Bottom Line:
Despite some polarizing initial reactions to this expression when it was first released (with most of the ire reserved for its triple-digit price point), Old Forester 1924 is thus far standing the test of time as an exceptional bourbon in a rock solid core lineup. It may come as a surprise that it was able to outpace some more limited releases in this taste test, but you can’t ignore the results. 1924 is here to stay.
Old Forester President’s Choice, quiet as it’s kept, was America’s first single-barrel bourbon. The expression has roots that can be traced back to the mid-century and got its name because the barrels that went into this expression were hand-selected by Old Forester’s President. Old Forester President’s Choice is always bottled at full cask strength, and for one last note, this particular single barrel was selected by the Bourbon Crusaders to benefit charity.
Tasting Notes:
Nose: Right off the bat, the air above the glass becomes thick with the aroma of maple candy, deep caramel, and freshly baked brownies. Take a second pass at the glass and you’ll pick out additional scents of black cherry, sandalwood, and clove while some fresh vanilla pods round out the initial nosing experience.
Palate: Brownie bits and black cherry hit the palate at first, almost as though you took a big bite into a corner piece of a brownie, then started chewing on a fresh cherry sitting nearby. It tumbles over the tongue with the restrained presence of proof, just enough to let you know that this is bourbon but not so much that you get hung up on it. The texture is full-bodied and silky, and it hangs out on the back palate with a touch of leather, mature oak, and barbeque sauce, coating your tongue from back to front. Overall, it skews sweet but darkly so, and the earthiness of the vanilla pod and crispy brownie edges help keep the sweetness in check.
Finish: The medium-to-long finish is marked by a bit of smokiness, again reminiscent of almost-burnt brownie corners, black cherry flavor, and sweet oak tones.
Bottom Line:
Does this really come as any surprise? Old Forester President’s Choice is a stunning bourbon that stands alone, separating itself from the rest of the brand’s lineup and, indeed, from the vast majority of whiskey on the market. President’s Choice belongs in a class with some of the most coveted bourbon on the planet, and that’s why this decadently delicious bottle is the best whiskey in Old Forester’s lineup.
The world of mezcal is endlessly exciting. As Uproxx’s resident tequila writer, I’m deeply invested and interested in that agave spirit, but with that level of familiarity comes a lot of expectation. I’m always excited to try new bottles, but I know what I’m getting myself into. Don’t get be wrong, tequila can have all sorts of nuances and complexities, but at the end of the day all tequila is made from blue weber agave, which has a distinct and easily identifiable flavor.
With mezcal, I’m continually surprised by how varied this spirit can taste. It’s literally all over the map.
Yes, mezcal is much smokier than tequila and it’s the tasting note most commonly associated with the spirit, but mezcal can be so many other things. I’ve had juicy and fruity varieties, savory mezcals, floral and delicate mezcals, and mezcals that come across as even more vegetal than tequila does.
That makes doing a mezcal taste test a lot of fun, and a blind taste test even more fun, so let’s do it!
Methodology
While I’m pretty familiar with the complexities of mezcal as well as most of the “big brands,” I haven’t exactly nailed the perfect entry-level price point. For tequila, I have — you can get a truly great bottle for under $40. But when it comes to mezcal, I’m not as sure about that price point. So for this taste test we rounded up eight bottles all between $30 and $80 to get a sense of where that sweet spot lies.
We pulled eight bottles and I tasted each in an unmarked glass at random, jotting down taste notes and first impressions. Here are the results.
Part 1: The Blind Mezcal Taste Test
Taste 1:
Dane Rivera
Nose: Very earth on the nose, with a hint of chili, cooked agave, and some green apple skin.
Palate: High minerality, with a bit of a wet stone and leather flavor, backed with some juicy and refreshing cucumber.
Finish: Creamy and smooth with a wet leather aftertaste and some light smoke.
Taste 2:
Dane Rivera
Nose: There is an Earth and clay vibe here, with a bit of cocoa, crushed agave, and bell pepper.
Palate: Dried herbs and black pepper, with some juicy mango notes, caramel, and a gentle hint of spice.
Finish: I’m getting a lot of mesquite. Smooth with a charred wood quality.
Taste 3:
Dane Rivera
Nose: I’m getting a medley of citrus fruits like orange and grapefruit backed by lavender.
Palate: A balance of floral honey and sugared blueberries with a bit of charred wood.
Finish: Tobacco leaves dipped in butter dominate the finish, with a bit of ash on the aftertaste.
Taste 4:
Dane Rivera
Nose: Creamy fermented yogurt on the nose, with a bit of green grass, and roasted chilis.
Palate: High minerality with a mix of pepper, roasted coffee beans, and cilantro.
Finish: Very bitter on the finish with a mix of leather and smoked meat.
Taste 5:
Dane Rivera
Nose: Faint smoke, roasted agave, walnut, and citrus.
Palate: Surprisingly fruity and vegetal, I’m tasting mint, fresh rosemary, and charred pineapple.
Finish: A light smoke on the finish and some lingering spice that sticks to the tongue.
Taste 6:
Dane Rivera
Nose: A mix of wet stone, almond, bitter cocoa, and pepper.
Palate: There is a pronounced pine herbaceousness here with a mix of lemon peel, plum, and fresh, raw agave.
Finish: Floral and smooth with some smoked wood on the aftertaste. Overall, this mezcal really took me on a journey from nose, to palate, to finish.
Taste 7:
Dane Rivera
Nose: A lot of honey on the nose mixed with sweetened agave syrup and caramel.
Palate: Soft, delicate and fruity. I’m tasting juicy pineapple mixed with vanilla.
Finish: Dry with a light pleasing smokiness.
Taste 8:
Nose: Sweet milk chocolate on the nose backed by wet soil.
Palate: I’m getting orange zest with a chili de arbol dryness and a bit of crispy Asian pear sweetness.
Finish: Soft and floral with a bit of gentle heat that builds on the tongue.
Mezcal Unión is one of the biggest most present brands in all of Mezcal right now, and that’s probably because it’s produced by spirit super producer Diageo, which distributes whisky, gin, vodka, rum, and tequila.
This mezcal is made from a blend of espadìn and cirial agave that is harvested between 8 and 14 years of maturity. Whole distributed by Diageo, Unión is produced by a collection of different producer families who have been crafting mezcal for generations.
The Bottom Line:
A fruity and vegetal mezcal that has a very light smokey finish. A great starter mezcal.
7. Mezcalum — Mezcal Artesanal Espadín and Cuishe(Taste 7)
Mezcalum’s whole vibe seems to be about all-natural purity. The brand proudly proclaims that it consists of zero carbs (goes without saying we think), zero sugar, zero additives, and is made from non-GMO agave.
The mezcal is made from a blend of espadin and cuishe agave grown wild in arid regions of the Oaxacan Central Valley, harvested at 6-12 years of maturity, and crafted under the supervision of Maestro Mezcalero Carlos Mendez Blas. I think this mezcal is a great starting point for people interested in the spirit, but it failed to make a lasting impression on me.
Definitely seems like an option that would excel as a cocktail base, rather than a sipper.
The Bottom Line:
Floral, delicate, and fruity, with a light smoke element that makes this another bigger friendly bottle.
Illegal is an award-winning (Double Platinum at the ASCoT awards) small-batch mezcal crafted by four-generation mezcaleros. It is made from espadín agave from the Santiago Matatlan valley of Oaxaca and is made additive-free with no artificial colors or flavors.
The focus on espadín gives this mezcal a sweet and citrusy quality, so if you’re averse to the smokier aspects of mezcal, you might want to start here.
The Bottom Line:
Naturally sweet with rich chocolate notes and a spicy finish.
Ojo de Tigre is a joven mezcal made from a mix of espadín agave from Oaxaca and Tobalá agave from Puebla that is harvested at 7 years maturity, cooked slow in Earthen ovens, distilled in copper pots, and blended together to create a smooth yet spicy mezcal.
I really love the heat on this one, of the more affordable bottles, it was easily my favorite.
The Bottom Line:
Spicy, with a lot of minerality and a smooth finish. The way the heat builds on the tongue is addicting and makes this an interesting base for a mezcal cocktail.
Del Maguey Vida’s Vida de Muertos is a special 45 ABV apin on its Vida Clásico mezcal that packs a stronger kick and a more pronounced flavor. The mezcal is inspired by the annual mezcal distilled in the village of San Luis Del Rio during the Día de los Muertos season and is made from espadín agave that is roasted in underground ovens, naturally fermented and twice distilled in wood-fired copper stills.
It’s dusty, spikey, smokey, and full of character. Another great expression from a brand that never misses.
The Bottom Line:
Bitter, smokey, and leathery in the best way. There is a pronounced dryness and a complex character that is distinct enough to be anyone’s favorite.
Paquera is a brand I’ve become quite familiar with, it’s one of my go-to mezcal brands thanks to its complex and fruity flavor. The mezcal is made from espadin agave harvested at 7 years maturity and is slow cooked in a conical Earthen oven with mesquite wood for six days, tahona crushed, fermented in wood barrels, and twice distilled in copper pots.
The Bottom Line:
Fruity, rich, and wonderfully smokey. A real solid choice for slow sipping and mixing alike.
At nearly $100 Fosforo is by far the most expensive bottle in this taste test, but we wanted a really expensive ringer in there to see how the more budget brands stacked up. It shouldn’t surprise anyone that a mezcal this expensive nearly took the top spot, there is a lot of flavor here and a lot for your palate to explore.
The tobala agave used in this bottle of Fosforo spends 5-8 days buried in an underground fire pit and is fermented in large wooden vats for ten days to two weeks before being twice distilled through a copper pot over a 24-hour period. The tequila is then bottle immediately, unaged and pure.
The Bottom Line:
Lots of mesquite charred wood complexity. If you’re looking for a natural smokey finish, it doesn’t get better than this.
I hate that such an expensive mezcal took the top spot in this blind taste test, but I think if this blind taste test showed us anything it’s that as mezcal gets more expensive, it tends to taste more complex, and interesting. That might seem obvious, but it’s not always the case with something like tequila.
Zomoz really impressed me the flavor took my taste buds on a journey, making it a true joy to explore. This mezcal hails from Santiago Matatlán, Oaxaca. It is made from organically grown espadín and spring water, cooked in wood-roasted stone ovens, tahona crushed, fermented in open-air pine tinas, and twice distilled in copper pot stills.
The Bottom Line:
Floral, smooth, smokey, herbaceous and earthy. Zomoz provides a true journey for the palate. If you want a glimpse of what makes the world of mezcal so exciting, start here.
Summer 2024 is moving way too fast. Just last month we launched a big ranking of all the best chocolate milkshakes in fast food and opened that article with the line “It’s starting to feel like summer,” and now here we are just a little over a month from that date, and it feels like the season is just breezing by.
In less than a month from now, people will already be heading back to school, and although it’ll technically still be summer until the end of September, let’s face it, once college classes start up again and the weather cools down a few degrees, the season is, for all intents and purposes, over. So before summer comes to a close, treat yourself right by grabbing the coldest, thickest, and tastiest milkshakes your money can buy.
Last month’s ranking was great for fans of chocolate milkshakes, but chocolate isn’t everyone’s favorite flavor, so for this ranking, anything goes! We’re shouting out and tasting the best milkshakes from our favorite fast food restaurants, and ranking them from good to great.
Yes, you might find one or two chocolate milkshakes in this ranking (some are too great to deny), but mostly we’re going to be focusing on the more adventurous flavors. Let’s sip!
16. McDonald’s — McCafe Chocolate Shake
McDonald
Thickness: 2/5
Tasting Notes & Thoughts
McDonald’s shake game is weak. The chain just doesn’t have a single decent milkshake, the only dessert you should ever be picking up from McDonald’s is a soft serve cone or a McFlurry.
If you insist on drinking a milkshake, the only choice worth picking up is the Chocolate Shake, but be warned, you’re going to be disappointed.
This milkshake consists of some chocolate syrup mixed into McDonald’s vanilla soft-serve base. It’s loose, watery, and not nearly as chocolatey as we need it to be to be considered good. Luckily for all of us, this is the one true dud on this list.
Wendy’s latest Frosty flavor is its best. The Triple Berry Frosty combines fruity notes for a refreshing dark berry flavor that is addicting as f*ck. According to Wendy’s, the flavor combination is a mix of strawberries, blackberries, and raspberries, but I’m tasting the woody floral notes more typical of blueberries and blackberries than anything else.
It’s not quite as versatile as the chocolate Frosty, and doesn’t serve as a better fry dip than vanilla but I think the flavor is much more interesting than anything Wendy’s has put on the dessert menu in awhile.
The Bottom Line:
The Triple Berry Frosty isn’t for everyone, but if you like berry-forward flavors and the refreshing quality of a strawberry milkshake, this is by far Wendy’s most interesting dessert offering.
I’m fully aware that Dave’s Hot Chicken has milkshakes with mix-ins, including Cinnamon Toast Crunch, M&Ms, and crushed Oreos but I think Dave’s shakes are at their best when they are as simple as possible. Dave’s Hot Chicken is all about, well, hot chicken, you need something to offset all that heat and what better way to do that than with a nice cold, simple, vanilla milkshake?
A lot of fast food milkshakes out there use vanilla as a base and its virtually flavorless, but Dave’s actually tastes like real vanilla. It has this delicate floral quality about it that I find absolutely addicting.
While I love the flavor though, I have to knock points off this one for being a bit watery and not thick and luxurious like a milkshake should be.
The Bottom Line:
A great-tasting vanilla milkshake, but the consistency leaves a lot to be desired.
I’m giving Burger King points for being one of the few fast food chains that has a chocolate Oreo milkshake rather than the typical vanilla base. Because chocolate doesn’t taste anything like Oreo creme, this milkshake tastes less like a giant drinkable version of an oreo and more like a rich brownie-flavored shake with bits of dark chocolate cookie providing texture.
I kind of love that! The only weak point on this shake is the consistency. If it was just a bit thicker, we’d be willing to bump this up a few spots. But in a milkshake ranking, thickness is everything.
The Bottom Line:
Wonderfully chocolatey with a nice cookie-filled texture. One of BK’s best menu items but compared to the competition, this milkshake is merely good, not great.
12. Carl’s Jr. — Hand-Scooped Vanilla Ice Cream Shake
Carl
Thickness: 4/5
Tasting Notes & Thoughts
Carl’s Jr. milkshake has the same vibe as Dave’s Hot Chicken, it tastes like vanilla, not like sweet milk. It’s floral with gentle notes of honey! But unlike with Dave’s, the thickness actually delivers here.
That’s because Carl’s Jr.’s milkshakes are made with scoops of ice cream rather than a soft serve base. So think of this as a drinkable scoop of ice cream. Actually, don’t do that, because that sounds incredibly unappetizing.
Good as this milkshake is, at the end of the day it’s just a vanilla milkshake. If it had some interesting mix-ins to add texture that might be enough to rank this higher, but as it stands right now, it’s very good, but not great.
The Bottom Line:
Thick and creamy, with a strong vanilla flavor. But it’s a little boring compared to what we’ve ranked higher.
Arby’s doesn’t get enough credit for having good milkshakes. Contrary to popular belief, Arby’s isn’t all about the meats. They’ve got the milks too! Okay, sorry, that sounds disgusting. What we’re trying to say is that the Jamocha Shake is worth the pick-up, especially if you like coffee-flavored sweet treats.
What you get here is a rich and decadent coffee flavor hovering over deep chocolatey notes. Think of a Mocha Frappuccino, but with a bigger focus on the chocolate rather than the coffee. That’s not to say the coffee is weak, you still get that slightly bitter vibe and a hit of caffeine from this drink, but the dominating flavor is chocolate.
The Bottom Line:
There are few pleasures greater than hitting up an Arby’s drive-thru in the morning for a coffee-infused milkshake. It’s the sort of thing that makes summer the season.
I’ll never understand the hate strawberry milkshakes get. As one of the classic big three of milkshake flavors, this is the only one that has a lot of haters. If you hate strawberry milkshakes, I have to ask — what’s wrong with you?
This milkshake is fruity and refreshing with a luxurious consistency. Del Taco’s strawberry shake has chunks of real frozen strawberry that come through the straw and offer the occasional burst of tangy flavor. It’s not just a great strawberry milkshake, it’s the best strawberry milkshake in all of fast food.
The Bottom Line:
Wonderfully refreshing, fast food’s greatest strawberry milkshake.
Jack in the Box was once the gold standard of Oreo Milkshakes. While I think that in 2024 there are a few fast food brands that do the flavor a bit better, this is still very, very good.
JiB’s Oreo Milkshake is luxuriously thick with a vanilla cream-forward flavor that ends with a strong chocolate finish. Somehow JiB is able to keep the cookies that are mixed in crunchy despite being inundated in a vanilla base. And JiB goes heavy on the mix-ins, giving you a good amount of cookie flavor in every sip.
No complaints here, this is a near-perfect milkshake, but not one of our absolute favorites.
The Bottom Line:
Near-perfect, but there are a couple of Oreo-based shakes we like better.
Sonic’s Strawberry Cheesecake earns its ridiculous “Master Shake” name, this thing delivers! Drinking this milkshake will take you on a journey that begins creamy, shifts into a sharp wince-inducing tang, morphs into sweet cherry and fruity strawberry flavors, and finishes with a nutty cinnamon graham cracker finish. And that’s all in one sip!
But be warned, this milkshake isn’t for everyone. If you don’t like the flavor of cheesecake, this won’t sell you on it no matter how many grams of sugar and mix-ins are tossed in this thing.
The Bottom Line:
A rich, creamy, and tangy delight for people who love cheesecake. If you don’t like cheesecake though, this probably won’t change your mind.
In-N-Out’s best milkshake flavor comes right off its Secret Menu. The Neapolitan Shake — as its name would imply — is a combination of In-N-Out’s chocolate, vanilla, and strawberry flavors, all mixed into one milkshake.
It provides a medley of flavors that begins with an intense burst of strawberry before settling into rich chocolate territory. It’s thick, creamy, rich, and cold enough to give you an instant brain freeze. If you’re worried about ordering something from an unlisted secret menu, don’t, the In-N-Out employees know exactly what you’re talking about if you simply ask for a “Neapolitan Shake.”
And if you’re feeling brave, go ahead and ask for a Rootbeer Float!
In the entry for the Jack in the Box Oreo Shake, I wrote that there were a couple of brands out there that do it better, this is one of the shakes I was talking about. Steak and Shake’s Oreo Mint Milkshake is leagues better than what you can get at JiB and offers a complex spin on what is, in 2024, an overdone flavor.
One sip introduces your tastebuds to a cool mint flavor that pairs perfectly with the semi-bitter cocoa flavor of Oreo cookies before closing with a sweet vanilla finish. But the flavor is one thing, where this milkshake really shines is the thickness. It’s luxurious, and a struggle to pull up through the straw, which is admittedly annoying, but ultimately the sign of a good milkshake.
The Bottom Line:
Imagine an Andes Mint had a baby with an Oreo and it resulted in this amazing milkshake.
There is a reason we re-rank our food lists every year. Fast food menus are always in flux, sometimes flavors get retired or new options emerge. If we want to offer the most relevant list, we must re-taste what’s out there and re-rank everything. So let’s take a moment to mourn the end of Dairy Queen’s Banana Melt, which used to be one of our all-time favorites.
Alright, moments over, is there anything else as good as the Banana Melt?
No, not quite, but the Nutter Butter comes incredibly close to being just as good. The milkshake has real Nutter Butter’s blended into its vanilla base, offering a sweet peanut butter forward flavor with the occasional cookie crumble.
The Bottom Line:
DQ’s best milkshake flavor, but we still miss the Banana Melt.
I’m a sucker for a chocolate chip cookie, I think it’s the greatest cookie flavor ever, so a milkshake that attempts to capture that magic? I’m going to love it.
Johnny Rocket’s Chocolate Chip cookie is smooth and buttery with notes of toasty brown sugar and a semi-sweet chocolate finish on the aftertaste. If you love chocolate chip cookies, you’re going to love this.
The Bottom Line:
A thick and delicious milkshake that combines buttery brown sugar flavors and semi-sweet chocolate. It does the chocolate chip cookie proud!
We named Shake Shack’s Malted Chocolate Shake the best chocolate milkshake in all of fast food, but we wanted to take some time on this ranking to shout out the almost-as-delicious limited-time-only Chocolate Salted Caramel Shake.
This shake features a sweet chocolate frozen custard mixed with caramel and chocolate brownie batter, topped with whipped cream and caramel sauce. It offers a mix of rich chocolatey flavors and toasty brown sugar notes with a nutty finish and a touch of salt. It’s delicious and even better if you get it malted.
What is keeping us from ranking it any higher though is the consistency. It’s not quite as thick and luxurious as our top two picks.
The Bottom Line:
One of Shake Shack’s best limited-time-only shake flavors in some time. A mix of decadent chocolate notes and salty caramel.
2. Five Guys — Milkshake with Oreos and Oreo Creme
Ashley Garcia
Thickness: 5/5
Tasting Notes & Thoughts
Five Guys makes the best Oreo shake in all of fast food. They achieve this by not just throwing Oreo cookie crumbles into the mix, but the creme as well, perfectly matching the flavor of an actual Oreo.
But there is a twist here. Drinking this milkshake is a bit like eating an Oreo inside out, it starts creamy and sweet and finishes with that strong slightly bitter cocoa flavor that is so characteristic of the cookie.
Best of all it’s thick as hell, so thick that we wouldn’t blame you for ditching the straw and diving in with a spoon.
Remember though, Five Guys has a fully customizable menu so don’t stop at Oreos, mix in some bananas, peanut butter, or even bacon if you want a salty and smokey finish.
The Bottom Line:
If you love Oreo milkshakes, it doesn’t get better than Five Guys.
Last year, we named Chick-fil-A’s seasonal Peach Milkshake the second-best milkshake in all of fast food. Today, we’re happy to say it’s taken the number one spot.
This milkshake is unlike anything else in fast food. It’s delicate, floral, and sweet, with a refreshing gently tangy finish. It’s made with real peach puree blended with Chick-fil-A’s creamy Icedream soft serve and topped with ribbons of whipped cream. It’s simultaneously thick and airy, passing easily through the straw but not turning to a watery mess before you can finish it due to outside elements.
The only thing this milkshake has working against is that it’s seasonal, appearing on menus only during the summertime. That means if you want to try it get out there and order it before the season ends.
The Bottom Line:
The best tasting and most unique milkshake in all of fast food.
Just about everyone that saw the court for Team USA looked good, as Jrue Holiday, Devin Booker, Stephen Curry, and Anthony Edwards all also reached double figures, while Anthony Davis, Derrick White, and Bam Adebayo were excellent on defense off the bench. The only question mark among those that played continues to be Joel Embiid at starting center, where he just has not found a comfort level with the preferred fast tempo of Team USA and being a secondary option on offense. Other than that, it was a standout performance from Team USA and asserted themselves firmly as the favorites in case there was any doubt after a couple shaky wins to close out their showcase run.
There were two DNPs in the game for Team USA, though. Tyrese Haliburton unsurprisingly on the list after his minutes slowly faded away during the exhibition slate, and he seems to have embraced his role as hype man, as the USA squad has a greater need for defense from its guard spots than another scorer. The other DNP-CD was Jayson Tatum, who played in every exhibition game and started a couple, but found himself as the odd man out of the wing rotation with Kevin Durant’s return to action. That came as a surprise to many, as Tatum is fresh off his first championship and another All-NBA campaign in Boston.
However, as Steve Kerr said after the game, that was just how things shook out with the lineups they wanted to get to with KD back, but he did note he “felt like an idiot” not playing Tatum because he is one of the best in the world.
“[Jayson Tatum] handled it well. I talked to him today before the game, that it may play out this way just with Kevin [Durant] coming back… I felt like an idiot not playing him… [In] a 40-minute game, you can’t play more than 10.”
One of the greatest challenges in coaching Team USA is ego management, and Kerr clearly recognizes that tightrope here. As he notes, Tatum will play and get his opportunities later when there are matchups that are better suited for lineups with him in them. While Tatum and Celtics fans may have been upset about it, it’s hard to argue with the results from Team USA’s opener and any of the lineup choices Kerr has made — with the exception of Embiid starting, which is a whole different delicate situation that Tatum wouldn’t factor into.
It seems likely that Tatum will be back in action against South Sudan on Tuesday, but it’ll be fascinating to see who ends up the odd man out to make that happen, because someone else who played well in the opener will have to sacrifice minutes to get Tatum involved.
This month marks the 45th anniversary of Highway To Hell, the classic sixth album by Australian rock institution AC/DC. I mention this because I have written a column about my favorite AC/DC songs, and when you write a column about your favorite songs by a venerable classic-rock act it’s nice to have an anniversary to peg it on, preferably a year ending in zero or five.
But I’ll be honest: The real reason I wrote this column is that it’s the middle of summer. And I like to listen to AC/DC in the middle of summer. Unfortunately, my job requires that I listen to lots of music that is not AC/DC. Therefore, I sought a loophole that would allow me to listen to AC/DC for professional reasons. Hence, the thing you are currently looking at.
So, here we are. You have surely heard of AC/DC. But do you know anything about them? Do you know that you should care about whether you know anything about them?
It’s time to head down the highway to hell, my friends! Here are my 30 favorite AC/DC songs.
Pre-List Disclaimer: If You Want Blood (In The Form Of Music Criticism) You Got It
This performance was filmed on April 30, 1978 at The Apollo in Glasgow, and released six months later on the live album, If You Want Blood You Got It. The show took place one month before AC/DC’s fifth (and possibly best) studio LP, Powerage, was released in the United States. Sixteen months after this gig, they put out Highway To Hell, AC/DC’s first hit in America and their last record with original lead singer Bon Scott. Less than two years after the Glasgow show, Scott stumbled into a friend’s car after a night of heavy drinking — his blood alcohol level supposedly was at .208 — and passed out. He never woke up. Not long after that, AC/DC — deservedly if also inexplicably — became the most popular hard rock band in the history of humankind.
If the point of this column is to explain what makes AC/DC great, it would be more efficient to simply instruct readers to watch the video above exactly 25 times in a row. Describing what goes down in this five-minute-and-35-second clip would be like trying to articulate the feeling of eating the best damn plate of hot wings you have ever had in your life rather than simply rolling up your sleeves and chowing down. It turns a visceral and sensual experience into an academic exercise.
Nevertheless, I am a writer and I am dedicated to my imperfect medium of choice, so here goes: The guy in the school boy outfit is Angus Young, and he is extremely good at playing a Gibson SG while duckwalking on stage like — to quote noted music critic/Aerosmith guitarist Joe Perry — “flopping bacon.” The other guitarist is Malcolm Young, Angus’ brother, who stands stoically in the shadows while unleashing the universe’s most massive-sounding riffs. The rhythm section is composed of drummer Phil Rudd and bassist Cliff Williams, who are “doing nothing all that complicated” if you listen to music like a moron. And the singer is our Bon, who smiles at the microphone while unleashing the most charmingly malevolent squeal in rock history. He is, by all accounts, a nice chap in real life. But on stage, he is the opposite of a nice chap. He is heroic. He is villainous. He will kick the shit out of you. And then he will get you drunk. “Music is meant to be played as loudly as possible,” he once said, “really raw and punchy, and I’ll punch out anyone who doesn’t like it the way I do.” He was smiling when he said it. But he was dead serious.
Have you watched that video 25 times in a row yet? While you do that, I will continue to describe this plate of delicious wings.
30. “Big Balls” (1976)
Not to be confused with “She’s Got Balls,” from AC/DC’s debut, High Voltage. I actually considered putting “She’s Got Balls” in this slot, as I find it to be slightly superior on musical merits. But “Big Balls” gets the nod on philosophical grounds. If we are going to have a conversation about AC/DC, we must begin by contemplating enormous testicles. (Only as a metaphor — I am not trying to get arrested here.)
Listening to AC/DC prompts all sorts of questions. What is “good” art? What makes a song “smart”? Is being “good” or “smart” necessary? In their early years, AC/DC was routinely dismissed as lowest common denominator music for knuckle draggers. Critics dismissed their music as a series of hyper-macho double-entendres set to super-charged Chuck Berry riffs. But then perceptions shifted. In time, AC/DC was celebrated for making a series of hyper-macho double-entendres set to super-charged Chuck Berry riffs. Their music never changed, never evolved, never kept up with the times. If anything, they became even more retrograde as the decades passed. And yet their commercial power and critical esteem only grew.
Here’s another question pertinent to the AC/DC project: What is sexism? Because a lot of AC/DC songs seem, at least superficially, to be pretty sexist! “Let Me Put My Love Into You,” “Givin’ The Dog A Bone,” “Beating Around The Bush,” “Emission Control,” the decidedly non-immortal “Sink The Pink” — this is a band that, on paper, makes Smell The Glove look like Kid A. But not even grandmothers are offended by AC/DC in 2024. Granted, many of our contemporary grandmothers were in college when Back In Black was released. But nobody believes this is a band coming from a negative or toxic place, no matter how much they talk about the circumference of their oversized extremities.
There are two explanations for this. The first is what we’ll call “The Howard Stern/Charles Barkley Rule,” which is that people who routinely say rude or offensive things sometimes get a pass because they have a track record of also being funny about it. (As opposed to run-of-the-mill jerks who act like run-of-the-mill jerks for no reason and zero panache.) This applies to AC/DC — co-stars of 1997’s Private Parts — but it’s not the main or most important explanation. That explanation can be witnessed in “Big Balls” when Bon Scott points out that I have big balls and he has big balls and (yes) she has big balls and (most important) we have big balls.
AC/DC gets a pass because they are inclusive. “I always liked the underdog,” Angus explained to Vulture in 2020. “We performed, and continue to perform, for the little people. And I can say that because I’m 5”2.” No matter who you are or where you come from or even whether you have literal testes, AC/DC recognizes and honors your big balls. And that is why they own all the world’s arenas.
29. “The Jack” (1976)
Sorry, there is also a third explanation for AC/DC’s “get out of jail free” card for the crime of writing a song called “Sink The Pink” — the schoolboy outfit. For a band that otherwise eschews gimmicks and all other forms of theatricality, Angus’ iconic schoolboy outfit psychologically disarms the AC/DC listener. You simply can’t be mad at a grown man in short pants, even if the singer is relating a story about contracting gonorrhea while on tour.
28. “Touch Too Much” (1979)
There’s an innocence to AC/DC that puts their strutting cock-of-the-walk machismo in a non-threatening context. It’s the sort of posturing that many young men at some point attempt to emulate, usually as compensation for crippling insecurity they can’t bear to reveal to the rest of the male herd. It only becomes toxic if you take the exaggerated posturing seriously — “acting like a man” largely entails behaving like a big, dumb idiot, which is harmless if confined to harmless pursuits, like watching sports or playing in a rock band. (As opposed to posting in internet forums or politics.) Even Bon Scott, the ultimate bad boy womanizer and serial beatdown artist on stage, was secretly a devoted boyfriend who collected comic books.
Of course, AC/DC is also popular because their records happen to be perfectly recorded and produced. That was true when they worked with George Young (Angus and Malcolm’s big brother) and Harry Vanda on the early records. And it was definitely true when they teamed up with Robert John “Mutt” Lange, the perfectionist recluse who entered the AC/DC fold with Highway To Hell and stayed on for the next two records, Back In Black and For Those About To Rock (We Salute You). Lange’s contribution to AC/DC’s music was teasing out the sugar at the heart of their gnarly and snarly anthems. “Touch Too Much” is positively spartan compared with Lange’s later work with Def Leppard, Bryan Adams, and Shania Twain, but the backing vocals on the chorus are positively gooey by AC/DC standards.
27. “Are You Ready” (1990)
My first AC/DC album was The Razors Edge, which came out when I was in the seventh grade aka the exact right age to start caring about AC/DC. It was overseen by Bruce Fairbairn, the late Canadian producer who also revived Aerosmith’s career at this time with his work on Permanent Vacation, Pump, and Get A Grip. With Aerosmith, he brought outside songwriters and Alicia Silverstone into the band’s fold. But with AC/DC, the job was simpler — just get the Young brothers to write chant-worthy songs that appeal to neanderthals in football stadiums (American and/or international) deep into their cups. The defining hit from The Razors Edge, “Thunderstruck,” just might be the defining “football song for neanderthals” anthem. (We’ll talk more about that one later.) But “Are You Ready” fits the bill as well. Admittedly, “write a song that sounds like a Monday Night Football theme” might not be the most artistically invigorating prompt, but you can’t fault AC/DC for executing it perfectly.
26. “Rock ‘N’ Roll Train” (2008)
The first song on this list that references rock ‘n’ roll in the title. Next to balls, rock ‘n’ roll is AC/DC’s most important muse. The first rule of writing is that you write what you know, and AC/DC knows the ins and outs of rock ‘n’ roll more completely than any band on the planet. In “Rock ‘N’ Roll Train,” the titular subject is paired with a runaway locomotive, a mode of transportation just as anachronistic as stadium rock was in 2008. But anachronisms have never been something to fear for AC/DC. Their power derives from reveling in anachronisms. “Rock ‘N’ Roll Train” is the first track on Black Ice, an album that AC/DC insisted on selling exclusively via CDs — absolutely no MP3 downloads — at Wal-Mart stores. It subsequently moved more units that year than albums by Taylor Swift, Metallica, and Beyoncé. Some runaway trains simply refused to be derailed.
25. “Ride On” (1976)
The schism between Bon Scott-era AC/DC and Brian Johnson-era AC/DC is eternal, though everybody who cares agrees on the proper assessments of both versions of the band. (I am deliberately leaving Axl Rose out of this conversation because addressing Axl would distract me from the task at hand and result in a column that is at least 50,000 words.) The Bon era is superior, and the Brian era is more popular (in part because the table was set by the Bon era). Every album of the Bon era is essential, whereas you only need Back In Black from the Brian era if you’re a casual listener. More devoted followers will also want For Those About To Rock and The Razors Edge, while only complete freaks will want all of them. (Related: I own every AC/DC album.)
There are various nuances that define Bon’s style vs. Brian’s style, but here’s the succinct and only slightly reductive summation: Bon Scott is Bon Scott, and Brian Johnson is a caricature of Bon Scott. I mean no disrespect. I like Brian Johnson. But he’s a cartoon version of a tough-guy singer, and Bon Scott is an actual tough-guy singer. Brian’s snarl is impressive and iconic, but it is also one-dimensional. He only has one mode (newsboy hat-wearing nymphomaniac), whereas Bon constantly revealed deeper shades to his persona.
For example: Brian Johnson could never produce a song like “Ride On.” This is Bon showing you his tender side. He’s in a lonely town. And it’s a lonely night. A woman is on his mind. He tells us he ain’t too young to worry and he ain’t too old to cry. Before the shocking image of a weeping Bon Scott can overtake us, he delivers his mission statement: “One of these days I’m gonna change my evil ways,” he says. “’Til then I’ll just keep riding on.”
Bon understood the principles of dynamics. In “Ride On,” the tenderness accentuates the toughness. You can’t stand shirtless on stage with an armadillo in your trousers without a big, fat heart beating underneath all that chest hair.
24. “Let There Be Rock” (1977)
The second song on this list that references rock ‘n’ roll in the title. It’s also an example of Bon Scott practicing rock criticism. “The white man had the schmaltz / the black man had the blues,” he says, imparting his musicological knowledge like he’s Greil Marcus addressing the Hells Angels. Twenty-four years later, Patterson Hood of Drive By Truckers repurposed this song’s title on Southern Rock Opera for his own survey of golden-era late-’70s arena rock. In the final iteration of the chorus, he sings about seeing AC/DC on the Let There Be Rock tour, which clearly is the sort of experience that can inspire a person to form their own kick-ass rock band.
23. “Night Prowler” (1979)
Along with balls and rock ‘n’ roll, AC/DC likes to put “hell” in song titles. This is never a reference to an actual Satanic underworld, but rather a state of mind that can be defined as the opposite of whatever balls and rock ‘n’ roll signify. What’s confusing is that AC/DC always seems to be heading to hell or defending hell with backhanded praise (“it ain’t a bad place to be,” etc.). This naturally has caused religious and/or conservative types to attack the band as devil-worshipping lunatics.
These attacks reached their zenith in the mid-’80s when AC/DC was accused of inspiring “Night Stalker” serial killer Richard Ramirez after an AC/DC hat was found at a murder scene. The final track from Highway To Hell, “Night Prowler,” was specifically blamed for triggering Ramirez. But “Night Prowler” is not about pulling a burglary for the sake of murder. It’s about sneaking into your girlfriend’s house and having sex with her. This is what the band’s detractors could never understand: AC/DC makes love, not war.
22. “Moneytalks” (1990)
Granted: The U.S. military has used AC/DC’s music to unnerve enemy combatants. (https://www.chinadaily.com.cn/english/doc/2004-04/17/content_324146.htm) And the Young brothers have licensed their music to the U.S. Army for recruitment ads. Which seems weird, because when the brothers have delved into light political commentary, it’s come from a vaguely leftist perspective. Like “War Machine” from Black Ice, which sort of (but not really) inserted AC/DC into the 2008 U.S. presidential election cycle. And then there’s “Moneytalks from The Razors Edge, the album where Angus and Malcolm assumed lyricist duties from Brian Johnson, who presumably was too busy driving race cars and shopping for black undershirts to bother with putting pen to paper. “Moneytalks” can be simplistically described as a takedown of a gold digger and less simplistically characterized as a critique of capitalism’s dehumanizing effects on the middle class. It’s like Naomi Klein after a case of Foster’s.
21. “Live Wire” (1976)
Bon Scott was not interested in such matters. He instead applied his poetic skills to saluting the carnal act. This song features one of his finest verses: “Ah, cooler than a body on ice / Hotter than the rolling dice / Wilder than a drunken fight / You’re going to burn tonight.”
20. “Girls Got Rhythm” (1979)
You think you know what an AC/DC song called “Girls Got Rhythm” is going to be before you hear it. For starters, it’s probably not about a skilled female percussionist. And the lack of an apostrophe between the “L” and “S” denotes a certain low-class, dullard sensibility. But then you hear the song, and all presumptions are instantly voided. Two important attributes must be enumerated. One, “Girls Got Rhythm” appears to be about the sexual habits of a long-term committed couple, which almost makes it romantic. (It’s the hard-rock sister song to Al Green’s “I’m Still In Love With You.”) Two, Bon Scott rhymes “rhythm” with “rhythm” in the chorus, which denotes a certain high-class, dullard sensibility.
19. “Problem Child” (1976)
AC/DC is often classified as a metal band, even though the Young brothers are on record as disliking metal. Meanwhile, they are never classified as a punk band, though their early years coincided with the rise of punk and they had some backers (like legendary British DJ John Peel) in that scene. Dirty Deeds Done Dirt Cheap is the closest AC/DC came to making an actual punk record. Bon’s voice is extra snotty throughout, and he sings aggressively about wanton violence, disreputable sex, and unbridled juvenilia. “Problem Child” is the roughest and rowdiest example of the latter, in which Bon declares, “What I want, I take / What I don’t, I break.” It’s not Johnny Rotten singing “Don’t know what I want but I know how to get it” but it’s in the same nihilistic ballpark.
18. “Sin City” (1978)
Powerage is my favorite AC/DC album, which apparently is the highbrow “connoisseur’s choice” record in the catalog. (“A lot of music types very much like that album,” Angus told Vulture in 2020.) It was the one they made after touring America for the first time, and you can hear that influence all over the record. For one thing, it has several songs about shooting guns, which became another recurring lyrical obsession on future records. And then there’s “Sin City,” where Bon uses Las Vegas as a metaphor for the American dream. “’Rich man, poor man/ beggar man, thief / Ain’t got a hope in hell / That’s my belief.” Nevertheless, he demands that you “bring on the dancing girls and put the champagne on ice,” because our boy is playing to win.
17. “Rock and Roll Ain’t Noise Pollution” (1980)
The third song on this list that references rock ‘n’ roll in the title. It’s also another entry in the canon of AC/DC rock criticism, only this time it comes from Brian Johnson, the Lester Bangs to Bon’s Greil Marcus. Brian’s take on the music is more instinctual than historical — he wants you to know the music ain’t noise pollution, and that it’s not gonna die. In truth, Brian’s voice on this song is noise pollution, and I mean that in the best possible sense.
16. “Hell Ain’t A Bad Place To Be” (1977)
A moment must be taken to pay respects to Malcolm Young, the finest rhythm guitarist in rock history not named Keith Richards or Lou Reed. He held it down while his brother bacon-flopped in the spotlight, but for years before his death in 2017 he quietly commandeered the AC/DC machine. Former bassist Mark Evans called him “the driven one … the planner, the schemer, the ‘behind the scenes guy,’ ruthless and astute.” But it’s the sound of his thunderous Gretsch Jet Firebird that remains his greatest legacy. It is one of the most distinct and overpowering sonic signatures in all of hard rock, a musical sledgehammer that is both heavy and nimble. It’s such a satisfying sound that Malcolm, like Chuck Berry, could get away with playing dozens of variations on the same riff. Like “Hell Ain’t A Bad Place To Be,” which resembles at least 27 other AC/DC songs but somehow still sounds better than most of them. It’s a first-class iteration of The Malcolm Young Guitar Riff — kind of bluesy, super-duper simple, violently staccato, instantly catchy, and Pavlovian fodder for air-guitarists everywhere.
15. “If You Want Blood You Got It” (1978)
My favorite factoid about Malcolm Young is that before AC/DC he was in a psychedelic band called The Velvet Underground. Not The Velvet Underground, but rather a different group that happened to have the same name as the pioneering NYC proto-punk band. Of course, the mind naturally wanders to a highly unlikely hypothetical scenario where Malcolm does join The Velvet Underground, perhaps after John Cale leaves. Instead of Doug Yule, we get a pint-sized Australian who wants to divert his new band away from songs about heroin and S&M and toward tunes about gonads and street fighting.
Would this have worked out well? No, it would not. Thankfully, we live in world where “If You Want Blood You Got It” — another excellent iteration of The Malcolm Young Guitar Riff — exists.
14. “You Shook Me All Night Long” (1980)
Brian Johnson’s finest lyric. When it comes to one-liners about humping, you simply cannot do better than, “She told me to come / but I was really there.” But what really sells “You Shook Me All Night Long” is Phil Rudd. He is to the drums what Malcolm Young is to the guitar. He does nothing fancy, and he does it perfectly. AC/DC is among the precious few hard rock bands — particularly pre-hip-hop — that made dance music. Yes, the records are made primarily for head-banging and fist-pumping. But if you put on “You Shook Me All Night Long” in a club, people can actually shake their hips to it. And that is mostly due to Phil Rudd’s swinging caveman stomp.
13. “Shoot To Thrill” (1980)
The other important thing about Phil Rudd is that he was arrested in 2014 for — among other alleged crimes — attempting to hire a hitman. (He later rejoined the band after sorting out his legal issues.) Which means that Phil Rudd is the member of AC/DC whose personal life is most like an AC/DC song. For everybody else, “Shoot To Thrill” is merely a fictional exercise.
12. “TNT” (1976)
“Shoot To Thrill” reentered pop culture back in 2010 when it was prominently featured in one of the year’s highest grossing movies, Iron Man 2. Director Jon Favreau said he got the idea to use “Shoot To Thrill” while at an AC/DC concert with his wife and kids. And then he decided to make the entire soundtrack composed of AC/DC songs, which makes me wonder what would have happened had Favreau attended a Black Sabbath concert instead. (Seriously: How angry is Tony Iommi that he didn’t get to partake in all of that sweet MCU cash?)
“TNT” is on the Iron Man 2 soundtrack but it’s not in the movie. Which is a mistake, because that goon-squad chant at the start of the song — “Oi! Oi! Oi! Oi! Oi! — is more rousing than any CGI effect.
11. “For Those About To Rock (We Salute You)” (1981)
The fourth song on this list that references rock ‘n’ roll in the title. Back In Black was such a monumental success that following it up was going to be impossible. AC/DC ended up going into a creative ditch for most of the ’80s before finally staging a comeback with The Razors Edge in ’90. But in the immediate aftermath of Back In Black, they produced For Those About To Rock (We Salute You), their last effort with “Mutt” Lange. The album overall is pretty good, but they essentially — to use AC/DC-style verbiage — blew their load on the album-opening title track, which is so far away the best song on the record that I’m having trouble recalling any of the deep cuts. (I have vague memories of “Inject The Venom,” but don’t ask for any details about “Night Of The Long Knives.”)
10. “Rock ‘N’ Roll Damnation” (1978)
The fifth song on this list that references rock ‘n’ roll in the title. My favorite Angus Young quote comes from the 2020 Vulture interview, when he talks about his lack of respect for being respectable. “We never set out for prizes or awards like that. If you asked me in my early 20s, I always thought of those people as uncool. It was an uncool world. My viewpoint was if something was on television, it was finished.”
This is the essential truth of AC/DC, the guiding philosophy that informs their artistic decisions and explains why they are so endearing. They are the most authentic “IDGAF” band in rock history. And they have consistently expressed this point of view from the beginning of their reign. You can hear it in “Rock ‘N’ Roll Damnation” in the way Bon Scott snidely asks, “You say that you want respect / honey, for what?” For what, indeed.
9. “Walk All Over You” (1979)
Peak Phil Rudd greatness. I must be alone when I’m listening to this song, because the part where the drums come in at the 61-second mark makes me want to punch a stranger in the face super hard.
8. “Dirty Deeds Done Dirt Cheap” (1976)
A deeply weird song. In the first verse, Bon Scott offers to murder a high school student who is pressuring a classmate sexually. In the second verse, he extends his homicidal services to a woman who is being cheated on. In the third verse, he promises to kill a woman because she nags her partner too much. In the bridge, he lays out his methods, which include concrete shoes, cyanide, TNT, and electrocution — all of which seem inconvenient and inefficient.
“Dirty Deeds Done Dirt Cheap” is structured like an infomercial for manslaughter. The problem is that, on paper, Bon Scott does not seem like a very good hitman. (For starters, giving out your phone number in a song suggests that you are bad at evading the authorities.) But “Dirty Deeds Done Dirt Cheap” does not exist on paper. It lurks inside your stereo speakers, and in that context, Bon Scott is absolutely credible as a low-rent assassin for hire. After all, I imagine these guys looking more like an intensely charismatic dirtbag than, say, Glen Powell.
7. “Whole Lotta Rosie” (1977)
I promised myself before I wrote this column that I would focus only on album tracks, and not include anything from the If You Want Blood live LP. Because without that self-imposed restriction, I would have put every single song from If You Want Blood on this list. It’s been difficult to hold back, but when it comes to “Whole Lotta Rosie” it feels all but impossible. The live version of this song is unbelievable. Pretty much any live version of “Whole Lotta Rosie” is unbelievable. This one might be the most unbelievable.
Have you noticed that I haven’t talked yet about the lyrics? That’s because I’m trying to figure out a way to discuss the subject matter of “Whole Lotta Rosie” in a manner that will not make me the main character on social media for 24-to-48 hours after this column publishes. And I’m having trouble coming up with the right combination of words that will accomplish this daunting feat. Again, my words for conveying what is great about AC/DC falls short. I’ll just paraphrase Bon Scott: When it comes to lovin’, “Whole Lotta Rosie” steals the show.
6. “Riff Raff” (1978)
The If You Want Blood version of this song is even more ferocious than “Whole Lotta Rosie”! Seriously, go take a 53-minute break from reading this and listen to that album at full volume on headphones. Then take a 15-minute cold shower and come back to your screen. I’ll be waiting.
5. “It’s A Long Way To The Top (If You Wanna Rock ‘N’ Roll)” (1976)
The sixth (and final) song on this list that references rock ‘n’ roll in the title. “It’s A Long Way To The Top” gained new notoriety in the early aughts after it was featured in School Of Rock, a film about children learning how to rock from a wild-eyed alcoholic musician in his 30s. Bon Scott was also a wild-eyed alcoholic musician in his 30s when this song was recorded. He knew about all the pitfalls of life on the road — you get robbed, you get beat up, you get had, you get took, and it’s all harder than it looks. But what amazes me (along with those righteous bagpipes) is that Bon had not yet seen the top of rock ‘n’ roll. He was calling his shot on the very first song on the very first AC/DC record, an act of chutzpah only matched by Oasis putting “Rock ‘N’ Roll Star” at the start of Definitely Maybe. If doing that is harder than it looks, it’s only because Bon made it look easy.
4. “Thunderstruck” (1990)
Angus’ epic wheedle-wheedle-wheedling throughout is the one instance in AC/DC’s discography where he’s trying to show you how incredible he is at playing guitar. If Beethoven had been born in 1955, he would have written that guitar part. But Beethoven wasn’t born in 1955, and he didn’t write “Thunderstruck.” Sorry that didn’t work out for you, Beethoven.
3. “Hells Bells” (1980)
At what point does a list of great AC/DC songs turn into a list of the most bad-ass jock jams? Nobody in AC/DC seems especially fit or gifted at playing sports, and yet their finest music perfectly suits the field of high-stakes professional competitions. When I hear “Hells Bells,” my mind immediately thinks that I’m watching an NFL game in late November between two AFC North teams that are tied with three minutes left in the fourth quarter. This is even more incredible when you consider Angus and Malcolm Young put together are still smaller than T.J. Watt.
2. “Highway To Hell” (1979)
The top two AC/DC songs on this list are chalk, because that is the way it must be. It just matters what order you put them in. “Highway To Hell” is Bon’s best lyric and his greatest vocal performance. You know how old actors looked like they were 40 when they were 25, because they had already been to war and they started smoking cigarettes at age 9 and life was just generally tougher back then? Bon Scott is like that, but for rock singers. He looked and sounded like he had seen some shit. And “Highway To Hell” is him showing that in the most natural and not-try hard manner imaginable.
1 “Back In Black” (1980)
The most representative song in the catalog. It’s from the Brian era, but it’s about the Bon era, so it feels like a bridge. It also has the best AC/DC guitar riff and the best AC/DC chorus. I don’t know that I can express how incredibly satisfying that chorus is. Come on, sing it with me, in the highest pitch scream you can muster:
‘Cause I’m back
Yes, I’m back
Well, I’m back
Yes, I’m back
Well, I’m back, back
Well, I’m back in black
Yes, I’m back in black
If you know, you know. Hey, are you going to eat that last wing? I’m still starving.
The United States has owned men’s basketball at the Olympic Games. Going back to the first time that the sport happened at the Olympics in 1936, the Americans have won 16 gold medals and 19 medals in total — the only time they were kept off the podium was in 1980, when the United States boycotted the Olympics altogether.
The tournament changed altogether in 1992, when NBA players became eligible to participate at the Olympics for the first time. Of course, that summer ended up being pretty notable, as the Dream Team went to Barcelona, steamrolled the competition, and became a cultural phenomenon. Since that time, the United States has only failed to win a gold medal once in men’s basketball.
Now, the rest of the world is starting to catch up to America in the sport, and while the 2024 team is loaded, the men’s basketball competition in Paris this summer is shaping up to be perhaps the greatest international basketball tournament of all time. Before that begins, we wanted to look at the eight teams the U.S. has sent to the Olympics since 1992 (including this year’s squad) and rank them from worst to best.
8. 2004
They came in third. Every other team that the U.S. has sent to the Olympics has won gold. Putting them last is pretty easy, even if it’s fun to look back on their roster — which featured Tim Duncan, Allan Iverson, and each of LeBron/Melo/Wade coming off of their rookie seasons — and wonder how they struggled as much as they did.
7. 2000
Despite not being the most talented roster the U.S. has ever sent over, this team still went undefeated en route to a gold, although a 2-point semifinal win over Lithuania nearly changed that. Still, Vince Carter was great (and authored the greatest in-game dunk in history), Kevin Garnett and Alonzo Mourning were imposing in the frontcourt, and the 1-2 backcourt punch of Jason Kidd and Gary Payton was not fun to play against.
6. 2020
They lost their opener at the Olympics to a really good France team and then did not lose again, which included getting their revenge on the French in the gold medal game. The 1-2 punch of Kevin Durant and Jayson Tatum was a nightmare for opposing teams to deal with — seriously, how are you supposed to deal with KD in international play? — and while they had their issues towards the end of the roster and with center depth, those ended up not being a huge problem in the end.
5. 1996
Being the team after the Dream Team was a hard act to follow, and yet the 1996 squad managed to do that incredibly well. They went undefeated in the tournament and stomped Yugoslavia in the gold medal game thanks to a monster performance from David Robinson. The Admiral was second on the team in scoring behind Charles Barkley, with Reggie Miller and Scottie Pippen also averaging double-digits. Not bad!
4. 2024
This is all a matter of projecting, but even if they don’t win a gold medal due to how loaded the rest of the field is, the 2024 team is absolutely ridiculous. We saw in their opener that this team has the potential to be excellent, as the addition of Kevin Durant to the roster is just unfair. We’ll possibly revisit this at the end of the tournament, because with how talented they are and how good the rest of the field is, there’s a chance they crack the top-3 with an especially dominant performance in Paris.
3. 2012
This group wasn’t as good as the first two as you got farther down the roster, but going into the Olympics with Kevin Durant, Carmelo Anthony, LeBron James, and Kobe Bryant is one heck of a luxury. They also beat the best team Spain has thrown out there in the gold medal game, in what is the best game any team on this list has ever played.
2. 2008
The level of competition they went up against was greater than the Dream Team. It’s not like this was a team of slouches, either, as the starting five featured the three best players on earth at the time (LeBron James, Kobe Bryant, Dwyane Wade), along with Olympic killer Carmelo Anthony and Dwight Howard when he was still at the height of his powers. They were dominant, and if you want to put them above the Dream Team, I would not blame you.
1. 1992
The question at the top is simple: Redeem Team or Dream Team? For my money, it’s more 1A and 1B than 1 and 2, but I’m giving the slight edge to the Dream Team because their roster was just that ridiculous. I do think it’s worth dinging them a little for the fact that the level of competition wasn’t especially high, as the rest of the world was nowhere near as competitive in men’s basketball at this point. But even if it was, I fully expect that this team would have cruised to a gold.
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