In recent months, BTS has owned the Billboard Hot 100 chart. “Butter” enjoyed a 7-week run at No. 1 before it was replaced by their own “Permission To Dance” last week. Now, “Butter” has returned: On the latest Hot 100 (dated July 31), “Butter” is back at No. 1 for an eighth week, knocking “Permission To Dance” (which is now at No. 7) off the top spot after it enjoyed a one-week stay.
“Butter” is now tied with Olivia Rodrigo’s “Drivers License” as the longest-running No. 1 song of the year. Additionally, BTS is now the first artist to ever top the chart, replace themselves on the chart, then have the previous song return to No. 1 without having a song by another artist go No. 1 in between.
The song’s return to No. 1 comes thanks in part to sales. “Butter” saw a 132-percent increase in sales, increasing from 49,800 to 115,600 over a week, which was the biggest jump of the week. Inversely, “Permission To Dance” dropped from 140,100 downloads to 85,000, a 39-percent dip.
The group recently enjoyed a two-night stay on The Tonight Show, during which they performed both recent No. 1 singles. They also spoke about “Permission To Dance” co-writer Ed Sheeran, who they haven’t actually met before.
Ed Sheeran is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
When Gossip Girl got its HBO Max reboot, nearly a decade after the luxurious teen soap left the air in 2012, there was no doubt that it would have to be a different experience. The original show, which first aired in 2007 on The CW, became a massively popular symbol of excess, advances in technology, high fashion, youth culture, and New York City-set aspirational living. (Those things are still there.) But today’s iteration of Gossip Girl, as has been discussed across the internet, looks and sounds a little different: For starters, the show’s cast is more diverse, class tensions better reflect today’s real-world economic inequality, and, because it’s an HBO Max original, there’s lot more sex and cursing. Not to mention that the once-anonymous Gossip Girl herself is revealed from the pilot episode. And then there’s the soundtrack.
An average episode of Noughties-era Gossip Girl might’ve featured the caliber of trendy indie-pop that would no doubt also be playing in an American Apparel: The Kills, The Virgins, The Ting Tings. The original pilot even opens to one of the most ubiquitous songs of that time: Peter, Bjorn And John’s “Young Folks.” The reboot’s pilot, meanwhile, opens with music from a less globally known artist: London upstart Hope Tala, whose orchestral “All My Girls Like To Fight” soundtracks the introductory scene in pilot episode “Just Another Girl On MTA.” The remaining 50-odd minutes feature a selection of songs from Frank Ocean (“Super Rich Kids”), Ariana Grande (“Positions”), Tinashe (“Rascal”), Billie Eilish (“Therefore I Am”), Cyn (“Drinks”), Rosalía (“A Palé), Junglepussy (“Spiders”) and more. Frank, Ariana, Rosalía, and Billie are marquee names for sure, but it feels like an intentional choice to open the entire series with non-household name. When I spoke to series music supervisor Rob Lowry, he said that he hoped the Gossip Girl reboot would both reflect today’s popular music but also be a source of new music discovery for audiences. “The way that people are consuming music and finding it, [it’s] through film and TV,” Lowry tells me over Zoom from his home in Los Angeles. “Which they did [in 2008], but I feel like it was a little bit less obligatory. We look back on it and realize how much we learned.”
Stepping in for Alexandra Patsavas, who is basically music supervisor royalty, having done selections for the original Gossip Girl, The Twilight Saga, The OC, and Grey’s Anatomy, Lowry openly admits that he had “massive shoes to fill.” Lowry is definitely no slouch, though, having previously done the song selections for The Map of Tiny Perfect Things, The Bold Type and Ramy, among others. Upon connecting with series creators Joshua Safran (who also serves as the reboot’s showrunner), Stephanie Savage, and Josh Schwartz, who also oversaw The OC, “I just, like, geeked out,” Lowry says of the experience. “I wasn’t shy about their influence on my entire life and how much the soundtracks for The OC and Gossip Girl influenced what I wanted to do.”
In terms of its music, which is as fluid and diverse as the show’s main characters, the reboot’s overall approach is, “Does this work creatively?” Lowry says. “That’s question number one. Then, is [the song] overused? Is it too present, or does the recognizability actually add to the experience? Does it add to the scene?” Lowry cites an early episode where New York rapper Princess Nokia makes an in-person appearance at socialite Julien Calloway’s (Jordan Alexander) party, something he says helps “elevate that experience” and add to the moment’s glamor. “It’s so excessive and it’s just so big and also helps set the stage. Nokia’s a New York icon.”
It’s important, Lowry adds, that audiences understand that the Gossip Girl reboot, whose main characters are two half-sisters of color from very different socioeconomic backgrounds, is still very much its own show. “This show feels a little bit more sophisticated. It feels a little bit more seductive and sexier and a little bit elevated without sacrificing the drama of it all,” Lowry says.
It likewise felt important to Lowry that the music selections “highlight the excess” around these characters’ opulent lifestyles. As the students of Upper East Side institutions Constance Billard and St. Jude’s discover that Gossip Girl — the anonymous online scion who turns socialites’ personal drama into content — has been resurrected, they’re gathering for martinis at a swanky cocktail bar. The moment is soundtracked by Ariana Grande’s “Positions,” a title that appears to represent both the students’ upper-class status as well as their coming social-media subjugation.
Lowry also wanted to show how accessible music is today (“people have access to any music they want at any time”) by incorporating a range of genres and music from decades past across the episodes, noting how every episode is themed a little differently. “Episode three is an ‘80s episode,” he outlines. “Two’s ‘50s-’60s, kind of like soul and jazz. Episode four is a big pop songs episode.”
One thing the original and the reboot do have in common, though, is a big, splashy event that brings all of the characters together — a prime song selection vehicle. “Josh [Safran] and I kind of decided that each event would have their own sound,” Lowry says. “And I feel like that gives us the opportunity to use some modern pop stuff, some lesser-known stuff.”
In addition to Lowry, the team needed a series music composer to create a whole new Gossip Girl reboot vibe. So they looked up superproducer and songwriter Ariel Rechtshaid, who has worked with every popular artist from Usher to Vampire Weekend to Haim, U2, Solange, Charli XCX, Madonna and more. The catch? He hadn’t technically composed music for TV at this scale. “I’ve always liked the idea of [scoring for TV], I just never had the creative space to do it, and now I do,” Rechtshaid says over Zoom from his home in Los Angeles. “It was kind of a curious question, when they asked me if I would be interested, and I said, ‘Yes, I’m interested, but, why me?’ Because I don’t have any history of scoring, so what is it about me that makes you want me to do it? And they were sweet; I think they wanted me as part of the brain trust in a way.”
Rechtshaid also says that Safran urged him not to worry about anything that came before and to just go with his gut while scoring the reboot. So, while reading the show’s pilot script, Rechtshaid thought about both the city of New York and the “rich, dysfunctional families” that populate certain neighborhoods. “The immediate bullet points that came to mind were New York, which, being an LA native, has always been a little bit exotic to me,” he says. “It has this longer history than LA, it’s kind of connected to Europe to me. It feels literally more classical. String arrangements. I thought about rich, dysfunctional families that are high-powered and the children of that. Like a dark, powerful energy. That was the way I interpreted it.”
Strings and orchestral arrangements also feature heavily in Lowry’s songs, like Hope Tala’s needle-drop, and Kate Bush‘s art-pop standby “Cloudbusting,” which shows up in episode three. (The same episode features Aretha Franklin‘s jazzy “Ac-Cent-Tchu-Ate The Positive.”) Regardless of decade and sub-genre, though, Lowry says the overall connective tissue in the Gossip Girl reboot is pop music. “I think one of the reasons we’ve found the music to be so fun and successful so far is because I genuinely love pop music,” he says. “I just feel like it’s what the show needs. Josh has such great taste and we have such overlapping taste. Josh likes a lot of classical and opera. As the show goes on, you start to see that integrated a little bit more, which I think is really fun. The way that it kind of weaves itself into the narrative while still having a Genevieve song or like, Normani. And then there’s like, a Bach piece. Something from an opera from the 1800s. We have a Taylor Swift song in [episode] 107. I love that there’s a Doja Cat-to-Paul Anka transition. I think it speaks to the show and the level of melodrama, but is still sophisticated. I think it highlights these different worlds and these different perspectives so well.”
If Blade Runner 2049 left you wanting even more stories set in the neon-drenched, cyberpunk Los Angeles of the future, you’ll be glad to know you won’t have to wait another 35 years for the next entry in the series. Later this fall, a 13-episode animated series — Blade Runner: Black Lotus — is coming to Adult Swim and anime streaming service Crunchyroll. At this year’s San Diego Comic-Con, Adult Swim revealed the first trailer for the anime and much like the previous Blade Runner films, it looks stylish as hell.
Blade Runner: Black Lotus is set in 2032, 13 years after Blade Runner and 17 years prior to Blade Runner 2049. The show follows a replicant (or android) named Elle who has been gifted special powers as well as the title “Black Lotus.” After escaping from her creators, Elle is forced to live a life on the run that’s full of high-octane action, street fights, and katanas while she avoids “retirement,” or replicant deactivation. According to the showrunners, the series will feature a handful of returning characters as well as plenty of fresh faces.
Shinji Aramaki (Appleseed) and Kenji Kamiyama (Ghost in the Shell: Stand Alone Complex) are set to direct the series with Cowboy Bebop director Shinichiro Watanabe on board as creative producer. As far as the English version of Blade Runner: Black Lotus goes, Iron Fist actress Jessica Henwick will be voicing protagonist Elle with actors Will Yun Lee, Samira Wiley, Brian Cox, Wes Bentley, Josh Duhamel, and more voicing additional characters.
While Blade Runner: Black Lotus is still waiting on an official release date, it should be hitting both Adult Swim and Crunchyroll later this fall.
DaBaby’s set at Rolling Loud Miami was an eventful one, prompting no less than three viral moments. In one, a mascot costume turned out to be occupied by Tory Lanez, incensing Megan Thee Stallion fans who thought DaBaby was showing disloyalty to the rapper who delivered him several hit collaborations in favor of her alleged abuser. That instance may or may not have led to the next, in which DaBaby dodged a dirty shoe flung his way by a fan in attendance.
But the last one might be the most bizarre. In between two songs, DaBaby tried for a call-and-response hype moment but apparently caught up in trying to encourage fans to count their blessings, he inadvertently shamed an entire community of people who already have to live under a stigma. “If you didn’t show up today with HIV, AIDS, any of them deadly sexual transmitted diseases that make you die in two or three weeks, then put your cell phone light in the air,” he said.
But then he made it worse, doubling down with a homophobic statement. “Fellas, if you ain’t suck a n****’s dick in the parking lot, put your cell phone light in the air.” There’s no generous way to put that one… it’s just outright homophobic, and fans are calling him out on Twitter. Check out their responses below.
Dababy is performing in front of thousands of people and angrily thinking about gay men sucking dick in the parking lots….why exactly? I have so many follow up questions.
dababy being homophobic talking about spreading HIV/AIDS while performing in front of a crowd of 1000s of ppl in a global pandemic is a juicy contradiction
Ahmed Hafnaoui had the swim of his life at just the right time on Sunday. After eeking into the men’s 400-meter medal race in last place out of the eight finalists, the 18-year-old swimmer from Tunisia shocked everyone by taking home the gold in the event at the Tokyo Olympics.
Prior to the semi-finals, Hafnaoui wasn’t even listed in the DraftKings Sportsbook odds of winning list, so the fact that he overtook the Australian favorites to win was extra impressive. Australia’s Jack McLoughlin won the silver and American Kieran Smith took home the bronze, and though the race was close, it wasn’t that close by swimming standards. Hafnaoui was the fastest swimmer, hands-down, after being the slowest of the finalists just the day before.
This, as they say, is why they play the games.
And this footage of Hafnaoui’s loved ones in Tunisia reacting to his epic win is why everyone loves an underdog.
In a video originally shared by Tunisian sports news channel ETTACHKILA, Hafnaoui’s family is heard cheering and screaming as they watch him swim in medal contention throughout the race. But as they watch him retake the lead in the final stretch and touch the wall first, their joy is palpable. (Definitely want the sound up for this—just maybe not too high.)
This will give you goosebumps.
18-year-old Ahmed Hafnaoui’s wasn’t given a prayer in the men’s 400m freestyle fina… https://t.co/ZlCxmcTrXB
A win is always exciting, but a win by someone who was given slim-to-no chance at even medaling is incredible to watch. Talk about peaking at just the right time. Simply incredible.
A clearly overwhelmed Hafnaoui told NBC, “I just can’t believe that. It’s amazing.”
He said he felt better in the water this morning than yesterday, and that he just put his head in the water. “And that’s it,” he said.
“I’m Olympic champion now,” he added. “I just can’t believe.”
Ahmed Hafnaoui: ” I’m an olympic champion now ”
Hell yeah you are young boy ! You made the whole Tunisia 🇹🇳 proud !… https://t.co/l5xLBep8kS
Sharing a throwback photo of himself at 15 on Twitter, he further posted his thoughts on how Pharrell’s album In My Mind was influencing him at the time. “‘In My Mind’ turns 15 today,” he wrote on Twitter. “Came out around the time of this photo. Was at hawthorne high summer school and man I can’t articulate what it means/did for me. I made odd future that summer and set out to be where i am now before 10th grade begun. Very important piece of art to me.’”
‘in my mind’ turns 15 today. came out around the time of this photo. was at hawthorne high summer school and man i cant articulate what it means/ did for me. i made odd future that summer and set out to be where i am now before 10th grade begun. very important piece of art to me https://t.co/klet0z0w0z
— Tyler, The Creator (@tylerthecreator) July 25, 2021
For those who aren’t familiar, Pharrell’s 2006 solo debut featured guests like Kanye, Pusha T, Gwen Stefani, Snoop Dogg and Nelly. It came out on July 25, 2006. The official fifteen year anniversary was yesterday, when Tyler made his post honoring the record. Check it out below if you’ve never spent any time with the project.
Isaiah Rashad’s long-anticipated sophomore album The House Is Burning drops next Friday, July 30, and with just one week to go, the Chattanooga rapper has shared the album’s full tracklist on social media.
As you can see from the back of the album, pictured below, The House Is Burning features guest spots from SZA, Lil Uzi Vert, Jay Rock, 6lack, and plenty more. Also, production credits range from Devin Malik to Kal Banx (who also guests on the record), Kenny Beats, Hollywood Cole, and more. As previously reported, Rashad first made his comeback earlier this year with “Lay Wit Ya” featuring Duke Deuce, following up with “Headshots (4r Da Locals).” He also shared a few songs that got cut from the album, including “200/Warning.”
Rashad first mentioned The House Is Burning in a May interview with The Fader. “I just wanted this sh*t to sound fun,” he said. “If I’m sad, people don’t need to be able to tell. And this is probably my most depressing album.”
Check out the tracklist below.
1. “Darkseid”
2. “From The Garden” Feat. Lil Uzi Vert
3. “Rip Young”
4. “Lay Wit Ya” Feat. Duke Deuce
5. “Claymore” Feat. Smino
6. “Headshots [4R Da Locals]”
7. “All Herb” Feat. Amindi
8. “Hey Mista”
9. “True Story” Feat. Jay Rock and Jay Worthy
10. “What U Sed” Feat. Doechii and Kal Banx
11. “Don’t Shoot”
12. “Chad” Feat. Ygtut
13. “9-3 Freestyle”
14. “Score” Feat. SZA and 6lack
15. “Thib”
16. “HB2U”
The House Is Burning is out 7/30 via TDE/Warner. Pre-order it here.
Isaiah Rashad is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Aside from the big names that American audiences are likely to recognize, Skepta also tapped Nigerian rapper Teezee, who is also the founder of the Lagos-based African culture magazine, Native Mag. Teezee appears on the track “Peace Of Mind” along with Kid Cudi, while Balvin holds down his own feature on a song called “Nirvana.” Check out the full tracklist below, the project drops this Friday on July 30th. Nothing else big happening that day like Billie Eilish dropping her hotly-anticipated new album Happier Than Ever or anything. Then again, their fanbases probably don’t overlap too much.
All In EP tracklist:
1. “Bellator”
2. “Peace Of Mind” (Featuring Kid Cudi and Teezee)
3. “Nirvana” (Featuring J Balvin)
4. “Lit Like This”
5. “Eyes On Me”
Bo Burnham’s latest special, Inside, has quickly become a career-defining moment for the comedian. That’s also true of the soundtrack album, Inside (The Songs), which became his first top-10 album on the Billboard Hot 100 chart when it peaked at No. 7 last month. A lot of the songs are relevant to certain aspects of our lives, and due to recent events, a couple of thematically fitting tunes from the soundtrack saw significant increases in their streaming activity.
Billboard reports that “Bezos I” and “Bezos II” — a pair of brief, interlude-like songs about Amazon founder Jeff Bezos — saw increased streams in the wake of Bezos’ trip to space. Bezos’ flight took place on July 20, and on July 20 and 21, “Bezos I” delivered 1.4 million on-demand streams in the US, which was up 22 percent from 1.2 million during the two days before the launch, July 18 and 19. “Bezos II” experienced a similar jump as it went from 263,000 to 304,000, good for a 16-percent lift. Together, the two songs were streamed 1.7 million times on July 20 and 21, up 21 percent from the 1.5 million streams on Jule 18 and 19.
No songs from the album have yet made the Billboard Hot 100 chart, but “All Eyes On Me” is currently No. 2 on the Bubbling Under Hot 100 chart. Meanwhile, “Bezos I,” “Look Who’s Inside Again,” “Welcome To The Internet,” and “All Eyes On Me” have all made it onto the UK and Ireland charts, while those tracks, minus “Bezos I” but plus “Goodbye,” reached the top 30 of the New Zealand chart.
Oskar Blues/Sweetwater/3 Floyds/Sierra Nevada/istock/Uproxx
Unless you’re an armchair beer historian, you likely have some confusion about the pale ale and its origins. A quick primer: pale ale isn’t a remotely new category. This style of beer — made using warm fermentation and pale malt — has been in existence since the 1700s. It’s just the American version that’s in its infancy (along with its many offshoots).
In 1975, Anchor Brewing’s Anchor Liberty Ale was, technically speaking, the first American Pale Ale. In 1980, Sierra Nevada brought the style to a mass market. While classic pale ales rely on Noble hops, American pale ales are known for their citrus zest notes and floral flavors due to the “C” hops from the Pacific Northwest — Cascade, Centennial, Chinook, or Columbus (most typically Cascade). Generally speaking, these beers are medium-bodied and balance their hops with a nice toasted maltiness.
As the American Pale Ale continues to expand and evolve, we got to wondering: Can the classics still stand up, flavor-wise? To investigate, we decided to put them to a blind taste test. Check out our notes and results below.
Part 1: The Taste
For this blind test, I picked eight classic American pale ales — most of which have been available for years. For what it’s worth, they’re all fairly easy to locate at your local grocer (or online retailer). Next, I blindly tasted and ranked each one to determine which is actually the best using only my sense of smell and taste.
As always, there were some interesting surprises once the various labels and all the history that comes with them were covered. Here’s our lineup:
Three Floyds Zombie Dust Pale Ale
Deschutes Mirror Pond Pale Ale
Half Acre Daisy Cutter Pale Ale
Great Lakes Burning River Pale Ale
Toppling Goliath Pseudo Sue Pale Ale
Sierra Nevada Pale Ale
Oskar Blues Dale’s Pale Ale
Sweetwater 420 Extra Pale Ale
Let’s get this pale ale party started!
Taste 1:
Christopher Osburn
Tasting Notes:
This beer has a really fruity nose. Instead of simply citrus and pine, there are also fresh berries, wet grass, and various tropical fruits. To say a lot is going on is an understatement. The palate reveals a more citrusy beer that still carries the fruity elements of the nose.
It’s juicy, filled with tropical fruit flavors, and has a nice malt backbone. The finish is slightly bitter but pleasing.
Taste 2:
Christopher Osburn
Tasting Notes:
A lot is going on with this beer’s nose, too. At the forefront is citrus zest. This is followed by slightly fruity, resinous notes and a final hint of caramel malt sweetness. The palate is loaded with lemon, lime, grapefruit, honey, and caramel flavors. All in all, it’s maltier than most of the other pale ales I’ve tasted.
Taste 3:
Christopher Osburn
Tasting Notes:
This beer starts with extremely dank, resinous, and citrusy aromas. The palate continues the trend with grapefruit, pine, and more citrus flavors. It’s spicy, filled with citrus, and has a good deal of hop bitterness at the end.
Not a bad beer by any means. I just wish it was a little more well-rounded in the malts to hops ratio.
Taste 4:
Christopher Osburn
Tasting Notes:
The nose swirls with scents of pine trees, guava, ripe grapefruit, citrus peels, and a nice hint of caramel malts. The flavor is littered with stone fruits, citrus, fir tips, and just a hint of light bitterness at the finish.
This is a very citrus-forward pale ale, but there are enough other flavors to round it out nicely.
Taste 5:
Christopher Osburn
Tasting Notes:
The aroma is all hops — with wet grass, a field of wildflowers, and pine taking center stage. There’s a tiny hint of caramel malts, but I wish there was more. It honestly smells more like an IPA than a pale ale. When I sipped it, I found grapefruit, pine, and a lot of bitterness.
Overall a decent beer, if a little hoppier and more bitter than I’d prefer for an easy-drinking pale ale.
Taste 6:
Christopher Osburn
Tasting Notes:
This features a complex nose. There’s a nice mix of lime zest, grapefruit, floral hops, and biscuity and caramel-like malts. Sipping it reveals a well-balanced beer that begins with a nice fruity, citrusy kick of hops followed by slight pine and sweet, toffee-like malts. The finish is hoppy, fruity, and slightly bitter.
Taste 7:
Christopher Osburn
Tasting Notes:
This beer has very fragrant aromas of resinous pine, wildflowers, tart lemons, biscuity malts, and just a hint of spice. The palate is filled with notes of wet grass, flowers, pine, orange peels, grapefruit, and a nice caramel malt finish.
This is a well-rounded beer that highlights pine nicely.
Taste 8:
Christopher Osburn
Tasting Notes:
While caramel and biscuit-like malts are prevalent, citrus is the dominant scent on this beer’s nose. The palate revealed pine resin, grapefruit, dry hay, and a nice, sweet malty backbone. It showed a semi-sweet, slightly bitter finish that’s tempered by sweet malts.
First launched in 2002, this pale ale is Oskar Blues’ flagship beer. The “original craft beer in a can” is aggressively hopped and filled with pale malts and dominated by citrus and floral hops. When it comes to a pale ale, this is beer is a few hops away from being an IPA.
Bottom Line:
While this beer contains pale malt, I wish it had a little more impact on the flavor. This is a beer for fans of piney hops who don’t mind bitterness and don’t really care about any other flavors.
Sweetwater’s most popular beer, 420 Extra Pale ale is a dry-hopped pale ale that is designed to appeal to fans of dank, piney pale ales. Brewed with midnight wheat, wheat, and Munich, and 2-row malts, as well as Centennial and Cascade hops, it gets added flavor from dry-hopping with even more Cascade hops.
Bottom Line:
You know what you’re getting when you crack open a beer with “420” in its name. This cannabis reference indicates that this beer will be a bitter, floral, hop bomb. It definitely is — which can be a bit much for some pale ale fans.
Another classic pale ale, Great Lakes Burning River was named for the 1969 burning of a Cuyahoga River. This malt-forward pale is brewed with 2-row, Crystal 45, Caramel 60, and Biscuit malts. It gets its bright, floral hop flavor from the addition of Centennial and Cascade hops.
Bottom Line:
This is a fairly well-rounded pale ale. I can see why this has won numerous awards over the years. The only thing stopping it from being rated higher today is the absence of a few more floral hoppy flavor notes in addition to all the citrus.
This year-round, 5% pale ale is brewed with 2-row, Carapils, and Munich malts, as well as classic Cascade hops. One of the most popular, classic pale ales on the market, Mirror Pond is known for its complex flavor and balance between malts and hops.
Bottom Line:
This beer isn’t as crushable as some of the others on this list and that’s not such a bad thing. While it still has a great citrus flavor, it’s maltier and richer than most pale ales — a little more full-bodied.
One of the most beloved American pale ales ever made, 3 Floyds Zombie dust is a 6.5% hoppy, floral, citrus-filled beer that has a cult following from coast to coast. Instead of the usual Cascade hops, 3 Floyds opts to use Citra hops as its base. In fact, it was one of the first Citra-hopped beers on the market when it launched back in 2010.
Bottom Line:
This is an extremely flavorful, memorable beer. There are so many flavors dancing around this beer, you’ll need to (and want to) drink multiple pints before you uncover them all.
3) Toppling Goliath Pseudo Sue Pale Ale (Taste #4)
Another beer that bucks the trend of brewing pale ales with Cascade hops, Toppling Goliath’s iconic Pseudo Sue is a single-hop pale ale that is exclusively brewed with Citra hops. The result is a surprisingly flavorful, well-balanced, citrus bomb of a pale ale.
Bottom Line:
Even though this beer is dominated by citrus flavor, it’s definitely not one-dimensional — there are a good deal of tropical fruit flavors and a nice malt finish, too. All in all, a very drinkable, thirst-quencher.
Sierra Nevada is the pale ale that started a revolution when it was launched back in 1980. Unsurprisingly, it’s still as respected today. Brewed with simple ingredients like 2-row and Caramelized malts and Cascade hops, it’s piney, citrusy, and totally refreshing — just as it was forty-one years ago.
Bottom Line:
This is one of the most well-balanced pale ales I’ve ever tasted. There’s a lot of citrus, floral, piney flavors but they work perfectly with the added malts. All in all, a beer I continue to go back to again and again.
Daisy Cutter, launched in 2009, was one of the first beers Chicago’s Half Acre ever made. It began as a limited-edition offering, but beer drinkers loved its piney, fruity, yet well-balanced flavor. Today, it’s the brewery’s most well-known, sought-after beer.
Bottom Line:
While this beer is well-rounded with a nice ratio of hops to malts, the malts included aren’t overly sweet, thus letting the pine and citrus shine.
As a Drizly affiliate, Uproxx may receive a commission pursuant to certain items on this list.
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ᴺᴹ (@KingSeanSwae) 
like what tf provoked this? it’s giving closeted.
(@cyackdestroyer) 
