Today (June 19) marks Juneteenth, the day commemorating the liberation of slaves in America. This year, many are calling for the day to be recognized as a national holiday. Pharrell recently spoke at a briefing in Virginia after pressuring the governor to introduce legislation that would cement Juneteenth as an observed holiday in the state. Now, Usher is the latest artist to speak up on the importance of commemorating the day. The singer published an op-ed that examines why Juneteenth should be nationally revered.
In an article written for The Washington Post, Usher said the recognizing Juneteenth as a national holiday “would be a small gesture compared with the greater social needs of black people in America,” but doing so can still “remind us of our journey toward freedom, and the work America still has to do.”
Usher began the op-ed by reflecting on the lack of curriculum surrounding Black history in his Tennessee school system. “I came to understand Juneteenth’s history a decade ago during a period of reflection and in pursuit of any ancestral history that would tell me who I am,” he wrote.
The singer continued that the day should be revered, but also stands as a reminder about how equality wasn’t immediately granted to Black Americans after Abraham Lincoln’s Emancipation Proclamation:
“The liberation Juneteenth commemorates is cause for celebration, but it also reminds us how equality can be delayed. On June 19, 1865, on the shores of Galveston, Tex., Union Gen. Gordon Granger arrived by boat to announce to enslaved African Americans that the Civil War had ended and they were now free. While President Lincoln’s Emancipation Proclamation was issued two and a half years prior, and the Civil War had ended in April of that year, it wasn’t until June 19, 1865, that almost all of our ancestors were free. We should honor their lives and celebrate that day of freedom forever.”
Usher concluded his explainer by offering ways to celebrate Juneteenth:
“Making sure that our history is told is critical to supporting and sustaining our growth as a people. The least we deserve is to have this essential moment included in the broader American story. […] We could observe it, as many black Americans already do, by celebrating both our first step toward freedom as black people in America and also the many contributions to this land: the construction of Black Wall Street; the invention of jazz, rock n’ roll, hip-hop and R&B; and all the entrepreneurship and business brilliance, extraordinary cuisine, sports excellence, political power and global cultural influence black Americans have given the world.”
So much of our filmed history glorifies the hero, knuckles raw, standing tall, victorious in their fight against the forces of evil. Fiction’s great. But as we’ve learned over the years, the end result isn’t nearly as interesting as the journey. And that’s what we’re being asked to watch with HBO’s Perry Mason (which debuts Sunday at 9PM). Known for a very different kind of fight, Mason was a master of the courtroom and a champion for the falsely accused in another life, portrayed by Raymond Burr for decades (ask your mom). This version? It’s complicated.
Played by Matthew Rhys (The Americans, A Beautiful Day In The Neighborhood), this Mason is years away from the more familiar version, the center of a remake that mostly tosses aside dozens of novels and decades of established TV history to start from the ground up. Or is it rock bottom? A haunted and flailing gumshoe, Rhys’ Mason catches a case that’s as horrific as it is a winding road leading to all kinds of dark corners that he’d probably best avoid. But he doesn’t — much to his detriment. And yet Perry Mason gets back up, dusts himself off, and readies for the next setback. It’s an aspect that feels inspirational in a cockeyed kinda way and it seems like something that drew Rhys to the role — this idea of someone who has been pressed by life but who maintains his interest in the fight.
We spoke with the Welsh-born actor about that and all things Mason, the thread that runs through his work, and whether he’s feeling restless or at peace with some time off the road.
I was really fascinated by the trip you took to Patagonia and that adventure [Rhys retraced a 400-mile trek on horseback some years ago]. Seeing that, The Wine Show… With everything going on with COVID, I imagine you’re getting quite restless. And are you keeping up with your photography?
Maybe I’m saying this in spite of everything, but you spend so much time on the road in this business. You spend so much time away from your family that these days of lockdown have seemed to be a little luxury to spend that much time with the family. So I have enjoyed that, I really haven’t kept up with photography more than just the iPhone and the kids. But yeah, I’m sure, the bug will come again and I’ll pack a case. But having spent so much time being away from home, it’s actually nice just hunkering down for a moment.
Does that change your perspective going forward when things get back to normal? Are you less likely to be on the road as much and maybe try to stay home more?
Yeah. I would love to. I would love to spend more time at home. But at this time, you think you kind of got to go where the work is, really. In an ideal world, I’d love to spend more time at home, but when the green light comes again, you have to go wherever the going is.
What was your relationship to the history of the Perry Mason character, the TV show, and the novels growing up in Wales?
It was very huge in Britain. It’s strange, it was one of those shows that you’re incredibly aware of… or that I was very incredibly aware of while going, “Have I actually watched an episode of it?” It was always something that was on, you were always aware of it. And I had this vague memory that people confess on the stand and that’s about it.
The remake has a long history [with producer Robert Downey Jr. initially set to star]. When you come aboard, how does the collaboration work as you’re trying to find the character with something that maybe was already kind of sketched out?
When Rolin Jones and Ron Fitzgerald, the two writers, initially pitched their idea with Team Downey on what this series was going to be and who this person was, from the very beginning they were incredibly open and collaborative about saying, “We want to build this with you. Where do your interests lie in this character, what do you want to see magnified or bulked or beefed up and what can we change?” So that to me was kind of a revelation to be able to work in that way, very closely with them and kind of build this character with them, even the more physical aspects of the costume as well. So they were incredibly collaborative.
What’s the difference when you’re building a character that’s based on someone who is real versus someone who is an iconic character (even though you’re rewriting it)?
Well, obviously the fictional character is a lot more liberating. Especially playing people who are still alive that I’ve kind of formed relationships with, like Daniel Ellsberg (The Post) and Tom Junod (Beautiful Day In The Neighborhood). I certainly felt an enormous degree of responsibility playing them, especially the stories that they had. I certainly didn’t want to do them a disservice. And so, with the more fictional characters, you let your imagination run rampant within reason. And you can kind of — if you’re working as collaboratively as you are with the writers like we had — you can lend yourself to those elements that interest you more. So the sky’s the limit, really.
Does he have a code? Does he have a belief system at the start?
I think he has an absolute rock-solid belief system. One of the elements that really drew me to him. I think he feels he’s been served such injustice and he’s also witness to so much injustice. You always think about why shows, detective shows, legal shows, cop shows do so well it’s because I think that… and this is my own kind of schoolboy armchair philosophy, that innately there’s this great… you have this hope that justice will always prevail. Which is why I think it’s reassuring to tune in every week to see someone serve justice. And so he has his one kind of very true guiding north star, which is what’s right, and you have to do what’s right. His ways and means of doing that can be heavily criticized. But I think he’s led by that one thing, one belief about what is right. And if it’s right, then it has to be done. That was a big appeal to me about him.
I’m looking at headlines and comments about you. That you have “a relationship to playing masculine frailty and defect.” The New York Times said that. The Ringer said you’re “the king of vulnerability.” With all these things, it’s a picture. Do you run away from that? Do you run towards it? How do you feel about that general view of your work?
[Laughs] I mean I don’t… I’m kind of slightly… I have no real attitude towards it. Because at the end of the day, all I want to do is play people that interest me or [be involved with] projects and stories that interest me. The kind of more one-dimensional people isn’t that interesting.
Do you examine why those things are interesting to you? Because there is a thread that runs through some of these characters.
No, I just find the human condition interesting. And usually when the condition is in conflict, especially internally it tends to be more interesting than, you know, the outer conflicts. The outer conflicts dramaturgically tend to fuel those in a way that then it becomes interesting. But I’m not that interested in the kind of more one-dimensional heroic aspects of masculinity. I think that’s kind of been done. I’m interested in how people arrive at where they are. That was another thing the writers did, when you meet Mason, an inordinate amount of things have happened to him to present him to you in that moment. And that to me was very interesting, that whole thing of his own family and he’s presented a case about a dead boy. He’s a World War I veteran, he’s losing this kind of family heirloom in the farm. So there are all these things, and all his bases incredibly loaded when you first meet him. And I thought that would be interesting to play.
Obviously the storyline is very heavy, but this had to be a lot of fun, right? To step into those shoes and the costumes and that era.
Absolutely. It was a huge part of the kind of boyhood fantasy from growing up with those old movies and those iconic film stars. And kind of ticking a kind of Chandleresque box. I get to wear the fedora and flick the cigarette butt and drive the car and shoot the gun. And almost say, “Here’s looking at you kid.” In fact it’s hard sometimes, I found myself impersonating Bogart, and you’re like, “Oof, I got to stop that.”
Your American accent is well-traveled at this point in a lot of different roles. Is there an effort to try to change that or tweak that in any kind of way [for this]? Or do you just kind of stick with what you’ve done? I imagine it’s very hard to keep that going.
It can be, and you can fall into ruts as well, which you know, you do one thing for six years and it’s hard to kind of break. With Mason, I tried to… Tim Van Patten, the director, and Shea Whigham [who co-stars as Mason’s partner] have some very strong New York sounds naturally in their own dialects. It’s my own Achilles heel that I tend to mimic people too much because I’m always kind of trying to hold an American sound. And I would find myself mimicking their New York sound. I’d find that coming out and would have to remind myself that Mason was born and raised Southern Californian.
Funny enough, Ron and Rolin worked with a historian who kind of specialized to a degree in the kind of linguistic history. So they would pack the script at times with phrases and sayings of the time that were usually held at the time certainly in Los Angeles in the 1930s. And at times it was hard enough to be kind of pulled out because those moments… I said I was finding it hard to not to impersonate Bogart. It was those moments where finding the tone of the piece was a little difficult for me at the beginning because you’re trying to kind of skate a fine line of making these people very believable to a modern audience who will watch it on television, but ultimately reminding them that it is a period piece. And then in those moments when we would use kind of idioms of the time, it was hard not to kind of send it up and sound like you’re doing a bad Bogey impression. So it was making those moments kind of more seamless and naturalistic that took kind of extra agility.
There was such a long relationship with the character 30, 40 years from the TV show to the movies and stuff [for Raymond Burr]. Do you want to grow with this character and play him… a different version of him in 15 or 20 years? Or do you want to just stop once we get to the point where there is some public consciousness of who he is as a lawyer?
It’s like any kind of long thing. I’ve been very fortunate with the shows that I’ve done in that the writing has certainly kept evolving. I think it’s hard to do that over a number of years without kind of pushing the envelope somewhat. So listen, I will always go where the writing is, and if the writing continues to intrigue me or challenge me, then you could find me here 15 years from now going, “Who knew it would end up like this?”
Louisiana rapper Hurricane Chris (real name Christopher Dooley, Jr.) has reportedly been charged with second degree murder and illegal possession of stolen things, as reported by ABC affiliate KTBS reports (via XXL).
The 31-year-old rapper apparently told police that during a late-night encounter at a gas station, he shot a man who he believed was trying to steal his vehicle. The victim, who was shot multiple times, was taken to a hospital and later died from his injuries. However, video footage of the incident “showed that Dooley did not act in self-defense,” Shreveport police said in a news release. Additionally, detectives said the vehicle in question did not belong to Dooley, as it was reported stolen in Texas.
NBC 6 News journalist Jade Jackson shared Dooley’s arrest record on Twitter:
Y’all talking about Hurricane Chris done came to Shreveport shooting folks early this morning. pic.twitter.com/j2O5rydZnz
Hurricane Chris is best known for his 2007 debut single “A Bay Bay,” which peaked at No. 7 on the Billboard Hot 100 chart. His 2009 song, “Halle Berry (She’s Fine),” also achieved peaks at No. 7 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts. More recently, he landed a feature from Ty Dolla sign on his 2015 single, “Sections.”
Ty Dolla Sign is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Even though The Mandalorian‘s hit first season ended back in December, Disney+ has kept interest in the show running hot thanks to Disney Gallery: The Mandalorian, which has offered an in-depth look at the making of the bounty hunting (with Baby Yoda) series. The behind-the-scenes special just aired its eighth and final episode where it revealed a neat little Easter Egg: It turns out Hamill made a secret cameo during The Mandalorian‘s first season, but not as Jedi Knight Luke Skywalker.
During the fifth episode, “The Gunslinger,” Mando lands on Tatooine, the former home planet of Luke Skywalker and the site of his epic rescue of Han Solo from Jabba the Hutt’s palace. While there, Mando stops by the infamous Mos Eisley cantina, and it’s there where Hamill makes his surprise cameo.
There’s been one major change in the bar since we last saw it in Star Wars: A New Hope. The cantina didn’t allow droids back then, but now it has plenty of them around, including a familiar one at the bar.
There’s a droid bartending who looks exactly like EV-9D9, the droid that was responsible for registering new droid acquisitions in Jabba the Hutt’s palace in Return of the Jedi. In fact, the bartender is EV-9D9, and he just so happens to be voiced by none other than Mark Hamill, who has made several little voice cameos throughout the new trilogy of Star Wars movies, in addition to reprising his role as Luke Skywalker.
What’s interesting is that, in the months since The Mandalorian aired, Hamill has kept his participation completely under wraps. He was even directly asked about what he thinks about Boba Fett returning in season two, and the actor did a very convincing job of pretending he barely knows anything about the show. This revelation also raises questions about whether Hamill is really done with Star Wars.
As Luke tells Leia in The Last Jedi, “No one’s ever really gone.”
Browse mainstream mock drafts and you’ll come across familiar faces such as LaMelo Ball, Deni Avdija, and Obi Toppin littered throughout the lottery. All three, along with a handful of others, are seemingly locks to be selected among the top-14 come draft night in June October. One name that might have to wait until the second round but has become a Draft Twitter darling (led by The Stepien’s Zach Milner) and looks the part of a lottery-level talent is College of Charleston senior Grant Riller, who I consider a top-14 prospect.
In four collegiate seasons, the 6’3 guard averaged 18.7 points, 3.3 rebounds, 2.8 assists. 2.2 turnovers, and 1.3 steals on 61.6 percent true shooting (.519/.356/.796 split). As a senior, Riller dropped 21.9 points, 5.1 rebounds, 3.9 assists, 3.1 turnovers, and 1.6 steals per game on 60.9 percent true shooting with a 33.6 percent usage rate, underscoring his distinct combination of workload and efficiency.
The foundation of Riller’s scoring package is his elite combination of burst, body control, and acceleration/deceleration. He has the quickest and most forceful initial step in this class, capable of exploding past almost any defender before downshifting to evade help rotations. At Charleston, he lived and thrived at the basket, producing a rim frequency no worse than 30.3 percent and efficiency ranking no lower than the 81st percentile during his tenure.
As a junior, 40.2 percent of his attempts in the half-court occurred at the bucket, an area where he was in the 98th percentile. He busts out wrong-footed extensions, uses his body and the hoop as to shield defenders — scoring from awkward angles — shifts the ball in midair to avoid contests, and has no trouble finishing with either hand. The manner with which he generates force and speed from a standstill, getting low enough to blow by defenders, is unmatched in this class. Augmenting those physical traits is ambidextrous finishing, balance, and strength, providing him immense rim gravity and effectiveness. What truly stands out in Riller’s arsenal — helping to make him a genuinely special driver — is the deceptive ball-handling and manipulative changes of pace.
Riller slows the tempo or varies his dribble height to lull defenders into a false sense of relaxation before promptly burning past them. He freezes defenders or tilts them ajar with streamlined in-and-out dribbles. He utilizes swift, space-eating crossovers to drive into the lane. He slithers through narrow openings, uses his off-hand to swipe away pesky defenders aiming to deter penetration and has the frame to dislodge opponents or absorb contact without affecting results. His body control, speed variance, change of direction, handle, and 0-60 explosion coalesce for an electric downhill scorer.
Throughout his four years, Riller never ranked lower than the 73rd percentile in pick-and-rolls or 70th percentile as an isolation scorer. As an upperclassman, he was in the 98th percentile (junior) and 97th percentile (senior) in pick-and-rolls, as well as the 89th percentile (junior) and 88th percentile (senior) in isolation. His finishing expertise is a central factor in these marks, but he also excels as an off-the-dribble shooter thanks to similar physical attributes.
He averaged 0.866 points per possession (440 attempts) off the dribble at Charleston and finished in the 83rd percentile (92 shots, 0.978 PPP) this past season. To contextualize the value of his career numbers, Arkansas guard and All-American Mason Jones, one of the nation’s most impressive pull-up shooters this year, posted 0.867 PPP off the dribble, placing him in the 71st percentile in 2019-20.
As a pull-up shooter, Riller wields high-level space creation skills with quick-twitch fibers, whether it be via stepback jumpers, stop-on-a-dime elevation to spring loose, or bursting into openings for easier looks. He’s comfortable launching over tight contests, can alter his body angle to manufacture more space, and has developed a patented fadeaway jumper. All of these skills mean he is regularly prepared to shoot off balance.
There is an economical and sudden nature that lords over Riller’s scoring package. He understands when to best apply his physical tools and how to maximize the functionality of his ball-handling to simplify opportunities. Moves and decisions are, generally, precise. Wasted motion does not shoehorn its way as a thorn in the side of his game.
Much of this likely stems from four years of NCAA experience, whereas most other lottery-caliber prospects tout only one or two years in college. But recognizing and not being overstimulated by the different choices available to you as an on-ball creator is important. Riller is a legitimate three-level scorer, presenting a threat at the rim, from midrange, and beyond the arc. He’s patient in exploring all the available options when snaking around a screen or finding himself engaged in a one-on-one duel.
Scoring-wise, a few concerns still exist. Charleston’s conference, the CAA, is a quite poor defensive league, positing some worries about the degree to which Riller’s shot-making repertoire translates. He rarely faced NCAA Tournament-caliber opponents and his career Strength of Schedule was minus-1.82. Despite flashes of better arc (often in spot-up situations), Riller shoots a flat ball, which might be damaging as he adjusts to the NBA’s deeper three-point line, though this is a minor flaw from my perspective. His cumulative three-point rate of .310 is also slightly lower than you’d want for a primary initiator in this era. Given the fact he’s already 23, it’s more challenging to expect a notable shift in his shot profile at the next level.
He’s going to be a good three-point shooter, but living in intermediate zones or at the rim is a difficult proposition for a 6’3 guard. If the overall efficiency nosedives — particularly on two-pointers (59.3 percent in college) — as a result of the dramatic hike in competition, his ancillary toolkit might just not be good enough to ensure he delivers lottery-type value from this draft.
In the second half of his career, Riller showed tangible strides as a playmaker, amassing 256 assists and 176 turnovers compared to 110 assists and 111 turnovers over the inaugural two seasons. There remain holes to patch up, but the development he exhibited allows me to view him as more than a dynamite scorer with a sixth-man spark plug ceiling. Broadly speaking, he grew to better capitalize on his three-level scoring gravity, cognizant of when multiple defenders fixated on him and left themselves susceptible to breakdowns.
The ceiling of Riller’s impact as a passer is directly tied to the degree in which his scoring ability translates. If he remains a potent shot maker from anywhere on the floor, he’ll demand attention from on- and off-ball defenders, opening up passing reads and easy looks, as was the case in college. If he struggles to maintain elite or near-elite efficiency and can generally be dealt with using an on-ball stopper and one keen help defender, he’s likely not manipulative or proactive enough to consistently fashion high-value shots for teammates.
His maturation as a distributor lends credence to the belief he can continue it in the NBA and further his overall offensive game. But I’d wager there’s a limit to the extent one can improve their passing without being highly proactive and instinctual. As he’s shown, reactive passers can learn reads and sharpen their court awareness; the development curve will just plateau at some point, especially since Riller is well older than most prospects.
Early in his collegiate career, he prioritized plunging into clogged lanes ahead of kick-out reads or threading drop-off lay-downs amid the trees. Despite refinements, he wasn’t flawless throughout the final two years. Instead of hitting open shooters, he’d settle for contested jumpers and struggled with live-dribble passing. Although, he welcomed patience into his slashing reserve, better prepared to produce the best shot on the floor, even if it didn’t come from him specifically. Most of his reads were not complex, often swinging it around the arc once double-teams were directed his way, but that’s the causal effect of his scoring: He doesn’t have to be among the league’s best pure passers to be a plus facilitator.
Riller’s burst and handle are going to enact advantages. The swing factor is how regularly he ensures the offense benefits from his compromising of defenses. His size eliminates some passes from arsenal, too small to spot openings or make them. Sifting back through my notes, he still opted for cumbersome self-creation rather than straightforward passes at a fairly high rate. NBA teams are unlikely to provide him the same amount of autonomy. Poor decisions, such as a potential over-saturation of laborious jumpers, will be magnified, once again emphasizing the magnitude of his shot-making translation.
Offense will always be more important for lead guard prospects. But it’s particularly vital for Riller, who lacks the defensive projection of guys such as Killian Hayes, Tyrese Maxey, and Tyrese Haliburton, three guys with a chance to be difference-makers on that end. His Defensive Player Impact Plus-Minus peaked at minus-0.13 and the shortcomings manifest on film as well.
Navigating off-ball screens and staying attached to shooters is a significant weak point for Riller. Ball-watching plagues him at times. Despite owning the lateral burst and movement to do so, sitting down in a stance and combating dribble penetration doesn’t happen frequently enough.
Believing Riller can materialize as a neutral or slight positive defensively means investing in his flashes. His lateral movement and strength empower him to stymie attacks. He beats assignments to spots and close driving lanes, drawing charges on a semi-regular basis. Off the ball, his speed and instincts are prevalent when he’s engaged, contributing to his career 2.3 percent steal rate. Riller’s quick and strong hands shine through on stunts, and he shrinks passing lanes with his awareness.
It’s tougher to buy those sequences because he’s already 23 years old. An inconsistent defensive motor is hard to rewire the longer it persists. With 18-year-olds such as Ball or Anthony Edwards, it’s easier to coach away poor habits. The talent, though, is there for Riller to emerge as a stout on-ball guard defender with the instincts to turn teams over off the ball — nothing phenomenal, just enough to not undermine his offensive allure.
One of the most talented offensive players in this year’s class, Riller’s marriage of burst, handle, strength, finishing and pull-up shooting are rare to find. He has the outline of a dynamic three-level scorer, one who bends defenses whenever he has the ball, and his sustained passing development could make him worthy of lead guard status down the road. Even if he’s never afforded the usage to be one, he’ll have utility as a secondary handler due to his downhill slashing and spot-up shooting (40.9 percent on spot-up 3s in college, 79-of-193 shooting). The defense is troublesome, as are the age, inconsistent passing impact and level of competition. But in a class stocked with highly flawed prospects, Riller’s advanced skill set — one most won’t ever boast — has a chance to return top-15 value for a fraction of the cost.
In the wake of ESPN’s 10-part docuseries The Last Dance, many of Michael Jordan’s former teammates, friends, and competitors have added their voices to the conversation on various aspects of the story, many of them painting an unflattering portrait of one of the world’s foremost superstars.
Jordan has taken it particularly hard for his refusal to speak out on social causes during his playing days and withstood accusations that he was more concerned with image and finances than using his considerable platform to help enact change. In Jordan’s defense, he’s become significantly more active in that realm, pledging $100 million to civil rights causes and issuing public support for the Black Lives Matter movement.
Still, former Bulls’ teammate Craig Hodges believes Jordan squandered opportunities back during their time together in the ’90s and says that his own activism led to him being released from Chicago and, eventually, blackballed from the NBA altogether. Hodges claims it relates specifically to the Rodney King trial, which Jordan refused to address at the time, and Hodges appearance at the White House with the Bulls in full African garb.
Also unmentioned by the documentary: His three-and-a-half year stint in Chicago came to an abrupt and surprising end for reasons that, according to Hodges, had little to do with basketball.
***
Meanwhile, Hodges had been unjustly painted as a militant, partly because of his words and actions, and, Hodges believes, partly because of the garb he wore at the White House, all of which made him persona non grata in NBA circles. “Those who consider it extreme, that’s what it is, man,” he said. After four years spent waiting for a call from a general manager or even the opportunity to try out, Hodges finally took the league to court in 1996, but the case was dismissed.
Hodges was a 10-year NBA veteran. He spent four of those seasons with the Chicago Bulls, winning two championships during that time. He’s a three-time three-point champion at All-Star Weekend, and he holds the record for the most consecutive shots made in that event with 19.
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