It’s official: Joe Rogan is bad for your love life.
A recent Change Research poll, made up of 1,033 registered voters between the ages of 18-34, found that 55 percent of women call their partner listening The Joe Rogan Experience a “red flag.” That’s ranked seventh, behind identifying as MAGA, having no hobbies, saying “All Lives Matter,” believing there are only two genders, never asking for details, and classifying as a communist. Only 35 percent of men have the same red flag about Rogan.
Other potential red flags include a partner refusing to see Greta Gerwig’s Barbie (53 percent for women, 31 percent for men), being really intro astrology (20 percent for women, 41 percent for men), and owning a gun (27 percent for women, 13 percent for men). Common ground was found on sending green texts, with seven percent for women and six percent for men.
As for green flags:
Among women surveyed, top green flags are potential partners who read, research the best deals and rates before buying, and say Black Lives Matter. Other green flags for women include prospective partners who look better in person (51%), take candid pictures (50%), and identify as liberal (39%).
Only seven percent of women consider their partner listening to The Joe Rogan Experience to be a good thing, compared to 25 percent for men. There needs to be this kind of poll for every podcast. Somehow, Doughboys would be a 100 percent red and green flag.
When it comes to tequila, forget about words like “smooth,” “smoky,” and “rich.” It’s not that there aren’t tequilas that fit that bill (añejos explore this territory quite well), but the spirit really shines when the flavors of blue Weber agave — the plant tequila is exclusively made from — are at the forefront. A well-crafted, agave-forward bottle of tequila is bright, peppery (green pepper more than black), fruity, earthy, or vegetal, with a nice buttery finish that glides across your palate.
These more earthy-floral-peppery notes are part of the reason why I almost always prefer blancos and reposados over the more aged expressions whether I’m sipping or mixing a cocktail. Don’t get me wrong, añejos are great. But I think whisky tends to cover that smoky, rich, and smooth territory in more interesting ways.
To help get you on board with what I think is tequila’s best quality, we’re shouting out eight bottles that we’re really digging right now that highlight the flavor of blue Weber agave. For variety’s sake, I’ve left off El Tesoro, Fortaleza, and LALO’s blanco tequilas — not because I don’t think they’re great bottles (all three are amazing additive-free tequilas), but I’ve already heavily covered these particular expressions in past lists this year and we want to give some other brands a little shine.
The brand’s mantra is “no celebrity required” which… whew, that’s certainly an idea we can get behind. It’s made at NOM: 1438 — a highland and lowland 50-50 agave blend — unaged, and open-air fermented after brick oven roasting. No additives, obviously.
Tasting Notes:
Nose: Welcome to green (and a tad bit of black) pepper-ville! That’s the first note but it’s quickly balanced by creamy vanilla. If you jam your nose right in the glass you will get some ethanol warmth but not much.
Palate: Here the order reverses — it’s sweet up front and peppery on the back. There’s also a nice little salt-brine-crushed oyster shell note (without any smokiness).
Finish: The agave is alive on the backend — roasted and deeply enjoyable. I don’t love the term smooth but this does go down silky and easy.
The Bottom Line:
This is “Intro to sipping 101” for those who still want to taste what makes tequila tequila. It’s buttery to the point of needing a tad more potency for my palate — but beginning sippers will appreciate that quality.
This is the bottle for the beginner sipper who wants that
Founded in Austin Texas (but crafted in Jalisco, obviously) it took a bit for La Caza to win me over. The brand cooks and ferments its agave for one hundred hours to the sounds of classic music, which makes me roll my eyes so hard that it hurts my head.
But gimmick aside, this tequila delivers where it should: process and flavor. Produced at NOM 1414, La Caza cooks its agave in stone brick ovens, extracts the juices with a roller mill, and ferments the juice in open-air stainless steel tanks with champagne yeast and pours the results into a nice hand-blown glass bottle.
Does the classical music make a difference? Doubtful, but it’s good so… rock on, I guess!
Tasting Notes:
Nose: The roasted agave jumps out on the nose with some dusty warm citrus character.
Palate: Peppery and spicy with a very green vegetal quality and a hint of jasmine.
Finish: Sweet agave with a buttery finish that goes down with minimal burn.
The Bottom Line:
Plenty of brightness and pepper notes without a ton of burn — another great pick for the new tequila sipper.
Produced at NOM 1523, Agrotequilera de Jalisco, where it is the only brand in production, Volcan De Mi Tierra is the type of tequila you’re proud to display at your home bar. No, looks are everything, but just look at this bottle! With its lava rock-like look, it’s hard not to fall in love, luckily, the tequila is even better than looks would suggest.
Totally additive-free, Volcan is made from a blend of tequila cooked in stone brick ovens and autoclaves that is extracted via roller mills and a tahona, fermented in stainless steel tanks with champagne yeast, and cold filtered. The result is a bit of a mix of flavors typical of both lowland and highland agave.
Tasting Notes:
Nose: Roasted and raw agave combine for an inviting musky vanilla aroma.
Palate: Freshly cracked black pepper with some juicy citrus notes, a kiss of dark cherry, and some minerality.
Finish: Fruity and a touch minty but it leaves the palate a bit too quickly. I wish the flavor would stick around more because I want to savor it, but that can be remedied by another drink.
The Bottom Line:
Pepper and spice are counterbalanced by juicy fruity notes. A great tequila for mixing in cocktails and one that is always interesting to sip and let your palate explore the flavors.
Our only true budget bottle to hit this list, Tres Agave is produced at NOM 1614, Tequilera Tap, and is made using agave cooked in a high-pressure autoclave that is roller mill extracted and bottled right after distillation with no additives and no aging.
It lacks some of the easy drinkability of the other bottles on this list, but it’s the only bottle for this price that’ll get you palatable agave flavors. It’s a great option for cocktails, but admittedly, you probably don’t want to sip this one.
Tasting Notes:
Nose: Citrus zest and roasted agave with a hint of alcohol.
Palate: Bright and sweet with crisp pear flavors and some agave sweetness.
Finish: A bit harsh but not enough to cause you to wince or burn your throat. But it definitely hits back.
The Bottom Line:
A great affordable tequila that tastes like agave without breaking the bank. Reserve this one for cocktails.
Produced by 4th generation master distiller Felipe Camarena, G4 is made at NOM 1579, Destileria El Pandillo, where it is one of six brands in production. The agave here is cooked in stone brick ovens, tahona extracted, and made with natural spring and rainwater with absolutely no additives.
The bottle design and branding are weak but don’t let that dissuade you, this is one of the finest Blanco tequilas in this price point.
Tasting Notes:
Nose: Prominent agave notes. It has a warm spikiness to it that tickles the nose like inhaling spices.
Palate: A beautiful mix of roasted agave and warm citrus notes. This tequila is all bright and grassy.
Finish: Warm and nutty with a supple oily mouthfeel.
The Bottom Line:
A strong agave forward tequila that perfectly captures the bright, vegetal and subtly sweet tones of agave.
Men’s Journal listed Tapatio’s Reposado as one of the “Best Tequilas In The World,” and we’re not going to go that far but… Tapatio is damn good! And a favorite amongst many a tequila snob.
Produced at NOM 1139, the famed La Alteña, Tapatio cooks agave in stone brick ovens, extracts the juice via a roller mill, and ages the liquid in bourbon barrels for a mellow additive-free tequila that still retains some of that characteristic agave bite.
Tasting Notes:
Nose: Roasted agave with some warm barrel oak which helps to bring forth the vanilla elements.
Palate: That oak does a lot to mellow out the flavors here. You still get some roasted agave earthiness and vegetal qualities, but it’s backed by sweet vanilla and caramel.
Finish: Buttery and soft with just a touch of zest.
The Bottom Line:
A fine reposado tequila that is perfect for sipping. It’s mellow, but not to the point of masking the natural agave flavors.
Hands down our favorite reposado on this list, Cascahuin is a fantastic tequila that highlights the sweetness of agave. Produced at NOM 1123, at Tequila Cascahuin (the distillery’s namesake!), this is another additive-free tequila made from agave cooked in stone brick ovens, roller mill extracted, and aged for 6-8 months in American oak barrels.
Tasting Notes:
Nose: Roasted agave kissed with caramel and citrus.
Palate: Warm as soon as it hits the palate, Cascahuin begins sweet with some cinnamon spiciness before hitting you with black pepper and spice.
Finish: A mix of mint and pepper with roasted agave hovering on the backend.
The Bottom Line:
The best agave-forward reposado currently on the market in our opinion. A versatile bottle that is perfect for sipping and mixing.
Moving things back into the unaged territory, Siete Leguas’ Blanco tequila is produced at NOM 1120, a distillery of the same name, where it is the only brand in production.
The agave is cooked in stone brick ovens, tahona, and roller mill extracted, and made with natural spring water. The juices are fermented in stainless steel tanks and twice distilled in copper pots with no additives.
Tasting Notes:
Nose: Warm inviting agave notes with some wet rock character.
Palate: Earthy and highly vegetal with a strong green grass flavor and some cracked pepper spice.
Finish: Citrusy with a hint of vanilla and some cool mint on the backend.
The Bottom Line:
A highly grassy and vegetal tequila that perfectly captures the bright characteristic of agave.
I’ve highlighted Tequila Ocho a lot in the past, but until now I haven’t had the chance to sing the praises of its plata expression. Produced at NOM 1474, Cía Tequilera Los Alambiques, where it is one in three brands in production, the agave here is hand harvested between 7-10 years, cooked in stone brick ovens, roller mill extracted and fermented in wood vats before being twice slow-distilled in copper pots.
It has absolutely no additives.
Tasting Notes:
Nose: Roasted agave, minimality, and fresh-peeled orange rind.
Palate: Very citrus forward counterbalanced by sweet roasted agave flavors, a bit of pepper, and lots of herbal interest.
Finish: Grassy and bright with a subtle mint and pepper finish. Almost cilantro-like.
The Bottom Line:
Orange citrus zest balanced by sweet agave, Tequila Ocho’s plata is a joy to slow sip and makes a Cointreau margarita come alive.
Original Watchmen author Alan Moore seems to famously dislike every project that adapts his work. I’m certain that he must dislike Damon Lindelof’s Lube Man if he dislikes the HBO series in general. Yet I’m still mystified about how, even though Alan Moore is notoriously critical of modern adaptations (like Joker) that also take inspiration from his work, he couldn’t at least appreciate the messaging behind Lindelof’s continuation of Moore’s groundbreaking graphic novel.
The series didn’t even attempt to literally translate the source material because Zack Snyder had already been there and done that. Instead, Lindelof recontextualized the story by launching with an onscreen depiction 1921 Tulsa Race Massacre and kept on running with a skewering of racial injustice by adding texture to the Hooded Justice and Doctor Manhattan characters. This was a transcendent approach that piggybacked upon Moore’s own before-its-time deconstruction of superheroes. And also, the giant squid! That was fun, even as it highlighted a modern character’s trauma alongside other characters’ generational trauma.
Lindelof’s angle of continuation on the original source material makes it an extra head-scratching affair to reconsider that Moore disliked HBO’s Watchmen but has now directed DC to send his royalties to Black Lives Matter.
The Telegraph asked Moore if reports were true about him taking all of the money he makes from film and TV series and dividing it among the writers and other creatives, to which the writer answered: “I no longer wish it to even be shared with them. I don’t really feel, with the recent films, that they have stood by what I assumed were their original principles. So I asked for DC Comics to send all of the money from any future TV series or films to Black Lives Matter.”
He doesn’t really specify which DC-based films currently upset him, but Joker is probably high on that list. And again, only Alan Moore really knows why he hated HBO’s Watchmen, but he previously told GQthat he “had disowned the work in question” and told Lindelof as much before filming began. He further found the idea of another adaptation to be “embarrassing,” and then he was appalled when the show won awards:
When I saw the television industry awards that the Watchmen television show had apparently won, I thought, “Oh, god, perhaps a large part of the public, this is what they think Watchmen was?” They think that it was a dark, gritty, dystopian superhero franchise that was something to do with white supremacism. Did they not understand Watchmen? Watchmen was nearly 40 years ago and was relatively simple in comparison with a lot of my later work. What are the chances that they broadly understood anything since? This tends to make me feel less than fond of those works. They mean a bit less in my heart.
Well, Alan Moore has the right to be upset, of course, but he seems to have thought that people were taking the project as a literal adaptation when it very obviously was not one. Lindelof simply harnessed part of the political spirit of the original graphic novel, and he concluded that “the equivalent of the nuclear standoff between Russia and the U.S.” was “undeniably race and policing in America.” The bigger takeaway here, though, is that Moore wants Black Lives Matter to receive all monies going forward, so perhaps he is more in agreement with Lindelof’s thematic take than he would ever publicly admit.
These days, it seems every new artist who finally catches their big break with a viral hit also tends to catch accusations of being an “industry plant.” Totally aside from this being a delusional way for sourpuss haters to undermine other peoples’ successes, it’s also usually a reflection of a triumphant rollout doing exactly what so many fans say they want: Artist development.
Naturally, Flyana Boss has been the target of exactly those sorts of allegations as a result of the ubiquity of their hit single “You Wish.” They tackle those head-on in the video for the song, which they finally shared today after three months of social media dominance and a remix featuring none other than OG “weird Black girl” Missy Elliott.
Like their newfound mentor, Flyana Boss leans all the way into their geeky inspirations in the colorful video, which references one of their favorite cartoons, The Powerpuff Girls, casting the rappers as kaiju-like monsters demolishing a miniature cardboard city. They also have some fun with those “industry plant” accusations, plopping themselves into a planter marked “industry” and adding an interlude with a DoorDash delivery guy who declares himself the “brand plug” after realizing he’s on a music video set.
It’s a good, funny video that perfectly showcases the girls’ quirky shared sense of humor and dynamic, best-buds chemistry. Enjoy it above.
Flyana Boss is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Peso Pluma had a big night at the 2023 MTV VMAs yesterday (September 12). He didn’t win any awards, but he was nominated for three (Best New Artist, Best Latin, and Song Of The Summer) and he performed during the broadcast. The day overall wasn’t perfect, though: Before the show, he received a threat from a Mexican cartel.
As USA Today reports, a banner threatening the Mexican singer, real name Hassan Emilio Kabande Laija, was displayed on a bridge in Tijuana yesterday. It made note of his scheduled October 14 concert at Caliente Stadium in Tijuana, saying (translated to English), “This goes to Peso Pluma, refrain from presenting yourself on October 14 because it will be your last show due to your disrespect and loose tongue, you show up and we are going to (break you).”
The banner was signed by Jalisco New Generation Cartel, which in 2020 was dubbed by The Wall Street Journal as “Mexico’s top security threat.” The organization is headed by Nemesio Oseguera Cervantes, who Reuters in 2022 called “one of Mexico’s most wanted drug runners.”
Pluma hasn’t publicly addressed this yet, but USA Today notes that a number of his upcoming concerts have been canceled. His next show is currently set for September 28 in Reno, Nevada.
Fontaines DC have released a new deluxe version of their third studio album, Skinty Fia. This time, it’s titled Skinty Fia go deo, and has a lot of fun additions for fans to check out.
Between a live Glastonbury take of “Big Shot,” some songs from the Skinty Fia sessions, a cover of U2’s “One,” and much more, the band really packed in a lot of material with eight deluxe tracks in total. There is also a remix of their song “In ár gCroíthe go deo,” which loosely translates to “Forever in our hearts,” according to Google Translate.
“A lot of it is revealing itself to me to be largely informed and influenced by Irishness existing in England, and mutating and becoming a new kind of culture in general,” the band’s lead singer, Grian Chatten, told Rolling Stone last year.
Continue scrolling to view Fontaines DC’s Skinty Fia go deo album art and tracklist.
Partisan Records
1. “Big Shot” (Live at Glastonbury)
2. “Jackie Down The Line” (Skinty Fia Sessions)
3. “Roman Holiday” (Skinty Fia Sessions)
4. “I Love You” (Skinty Fia Sessions)
5. “One” (Skinty Fia Sessions) [U2 cover]
6. “Twinkle” (Skinty Fia Sessions) [Whipping Boy cover]
7. “The Couple Across The Way” (Skinty Fia Sessions)
8. “In ár gCroíthe go deo” (Orbital Remix)
With Aquaman and the Lost Kingdom set to arrive in theaters later this year, director James Wan has addressed Amber Heard‘s claim that the actress had her role of Mera diminished in the sequel because of Johnny Depp’s alleged harassment campaign against her.
During a courtroom appearance in the couple’s highly-publicized defamation trial, Heard testified that her role in Aquaman 2 became a “very pared-down version” than what was presented in the original script. The actress is reportedly only in the film for 10 minutes.
“I was given a script and then given new versions of the script that had taken away scenes that had action in it, that depicted my character and another character, without giving any spoiler aways, two characters fighting with one another, and they basically took a bunch out of my role,” Heard said. “They just removed a bunch out.”
While Wan didn’t specifically address the alleged edits to Heard’s screen time, the director explained to Entertainment Weekly that the sequel was always going to focus more on Jason Momoa‘s Arthur and his brother Orm played by Patrick Wilson:
“I always pitched this to everyone from the get-go,” Wan tells EW. “The first Aquaman was Arthur and Mera’s journey. The second movie was always going to be Arthur and Orm. So, the first was a romance action-adventure movie, the second one is a bromance action-adventure movie. We’ll leave it at that.”
In the Aquaman‘s sequel defense, Heard isn’t the only one who saw her screen time altered. The film was originally supposed to feature an appearance from Michael Keaton’s Batman. After some juggling of release schedules with The Flash, a decision was made to feature Ben Affleck’s Batman instead. Now, the film reportedly features zero Batmen, but with the way things are constantly changing at DC Studios, don’t quote us on that.
Aquaman and the Lost Kingdom dives into theaters on December 20.
Everything Tori Kelly did and subsequently learned about herself in the last 10 years of her Grammy-winning career led to Tori, her seven-song EP released on July 28.
Kelly unveiled a return to her natural brunette hair and R&B roots with “Missin U” in March. The video oozes Y2K, from the Juicy Couture Sidekick she adored as a preteen and performance shots saluting Aaliyah, Destiny’s Child, Missy Elliott, and TLC. Ecstatic fans saw a “new” Kelly, while Kelly saw the “nerdy” 2000s kid who desperately wanted to express herself this way but needed time to develop the necessary confidence.
“I have a childhood picture of myself in my closet,” Kelly told Uproxx days before staging her The Take Control Tour and dropping the deluxe version of Tori, which is due out on September 15. “Every day, I’ll get dressed, and I look at her, and I’m like, ‘I feel like she’d be proud.’”
Below, Kelly explained the deeper meaning behind her Y2K aesthetic.
To start, I have a theory to run by you: Our age group has a unique relationship with Y2K because, technically, we were alive and lived through it, but we weren’t old enough to really know what was going on, so we can romanticize it and have an even stronger sense of nostalgia for it.
Wow. I think you nailed it. I’ve never heard it put like that. That was on the nose.
What about Y2K fascinates you?
There is something about our generation and being a nineties kid — I mean, a nineties baby, I should say. It’s exactly what you said. I was growing up in the 2000s and very aware of things. There were people in pop culture and what was cool, the different outfits and the fashion and the music, where I was still this nerdy little kid. I’m more looking up to it and watching TRL all the time being like, Ugh,I want to be in a music video one day. So I definitely agree with the fantasizing part, and I think that’s why it’s so fun now as an adult to kind of pull from that era and just have fun with it because it’s all the things that I loved growing up.
When your Y2K-themed 30th birthday party happened last December, had you already decided Y2K was going to be the predominant aesthetic for Tori?
Yeah, I was playing with some ideas. That was definitely a theme for this music — that nostalgic Y2K thing. A lot of that music was done by then. When my birthday came up, I wasn’t going to automatically do a Y2K theme, but as it was getting closer, I was like, Shoot, I don’t have a theme. I love themes for birthdays. I think a friend of mine was like, “What if you just did Y2K?” They didn’t even know that I was already kind of in that headspace for my [EP], and I was like, you know what? That’d actually be perfect because I’m literally going into that whole vibe with my music.
I imagine living in Jon Bellion’s basement while working on Tori helped dismantle any barriers to self-expression because you were just rolling out of bed into the studio. What was he able to help you produce sonically that perfectly complemented the visual vibe you were going for?
I think this whole world really started with Jon and I, to be honest, because I came into the studio being a huge fan of Jon already. But I came in hoping he would understand all the things that I love and what I want to bring to the table, which he totally did, and he brought out even more of myself. I would say I came in with a pretty open mind. The only thing that I really wanted was big songs. I literally walked in, I was like, “I’m ready to step back into this pop space,” or pop/R&B. I knew I wanted that feel, and I knew I just wanted big songs that you could sing along to in your car. I wanted to blast my own music in my car, just having the time of my life, not any particular lyrical theme.
But as we started writing, I realized that this theme of confidence kept coming up. And I was like, This feels really good to step into these different versions of myself that have been a part of me for so long, but I haven’t really shown yet. I’ve always kind of been known as this type of girl, but people have never seen sides of me that are very authentic to me and how I grew up. I think that’s where the Y2K vibe came in because women back then just oozed confidence. When I think of Aaliyah, Missy Elliott, and TLC, and all these females in that R&B space, I remember their confidence being what stood out to me — how they carried themselves.
Is this the most authentically yourself you’ve ever felt?
I’ve heard it said a bunch of times, “Your thirties are where you really figure out who you are.” I definitely think that has happened. I’m just better at knowing what I want and saying no, being more sure of myself, I guess. I still haven’t figured everything out, but stepping more into myself has been a theme. Not being scared to explore these different sides. They’ve been there this whole time. I just maybe didn’t have enough confidence to show it. And also, everything I’ve done has led up to this.
I’ve seen so many people comment they’re loving your “new style,” but this is not new to you at all.
Yeah, no, that’s literally what it feels like. I totally get why it would feel new to most people, and people have come up to me and said, “I’ve been waiting for this!” Some people saw it in me, and then other people [think] this is so new. I’m having fun with it. My main thing all along has been, it has to feel authentic, and I never would want to do anything that doesn’t feel like I’m being myself. I always try to check in with myself.
It’s funny. I have a childhood picture of myself in my closet. Every day, I’ll get dressed, and I look at her, and I’m like, “I feel like she’d be proud. She’d be really excited about everything I’m doing because this was her dream.”
What was your adolescent style?
Well, speaking of childhood photos, there’s one I just saw where I did rock the bucket hat, and I rock bucket hats now. I had that one down.
Is there an outfit you’ve rocked this year that you don’t think you would’ve been confident enough to wear before now?
I think all the fits in the “Missin U” music video, especially that red look with the slicked-back hair. I think it’s something that I would’ve looked at and been like, “Oh, that looks cool.” I would’ve liked it, but it wouldn’t have fit the music I was doing. Now, it feels so authentic. It is such a direct connection to the actual music. The style in that video, that’s definitely something I’ve always loved, but it just wouldn’t have made sense to wear those things. I am really into puffer vests lately, too. They’re fun to perform in.
The metallic silver one in the “Missin U” video is awesome.
Why was everything silver in Y2K?
It’s giving Zenon: Girl Of The 21st Century.
Yes! Oh my gosh. “Zetus Lapetus!”
So, you mention those elements from the “Missin U” video. The metallic puffer coat, the monochrome sets — so many monochrome sets — obsessed with it all. What is your favorite characteristic of Y2K clothing and style?
I definitely love the metallics. I feel like purple has been a theme for me, too, with this album. I just remember seeing a lot of purple back in the day. It’s really fun for me to play with masculine/feminine, which is something I think about in Y2K. I think of Aaliyah, who had such a dope tomboy style, but she also could be super girly and feminine. So I think things like that are a fun part of the 2000s that I like to play with. Just that duality.
What Y2K Easter eggs are in the “Cut” video?
It was less obvious. Sonically, that song is already so Y2K. I mean, you got Timbaland on it [and] Rodney Jerkins. We really went all out — super inspired by Craig David as well. With fashion, we injected some of that Y2K style, especially in that club scene at the end.
A hybrid between Aaliyah and throwback Gwen Stefani.
You’re starting your The Take Control Tour. How have you taken back control?
I love that question. My style is one way I’ve taken back control, just kind of doing things that I want to do and wearing things I want to wear because I like ’em and they’re fun. Even if later on, I’m like, “That maybe wasn’t the vibe.” Taking some risks.
And I think my hair is a way that I’ve taken back control — going back to my natural color and rocking my big curls. Musically, taking control of my sound and really honing in on what the sound is that I want to put out? What’s the music that I want to make? I’ve been doing this too long to not be doing what I want, then have regrets later. It’s felt really good.
I think, even just from a literal sense, taking control of a stage. I’ve missed performing so much. That’s what I’m looking forward to doing: being on tour, performing, doing what I love, and really owning that stage, connecting with my fans, and having fun with them. It’s just been so long.
In “Young Gun,” you and Jon sing, “To stay forever young / Is a war that’s never won,” and that song is obviously heavy and so much more meaningful than how I’m about to equate it to self-expression and style. But in relation to Y2K, how do you discern between healthy nostalgia and clinging to the past at the expense of growing?
Whoa. Some of these questions require an hour of me writing notes and sifting through my thoughts. I guess it is a fine line, but what makes it make sense in my mind — aesthetically, and everything I’m doing with Y2K, what’s exciting about it is I’ve noticed those trends were already sort of happening with the younger generation. They’re totally dressing like Y2K, and they were being born [then].
This stuff is fascinating to me, generational stuff, because I remember my mom tripping out that skinny jeans were back in from her generation. She was like, “Oh my gosh! That’s so eighties. Y’all are wearing skinny jeans?” And I was like, “What do you mean?” As a kid, I was like, “That’s not weird.” And so, now, it’s just funny being on the other side of that. I am proud to be in the generation that got to live through all these music trends and fashion trends that are in again. This is exciting because I get to wear what I would’ve worn if I was cool enough as a kid, but also I get to be one of the ones bringing those sounds back and being really inspired by all of those artists from that time. I see it more as an honor. I don’t feel stuck in the past.
It’s like you’ve said earlier: It required growth in your music and in yourself to get to a point where you felt confident enough to revisit that time, so growth is inherent in doing it.
Absolutely. That’s a great way to wrap up my answer.
This interview has been lightly edited for clarity.
At long last, we finally have more information on Dove Cameron’s upcoming debut album. Last year, Cameron — who got her first breakthrough Disney Channel’s Liv And Maddie — showed herself to be a budding queer pop star with her hit singles “Boyfriend” and “Breakfast.” Her dark-sounding elements set her apart from her peers, building anticipation for a full-length project.
But it looks like the wait may soon be over. Last night (September 12) at the MTV Video Music Awards, Cameron revealed that she is coming out with not one, but two special projects coming out in the near feature.
While presenting the award for Best New Artist, Cameron teased her debut album, to the sheer excitement of the audience.
“With the first volume of my two-part debut album, Alchemical, coming out this fall, I am so honored to be passing the torch to one of these amazing, rising stars,” said Cameron.
.@DoveCameron revealed that her debut album will be called ‘Alchemical’, will have two volumes and will be released in the fall. pic.twitter.com/VogQ1uYsnt
She spoke with ET after the win, and before the news of the album was revealed, and explained that the expansive album came by way of a “creative solution” to deliver as much new music to her fans as possible.
People are on edge right now, man. It’s kind of understandable, I guess, given the sheer number of things that are happening all at once. We’ve got a former president facing multiple indictments and getting people all riled up by yelling about it on any website he has a password to; we’ve got celebrities getting dragged for writing tone-deaf letters of support for their felonious former co-stars; most of Hollywood is on strike and livid at Drew Barrymore; a dude Spider-manned his way out of jail and triggered a two-week manhunt that ended with him getting arrested in a Philadelphia Eagles sweatshirt; everyone was shouting about Martin Short last week because one guy was kind of mean to him; Matthew McConaughey went on live television and rubbed Joy Behar’s bare feet, which is admittedly not as serious as the other things I listed but was still not something I needed to comprehend in an already chaotic month that is not even half over yet. It’s been… it’s just been a lot. Especially for the chronically online.
Luckily, for all of us but especially for me, Henry Winkler went on his fishing trip this week. And he is posting pictures of the fish he’s catching. A ton of them. Yes, again. Look how happy this man is.
Reasonable arguments can be made that this is my favorite thing in the entire world. You can tell because I have written or assigned articles about it pretty much every year it’s happened. I just can’t get over the amount of joy leaping out of his body as he shows the miserable demons on Twitter pictures of the fish he’s catching. Imagine being this happy for even 30 seconds of your entire life.
What a gem. What an absolute gem of a man. I wish he was my grandfather. I wish he was everyone’s grandfather. We should pass a law declaring Henry Winkler to be America’s Official Grandfather. I can’t get enough of it. I say this as someone who does not even enjoy fishing or sitting in boats or even being outside in the woods or near a river for an extended period of time. I don’t even like looking at fish pictures, usually. I would be in hell if you sat down next to me with a photo album and flipped through page after page of pictures of fish you caught. I would be envious of the fish after about 45 seconds because at least their misery is over. Please do not show me your fish pictures. I cannot stress that point strongly enough.
Okay, look. Admittedly, this last one is not a fish picture. But I need you to consider three things here:
Based on the timestamps of his other tweets, there is a very good chance he posted this while scrolling through his phone all curled up in bed in his fishing cabin after a long day on the river
“Kanya”
Henry Winkler played The Fonz, who was, for many people, the epitome of cool for many decades, and now he is the most adorable man alive
Also, he posted this before 7:00 a.m. the next day.
Perfect. Just so pure and beautiful. A ray of golden sunshine peeking through the storm clouds. And it gives me great pleasure to report that he is like this in person, too, or at least over a Zoom call, and yes, this is where I once again link to the time I interviewed him while he was promoting the final season of Barry and he sat there very pleasantly and patiently while I veered things off-course by doing… this.
I have followed you on Twitter for years now. I consider you to be one of my favorite people on that website. You’re a lovely man, and you’re better at Twitter than most people I know. It seems like almost every summer you go on a fishing trip and you post these pictures of yourself with the fish.
Yes.
It is one of my favorite things that happens on Twitter, because, you know Twitter, it’s like a stream of “everyone’s miserable, everyone’s angry, everyone’s upset”… and then blammo, there’s Henry Winkler holding a fish. It makes me so happy.
Thank you.
What a sweet man. What a kind soul. Sometimes I’ll open up Getty images and type in his name and scroll through pictures of him posing with other celebrities and looking absolutely thrilled about it. This one is probably my favorite. But even Henry Winkler with Julia Roberts and Jennifer Coolidge can’t top the fish pictures.
We must do everything in our power to protect this man. You, me, all of us. Starting today.
We need him.
As a nation.
To heal.
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