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The Paperboy’s Secret Taiye Selasi on How to Survive Perfectionism Taiye Selasi Reads “Firstborn Immigrant Daughter” Restaurant Review: Ambassadors Clubhouse “Obsession” and “Backrooms” Movie Review The Expansive Joy of Mao Ishikawa Italy Has Failed to Qualify for Three Straight World Cups. Are the Country’s Immigration Policies to Blame? When the Religious Right Came for Martin Scorsese Play Shuffalo: Saturday, May 30, 2026 The Knicks: The Only Game in Town Why “Yesteryear” Is Everywhere Dan Osborn, the Independent Senate Candidate Who Could Tip Nebraska Daily Cartoon: Friday, May 29th The Mini Crossword: Friday, May 29, 2026 “Hacks” Gave Us an Odd Couple for the Ages Inside Lebanon’s Fraught Push to Disarm Hezbollah Should You Automate Your Life? “Greater New York” Takes the Pulse of the City Postscript: Donald Newhouse Play Shuffalo: Friday, May 29, 2026 “Power Ballad,” Reviewed: A Bromantic Conflict Over a Hit Song Donald Trump Gets Even Attack of the “Flesh-Eating” Bacteria Taking Children from Their Parents Without a Court Order The Stories That TV Tells About Online Sex Work Daily Cartoon: Thursday, May 28th Play Shuffalo: Thursday, May 28, 2026 We Found Amelia Earhart, but She Cut Her Bangs, So We Didn’t Recognize Her The Mini Crossword: Thursday, May 28, 2026 All the Films in Competition at Cannes 2026, Ranked from Best to Worst A Prison Escape in Georgia The Whiplash of the U.S.-Iran Peace Talks Julia Alvarez Reads Judy Page Heitzman Daily Cartoon: Wednesday, May 27th What the Pope Said About A.I. Play Shuffalo: Wednesday, May 27, 2026 Everlane and the Death of the “Good” Millennial Life-Style Brand The Crossword: Wednesday, May 27, 2026 Hollywood Comes to Jesus The Kids Are Not All Right at Cannes The Revolutionary Force of Sonny Rollins The Epic Disaster of Operation Epic Fury Daily Cartoon: Tuesday, May 26th Ken Paxton Wins the Senate Republican Primary Runoff in Texas The Despair of the Professor in the Age of A.I. I Am a Woman in My Thirties, and I Am Thriving Play Shuffalo: Tuesday, May 26, 2026 The Crossword: Tuesday, May 26, 2026 How a Small-Town Clerk’s Misdeeds Upturned the Murdaugh Verdict Ken Paxton Wins the Senate Republican Primary Runoff in Texas Why Any Plausible Iran Deal Is a Humiliation for Trump Play Shuffalo: Monday, May 25, 2026 “What I Saw,” by Matthew Dickman Mark Ulriksen’s “Kings of New York” “This Vast Enterprise: A New History of Lewis & Clark,” Reviewed “Ecologies of Perception,” by Terrance Hayes Slide Show: New Yorker Cartoons June 1, 2026 The Useless Beauty of Christo and Jeanne-Claude A Vindication of the Rights of L.L.M.s The Trump-Epstein Files: Look but Don’t Touch Mariska Hargitay Trades Her Badge for Confetti Can Anything Stop Donald Trump’s Corruption? Play Laugh Lines No. 73: Funerals The Crossword: Monday, May 25, 2026 Daily Cartoon: Monday, May 25th How “The Chosen” Spurred a Golden Age of Christian Filmmaking What Dogs See When They Look at Us How Problematic Is Patriotism? The Ukrainian Stunt Pilot Hunting Russian Drones How Trump Created a Slush Fund for His Allies Ayşegül Savaş Reads “Many Worlds” “Many Worlds,” by Ayşegül Savaş The Leader of NASA’s Artemis II Mission Is Still Moonstruck How Prepared Are We for a Public-Health Emergency? Play Shuffalo: Sunday, May 24, 2026 Ayşegül Savaş on Smugness and Creativity Restaurant Review: Cote 550 The Transformation of Elina Svitolina What’s Missing from Belle Burden’s “Strangers” What Jack Kerouac Left Behind The Verve and Confrontation of Lisa Yuskavage’s Naked Ladies How Raghu Rai Captured an India in Transition Is the Working Class Finally Turning on Trump? Play Shuffalo: Saturday, May 23, 2026 Is Washington Up to the Challenge of A.I.? A Funeral for Stephen Colbert’s “Late Show” Dana White Thinks Everyone’s a Fighter A FEMA Insider Says Morale Has Never Been Lower at the Embattled Agency Daily Cartoon: Friday, May 22nd Summer Culture Preview “I Love Boosters,” Reviewed: A Socialist-Surrealist Shoplifting Fantasy Play Shuffalo: Friday, May 22, 2026 How Good Is This World Cup Squad, Really? The Mini Crossword: Friday, May 22, 2026 Why Is It So Hard to Be Ordinary? Will College Soon Be Obsolete? Daily Cartoon: Thursday, May 21st Play Shuffalo: Thursday, May 21, 2026 Updated Birdsong Mnemonics for Donald Trump’s America Daily Cartoon Slide Show
Singing the Knicks’ Praises, with a Dash of Metal
Amanda Petrusich · 2026-05-22 · via The New Yorker

Shortly before Game One of the Eastern Conference Finals, in which the New York Knicks hosted the Cleveland Cavaliers, Doug Berns, a thirty-eight-year-old musician who operates under the nom de plume DugLust, was popping in and out of crowded bars near Madison Square Garden, slapping backs and taking pics. Since 2024, Berns has been writing and recording musical recaps of every Knicks game—part postmortems, part devotionals, part roasts—and posting them online.

Berns, who was reared on the Upper West Side, has been a Knicks guy since he was five. “I remember watching the ’94 N.B.A. finals with my brother,” he said. “We were supposed to go to bed, but my brother took this little battery-powered radio into our room and we listened to the end. That memory is foundational.” At M.S.G., Berns, who has a flop of chin-length reddish-brown hair, was wearing an Offline Natives shirt featuring the Knicks point guard Jalen Brunson as a red-eyed demon. Berns went to high school (Dalton) and college (Columbia) in the city and never left. Although he plays bass in a handful of groups, including the Big Woozy Band, which does weddings and other events, he did not anticipate getting into the parody-song business, or becoming a mouthpiece for Knicks obsessives. Shit-talking has always been crucial to sports culture; Berns’s version, in which he rewrites the lyrics to beloved pop songs as howling commentary about free throws, is more silly than caustic. “You can be honest about a poor performance without being hurtful,” he said. “I once told a player to use two hands to catch the ball. But he objectively wasn’t. As fans, we have high expectations, we invest a lot, but these are also human beings who work so hard.” He has become an unofficial team mascot—a folk hero in a bespoke jersey and chain. His “Return of the Mack” recap was featured on “The Roommates Show,” a podcast co-hosted by the Knicks guards Josh Hart and Brunson. (Brunson called it “fire.”)

Berns does not stick to a single style; he has used tracks from ZZ Top, Shania Twain, Smashing Pumpkins, and Outkast as the basis of his recaps. His lyrics usually focus on particularly compelling bits of gameplay, but sometimes they take on a fan’s desperation. “Why? Why can’t the Knicks just beat the Lakers?” he sang in March, over the chorus of Michael Jackson’s “Human Nature.” He said that, as a kid, he was “sickeningly obsessed with Iron Maiden.” His original Knicks plan was to write a heavy-metal song about each game. The melodrama inherent to metal lends itself to the agony and ecstasy of fandom, but he realized that spoofing an existing track was both easier and more resonant.

The Knicks have not won an N.B.A. championship since 1973, and inside the Garden the pre-game atmosphere was vaguely tense. (Sports fandom can be rough on the spirit; “shouting unheard advice in a crowd of unheard advisors,” as Hunter S. Thompson once put it.) Berns got a Diet Pepsi and took his seat. He tries to limit his hollering to preserve his voice for the next morning’s recording session.

The first half of the game had its ups and downs. Then it was mostly downs. With less than eight minutes left in the fourth quarter, the Knicks were losing by twenty-two points. A few already heartbroken spectators began to leave. ESPN analytics had Cleveland’s probability of winning at a grim 99.9 per cent. Berns got agitated when people in the stands started chiding a ref, chanting “Fuck Scott Foster!” He grimaced. “They’re fouling,” he said. “You gotta hold your team accountable.” (Earlier, he’d posted a video honoring Foster; it was reposted by Ben Stiller, a courtside regular, who has also appeared in DugLust videos, playing guitar and drums.)

Suddenly, the Knicks turned it around, beginning the second-largest fourth-quarter comeback in the past thirty years, and sent the game into overtime. The energy in the Garden felt seismic, trembly. When the Knicks won, Berns was dazed. “That’s the greatest basketball game I’ve ever seen,” he said. He took a victory strut down Eighth Avenue, stopping to pose for selfies with fans.

Around six-thirty the next morning, he got to work on his song—a spoof of Chad Kroeger’s “Hero,” a bombastic hard-rocker from 2002—at his home studio in Prospect Lefferts Gardens. He’d been up until three, processing the win. “Jalen Brunson’s the hero who saved us / Hell no, we’re not losing this game,” he bellowed. The urgency of the enterprise keeps Berns from getting precious about the particulars, although he did spend some time perfecting the harmonies on the outro. When the track was finished, at around eleven, he started shooting video. His clips often feature multiple DugLusts, seemingly performing in tandem, an effect he achieves with the Draw Mask feature in Final Cut Pro. He climbed out onto his roof, dragging a tripod and two guitars, and carefully closed the screen so his cats wouldn’t escape. He changed jerseys and sunglasses and angles.

He posted the result around 1 P.M., to cascading likes and comments. The success of the entire project had left him emotional. “You can call me an influencer, you can call me a songwriter, you can call me Weird Al—I don’t give a shit,” he said, his eyes wet. “I just want to be creative. That’s all I’ve ever wanted.” ♦