Tyler The Creator’s ‘Call Me If You Get Lost’ Is A Top-Level Rap Album

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.

Apparently, we all have Westside Gunn to thank for Tyler The Creator rapping again on Call Me If You Get Lost. They should absolutely be the most profuse thanks we can muster. In the leadup to his new album’s release, Tyler credited the Griselda don with inspiring his back-to-basics approach, which also doubles as DJ Drama’s latest Gangsta Grillz mixtape, the most surefire sign a rapper has reached the pinnacle of their powers.

Quiet as it’s kept, Tyler has been one of the best pure MCs across not just one, but two generations. Debuting as he did at the tail end of the late-2000s blog era (when those Gangsta Grillz tapes reigned supreme) but being about 10 years younger than its biggest stars, Ty can proudly claim to represent both that time and this modern, post-Soundcloud streaming boom, acting as the bridge between both that someone like J. Cole imagines himself to be.

But, it was easy enough to forget that Tyler’s pen game is worthy of placement among rap’s upper echelons amidst all the chaos of his early introduction alongside Odd Future or his creative invention in more recent years as the sensitive loner of Flower Boy or the artful eccentric that was Igor. It’s kind of hard to pay attention to a clever turn of phrase or an armor-piercing punchline when you’re too busy feeling revulsion from watching a kid apparently down a roach, or mystified from his and his cohort’s antisocial antics.

Fortunately, Tyler’s latest alter ego, Tyler Baudelaire, has put all that behind him. In fact, of all the alter egos he’s displayed over the past several projects, this one feels the least like a put-on; Tyler was much too far removed in life circumstances from the awkward teen that was Flower Boy by the time he made the album bearing that title, while Igor was inherently a mask, playing up the Warhol-esque arthouse proclivities that drove that album to its critical acclaim and ill-fitting Best Rap Album Grammy win. On Call Me If You Get Lost, Tyler is most like himself, free of the artifice that he no longer feels the need to hide behind — and free to finally let his nuts hang, so to speak.

Here, he raps like a rapper. Boasts of wealth and status abound; on the chest-thumping “Lumberjack,” he flaunts that aforementioned golden statue, bragging that he “bought another car ’cause I ain’t how to celebrate.” He tells just what kind of car with a subtle hint in the punchline: “That big boy, that big bitch for all-weather / It never rain in Cali’, came with an umbrella.” That would be just about any car made by Rolls Royce, which stashes high-end umbrellas in the driver’s side doors of its automobiles. Tyler just told us he has a Rolls in the slickest way possible. Again, thank you, Westside Gunn. Sometimes, amid all the high-concept stuff out there in the world, you just want to hear a rapper floss cool stuff at a high level.

Tyler does cool stuff like this all over the album. On “Corso,” he spits a brain-teasing reference to the 106 & Park classics of his youth: “Hurricane-proof all the views, shit like ‘A Bay Bay.’” He slickly calls back to another misunderstood genius of rap on the barn-burning “Manifesto,” snarling, “I might not have dreadlocks, I might have these gold teeth / But I’m a n**** like you, and you’s a n**** like me.” I am trusting you to catch these references because to understand Tyler is to understand that Tyler is a true student of hip-hop, as well you should be too because if you’re only catching half the bars, you’re missing out. Tyler gets that, which is why he’s employed the ultimate signifier of cultural cachet, DJ Drama, to yell all over his tracks.

And look, I know that a lot of Tyler’s newer, younger, more sophisticated, hip, tasteful fans fell in love with the melodic bent his music has taken on since 2015’s Cherry Bomb. But as a member of that blog generation, someone who counts names like Kendrick Lamar and Wale among my peers and contemporaries, someone who recognized that Tyler could rap his Black ass off but didn’t seem to have anything to rap about until recently, I can’t help but feel like this is his most complete work yet.

He addresses racism, and the backlash to his refusal to speak out on issues that should be self-evident, on “Manifesto.” And his boasts are now Jay-Z level, not just in construction, but in content, revealing an un-self-conscious swagger that doesn’t aim to shock in its bluntness anymore. He’s just getting these bars off, feeling himself, and dismissing — not reacting to, truly dismissing — the lame criticisms his detractors fling at him “from your lunch break,” as he says on the provocatively-titled “Massa.”

Don’t even get me started on the production, which has finally achieved the ideal balance between his cacophonous, Neptunes-inspired percussion parties and the soulful wit of Igor’s most groovy moments. If there’s anything to be disappointed by, it’s that he soils the smooth H-Town sample on “Wusyaname” with an irksome verse from Youngboy Never Broke Again, who does the track justice but brings his abusive baggage to what should be another triumphant, bridging-the-gaps moment of cross-generational synergy. Tyler’s now the wise vet, passing the torch to hungry young upstarts like 42 Dugg that he was once semi-denied.

And he’s hanging, lyrically, socially, and financially with influences like Pharrell and Lil Wayne, bringing out their best because they need to keep him up with him. He even offers an olive branch to fans of his melodic material with “I Thought You Wanted To Dance,” which should appease the flower children who might well be bewildered by all this gruff tough talk. But it’s only an intermission in the rhythmic proceedings, offering a glimpse at a more well-rounded artist and letting us know this is only one of the tricks from his bag. That said, as much as you have to appreciate just how roomy and densely-packed that bag is, Tyler’s still left plenty of room for some good, old-fashioned, rhythm-and-rhymes-first-foremost-and-forever, “I’m the shit and I know it, now let me explain why”-style rap. Thank you, Westside Gunn.

Call Me If You Get Lost is out now on Columbia. Get it here.

Tyler The Creator Got A Chain Worth $500K Made Based On One Of His New Nicknames

Fans who tuned into Tyler The Creator’s new album Call Me If You Get Lost may have noticed that, as opposed to the more tender sentiments expressed on his last two collections, this project featured much more materialistic subject matter than usual (I consider this a good thing). According to TMZ, this newfound ballerific intent isn’t just confined to the lyrics on the new album, as Tyler’s new chain based on his nickname from the album set him back half a million dollars.

It’s a tiny, multicolored bellhop — yes, Tyler chooses to have people call him one of those hotel guys who carry your bags, which… actually makes sense, considering how much he loves bags — covered in yellow, pink, red, and green gems, including diamonds and sapphires. Per TMZ, it contains 23,515 hand-set stones comprising 186 carats in diamonds and 60 carats in sapphires, while the little suitcases actually open and close. It was designed by jeweler Alex Moss, with whom Tyler worked on the piece for around seven months. The idea was sparked then, with around four of those months dedicated to actually acquiring the stones (I would love to see a movie about this, a la Uncut Gems).

You can spot Ty rocking the chain in his video for “Juggernaut,” as well as in shots from the red carpet of the BET Awards, where he performed “Lumberjack” amid a simulated windstorm.

Tyler The Creator Got A Chain Worth $500K Made Based On One Of His New Nicknames

Fans who tuned into Tyler The Creator’s new album Call Me If You Get Lost may have noticed that, as opposed to the more tender sentiments expressed on his last two collections, this project featured much more materialistic subject matter than usual (I consider this a good thing). According to TMZ, this newfound ballerific intent isn’t just confined to the lyrics on the new album, as Tyler’s new chain based on his nickname from the album set him back half a million dollars.

It’s a tiny, multicolored bellhop — yes, Tyler chooses to have people call him one of those hotel guys who carry your bags, which… actually makes sense, considering how much he loves bags — covered in yellow, pink, red, and green gems, including diamonds and sapphires. Per TMZ, it contains 23,515 hand-set stones comprising 186 carats in diamonds and 60 carats in sapphires, while the little suitcases actually open and close. It was designed by jeweler Alex Moss, with whom Tyler worked on the piece for around seven months. The idea was sparked then, with around four of those months dedicated to actually acquiring the stones (I would love to see a movie about this, a la Uncut Gems).

You can spot Ty rocking the chain in his video for “Juggernaut,” as well as in shots from the red carpet of the BET Awards, where he performed “Lumberjack” amid a simulated windstorm.

Tyler The Creator’s ‘Call Me If You Get Lost’ Is A Top-Level Rap Album

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.

Apparently, we all have Westside Gunn to thank for Tyler The Creator rapping again on Call Me If You Get Lost. They should absolutely be the most profuse thanks we can muster. In the leadup to his new album’s release, Tyler credited the Griselda don with inspiring his back-to-basics approach, which also doubles as DJ Drama’s latest Gangsta Grillz mixtape, the most surefire sign a rapper has reached the pinnacle of their powers.

Quiet as it’s kept, Tyler has been one of the best pure MCs across not just one, but two generations. Debuting as he did at the tail end of the late-2000s blog era (when those Gangsta Grillz tapes reigned supreme) but being about 10 years younger than its biggest stars, Ty can proudly claim to represent both that time and this modern, post-Soundcloud streaming boom, acting as the bridge between both that someone like J. Cole imagines himself to be.

But, it was easy enough to forget that Tyler’s pen game is worthy of placement among rap’s upper echelons amidst all the chaos of his early introduction alongside Odd Future or his creative invention in more recent years as the sensitive loner of Flower Boy or the artful eccentric that was Igor. It’s kind of hard to pay attention to a clever turn of phrase or an armor-piercing punchline when you’re too busy feeling revulsion from watching a kid apparently down a roach, or mystified from his and his cohort’s antisocial antics.

Fortunately, Tyler’s latest alter ego, Tyler Baudelaire, has put all that behind him. In fact, of all the alter egos he’s displayed over the past several projects, this one feels the least like a put-on; Tyler was much too far removed in life circumstances from the awkward teen that was Flower Boy by the time he made the album bearing that title, while Igor was inherently a mask, playing up the Warhol-esque arthouse proclivities that drove that album to its critical acclaim and ill-fitting Best Rap Album Grammy win. On Call Me If You Get Lost, Tyler is most like himself, free of the artifice that he no longer feels the need to hide behind — and free to finally let his nuts hang, so to speak.

Here, he raps like a rapper. Boasts of wealth and status abound; on the chest-thumping “Lumberjack,” he flaunts that aforementioned golden statue, bragging that he “bought another car ’cause I ain’t how to celebrate.” He tells just what kind of car with a subtle hint in the punchline: “That big boy, that big bitch for all-weather / It never rain in Cali’, came with an umbrella.” That would be just about any car made by Rolls Royce, which stashes high-end umbrellas in the driver’s side doors of its automobiles. Tyler just told us he has a Rolls in the slickest way possible. Again, thank you, Westside Gunn. Sometimes, amid all the high-concept stuff out there in the world, you just want to hear a rapper floss cool stuff at a high level.

Tyler does cool stuff like this all over the album. On “Corso,” he spits a brain-teasing reference to the 106 & Park classics of his youth: “Hurricane-proof all the views, shit like ‘A Bay Bay.’” He slickly calls back to another misunderstood genius of rap on the barn-burning “Manifesto,” snarling, “I might not have dreadlocks, I might have these gold teeth / But I’m a n**** like you, and you’s a n**** like me.” I am trusting you to catch these references because to understand Tyler is to understand that Tyler is a true student of hip-hop, as well you should be too because if you’re only catching half the bars, you’re missing out. Tyler gets that, which is why he’s employed the ultimate signifier of cultural cachet, DJ Drama, to yell all over his tracks.

And look, I know that a lot of Tyler’s newer, younger, more sophisticated, hip, tasteful fans fell in love with the melodic bent his music has taken on since 2015’s Cherry Bomb. But as a member of that blog generation, someone who counts names like Kendrick Lamar and Wale among my peers and contemporaries, someone who recognized that Tyler could rap his Black ass off but didn’t seem to have anything to rap about until recently, I can’t help but feel like this is his most complete work yet.

He addresses racism, and the backlash to his refusal to speak out on issues that should be self-evident, on “Manifesto.” And his boasts are now Jay-Z level, not just in construction, but in content, revealing an un-self-conscious swagger that doesn’t aim to shock in its bluntness anymore. He’s just getting these bars off, feeling himself, and dismissing — not reacting to, truly dismissing — the lame criticisms his detractors fling at him “from your lunch break,” as he says on the provocatively-titled “Massa.”

Don’t even get me started on the production, which has finally achieved the ideal balance between his cacophonous, Neptunes-inspired percussion parties and the soulful wit of Igor’s most groovy moments. If there’s anything to be disappointed by, it’s that he soils the smooth H-Town sample on “Wusyaname” with an irksome verse from Youngboy Never Broke Again, who does the track justice but brings his abusive baggage to what should be another triumphant, bridging-the-gaps moment of cross-generational synergy. Tyler’s now the wise vet, passing the torch to hungry young upstarts like 42 Dugg that he was once semi-denied.

And he’s hanging, lyrically, socially, and financially with influences like Pharrell and Lil Wayne, bringing out their best because they need to keep him up with him. He even offers an olive branch to fans of his melodic material with “I Thought You Wanted To Dance,” which should appease the flower children who might well be bewildered by all this gruff tough talk. But it’s only an intermission in the rhythmic proceedings, offering a glimpse at a more well-rounded artist and letting us know this is only one of the tricks from his bag. That said, as much as you have to appreciate just how roomy and densely-packed that bag is, Tyler’s still left plenty of room for some good, old-fashioned, rhythm-and-rhymes-first-foremost-and-forever, “I’m the shit and I know it, now let me explain why”-style rap. Thank you, Westside Gunn.

Call Me If You Get Lost is out now on Columbia. Get it here.

Tyler The Creator Got A Chain Worth $500K Made Based On One Of His New Nicknames

Fans who tuned into Tyler The Creator’s new album Call Me If You Get Lost may have noticed that, as opposed to the more tender sentiments expressed on his last two collections, this project featured much more materialistic subject matter than usual (I consider this a good thing). According to TMZ, this newfound ballerific intent isn’t just confined to the lyrics on the new album, as Tyler’s new chain based on his nickname from the album set him back half a million dollars.

It’s a tiny, multicolored bellhop — yes, Tyler chooses to have people call him one of those hotel guys who carry your bags, which… actually makes sense, considering how much he loves bags — covered in yellow, pink, red, and green gems, including diamonds and sapphires. Per TMZ, it contains 23,515 hand-set stones comprising 186 carats in diamonds and 60 carats in sapphires, while the little suitcases actually open and close. It was designed by jeweler Alex Moss, with whom Tyler worked on the piece for around seven months. The idea was sparked then, with around four of those months dedicated to actually acquiring the stones (I would love to see a movie about this, a la Uncut Gems).

You can spot Ty rocking the chain in his video for “Juggernaut,” as well as in shots from the red carpet of the BET Awards, where he performed “Lumberjack” amid a simulated windstorm.

The Best Vinyl Releases Of June 2021

Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.

Whatever you might be into, each month brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out some of our favorite vinyl releases of June below.

The Roots — Do You Want More?!!!??! (Deluxe Edition)

Geffen/Ume

The Roots have been one of hip-hop’s finest groups for a long time and their ascent began with their 1995 major-label debut, Do You Want More?!!!??!. Now, they’re celebrating the iconic release with a slew of new reissues. The most expansive is the 4-LP edition, which includes a 24-page booklet and a whopping 18 bonus tracks, some of which have never been released and all of which were curated by Questlove.

Get it here.

2Pac — Until The End Of Time (20th Anniversary Reissue)

2Pac

Before Tupac was prematurely taken from us, he had a hell of a career, to put it lightly. One of the highlights, his album Until The End Of Time, turns 20 this year, and now it’s available on “high-quality, 180-gram audiophile grade vinyl” for the first time in two decades. This 4-LP release is a special one, as it comes with previously unseen photos and even a tracklist handwritten by Tupac himself.

Get it here.

PJ Harvey — White Chalk and White Chalk Demos

UMe/Island

PJ Harvey has essentially become the cornerstone of his monthly vinyl rundown with her regular rereleases. Her latest project to get the reissue treatment is White Chalk, her well-received seventh album from 2007. Also shared was a collection of demos, which were previously unreleased and are also available on CD and digital formats.

Get White Chalk here. Get White Chalk Demos here.

Dave Chappelle — 8:46

Third Man Records

Last year, Dave Chappelle famously released 8:46, the title of which references how long Derek Chauvin had his knee of George Floyd’s neck before his death. Now the comedian is extending his special’s reach with a new Third Man Records reissue, which is pressed in a color edition that is limited, appropriately, to just 846 copies.

Get it here.

Alicia Keys — Songs In A Minor (20th Anniversary Reissue)

RCA Records/Legacy Recordings

Alicia Keys came blazing out of the gate with her 2001 debut album Songs In A Minor. Now the chart-topping, multi-platinum release has gotten a fresh reissue that includes some enticing goodies. Most excitingly, there’s a pair of previously unreleased bonus tracks from the original album recording sessions: “Foolish Heart” and “Crazy (Mi Corazon).” Additionally, there’s also “Fallin’ – Ali Soundtrack Version” and “I Won’t (Crazy World),” the latter of which was previously available on the 10th Anniversary Physical Deluxe edition, meaning this is the first time it’s available to stream.

Get it here.

Lady Gaga — Chromatica

Interscope

Lady Gaga had one of 2020’s defining pop albums with Chromatica, and now she has come out with the ultimate edition of the album for diehard fans. This one is pressed on 180-gram black vinyl and comes with a trifold embossed jacket, a new 28-page booklet, and a 40-page fanzine.

Get it here.

Rod Stewart — Rod Stewart: 1975-1978 (Box Set)

Rhino

Although Rod Stewart had a No. 1 album early in his career, he needed a boost after 1974’s Smiler, which was a relative chart flop in the US. He followed that by signing with Warner Bros. Records and busted out a quartet of prosperous albums, three of which were top-two on the charts: Atlantic Crossing (1975), A Night On The Town (1976), Footloose & Fancy Free (1977), and Blondes Have More Fun (1978). Those four pivotal records have been compiled on this new box set, which also features studio outtakes from each of them. Stewart himself says of the collection, “It’s extraordinary for me to look back on this era of my career. I think fans will enjoy experiencing these songs on vinyl. I know I did.”

Get it here.

Ludacris — Word Of Mouf (Vinyl Me, Please Reissue)

Vinyl Me, Please

Ludacris remains a pop-culture force today, and that was especially true when he released 2001’s Word Of Mouf, which features hits like “Area Codes” and “Move B*tch.” In celebration of the record’s 20th anniversary, it has gotten a slick new reissue via Vinyl Me, Please, which is pressed on “orange galaxy” vinyl and has a gorgeous overall presentation.

Get it here.

Sharon Van Etten — Epic Ten

Ba Da Bing

Sharon Van Etten came up with a great way to celebrate the 10th anniversary of her album Epic: Re-release it alongside a version of the album covered by other artists. Participating in the project are folks like Courtney Barnett, Justin Vernon, Fiona Apple, and others. Van Etten says of the reissue, “Epic represents a crossroads for me as an artist. Going from intern to artist at Ba Da Bing, from solo folk singer to playing with a band for the first time and beginning to play shows on tour where people showed up. I am in awe of the artists who wanted to participate in celebrating my anniversary and reissue, from young inspiring musicians, to artists who took me under their wing, who I met on tour, and to artists I’ve looked up to since I was a teenager. Each one of these artists continue to influence my writing and provide a sense of camaraderie during this new era of sharing music.”

Get it here.

The Avalanches — Since I Left You (20th Anniversary Reissue)

Astralwerks

June was a big month for 20th anniversaries, because here’s another one. This time, it’s Since I Left You from The Avalanches, and it features a handful of bonus tracks, including new mixes from Black Dice, Leon Vynehall, Sinkane, Carl Craig, and MF Doom. The Doom contribution is previously unheard vocals on “Tonight May Have To Last Me All My Life (MF Doom Remix),” which adds to the icon’s posthumous legacy. The box set collection that houses this anniversary set is essential for fans of the project.

Get it here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

The Best Vinyl Releases Of June 2021

Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.

Whatever you might be into, each month brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out some of our favorite vinyl releases of June below.

The Roots — Do You Want More?!!!??! (Deluxe Edition)

Geffen/Ume

The Roots have been one of hip-hop’s finest groups for a long time and their ascent began with their 1995 major-label debut, Do You Want More?!!!??!. Now, they’re celebrating the iconic release with a slew of new reissues. The most expansive is the 4-LP edition, which includes a 24-page booklet and a whopping 18 bonus tracks, some of which have never been released and all of which were curated by Questlove.

Get it here.

2Pac — Until The End Of Time (20th Anniversary Reissue)

2Pac

Before Tupac was prematurely taken from us, he had a hell of a career, to put it lightly. One of the highlights, his album Until The End Of Time, turns 20 this year, and now it’s available on “high-quality, 180-gram audiophile grade vinyl” for the first time in two decades. This 4-LP release is a special one, as it comes with previously unseen photos and even a tracklist handwritten by Tupac himself.

Get it here.

PJ Harvey — White Chalk and White Chalk Demos

UMe/Island

PJ Harvey has essentially become the cornerstone of his monthly vinyl rundown with her regular rereleases. Her latest project to get the reissue treatment is White Chalk, her well-received seventh album from 2007. Also shared was a collection of demos, which were previously unreleased and are also available on CD and digital formats.

Get White Chalk here. Get White Chalk Demos here.

Dave Chappelle — 8:46

Third Man Records

Last year, Dave Chappelle famously released 8:46, the title of which references how long Derek Chauvin had his knee of George Floyd’s neck before his death. Now the comedian is extending his special’s reach with a new Third Man Records reissue, which is pressed in a color edition that is limited, appropriately, to just 846 copies.

Get it here.

Alicia Keys — Songs In A Minor (20th Anniversary Reissue)

RCA Records/Legacy Recordings

Alicia Keys came blazing out of the gate with her 2001 debut album Songs In A Minor. Now the chart-topping, multi-platinum release has gotten a fresh reissue that includes some enticing goodies. Most excitingly, there’s a pair of previously unreleased bonus tracks from the original album recording sessions: “Foolish Heart” and “Crazy (Mi Corazon).” Additionally, there’s also “Fallin’ – Ali Soundtrack Version” and “I Won’t (Crazy World),” the latter of which was previously available on the 10th Anniversary Physical Deluxe edition, meaning this is the first time it’s available to stream.

Get it here.

Lady Gaga — Chromatica

Interscope

Lady Gaga had one of 2020’s defining pop albums with Chromatica, and now she has come out with the ultimate edition of the album for diehard fans. This one is pressed on 180-gram black vinyl and comes with a trifold embossed jacket, a new 28-page booklet, and a 40-page fanzine.

Get it here.

Rod Stewart — Rod Stewart: 1975-1978 (Box Set)

Rhino

Although Rod Stewart had a No. 1 album early in his career, he needed a boost after 1974’s Smiler, which was a relative chart flop in the US. He followed that by signing with Warner Bros. Records and busted out a quartet of prosperous albums, three of which were top-two on the charts: Atlantic Crossing (1975), A Night On The Town (1976), Footloose & Fancy Free (1977), and Blondes Have More Fun (1978). Those four pivotal records have been compiled on this new box set, which also features studio outtakes from each of them. Stewart himself says of the collection, “It’s extraordinary for me to look back on this era of my career. I think fans will enjoy experiencing these songs on vinyl. I know I did.”

Get it here.

Ludacris — Word Of Mouf (Vinyl Me, Please Reissue)

Vinyl Me, Please

Ludacris remains a pop-culture force today, and that was especially true when he released 2001’s Word Of Mouf, which features hits like “Area Codes” and “Move B*tch.” In celebration of the record’s 20th anniversary, it has gotten a slick new reissue via Vinyl Me, Please, which is pressed on “orange galaxy” vinyl and has a gorgeous overall presentation.

Get it here.

Sharon Van Etten — Epic Ten

Ba Da Bing

Sharon Van Etten came up with a great way to celebrate the 10th anniversary of her album Epic: Re-release it alongside a version of the album covered by other artists. Participating in the project are folks like Courtney Barnett, Justin Vernon, Fiona Apple, and others. Van Etten says of the reissue, “Epic represents a crossroads for me as an artist. Going from intern to artist at Ba Da Bing, from solo folk singer to playing with a band for the first time and beginning to play shows on tour where people showed up. I am in awe of the artists who wanted to participate in celebrating my anniversary and reissue, from young inspiring musicians, to artists who took me under their wing, who I met on tour, and to artists I’ve looked up to since I was a teenager. Each one of these artists continue to influence my writing and provide a sense of camaraderie during this new era of sharing music.”

Get it here.

The Avalanches — Since I Left You (20th Anniversary Reissue)

Astralwerks

June was a big month for 20th anniversaries, because here’s another one. This time, it’s Since I Left You from The Avalanches, and it features a handful of bonus tracks, including new mixes from Black Dice, Leon Vynehall, Sinkane, Carl Craig, and MF Doom. The Doom contribution is previously unheard vocals on “Tonight May Have To Last Me All My Life (MF Doom Remix),” which adds to the icon’s posthumous legacy. The box set collection that houses this anniversary set is essential for fans of the project.

Get it here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

BET Founder Robert L. Johnson Pleads For Reparations

Though he’s in doubt that this check will ever come his way, television mogul Robert L. Johnson claims that the “new rendition” of reparations sweeping across the country is a mere ploy, coming in the form of education rather than spreading the wealth around and making up for decades upon decades of unjust.

According to Johnson’s interview with Vice, these reparations come in countless forms: critical race theory being taught at numerous campuses, the housing program in Evanston, every corporation under the sun making donations in light of the murder of George Floyd, and so much more. In light of this, he says “That’s what’s happening to the reparations—it’s been cut up into small pieces of things that look and feel like, ‘We want to end systemic racism, we want to end police brutality and shootings and to provide financing to Black small business owners,’”.

Steve Grayson/WireImage 

The BET owner pins what’s going on at the moment as “placebo paternalism,” meaning it’s only meant to look good and hope to make you feel good. To quote Johnson, he says, “Reparations had two components: The first was atonement, and the other was monetary,” “With no doubt whatsoever, it was supposed to come from the government representing the people of the country. It was reimbursement, or recompense if you will, for the harm.”

He goes on to say that whatever the country is currently doing as form of repayment is merely an attempt to fix the racist foundation that the States lie upon. On the other hand, how he and anyone in their right mind view reparations is as follows: “Reparations would require the entire country to … admit that the result of slavery has been 200 years of systemic racism and for that reason Black folks have been denied $13-15 trillion of wealth.”

Of course, Johnson is far from the first to mention this, as countless celebrities and citizens have voiced their opinions as well. In the meantime, the state of California is ramping up their one-of-a-kind slavery reparation task force, and people can only hope nothing but good arises from it.

[Via]

BET Founder Robert L. Johnson Pleads For Reparations

Though he’s in doubt that this check will ever come his way, television mogul Robert L. Johnson claims that the “new rendition” of reparations sweeping across the country is a mere ploy, coming in the form of education rather than spreading the wealth around and making up for decades upon decades of unjust.

According to Johnson’s interview with Vice, these reparations come in countless forms: critical race theory being taught at numerous campuses, the housing program in Evanston, every corporation under the sun making donations in light of the murder of George Floyd, and so much more. In light of this, he says “That’s what’s happening to the reparations—it’s been cut up into small pieces of things that look and feel like, ‘We want to end systemic racism, we want to end police brutality and shootings and to provide financing to Black small business owners,’”.

Steve Grayson/WireImage 

The BET owner pins what’s going on at the moment as “placebo paternalism,” meaning it’s only meant to look good and hope to make you feel good. To quote Johnson, he says, “Reparations had two components: The first was atonement, and the other was monetary,” “With no doubt whatsoever, it was supposed to come from the government representing the people of the country. It was reimbursement, or recompense if you will, for the harm.”

He goes on to say that whatever the country is currently doing as form of repayment is merely an attempt to fix the racist foundation that the States lie upon. On the other hand, how he and anyone in their right mind view reparations is as follows: “Reparations would require the entire country to … admit that the result of slavery has been 200 years of systemic racism and for that reason Black folks have been denied $13-15 trillion of wealth.”

Of course, Johnson is far from the first to mention this, as countless celebrities and citizens have voiced their opinions as well. In the meantime, the state of California is ramping up their one-of-a-kind slavery reparation task force, and people can only hope nothing but good arises from it.

[Via]

BET Founder Robert L. Johnson Pleads For Reparations

Though he’s in doubt that this check will ever come his way, television mogul Robert L. Johnson claims that the “new rendition” of reparations sweeping across the country is a mere ploy, coming in the form of education rather than spreading the wealth around and making up for decades upon decades of unjust.

According to Johnson’s interview with Vice, these reparations come in countless forms: critical race theory being taught at numerous campuses, the housing program in Evanston, every corporation under the sun making donations in light of the murder of George Floyd, and so much more. In light of this, he says “That’s what’s happening to the reparations—it’s been cut up into small pieces of things that look and feel like, ‘We want to end systemic racism, we want to end police brutality and shootings and to provide financing to Black small business owners,’”.

Steve Grayson/WireImage 

The BET owner pins what’s going on at the moment as “placebo paternalism,” meaning it’s only meant to look good and hope to make you feel good. To quote Johnson, he says, “Reparations had two components: The first was atonement, and the other was monetary,” “With no doubt whatsoever, it was supposed to come from the government representing the people of the country. It was reimbursement, or recompense if you will, for the harm.”

He goes on to say that whatever the country is currently doing as form of repayment is merely an attempt to fix the racist foundation that the States lie upon. On the other hand, how he and anyone in their right mind view reparations is as follows: “Reparations would require the entire country to … admit that the result of slavery has been 200 years of systemic racism and for that reason Black folks have been denied $13-15 trillion of wealth.”

Of course, Johnson is far from the first to mention this, as countless celebrities and citizens have voiced their opinions as well. In the meantime, the state of California is ramping up their one-of-a-kind slavery reparation task force, and people can only hope nothing but good arises from it.

[Via]