Sexyy Red isn’t slowing down in 2024, it seems, as not even childbirth could keep her down for a music video shoot. Moreover, her (and her baby bump) star alongside Lil Scrappy, Summer Walker, and more in the new visual for “I Might,” featuring the latter as a guest artist. For those unaware, this rap/R&B fusion appeared on the deluxe version of the St. Louis rapper’s breakout album Hood Hottest Princess. It’s a romantic tale about lust that still deals with the fallout of another relationship, and this new short film parallels that story quite well and invokes a lot of colorful settings, tropes, and narrative moments that make it a pretty engaging throwback vibe.
Of course, this is not Sexyy Red’s first music video of the year, with that fact attributed to “Rich Baby Daddy” with Drake and SZA. That cut ended up on the Canadian superstar’s 2023 album For All The Dogs, and was definitely among the most fun songs to release last year in the hip-hop mainstream. Fittingly, its visual treatment is also pretty cheeky, as it portrays the “Pound Town” hitmaker and the 6ix God as a couple with some comical interactions. However, this definitely doesn’t answer the question of whether we’ll get more long-form new music from her this year, but that’s a pretty easy code to crack.
Sexyy Red’s “I Might” With Summer Walker: Watch The Music Video
After all, Sexyy Red recently teased some new material on social media, and if you’re not already a fan, it won’t convert you. But it doesn’t have to, because it’s clear that she’s building her following and artistry based on some pretty simple but salient core ideas. Say what you will about the content matter within, but it’s a wild double standard to pretend like it’s much raunchier than most other mainstream rap right now. Maybe one day, we’ll get the genre diversion that some fans think is warranted, and we’ll see for sure whether it was the right call.
Meanwhile, what do you think about this new music video for “I Might” from the “Somethin’” spitter and Summer Walker? Are you looking forward to new music from them coming soon? However you may feel, drop your thoughts in the comments section down below. Also, stay posted on HNHH for the latest news and updates on Sexyy Red.
Massachusetts rapper Joyner Lucas is a confusing rapper at times. He can truly blow you away with his technical ability. However, there are other instances where he comes across as bland and forgettable. Every artist has moments like that, but it seems that fans hold him to a higher standard. Other reasons for his inconsistencies are because of his projects and their rollouts. ADHD had way too many singles released ahead of it, leading to a fairly boring album listen. The same can be said about Not Now, I’m Busy.
In a lengthy November Instagram post, Joyner revealed that the album was in the works for about two years and was finished five months prior. However, due to the reactions that fans were giving to the singles, Joyner felt it was not a project that fans would enjoy. So, he decided to scrap that record that was expected to drop last year and has been reshaping the tracklist ever since. According to Genius, the songs that are rumored to make the final cut have been trimmed down to six, instead of seven.
Listen To “Sticks & Stones” By Joyner Lucas & Conway The Machine
“Blackout” with Future, and “Devil’s Work 2,” are currently not on the LP. One of the tracks that will take its place is “Sticks & Stones” with Conway the Machine. The song sees the production fit what the Buffalo MC is used to rapping over and Joyner does a solid job fitting in. On top of those changes we just mentioned, Not Now, I’m Busy is getting a brand-new cover art and official release date. The original artwork saw Joyner falling out of the sky with an exploding orange car. This new one has an orange color scheme, but the big change shows Lucas’s face in a bloody close-up. Fans should expect the tape to drop on March 22.
What are your thoughts on this brand-new single, “Sticks & Stones,” by Joyner Lucas and Conway the Machine? Is this the best single from Not Now, I’m Busy, why or why not? What is your favorite element of the song and why? Who had the strongest performance on the track and why? Is this going to be an album of the year contender, or did the hype die out for you? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Joyner Lucas and Conway the Machine. Finally, stay with us for the most informative song posts throughout the week.
Quotable Lyrics:
I accomplished a bunch of s*** that’s way out of your reach And I’m still not at my peak, screamin’ on the label, “All of them budgets gotta increase” My project complete, yeah (This s*** finished) Look, if it ain’t the Spade, this a bottle of Clicq’ [?] inside of my Greek, you know the model, make a million dollars, repeat (Ooh) Got that dollar routine (Talk to ’em)
ScHoolboy Q is having some issues with the release of his new album ‘Blue Lips,’ which caused him to call out Spotify and his label, Interscope Records.
Wiz Khalifa is known as one of the most prolific stoners in the rap game, but he recently revealed the staggering number of blunts he smokes every day.
As she’s often done and will continue to do, Beyoncé sparked an integral social conversation in response to her world-stopping work. In early February during the Super Bowl, the announcement of her rumored forthcoming country album “Act II” — lead by the plucky single “TEXAS HOLD ‘EM” and the stripped-down ballad “16 CARRIAGES” — raised several points surrounding the genre’s diversity issue. Both songs feature production, writing, and instrumental assists from Black artists. (“TEXAS HOLD ‘EM” features Black folk musician Rihannon Giddens on banjo and viola, while roots music steel guitarist Robert Randolph can be heard on “16 CARRIAGES.”)
Despite the songs’ rapid popularity following their surprise release, a post on X alluded to an Oklahoma country radio station refusing to play “TEXAS HOLD ‘EM,” stirring allegations of racism. It was later clarified that the station was unaware that Beyoncé had released music within this genre. (Early metadata also suggests that the songs were initially placed under her typical labels — Pop, Hot AC, Rhythmic, Urban, R&B — rather than country, which it was eventually serviced to.) Regardless of whether these songs will get airtime on country radio or not, the notion that the genre is attempting to shut out Beyoncé because of her perceived lack of country street cred has loomed largely.
But we’re missing the forest for the trees. Bey’s place in country music ultimately turns the genre’s proverbial mirror inward, in order to highlight a larger issue regarding the longtime exclusion of the genre’s Black female artists by both institutions and fans. These artists are integral to the foundation of country music, but seldom get the respect or visibility to compensate for the contributions they’ve made. Whether this was Beyoncé’s intention or not, “Act II” is both an album release and a social experiment. She’s helping to apply pressure on a machine designed to exclude certain acts from certain genres in order to force a change.
“I want to recognize that I do not know of any Black female country artists and I do think that this is a problem,” says Jane*, a country music fan from Massachusetts, when asked if she actively listens to country music by Black artists. “There is no representation for Black female artists in country music, and very little representation for Black male country artists. I think that Beyoncé’s two songs are highlighting this major fault.”
Despite “TEXAS HOLD ‘EM”s supremacy on both the country charts and the all-genre Billboard Hot 100, country’s fiercest advocates have taken umbrage with the idea that the Houston-bred icon is threatening “traditional” country music, identified by simple production and thematic-yet-unifying lyricism. This is due to the sonic je nais se quoi that makes a Beyoncé song, a Beyoncé song. (Unparalleled vocal runs, harmonies, and layered production.) As we saw with Lil Nas X’s “Old Town Road” in 2019, 2017’s “Meant To Be” by Bebe Rexha and Florida Georgia Line, and even Shania Twain’s “Man! I Feel Like a Woman!” in 1997, this isn’t the first time a discussion about “what country sounds like” has occurred.
“I think it is inevitable that [genre cross-pollination] happens,” says country fan Xavier, who not only names Zach Bryan and Charles Wesley Godwin as some of his favorite acts, but performs country music in NYC. In the last 15 years especially, pop, hip-hop, and trap beats have infiltrated the genre by acts such as Morgan Wallen (“Wasted On You”), rapper-turned-country star Jelly Roll (“Unlive”), and Florida Georgia Line (“Lil Bit”). Purists may also condemn these artists, but it seems that casual fans — and the charts — don’t seem to mind.
But the “sound” of some songs doesn’t negate the fact that there are Black women country acts, producers, and songwriters who are fighting to have their work heard, regardless of whether they’re releasing genre-bending takes or “pure” country tracks. What ultimately stifles these voices in the mainstream is the genre’s deeply rooted racism, inherent misogynoir, and the demonstrated unwillingness of fans and higher powers to dive deeper into the diversity country offers outside of what is already being pushed.
“Chris Willman did a really great article in Variety, and he included a quote about how [country] programmers have been searching for this amazing Black woman that is an incredible singer, has charisma, has the right voice, the right song… but they just haven’t found her,” explains country music star Rissi Palmer over Zoom. “There have been more than 50 years of Black women trying to be in the genre…not one?” With her 2007 song “Country Girl,” Palmer became the first Black woman in 20 years to have a song hit Billboard’s country music chart. She is also the host of Apple Music’s radio show “Color Me Country with Rissi Palmer,” where she highlights non-white acts within country.
“Myself and my friends [musicians Denitia, Madeline Edwards, Tiera Kennedy, Miko Marks, and Sacha] went to the Opry to support Camille Parker,” she continues. “In the group you have a variety of colors, shapes, size, perspective, sound. Every one of these women has put music out into the world, several of them are signed to major labels…not one [fits the criteria]?”
Race played a major factor in the distribution of music during the beginning of the recording era, around the 1920s. Black art was relegated to “race records,” while white acts played “hillbilly music.” Both “types” of music featured instruments that Black artists are often credited with bringing to the forefront, such as the banjo, which was long associated with slaves. “Race records” would eventually evolve into rhythm and blues, and “hillbilly music” — presented as more “marketable” to rural whites — would birth country music. With this said, music scholars often acknowledge country’s Black roots and overarching influence. However, its segregated foundation contributes to a present-day aversion to change, and the continuation of Black artists being overlooked or ignored.
These days, country radio remains overwhelmingly white and male. Per PBS: “A recent study from the University of Ottawa found a mere .03 percent of all songs on country radio from 2002 to 2020 were by Black women. Less than 1 percent of the 411 artists signed to the three major country music labels are people of color.” Linda Martell was the first Black woman to hit the country charts with “Color Him Father.” When her singles hit Billboard’s country charts, Beyoncé became just the eighth Black woman to have her work appear there, joining Martell, Ruby Falls, Pointer Sisters, Nisha Jackson, Dona Mason, Palmer, and Mickey Guyton.
“I think that country is an American art form,” Palmer notes of the importance of Black country artists. “It borrows from Celtic tradition, African tradition, Mexican tradition, and Native American tradition. You bring all these things together, and it makes this art form that is truly unique and special to the experiences of this country, and that’s what should make it inclusive.”
“I really hope people realize that country is such a diverse genre and that it shouldn’t be defined by any stereotypes,” country fan Xavier adds regarding the importance of inclusivity in country music. (He was born and raised in China.)
Perhaps more than any other genre, country music thrives on the pertinence of storytelling. Now more than ever, Black women deserve just as much of a chance as anyone to share their stories. As a country composed of the descendants of individuals from all over the world, there is nothing more American than art chronicling these diverse experiences. Julie Williams’ “Southern Curls” highlights Black beauty. “Seeds” by Rissi Palmer exemplifies the power of community. Mickey Guyton’s “Black Like Me” earned a Grammy nomination in 2020, christening her as the first Black woman to be nominated for “Best Country Solo Performance.” (“These are valid stories, these are country stories,” Palmer affirms.)
But such is life — these voices remain muffled rather than amplified, not just because of the genre’s diversity issue, but also perhaps as a means to turn a blind eye to reality. This creates barriers between Black art and consumers. So, how do we continue to bolster these voices in country music?
Support them. Listen to their stories. Shine a light. Give them your time. Because not only have they been here doing the work, they’re not going anywhere.
Songwriter and performer Frankie Staton made waves during the ‘90s by leading the nationally recognized Black Country Music Association, which had an aim to educate the masses and form community within the country music space. Music journalist and artist manager Holly G founded the Black Opry in 2021, an in-person community of Black artists and fans that commune to celebrate the art form. Equal Access, now entering its third year, is an initiative that strives for equity among artists, executives, and management in country music. Per USA Today, its cohorts have been about 60 percent Black women. There’s also CMT’s Next Women of Country, where women of color (including Denitia and Tanner Adell) reportedly make up 12 percent of the artists in the program.
Plus, there’s a plethora of radio shows and podcasts like “Color Me Country” that speak to the non-white experience in the genre, as well as playlists that highlight country music from minority groups. (Don Flemons’ Tennessean playlist is a robust exploration of Black country music, while Spotify’s “Country Frequency” and “Country Latino,” and Apple Music’s “Boots & Mocs” highlight country, roots, and Americana music from Black, Brown, and Indigenous voices.)
“I remember during the election in 2020…somebody said that the motto of Black women is: ‘Forget it, I’ll do it,’” Palmer laughs. “We’re doing that [within country]! We always make a way when we have to. Plus, Google is your friend. You’ve got the same Google that I do.”
What does this moment mean for the future of Black women artists in country music? Palmer (as well as Xavier, Jane* and likely many other country advocates) are hopeful that these conversations allow both new and longtime fans to expand their horizons when it comes to their idea of country music.
“I do think that anyone regardless of race, gender, or background can create a song that includes many country aspects,” Jane* says. “Anyone can make any kind of music they want to, [and] mix country with whatever you want to. I don’t think that my opinion of country music should limit anyone to stay in a box.”
There’s also the wish that Black women country musicians, songwriters, and producers seize the opportunity to strike while the iron is hot, but continue to stay true to who they are.
“I’m not looking at this like ‘Beyoncé has swooped down to save all of us and to take her with us,’ because it’s not her job,” Palmer explains. “It doesn’t start with Beyoncé, it doesn’t start with Charley Pride, it goes way further than that, and that’s the story that needs to be told at this moment.”
“There’s a lot of really great music,” she continues. “If people just take the time to look it up, they will find a treasure trove. Whatever it is that you’re looking for, whatever style [of country music] you like, it’s out there.”
For the most part, when people get tattoos, they tend to keep them at neck-level or below. It seems that increasingly, though, tattoos on the head or face are becoming more and more commonplace. Kid Cudi is part of the head tattoo club now, as he just revealed.
Cudi shared some photos of his latest piece on Instagram today (March 1). The tattoo is of a flower crown in black ink, and it looks to be about a couple inches tall. The ink doesn’t venture onto Cudi’s forehead, but other than that, it goes all the way around his skull. Per Cudi’s tag in the post’s caption, the tattoo was done by Los Angeles tattoo artist Dr. Woo.
Meanwhile, Cudi recently revealed what he plans for his next couple years to look like. On X (formerly Twitter) a few days ago, he shared the outline, writing, “My next album is already about 80% done, and itll be out in 2026. As always, were takin it someplace new. Just wanted to let yall know, expect an album from me every other year. next year is all about filmin. Got a bunch of stuff I need to get done. Film and tv. So I take a year off of music to do it all.”
Sexyy Red is, for lack of a better term, an absolute menace for anyone in a relationship with her — at least judging by her musical output so far. While dating Red promises frequent trips to “Pound Town,” it apparently also comes with jailhouse drama, a “Rich Baby Daddy” she doesn’t seem too fond of, and other assorted mess that comes from dealing with an unabashed “Hood Rat” who truly doesn’t give a… you know.
Her new video for “I Might” with Summer Walker details her latest misadventures in romance, threatening to call up her side piece when her baby daddy starts acting up. She even takes sinister glee in pitting the two men against each other, which in the song means chuckling that her baby daddy “gon’ leavе you leakin’ in a alley” if he finds out about her infidelity. In the video, she takes the mischief a step further, cackling from the sidelines with her third option as her jilted boo thang confronts her number two, only to find himself swiftly outnumbered and surrounded by his rival’s fellow hooligans. Cinema, truly.
Summer Walker turns out to be a perfect pairing, as she’s always been with starting a fight on record, but brings the softness to the track that makes it deceptively catchy. Seriously, it’s a great song, but if I ever run into either in person, I’m running the other way.
Watch Sexyy Red’s “I Might” video with Summer Walker above.
Catya Washington, a renowned reality television star, has made a significant impact in the entertainment industry. Known for her appearance on Oxygen’s Bad Girls Club in season 5, she has amassed a considerable fortune over the years. As of 2024, Catya Washington’s net worth is estimated to be around $3-$5 million, according to AllFamousBirthday.
Born on January 29, 1986, in Pennsylvania, United States, Catya Washington, also known as Cat, has always been a vibrant and dynamic personality. She was a tomboy during her early years in Philadelphia, but as she grew older, she embraced a more glamorous and girly lifestyle. This transformation was accompanied by her dating rappers and celebrities, and she quickly became accustomed to the finer things in life.
Her career took off when she became a reality television star, most notably for her appearance on Oxygen’s Bad Girls Club in season 5. However, she left the show during episode 6, feeling it was beneath her class. Despite her early exit, her time on the show significantly boosted her popularity and contributed to her net worth.
In 2010, Catya faced legal issues when she was arrested on allegations of possession of cocaine, mushrooms, ecstasy, and a gun during a large drug bust in Pennsylvania. She was sentenced to house arrest shortly after her exit from the Bad Girls Club. Despite these challenges, Catya managed to bounce back and continue her career in the entertainment industry.
After her stint on the Bad Girls Club, Catya began hosting a podcast on My New Philly called Datequette. This venture allowed her to leverage her fame and continue to build her brand. Her podcast, combined with her previous television appearances, has contributed significantly to her current net worth of $5 million.
On the personal front, Catya has kept her relationships and family life relatively private. She was in a relationship with Drake before starring on the Bad Girls Club, but as of 2024, she is possibly single and has not been previously engaged. Her younger sister owns a lipstick company called Colored Kisses, indicating that entrepreneurship runs in the family.
Conclusion
Catya Washington’s journey from a reality television star to a successful podcast host is truly inspiring. Despite facing legal issues and other challenges, she has managed to build a successful career in the entertainment industry. Her net worth of $3-$5 million in 2024 is a testament to her hard work, resilience, and talent. As she continues to grow her brand and explore new ventures, there’s no doubt that Catya Washington’s net worth will continue to rise in the coming years.
Get ready for the arrival of the Nike Air Max 97 Futura in its upcoming “Silver Bullet” colorway. This iteration promises a sleek and futuristic design that pays homage to the iconic “Silver Bullet” theme. Crafted with precision and style, these sneakers feature a silver upper with metallic accents, creating a striking and eye-catching look. The “Silver Bullet” colorway of the Nike Air Max 97 Futura adds a touch of sophistication and elegance to the classic silhouette. With its reflective detailing and sleek lines, these sneakers are sure to turn heads wherever you go.
Whether you’re hitting the streets or making a fashion statement, these shoes are bound to elevate your style game. Combining heritage-inspired design elements with modern innovation, the sneakers offer both comfort and style. The iconic Air Max unit provides responsive cushioning, while the durable construction ensures long-lasting wear. With its timeless appeal and contemporary flair, the “Silver Bullet” colorway is a must-have addition to any sneaker collection. Stay tuned for the release of the Nike Air Max 97 Futura in the “Silver Bullet” colorway, and get ready to step up your sneaker game with these iconic kicks.
The sneakers feature a black and red rubber sole with a thick, white midsole with an Air Bubble below the feet. Further, the uppers fo the sneaekrs are constructed from a white mesh with silver leather overlays. Also, a small red Nike Swoosh is on thr sides. More red branding is located on the tongues and red details are on the heels.
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Sneaker Bar Detroit reports that the Nike Air Max 97 Futura “Silver Bullet” is going to drop this spring. Also, the retail price is expected to be $180 when they release. Further, let us know what you think of this sneaker, in the comments section below. Additionally, stay tuned to HNHH for the latest news and updates from around the sneaker world. We will be sure to bring you the biggest releases from the biggest brands.
