In keeping with the modern trend in hip-hop, Young Thug’s newly released second(!) album, Punk, is a star-studded affair on which the trap experimentalist is accompanied by a plethora of guests from across the genre. However, unlike his previous release, So Much Fun, he expands the range of artists he taps to help him fill time, including newcomers like ASAP Rocky, Doja Cat, and Mac Miller among his frequent collaborators like Drake, Gunna, and Future. He also reunites with J. Cole, Juice WRLD, and Post Malone after working with them on some of their biggest singles.
Thug, who officially kicked off the promotion for his latest album with his first-ever NPR Tiny Desk Concert alongside rock drummer Travis Barker, rolled out the album in a most unusual way, only releasing one single, “Tick Tock,” and playing new songs at places like Givenchy’s Paris Fashion Week show and in the backseats of Lyft drivers’ cars. And speaking of cars, his release party stunt of trashing a brand-new Rolls-Royce with baseball bats alongside Gunna and Metro Boomin drew both attention and criticism. However, judging from the fact that many fans on Twitter freely admitted to staying up later than usual for the release (midnight Pacific, three hours later than most New Music Friday releases), it would seem that these tactics had an overall positive effect on the album’s reception.
You can check out some of the new songs from Punk above and listen to the full album courtesy of Atlantic and YSL here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
For the past several years, Drake has absolutely dominated streaming numbers on Spotify. Several of his songs sit at over one billion streams and he was even named the most-streamed Spotify artist of the decade along with Ed Sheeran and Post Malone. But some of his Spotify stats have recently changed, as Doja Cat has now surpassed Drake as the rapper with the most monthly listeners on the streaming platform.
As first reported by XXL, Drake has 63,302,316 monthly listeners on Spotify, whereas Doja Cat managed to slightly beat that number thanks to the success of her 2021 album Planet Her. Beating Drake’s monthly listener count by several hundred thousand, Doja Cat now boasts 63,690,597 monthly listeners.
Doja Cat’s new feat counts as another career win for the musician, but she recently revealed she was starting to feel burnt out from hustling a little too hard. In a series of since-deleted tweets earlier this month, Doja Cat went off about how she never takes breaks from constantly working. “I’m just tired and i don’t want to do anything,” she wrote. “I’m not happy. I’m done saying yes to motherf*ckers cuz I can’t even have a week to just chill. I’m never not working. I’m f*cking tired.”
Planet Her is out now via Kemosabe/RCA. Get it here.
It looks like that episode of Dave featuring Doja Cat was grounded in reality after all. The 25-year-old star is riding high in the wake of her third album, Planet Her, but that doesn’t mean that everything is sunny for her. If anything, she’s busier than ever, and judging from a string of tweets she posted then deleted, according to HotNewHipHop, she’s feeling the burnout of being overworked and saying “yes” to a few too many projects at once — which have included hosting the VMAs, performing at them, and participating in a slew of brand partnerships.
“I’m just tired and i don’t want to do anything,” she tweeted Wednesday night. “I’m not happy. I’m done saying yes to motherf*ckers cuz I can’t even have a week to just chill. I’m never not working. I’m f*cking tired. Alex is getting old he’s 68 years old and i can’t even be there for him. i wanna be alone.”
Without explaining who “Alex” is or providing additional context, she continued, “its not anybody else’s fault but mine anyway i just keep agreeing to sh*t i dont wanna do in the future. its my own dumb ass fault. and then I’m too tired to put any effort into this sh*t cuz I’m so run down from everything else.”
It looks like the rapper/popstar could use a vacation — and perhaps a class in time management and setting boundaries. She’s already starting to get there, saying she’s going to be more selective about features in the future, which seems like a good start. Here’s hoping she gets some rest and rediscovers her creative spark.
Although Lil Nas X’s debut album Montero is a star-studded affair with features from icons like Elton John and contemporary favorites like Doja Cat and Megan Thee Stallion, fans noticed a conspicuous absence of other male rap features — specifically, from other Black men (Jack Harlow appears on “Industry Baby”). Nas previously expressed his disappointment and received support from Kid Cudi after telling a fan, “Maybe a lot of them don’t wanna work with me.”
Shortly after the album was released, though, he did share the name of one who did: Drake, who Nas sent “Dolla Sign Slime.” However, Drake was finishing up Certified Lover Boy and unable to dedicate time to recording a verse, so Megan Thee Stallion was tapped to replace him. However, it turns out there was another rapper willing to align himself with Nas’ progressive vision; again, he was thwarted by bad timing.
Yesterday, during a Twitter Q&A with fans about Montero, the question came up once again, with another fan wondering why no other Black male rappers appeared on the album. This time, Nas was a little more forthcoming, revealing that he did almost have one but that deadlines forced him to forego the collaboration. “Ski Mask was almost on ‘Scoop,’” he shared, referring to rebellious Florida rapper Ski Mask The Slump God. “But we had to turn it in before he could finish.” However, Nas reiterated that “other than that a lot of them just don’t fwm tbh.”
ski mask was almost on scoop but we had to turn it in before he could finish other than that a lot of them just don’t fwm tbh https://t.co/DJmDVeDhEu
While it’s disappointing to learn that the few allies Nas has were unable to participate, the end results still wound up being excellent, as Doja Cat’s verse on “Scoop” was appreciated by fans as a standout on the project. Hopefully, Nas’ success will convince more of his peers that working with him is worth whatever risk they think it’ll bring and, like Cudi later said, break down the “homophobic cloud” that hovers over hip-hop.
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.
In the lead-up to the release of his debut album, Montero, Lil Nas X was confronted with a question. The question’s method of delivery and its questionable messenger failed to undermine its import — although it also likely highlighted a different problem than the inquirer intended. Pointing out the Montero tracklist’s lack of Black male artists, our concern trolling, gay panic conspiracy theorist wanted to draw attention to the project’s so-called “agenda.” Instead, they only threw Nas’ historical position within hip-hop into stark contrast.
Hip-hop has always had a homophobia problem. From its very inception, the genre has touted an image of Black masculinity that left little room for alternative expressions of manhood. Words like “gay,” “homo,” “f****,” and more have been slung indiscriminately for decades in the music of giants like 50 Cent, Big L, Diplomats, Eminem, Jadakiss, Jay-Z, Lil Wayne, Meek Mill, Nas, and Tyler The Creator. Even so-called conscious rappers and seemingly progressive allies, including Chance The Rapper, J. Cole, and Nicki Minaj have peppered their ostensibly innocuous bars with language that undermines their positive messages.
It’s even more astonishing that Tyler The Creator eventually came out as queer on his 2017 game-changer Flower Boy. It cast his prior offenses in a new light, while also muddling the impact of his admission. Why, if Tyler was gay or bi, would he spend so much of his early career flinging this specific species of invective? It was never haphazard either — the intentionality of his jabs was seen in the unapologetic way he handled the question in interviews, even before coming out. Was this the only way he felt he could establish his credibility in a genre that so often rejects queer people, let alone artists seeking their fortunes within it?
And is this why Lil Nas X, whose first attempt to breakthrough in the industry was the rap-focused Nasarati mixtape, built himself as more of a pop star now? Never mind how he defines himself, though, because the backlash he’s drawn has come much more from rap mainstays like Dave East, Joyner Lucas, and Lil Boosie than it has from pop circles. His music, though it’s pop-influenced, is grounded in hip-hop’s production, vocal delivery, and flair for braggadocio, even as he takes tremendous steps away from pure rapping on Montero.
This is where the crooning, grungy closer “Am I Dreaming” lives. As Nas duets with Miley Cyrus, he implores the listener to take his stories and experiences with them. It’s the most outward-facing song here, the one time the album truly acknowledges what Nas is doing for the rest of the album: Creating a space for artists like himself to flourish in a hostile environment, simply by being too talented to ignore. If no other Black male artists will work with him, he won’t just make do, he’ll jump the entire pop music hierarchy, tapping mega stars like Miley and icons like Elton John (who appears on the sobering “One Of Me,” on which Nas addresses the pressure to fit in and serve the whims of a fickle audience) to validate himself instead.
Elsewhere, Nas nods to the wave of female talent currently tipping hip-hop’s scales away from its hypermasculine origins, employing Doja Cat and Megan Thee Stallion, two of his fellow No.1 record-holders from 2020, to replace artists who couldn’t or wouldn’t show up. If rap fans are so miffed about Jack Harlow’s placement on “Industry Baby,” then that ire should be directed at all the other rappers who could and should have jumped at the chance to rock along with Nas on what would assuredly be a massive hit. Of course, if those fans kept open minds, they would hear razor-sharp verses from the atypical trio of rap guests — especially from Doja, who delivers a witty missive on “Scoop.”
But the star remains Lil Nas X and his unique perspective — at least within hip-hop. Perhaps the most telling aspect of his stature is the fact that songs like “Call Me By Your Name” and “Sun Goes Down” have resonated so deeply within the audience, despite departing so sharply from the usual content and texture expected of rappers in the modern era. Even when he treads familiar territory such as depression on “Tales Of Dominica” and “Don’t Want It” and alienation on “Life After Salem,” his most relatable material is informed by two things: 1. The fact he is a gay Black man, and 2. His clearly defined pop sensibilities.
Old school hip-hoppers have always rejected rap’s categorization as pop… but sometimes I wonder why. Is it because pop is seen foremost as the domain of women, especially young white women? Is it because relating too closely to those sounds and sentiments can be seen as feminine, and therefore as gay? I can certainly see why that would feel like a threat, even boys are taught games like “Smear The Queer” before they are even old enough to know what “queer” means (see: Moonlight). Being different means being a target… but it also means standing in the spotlight. It means being seen for better or worse. By embracing pop and hip-hop and all the parts of himself he’s always been told not to, Lil Nas X sets an example. He makes space for the next generation. He moves the balance ever so slightly toward acceptance.
Montero is out now via Columbia Records. Get it here.
Some of the artists mentioned here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Doja Cat is almost three months removed from the release of her third album, Planet Her. The project captured features from Young Thug, Ariana Grande, The Weeknd, JID, and SZA as well as Gunna and Eve who appeared on the project’s deluxe reissue. Many of these guests on the album helped provide memorable moments for Planet Her, but according to Doja Cat, she plans to be a bit more careful in selecting the artists she works with in the future.
“I have been trying to be more careful about who I’m collaborating with,” she said during a conversation with ExtraTV. “Not to say that the people on my album are — they’re incredible. They are the perfect features on my album. But I do want to be more choosy about what I’m doing because I feel like a lot of features are coming out.” She continued, “It feels like people are just getting on each other’s songs for the sake of having them on each other’s songs.”
“I want to be really careful about that,” she added. “Sometimes it’s too much collabs and remixes and things like that.”
Doja’s words come after she provided a phenomenal guest verse to Lil Nas X’s “Scoop” off his recently-released Montero album. You can watch Doja’s conversation with ExtraTV in the video above.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
At long last, Lil Nas X’s debut album Montero has finally arrived and it’s quickly earned itself a favorite among his vast fan base. Many of the album’s listeners have already sprinted to “Scoop,” his collaboration with Doja Cat thanks to the “Say So” rapper’s fiery contribution to the duos’ pilates anthem. The song was already a highly anticipated cut from Montero as Lil Nas had previously teased it in an energetic video snippet that showed him turning up and rapping along to the track.
Montero as a whole comes complete with 15 songs and features from Megan Thee Stallion, Jack Harlow, Elton John, and Miley Cyrus in addition to Doja Cat. Lil Nas put up one of the more unique promotional runs for the album as he endured a fake pregnancy to lead up to the “birth” of his album. The singer went through all the motions like having a maternity photoshoot, opening a baby registry, and dealing with the contractions in the days leading up to the release of Montero.
Elsewhere, the singer made the Time list of 100 most influential people and performed “Industry Baby” with Jack Harlow at the 2021 MTV VMAs. The rapper also celebrated the album’s release with a hilarious video that captured him birthing Montero in the hospital.
Last night, the MTV VMAs brought their unique blend of fun, scandal, and quirky ceremony back to Brooklyn’s Barclays Center, bringing along a live audience for the first time since 2019. Doja Cat hosted, performed, and wore a truly hilarious sequence of off-the-wall costumes. Olivia Rodrigo threw her own prom. Chloe, Normani, and Teyana Taylor saluted the show’s salacious history while paying homage to their heroes. It felt like VMAs were “back,” for lack of a better term.
But while the fans in attendance seemed to be having the time of their lives, an undercurrent of discontent rippled among those watching from home, eventually bubbling up to the surface on Twitter. Viewers skewered the show for its treatment of hip-hop, which they felt had been reduced to an afterthought by the show’s attempt to cover a wide swath of musical genres and generations. While neophyte performers like The Kid Laroi teamed up with their elders like Justin Bieber (congratulations, you’re old now) and even the aging Foo Fighters got their due, for some, it seemed like hip-hop had been left in cold.
Were it not still summer, that would be a literal assessment. Performers Latto and Saint JHN performed their sets from a pavilion outside the main venue and although each was given multiple opportunities to perform — three songs each — home viewers noted that those performances basically amounted to snippets of each song functioning as advertising bumpers. One only lasted for thirty seconds, which more than one commenter observed was shorter than one of the commercials that followed it.
The only main stage rap performance came from Busta Rhymes, who’s been around as long as the Foo Fighters have and whose most recent mega-hit (“Touch It”) might actually be older than half the audience that attended. That, of course, doesn’t count Doja Cat, whose hybrid pop-R&B sound is often punctuated by secretly impressive raps honed on LA’s indie-hip-hop performance circuit (shout out to Bananas!) or Machine Gun Kelly, who still maintains a penchant for spitting the odd 16-bar missive despite ostensibly making the switch to pop-punk, emo-rock tribute. Lil Nas X may have started as a rapper, but he calls himself a pop star now. While Busta’s performance was lauded (again I ask, does the man even breathe during his “Look At Me Now” verse?), it also highlighted the VMAs’ utter lack of main stage hip-hop from this decade — of which there would certainly appear to be no shortage.
Now, we don’t know all the behind-the-scenes, contractual details. There’s still a pandemic on, and many of rap’s top names have flouted reasonable safety precautions over the past year — even Busta himself, who gave a weird, anti-mask rant just a few months ago and has always at least rapped like an anti-vaxxer, even if he might not really be one (rap is wrestling, let’s not forget). But still, there was a decided dearth of appearances from the likes of Lil Baby, Lil Durk, Lil Uzi Vert, hell, even Lil Wayne (yes, I know, hip-hop has a lot of “Lils” — if you’re still complaining about this in 2021, maybe you aren’t the audience for it. Go listen to Foo Fighters or something).
Even Travis Scott only showed up to accept his award for Best Hip-Hop Video (for “Franchise”), giving a short speech before probably bouncing from the building entirely. Plenty of hip-hop artists and videos were nominated — very few won Moon People, despite their videos’ arguable worthiness. Fans were right to be incensed. However, this is the MTV VMAs we’re talking about here. They’ve almost never given any level of serious thought to rap as a genre or hip-hop as a culture, and as mostly fan-voted awards like Artist Of The Year have shown time after time, MTV’s audience has never quite been as invested in them as much as they have pop megastars like Britney Spears and Taylor Swift (or Swift’s heir apparent, Olivia Rodrigo) — the obvious exception being Eminem, for obvious reasons.
So disappointed, but not surprised, is probably the sentiment that best describes how many of us feel about the show’s treatment of hip-hop — which is, if nothing else, reflective of how mainstream America views the perceived creators and purveyors of hip-hop. It’s just a little more disappointing after so many of the show’s efforts in 2020 to acknowledge Black Americans’ plights, making the progress feel more performative than anything. On the bright side, the ratio of Black performers was greater than it’s been since Busta and Missy ruled the VMAs (and took home a paltry handful of awards in their primes, although Missy was honored with a Vanguard Award in 2019). One of them was a gay Black man, expressing his sexuality unabashedly in a flamboyant performance preceding a win for Artist Of The Year.
That’s how progress actually looks. It’s rarely a straight line, with everything moving forward at once. Maybe we take some Ls along the way. Maybe one thing moves forward while others stay stagnant or suffer setbacks. We shouldn’t be discouraged by this. We shouldn’t overlook it either, because the only way we keep moving forward is by constantly fighting for it. But we should take stock and appreciate the wins too. Black women won last night, even if they didn’t take home as many Moon People as some would have liked. Busta Rhymes, a sometimes overlooked legend, got his flowers. Lil Nas X got to stand in a place no one like him would have just a decade ago, as Billy Porter pointed out in his introduction of the “Industry Baby” performance.
And as for Latto and Saint JHN, they got to play more songs than anyone else. Maybe those in the venue wouldn’t have seen them, but far more people watched the broadcast and got to see two of rap’s rising stars multiple times. Those who watched certainly know who they are now — which, when you think about it, is actually the point of these shows in the first place. We don’t always remember who won which award, but those performances can be the first time we fall in love. Someone somewhere did just that last night — and that’s the first step toward becoming the sort of fan-favorite with a shelf full of Moon People.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
West Coast rapper Doja Cat appeared to have the time of her life at the MTV Video Music Awards. In addition to hosting the event with ample jokes and sincere moments, Cat also blew viewers away by going high into the sky with a live performance. From wearing a chair on her head to going […]
West Coast rapper Doja Cat did much more than host last night’s MTV Video Music Awards. The hip-hop star also pulled through a very memorable set of performances. Cat took the stage for a couple of heart-pounding songs. Doja kicked things off with “Been Like This” followed by her “You Right” anthem. Doja donned all-red […]
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