For the past month, Fousheé has been preparing to release her second studio album, Pointy Heights. Named after a stretch of land in Jamaica owned by her grandfather — who was nicknamed “Pointy” for his small stature — the album is dedicated to the New Jersey singer’s roots. After releasing the lead single “Still Around” in July, the former Uproxx cover star followed up with “War,” “100 bux,” and today, “Feel Like Home.” The new song is a dreamy mash-up of alt-rock and doo-wop and pays homage to “the people that truly make a place feel like home.”
Pointy Heights is inspired by a trip back to Jamaica, after which she scrapped all the songs she’d already worked on, starting from scratch with roots reggae, ska, and rocksteady as the baseline for the revamped project, which will feature production from her frequent collaborator Steve Lacy and Karreim Riggins. On her Instagram page, Fousheé explained, “pointy heights is a mile & a half long area located right outside of old harbor jamaica founded by my grandfather pointy. they called him pointy bc he was pint sized 🙂 this album is dedicated to him, the fam & the community.”
Listen to “Feel Like Home” above.
Pointy Heights is due on 9/13 via RCA Records. You can find more info here.
The pick for Super Bowl LIX’s halftime headliner has proven controversial, drawing criticism for the NFL, Roc Nation, and Jay-Z in particular. This is familiar territory for the rapper-turned-mogul, whose partnership with the NFL has been criticized from the very beginning. But he has at least one supporter in his corner — former rap rival and fellow Golden Era pioneer Fat Joe, who defended Jay during a livestream on his Instagram account. During the wide-ranging monologue, Joe posited that while Jay-Z’s deal with the NFL might not be perfect, that there wouldn’t even be an opportunity for rappers like Kendrick Lamar or Lil Wayne to headline the Super Bowl halftime show.
While acknowledging the contingent of hip-hop heads who wanted Lil Wayne to headline in New Orleans, he argued that “it ain’t just one man’s decision” and “if he wasn’t doing shows, it’d be no hip-hop.” As an example, he pointed to the 2022 show, which was headlined by rap legends Dr. Dre and Snoop Dogg and featured 50 Cent, Eminem, and Kendrick Lamar, and joked that if not for Jay, the halftime show would feature performances of the viral country folk song, “Cotton-Eyed Joe.” While that might be an exaggeration on his part, the last arguable rap act to perform the halftime show was Black Eyed Peas in 2011, at the height of “I Gotta Feeling” and “Boom Boom Pow Pow.”
So, while it wasn’t Jay’s decision to book Kendrick (or snub Lil Wayne), Joe believes his influence has at least opened the door for non-traditional performers, as hip-hop continues to take it pretty far.
The news of R&B legend Frankie Beverly’s passing at age 77 today was a little like hearing a favorite uncle died for much of the Black community. His songs entertained and brought families together for generations — especially after Beyoncé covered his signature hit, “Before I Let Go,” in 2018 for her Homecoming Coachella concert film. Beverly himself said the rendition helped to revitalize interest in his career, and today, Beyoncé paid homage to the lost legend with a heartfelt message posted by her Parkwood Entertainment.
Thank you, Frankie Beverly, for bringing us all together with your music. You’ve written some of the most inspiring and uplifting songs for the world to enjoy. With your lyrics, you have humanized our experiences, through joy and pain. Thank you for teaching us about the importance of community, family, and togetherness. We will never forget you. May you rest in power.
Fortunately, Frankie was able to receive some of his flowers while he was still around to smell them. In March, he was honored with a Lifetime Achievement Award by the NAACP Image Awards. And, of course, he got to see the cross-generational relevance of his biggest hit thanks to Beyoncé, saying, “She’s done so much, this is one of the high points of my life… I just thought it was a great little song, but I never thought it’d be all this… it’s one of those things this band will be able to carry on forever.”
The NFL and Roc Nation selecting Kendrick Lamar to headline the Apple Music Super Bowl LIX Halftime Show next February ruffled some feathers in hip-hop, but apparently, the Compton rapper’s chief rival, Drake, isn’t sweating it. In fact, according to one source, Drake’s claim to be “big as the Super Bowl” turned out to be true in more ways than one.
On the latest episode of the New Rory & Mal podcast, Mal made the audacious — and largely unsupported — claim that not only has Drake had the opportunity to headline the halftime show multiple times, but that he’s also turned it down every time. “Drake has been offered the Super Bowl show for some years now and has turned it down,” he said. “Probably four years, he’s been offered to perform at the Super Bowl, said no for whatever reason.”
Now, whether this is true or just damage control on the part of one of Aubrey’s most loyal angels remains to be corroborated by any other authority. However, it wouldn’t be a surprise to learn that Drake’s been offered the show — although, the timing of this reveal is made more suspicious by Drake’s recent lashing by the future headliner.
Meanwhile, due to the Super Bowl taking place in New Orleans, some folks believe that the headlining gig should have gone to Drake’s former mentor Lil Wayne — despite the show only being headlined by a local act four times in its near-60-year history. You can check out the full episode of New Rory & Mal below.
Beyonce is an elusive presence these days. She doesn’t have Frank Ocean levels of mystery, but has become so lionized within pop music that it’s rare to see her make public statements. Queen Bey made an exception on September 11, however. Frankie Beverly, an R&B icon dating back to the 1970s, died, and the singer decided to issue a statement paying homage. Beyonce not only praised Beverly’s talents as a vocalist, but his ability to imbue his music with inspirational feelings.
Beyonce released her statement through her production banner, Parkwood Entertainment. She kept it short and sweet, while at the same time stressing how much Beverly meant to her. “Thank you, Frankie Beverly, for bringing us all together with your music,” she wrote. “With your lyrics, you have humanized our experiences, through joy and pain.” Beyonce also praised Frankie Beverly for the sense of bonding and kinship that was present in his lyrics. “You’ve written some of the most inspiring and uplifting songs for the world to enjoy,” the singer added. “Thank you for teaching us about the importance of community, family, and togetherness.”
Beyonce’s appreciation for Frankie Beverly is well established. The singer opted to cover Beverly’s classic single “Before I Let You Go” during her iconic Coachella set in 2018. The performance was then made iconic by the accompanying concert film, Homecoming. Beyonce’s cover actually plays during the closing credits to the film. It was a surprising yet powerful choice of song to cover, and gesture was not lost on Frankie Beverly. He told Billboard that he didn’t know about the cover until very late in the game, and considered it an honor.
Beverly also told the outlet that his friendship with Beyonce dated back years before she covered his music. “I guess she really liked Maze and the song even then, so her mother brought her to our show at the Houston Rodeo,” the singer recalled. “We wound up working together a few times since and she’s always been very, very nice to me.” Beverly also dubbed Beyonce an “amazing” talent, and cited her cover as one of his career highlights. “This is one of the high points of my life,” he asserted. RIP.
The World DanceSport Federation has announced that controversial Australian breakdancer, Raygun, is currently the top-ranked breaker in the world. Her place at the top comes despite her viral showing at the 2024 Paris Olympics, during which she failed to score a single point with her performance. In the wake of the announcement, the organization put out a statement clarifying how it determines its rankings.
“We would like to take this opportunity to provide clarity on the ranking methodology and address the concerns raised,” the statement began. “The WDSF Breaking World Ranking List is governed by the WDSF Breaking Rules and Regulations Manual (BRRM) and is updated based on each athlete’s top four performances within the past 12 months. Points earned in these competitions remain valid for 52 weeks from the date of the event.” As for Raygun specifically, they explained that she “placed first at the Oceania Continental Championships, October 2023 (ranking points will expire on 28 October 2024).”
The update comes after Raygun reaffirmed her belief that she’s the best breaker in Australia during a recent interview with the local outlet, The Project. “I think my record speaks to that,” she said of being worthy to compete at the Olympics. “I was the top-ranked Australian b-girl in 2020 and 2022 and 2023 … The record is there. But anything can happen in a battle.” She did, however, admit she knew her “chances were slim” at the international event.
Raygun also expressed her apologies for the public backlash the sport faced in the wake of her performance. As the Olympic games shift focus to Los Angeles in 2028, they’ll be leaving breakdancing behind. Be on the lookout for further updates on Raygun on HotNewHipHop.
Sean “Diddy” Combs is facing the worst chapter of his existence as a mogul. Just a few days after a Michigan man won a $100M default judgment against Diddy, he’s now facing the wrath of former Danity Kane member Dawn Richard, who has come forward with disturbing allegations. Richard, according to court documents obtained by TMZ, detailed a pattern of emotional manipulation, abuse, and violent behavior at the hands of Diddy, not only against herself but his ex-girlfriend, Cassie, as well.
According to TMZ, Dawn Richard claims her ordeal began in 2004 when she appeared on Diddy’s MTV show Making The Band. She alleges that Diddy manipulated her by promising to advance her music career in exchange for compliance with his erratic and demeaning demands. Richard recounts how Diddy regularly humiliated female contestants, calling them derogatory names like “fat,” “ugly,” “bitches,” and “hoes.” Turning a dream into a nightmare, she claims Diddy targeted her specifically due to her excitement at working with him. The alleged manipulation extended beyond just verbal abuse. Richard’s lawsuit suggests that Diddy used his power and influence to keep her in line, creating an uneven dynamic that held her future in the industry dependent on her willingness to endure his behavior.
Witnessing The Abuse Of Cassie
One of the most shocking aspects of Dawn Richard’s lawsuit involves her eyewitness accounts of Diddy’s alleged physical abuse of his ex-girlfriend, Cassie. According to TMZ, Richard says that in 2005, she saw another of Diddy’s former partners, Kim Porter, leaving a music studio with visible injuries. This incident, she claims, was the first red flag indicating that Diddy would leverage physical violence if needed.
Things escalated when, in 2009, Richard claims she personally witnessed Diddy violently assault Cassie at his Los Angeles home. Allegedly high on drugs, Diddy reportedly hurled Cassie against a wall, choked her, and dragged her up a flight of stairs. Similarly, she claims that in another situation, Diddy allegedly punched Cassie in the face and attempted to strangle her. Richard also recounts a separate incident where Diddy hurled a hot pan of eggs at Cassie in a fit of rage while shouting, “I’ve been asking you for my s**t; I can’t stand you bitch, you never do it right!”
In addition to witnessing the abuse, Richard claims that Diddy took extreme measures to keep those around him silent. TMZ reports that Richard and other associates, including Kalenna Harper, her Diddy-Dirty Money bandmate, tried to convince Cassie to leave Diddy. However, once he found out about the conversation, it allegedly prompted an intense response. Richard alleges that Diddy threatened them, saying, “Y’all bitches don’t get in my relationship” and “Don’t tell my bitch [Cassie] what she need to be doing … Just make money and shut the f**k up … I end artists … I shelve careers … You could be missing … You bitches want to die today.”
This climate of fear, which has been a common theme among the lawsuits filed against him recently by former associates and employees, allegedly extended to Richard herself. Diddy reportedly manipulated those closest to him into submission by using his power and threats to derail their careers if they spoke out against him.
Richard’s Personal Experiences Of Abuse
Though much of the lawsuit surrounds the alleged heinous acts that Richard witnessed, she also details her own experience of abuse at Diddy’s hands. The TMZ report says she claims that Diddy subjected her to grueling work conditions. She alleged that he forced her to rehearse for up to 48 hours without rest. The constant strain led to severe physical issues, including dehydration, fatigue, and extreme weight loss. She also recalls a disturbing encounter at Diddy’s Miami home, where he allegedly demanded that she come over while he wore nothing but his underwear. “This is my f**king house!” he allegedly responded after she requested that he clothe himself.
The abuse escalated further between 2009 and 2011, according to the suit. Richard alleges that, while naked, Diddy entered her dressing room and inappropriately touched her breasts and butt. Another alarming incident detailed in the lawsuit claims that Diddy locked her inside of a car with heavily tinted windows for two hours. She claims that she screamed for help and at one point, even tried calling her father. Richard alleges that her dad traveled to New York from Baltimore to confront Diddy and try to free her but the mogul allegedly issued not-so-subtle threats to him. Once he threatened to take the matters to the authorities, Diddy reportedly responded, “Think about your daughter” and “think about your daughter’s career.”
Conclusion
We’re nearly reaching the one-year mark since Cassie dropped her own bombshell lawsuit, causing a domino effect in the industry. Over the past 10 months, Diddy has been hit with more heinous allegations from former colleagues and associates. Shortly after, his homes were raided by federal agents, reportedly as part of a much bigger investigation. Thusfar, Diddy has not faced any criminal charges, though it feels like this lawsuit from Richard is far from the last.
Last month, Yung Miami’s Revolt podcast Caresha Please made an explosive comeback. The former City Girl sat down with her close friend Saucy Santana for a tell-all, answering several questions about her career, past relationship with Diddy, and more. Obviously, Yung Miami made a splash, and now she’s preparing to do the same with the help of a special guest.
Earlier today, the rapper took to Instagram to announce that her next episode drops tomorrow. She also revealed that it features none other than Rick Ross. “What’s better than one Aquarius lol 2!!!!” she wrote. “The Boss @richforever Get into some Mogul talk and smoke TOMORROW Watch on @REVOLTTV’s YouTube channel Thursday, Sept. 12 @ 8 PM ET. #careshaplease.”
In the teaser, Yung Miami asks Ross about getting jumped by Drake fans in Vancouver, rumors that he’s on Ozempic, accusing Drake of getting a BBL, and more. She even asks him whether or not he’s still sleeping with the mother of one of his kids, Tia Kemp. For obvious reasons, fans can’t wait to hear what Rozay has to say. It’s not the only exciting episode she has on the way, however. At the end of last month, she hopped online to propose an interview with DJ Akademiks, who she’s been at odds with for months.
Shockingly enough, he seemed open to the idea. “I’m down,” he replied to her Tweet. It’s unclear when that will drop, though supporters certainly hope it’s sooner rather than later. She’s also gearing up to drop another interview with Boosie Badazz, which is sure to be full of interesting moments. What do you think of Yung Miami announcing that Rick Ross will be her next guest on Caresha Please? Are you looking forward to watching the interview? Share your thoughts in the comments section down below and keep an eye on HNHH for more updates.
When it comes to being a successful coke rapper, you have to got have a lot of personality on the microphone. Lyricism and a knack for clever bars is plus, just ask Pusha T. He’s built a successful solo career off developing all of those skills. Pretty soon, hip-hop heads are going to have to put Stove God Cooks in the conversation for A-listers in the sub-genre. Right now, he doesn’t have the most robust solo or feature catalog. But as long as he keeps on shredding this wave he’s currently on, he will be there in no time. This year, the Syracuse, New York native has been probably at his most prolific with a few singles and features, as well as an exclusive Even Biz project, Stop Callin Me I’m Cookin (Side A).
Fans have been messing with it since its release on August 27 and they really want it on DSPs. For now, that looks to be out of the question. What isn’t though is other music on streaming. Recently, Stove God Cooks dropped off “81”. However, he did so as a guest artist, as this is DJ Rude One’s record. He’s an underground producer who’s worked with the likes of zany character RXKNephew, Conway the Macine, Roc Marciano and fleet of other East Coast G.O.A.T.s. Like pretty much everything Stove God Cooks has touched this year, “81” is another piece of pure gold. Right away, he commands your attention with drawn out syllables, animated adlibs, and a sense of cockiness. Rude One’s ominous boom-bap beat is the perfect backdrop for all of Stove’s brags and we hope they work together again sooner than later.
Pharrell says that he and his former Neptunes partner, Chad Hugo, wrote and produced Kelis’ iconic track, “Milkshake,” despite her rant on social media about the song. Speaking with The Hollywood Reporter for an interview ahead of the release of his new film, Piece by Piece, the legendary producer revealed he hasn’t spoken to Kelis about the situation. “I wish her the absolute best. But I wrote this song,” he firmly stated, adding that he doesn’t need permission to use the track. “It was me and Chad [who] produced it.”
Kelis made her original complaints after Beyonce used an interpolation of the 2003 hit song on her 2022 album, Renaissance. “The reality is that it’s frustrating. I have the right to be frustrated. Why did no one have the human decency to call and be like, ‘Yo, hey, [we] would like to use your record,’” she shared in an Instagram video at the time.
Pharrell Williams & Chad Hugo Pose Together At Songwriters Hall Of Fame
Kelis wasn’t the only artist Pharrell discussed working with during the interview with The Hollywood Reporter. He also reflected on making “I’m a Slave 4 U” with Britney Spears, although he hasn’t talked to her in quite some time. “Man, I ain’t spoke to Britney in maybe 10-plus years,” he revealed. “I think I’ve seen her in the elevator one time. I think we were all going into the same place or something. I can remember exactly where it was, and she had her sunglasses on, and I was like, ‘I know that’s Britney. Maybe she doesn’t remember me. That’s fine..’”
Pharrell also revealed that he still hopes to work with Sade as well as Future. Despite collaborating with Future on “Move That Dope” and “1000,” he added: “I’ve got other plans, though.” Be on the lookout for further updates on Pharrell and Kelis on HotNewHipHop.