R&B duo They. was one of the many artists that appeared on Uproxx‘s Most Anticipated Albums Of Fall 2020 thanks to their second album The Amanda Tape. The project eventually arrived at the end of October and was heralded all over the R&B world, coming in at No. 17 on Uproxx’s Best R&B Albums of 2020 list. Now, the duo looks to extend the life of the project with a brand new remix of “Count Me In” with Kiana Lede.
The new version arrives with a sultry video, as well as an equally impassioned verse from the R&B songstress. They.’s Drew Love leads the way with a verse centered on committing to love, so long as one’s potential partner is all for it. Then Kiana steps forth to lay down the law and reveal her requirements for a relationship. “Only thing that I can trust is a ‘f*ck me’ kinda love,” she sings. “You gon’ f*ck up me standin’ up / So you can’t let me down.”
Along with They., Kiana Lede offered another 2020 highlight in the R&B world. Her moment came much earlier in the year with the April release of her debut album, Kiki. This project also appeared on Uproxx‘s Best R&B Albums of 2020 list at No. 12.
You can watch the “Count Me In” remix video above.
The pair begin the video in the midst of thick smoke and beaming red lights. The song’s co-producer, Honorable C.N.O.T.E., eventually joins them and moments later they are approached by a chainsaw-wielding killer, who ends up being no match for the trio. C.N.O.T.E. and Metro pull out their guns to unleash a storm of bullets on their opponent, taking them down with little resistance.
The video is of a piece with previous Savage Mode II videos, which also have a cinematic flourish. “My Dawg” finds the pair taking the roles of menacing businessmen while “Runnin” depicts a rags-to-riches story as they returned to their hometown to show off the Grammy that 21 earned for his 2019 single “A Lot.” The duo also paid homage to the late King Von during a performance of “Runnin’” and “Mr. Right Now” on The Tonight Show, where 21 said, “The world lost a legend.”
Elsewhwere, 21 recently joined YBN Nahmir to throw an outdoor party in their video for “Opp Stoppa.”
Tekashi 69 has come after a number of artists and celebrities throughout his career. It was just last week that he was involved in an altercation with Meek Mill at a Miami parking lot. Now, Tekashi has shifted his attention to a new target: Cardi B. In a post to his Instagram Story, the rapper asked his followers, “If I took women to hotels and drugged them and then robbed them would I be canceled?” The question was a reference to a March 2019 Instagram Live session that Cardi held in which she said she drugged and robbed clients back when she was a stripper.
Cardi joins a long list of people Takashi has attacked, in one form or another. Last year, a video of him allegedly taunting boxer Gervonta Davis made its way to social media, though at least it didn’t escalated into an actual fight. He also mocked King Von’s death just days after the rapper passed away from a gunshot wound in Atlanta. Tekashi left a laughing emoji under an Instagram post that detailed how Lil Durk, a close friend of Von, learned about his death, an action that left hip-hop fans extremely furious at him.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
A remake of the cult classic 2004 Mean Girls may be on its way, but Megan Thee Stallion has offered her own spin on the iconic film. Appearing in a promotion video for Coach’s Fall 2021 collection, Megan takes on the role of Regina George, who was originally played by Rachel McAdams.
The commercial is a spoof on the scene where Regina George’s character is introduced to the protagonist, Cady Heron (played by Lindsay Lohan). In the segment, a few members of her high school’s student body shares a ridiculous rumor they heard about George, like that her “hair is insured for $10,000.”
Megan’s commercial is a playful take on the original scene, recreating the script with several contemporary comedians. The script reads:
“Megan Thee Stallion is flawless. One time, she locked eyes with Medusa and all the snakes unionized. Each of her dogs has its own bedroom and country home in France. Shakespeare wrote five sonnets about her. Yeah, she wasn’t alive yet but… he knew. I heard her favorite movie is an anime based on her own life and it won best picture. Her nails are so long that she accidentally gouged my eye out and it was awesome. I heard that she was walking down the street and a guy saw her and crashed his car. It was so fetch. Or, not fetch… it was awesome. She’s perfect.”
Watch Coach’s promotional video with Megan Thee Stallion and see the original Mean Girls clip above.
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Nigerian Afropop star Davido is the latest artist to grace the Tiny Desk “stage,” delivering a soulful at-home concert from his living room. Splitting the difference between comfy and fashionable styles, he posts up on a stool with his various awards statues prominently displayed and his band occupying whatever free space they can find. He breezes through a set that includes his 2013 hit single “Gobe,” 2014 Nigeria Entertainment Awards-winning Hottest Single of the Year “Aye,” “Risky,” his Popcaan-featuring 2019 single from A Good Time, and “Jowo,” from his 2020 album A Better Time, giving a crisp chronological run-through of his career and accomplishments.
In recent months, Davido has been bridging the gap between his Afrobeats roots and US hip-hop, collaborating with Lil Baby on “So Crazy” in November last year, adding a Nicki Minaj collaboration to his collection with “Holy Ground,” and working with Megan Thee Stallion on an upcoming collaboration with British star Idris Elba (yes, that Idris Elba, who moonlights as a DJ and producer between movies and shows). And though Davido has put those famous American stars’ names on his resume, he still made sure to highlight his fellow up-and-coming African stars on the album as well; in January, he released the video for “The Best” featuring Mayorkun.
Freddie Gibbs has built a reputation as one of the funniest rappers on Twitter and today, he brought that off-color sense of humor to the Joe Rogan Experience podcast. In the four-hour conversation, Gibbs, Rogan, and comedian Brian Moss talked boxing, Freddie Gibbs’ wild, secret Instagram profile, and more. You can check it out at the link below.
Meanwhile, Gibbs has been promoting his upcoming major-label debut album, dropping the animated video for his first single “Gang Signs” earlier this month. The video transforms Gibbs into a hedonistic white rabbit (a euphemism for his favorite subjects) as he goes about the same activities he generally likes to rap about, mining the juxtaposition for some head-scratching, borderline inappropriate comedy.
In addition to “Gang Signs,” Gibbs recently collaborated with Big Sean and Hit-Boy on “4 Thangs” celebrating LeBron James. Meanwhile, he’s kept fans entertained with his social media antics, which have included freestyling over his Piñata partner Madlib’s new instrumental album Sound Ancestorsin an Uber. The one thing fans won’t be able to expect from him is a Verzuz appearance; aside from disapproving of Jeezy’s recent match with Gucci Mane, Gibbs shot down speculation over a potential battle between himself and hip-hop’s other resident coke rap connoisseur, Pusha T.
Freddie Gibbs is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
As streaming breaks down the barriers of music globally, more and more artists have teamed up across genres and borders to create some truly fascinating combinations. Today we get a great example as Los Angeles-born reggaeton artist Becky G and Nigerian Afrofusion artist Burna Boy link up on “Rotate.” Built on a signature reggaeton beat, the song blends the two artists’ unique sounds, resulting in a scintillating track that could be a hit in Latin America, the Caribbean, and Africa, as well as the US, the melting pot where people from all cultures collide and collaborate.
Becky G, who began her musical career as a pop-oriented rapper before shifting to Spanish lyrics and South-of-the-border sounds, truly exploded in popularity after embracing Latin music. She’s also found success as an actress, appearing in the 2017 Power Rangers film as the yellow Ranger, and being featured in Riot Games’ League Of Legends in 2019 as part of the first virtual rap band. Meanwhile, Burna Boy accidentally blew up in the US after the coincidentally-titled “Ye” exposed him to fans searching for Kanye’s album with the same name. Since then, he’s become one of the primary representative’s of his home country’s music scene, receiving Grammy acknowledgement and seeing his second album Twice As Tallbecome a hit.
Listen to Becky G and Burna Boy’s “Rotate” above.
Burna Boy is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
For years, people have criticized the Grammys for historically recognizing white artists over talented Black and brown musicians, and this year the Recording Academy received similar backlash. Three musicians nominated for Best Children’s Album even asked for their nominations to be removed this year in protest of the all-white category. But the Recording Academy is trying to appease their critics by breaking ground on the first-ever Black Music Collective pre-Grammy event, which will highlight iconic Black musicians making waves in the industry today.
The event will feature performances by Grammy-winning artists HER, PJ Morton, and Yolanda Adams. Freddie Gibbs, who is now a first-time Grammy nominee, is also set to perform with The Alchemist. Along with live music, honorary chairs John Legend, Janelle Monáe, Issa Rae, Jimmy Jam, Quincy Jones, and activist Tamika Mallory will join in for fireside chats about racial justice and the Black experience.
In a statement about the inaugural event, chair and interim president/CEO of the Recording Academy Harvey Mason Jr. said they intend to “amplify Black voices” with the event:
“As the first of its kind, we created this event with every intention to amplify Black voices and each of our experiences within the industry. The BMC will continue to foster a space for members and industry professionals to educate and elevate Black creators during Grammy Week and beyond.”
Echoing Mason Jr.’s statement, BMC chair and Atlantic Records executive Riggs Morales expressed his excitement about the event: “We are thrilled to announce this virtual program as the BMC continues to celebrate Black music and those who share our mission to foster and accelerate Black representation, equity and inclusion throughout the music industry. The Black Music Collective will continue to tailor events for Black creators to feel uplifted and supported and we are excited for this Grammy Week kickoff.”
The Black Music Collective pre-Grammy event kicks off 3/10 at 5 p.m. PST. Watch it here.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Two months after being sued by his former manager, Chance The Rapper has filed his own countersuit for $3 million, according to The Chicago Tribune. Chance filed the lawsuit in Cook County court, accusing Pat Corcoran of incurring millions of dollars in unreimbursed expenses while promoting Chance’s third mixtape Coloring Book.
Chance’s suit also seeks the dismissal of Corcoran’s complaint about breaching their contract, requesting $3 million in damages for breach of fiduciary duty; interference that led to the loss of business opportunities and profit; and breach of contract — $1 million for each charge.
In a statement, Chance’s rappers told the Tribune, ““Mr. Corcoran has been paid in full under his management services contract with Mr. Bennett. Yet he chose to file a groundless and insulting lawsuit that ignores his own improper self-dealing and incompetence. Mr. Bennett has moved to dismiss the majority of that meritless lawsuit, and filed his own lawsuit to remedy the harm that Mr. Corcoran caused through his breaches of duty. Mr. Bennett trusts the legal system to reveal the truth of the parties’ relationship in due course.”
While Pat’s lawsuit focuses on the explosive success of Chance’s third mixtape, Chance’s countersuit calls the Coloring Book success a direct result of his popularity from Acid Rap, which he recorded and promoted without Pat’s help. The two made an oral agreement after the mixtape’s success, but Chance says that Pat used his position to “convert Mr. Bennett’s opportunities for himself and to advance his own separate business interests” — among them, requesting Live Nation to invest in his wine business and adding himself as co-producer on a movie Chance was to write and produce.
Corcoran allegedly also requested various kickbacks while negotiating Chance’s business opportunities, such as demanding stock from Lyft in exchange for Chance’s participation in its philanthropic campaign in 2018. And while Corcoran’s suit claimed that The Big Day was a rush job, resulting in its disappointing reception among fans, Chance says Pat failed to live up to his role as “The Manager,” delegating responsibilities, skipping media appearances, and refusing to return inquiries from media. The idea to release Chance’s mixtapes to streaming ahead of The Big Day in lieu of a larger marketing plan allegedly came from Pat, who Chance says didn’t get the proper sample clearances, exposing him to more potential lawsuits. Finally, Chance claims it was Pat’s responsibility to have the debut album pressed on vinyl — but he never did, resulting in a wave of refunds that hurt Chance’s brand.
“Basically, I tweeted a joke that I assumed Pheobe Bridgers would probably write the vaccination anthem of our times on her next album, which would probably come out in a few years. But then, I decided I would write it instead in the meantime,” she laughs. “This tweet that I thought was very niche ended up blowing up.”
The song, aptly titled “Immune,” opens with the lyrics, “Traffic from the East Side’s got me aggravated / Hotter than the day my brother graduated / Wait four hours in the sun / In line at Dodger Stadium / I’m not scared of dogs or getting vaccinated.” The song resonated with fans and Bridgers herself, who retweeted the clip of the song with the simple comment, “oh my god.”
“When I tweeted the Phoebe Bridgers parody, which then became a real Jensen McCray song, I didn’t expect it to do what it did,” says the 23-year-old singer/songwriter who found herself suddenly famous. “I always thought there was some artifice to it, but in my case, and in a lot of other people’s cases, it really is just an accident. It was very much fortuitous timing, and I think I wrote a pretty good verse that people liked as well.”
Growing up in a bi-racial Black and Jewish family, the Los Angeles native always knew she wanted to be a musician. She took music lessons as a child and when she attended the Grammy Camp at USC at 16 years old, it cemented her desire to pursue music professionally. She returned to USC for her undergraduate degree, this time to study performance with an emphasis on songwriting, and while she was there, her manager found her on Instagram and, as she shares matter of factly, booked her for a show.
She released her first single, “White Boy” in December 2019, following it with “Wolves” in February of 2020. The plan was to continue rolling out music, but the pandemic put those plans on pause. However, the same mixture of inherent talent and social media magic that had brought McRae to her manager was conjured up again. She was awarded the honor of joining 2021’s YouTube Black Voices campaign, where she hopes her music will “[illuminte] one tile in the mosaic of the Black American experience.”
“I feel like the point of my music is to provide another example of Black womanhood and Black female existence in the world,” she shares when asked about the socially and politically conscious nature of her music. “I think even in my music where I talk about things that are not directly related to my demographic identity, it informs the work I do anyway. When I talk about mental health and unrequited love and adolescence, and in addition, political issues, I feel like my perspective as this person who is at the intersection of a few different marginalized identities comes through always.”
McRae has seen success in the same communities her idols have created, though, in her experience, there’s still more work to be done for women of color in alternative music. “When I would play shows, people would always ask me before I played if I made R&B or if I made ‘urban’ music,” she digs. “I don’t even know what that means. That’s kind of a big word in music. Then after I played, they’d be like, ‘oh, you remind me of “insert white artists here”, but with more soul,’ which to me was just like code for ‘you’re Black.’ I think as with many other fields, white women kind of got the exposure first, and now people are opening up their definition of womanhood and rock music and folk music a little bit more to include women of color in that space.”
When McRae reminisces about her favorite artists, her eyes light up, her speech quickens, and fits of laughter punctuate her sentences. Here, she pays homage to the Black artists who have not only inspired her music but, in some ways, have made her music possible.
Alicia Keys
Alicia Keys is the reason I am a musician. My mom played me her music, and I was so drawn to it right away. She was a mixed girl with braids and I was a mixed girl with braids and I was like, ‘This is everything to me.’ Really, it was her piano playing more than that I was really drawn to. I don’t even really play piano primarily anymore but the piano was my first instrument. Alicia Keys showed me a model of musical identity that really resonated with me when I was a kid. I just loved everything she did — especially The Diary Of Alicia Keys, Songs In A Minor, and As I Am. Those three albums were really important to me.
Stevie Wonder
Alicia Keys and Stevie Wonder were two of the first artists I listened to in childhood. Stevie Wonder [was] just fun and the virtuosity that he had was really inspiring. I just remember being in the car with my older brother and my mom and just begging to hear “Black Man.” We would just scream, “Black Man, Black Man, Black Man!” so she would play that over and over again. My dad is a lawyer, but he has a beautiful singing voice and he used to sing a lot of Stevie Wonder to my mom. That was part of how he courted her, so that’s a very important part of my story.
Tracey Chapman
Tracy Chapman is important in the sense that I get compared to her a lot. I am honestly not as well-versed in her discography, everything that I know I love, but I have to acknowledge the historical lineage that led to me as a musician. She’s a Titan. I’ve seen so many different live performances of her playing “Fast Car” and her silencing arenas with just her and her guitar. That’s really important to me because even though I love playing with a band and that’s something I definitely want to do when shows come back, just the knowledge that it’s possible to silence an arena with just you and your voice and your guitar is something really remarkable. And also alto representation. Higher “feminine-sounding” voices are often favored, and having a super deep voice sets me apart — which is cool but it can also be sort of isolating. There are not a ton of female-identifying artists who have those super deep voices, at least not in the genres I traffic in. So, whenever I do find other artists who have that deep resonant alto, I feel very seen.
Corinne Bailey Rae
One of the other biggest artists in my childhood would be Corinne Bailey Rae. I listened to her self-titled debut constantly when I was a kid. She was another Black woman with a guitar making this interesting fusion of pop and folk and jazz, and she’s British. I’m kind of an Anglophile. I love how delicate and feminine her depiction of Black womanhood is. There [are] a few songs on the album that are so special to me. Obviously, “Put Your Records On” — the big hit — just makes me happy. But “Like A Star” is a song I played at so many school talent shows. That song, “I’d Like To,” I love that song so much. That song to me is like summer. It paints such a vivid picture of growing up in a Black neighborhood. Obviously, for her, it’d been growing up in the UK, but there are a lot of overlaps. When I was little, the neighborhood I grew up in before I moved to the Valley, growing up [with] that sense of community and just being around a large group of Black people, just being fully joyous.
Moses Sumney
A more recent discovery is Moses Sumney. I started listening to him when I was a freshman in college. I don’t remember who originally played me “Plastic,” but I was frozen where I stood when I heard it. Everything I listened to from him is so inspiring. I wrote an essay about his double album græ that I’m going to put on my blog one day. He completely defies all description and, with regard to being someone who’s trying to break out of stereotypical genre boxes myself, to watch the way that he does that is amazing. Everything he does is about bouncing back-and-forth between binaries with regard to not only musical genres, but also gender. He’s so comfortable in himself and makes incredible art that isn’t bound to any social expectation, it’s just really beautiful. His lyrics are so incredible, his voice is its own crazy instrument. He’s so in control of his artistic vision, which is something I aspire to one day. I’m instrumental in all of the decision-making in my art, but I don’t necessarily feel like I am as confident as I one day could and Moses is definitely the model I want to emulate.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
(@FreddieGibbs) 
