Playboy Carti Is A Master Of Mind Control

On Saturday night at The Forum, Playboi Carti broke every rule of performing I’ve come to expect from a live rap concert. Carti’s set was more like a DJ set at a rave; instead of witnessing athletic feats of breath control or charismatic interplay between the artist and his fans, we essentially watched a silhouette dancing through the fog, occasionally punctuated by the flamethrowers at the front of the stage

Fans couldn’t even see him for most of the concert. The production must have melted a metric ton of dry ice for smoke effects. He could’ve had a body double for all anyone could tell (a possibility for which there is a non-zero chance, considering his comments about being inspired by MF DOOM, who was known to pull that trick a few times in his day). But If it sounds like I’m down on the performance, I promise it isn’t because I am. If anything, I was impressed. Here was an artist creating atmosphere, wresting full buy-in from his fans by sheer force of will, personality, or mind control.

I can attempt to posit reasons for what I saw as a disproportionate response to the apparent level of effort going into the performance. My first guess is that Carti’s fans, which from my observations mainly seemed to hail from zoomers and the younger end of the millennial spectrum, come from an era where like 75 percent of their lives are lived online. Again, this isn’t a diss; this is a generation that has barely known a world before Netflix, YouTube, UberEats, or the big 3 of social media (Instagram, Twitter, TikTok). Hell, most of them probably never had a Myspace page.

Maybe for them, the appeal isn’t in watching how artists transform their works on stage, it’s just in seeing them in real life. In concert, this person with whom they engage largely as an abstract concept via text, images, short video clips, and an inch square profile picture becomes… well, real. Three dimensional, dynamic, tactile. Perhaps rather than coming to be entertained, they’re coming simply to connect in a world that seems to be constantly so but is really more isolated and individualistic than ever before.

They aren’t just here to watch, they’re here to commune, to participate. And maybe Carti is, too. After all, artists are every bit as subject to the lonely experience of existing in a digital world as anyone — maybe even more so, because of the nature of life spent locked in studios or on the road.

And maybe, because artists like Carti and his peers largely owe their success to the internet rather than the hard-earned grind of growing a fanbase through grueling live performances at tiny venues and developing over time, they’ve never learned to appreciate the technicalities or nuances that prior generations did. I hate to say it, but maybe that’s okay. I once wrote that Carti doesn’t really deserve to be trapped into the box of expectations that the rapper label comes with. Perhaps that includes the ones that say rappers must perform all of their own vocals without support, that they must be experts at talking to the crowd, that everything has to be curated and polished to the point of making it all appear seamless and easy.

On the other hand, maybe Carti really just has mind control over these kids, like the vampires he often references in his public communique. Maybe he just really is tapped into a different wavelength that tickles the basic instinct to wild out and move around and the fact that I remember AOL chat rooms just makes me old as hell. But as he closed out his set to deafening chants of his name, I was struck by a sense that I had just glimpsed the future… If not of hip-hop as an institution then of some as-yet-unnamed wave of pop culture fueled less by virtuoso than vibes.

One thing that was heartening to see: kids having fun safely. In the wake of the Astroworld disaster in Houston the night before, I could sense the tension of concern that this Carti show could get out of hand in the same way. After all, just weeks before, Playboi Carti fans had torn up his venue in Houston when the concert was canceled at the last minute. Yet on Saturday at The Forum, the chaos was controlled and fans’ youthful exuberance was encouraged. It showed that you can still have this kind of show if you maintain a certain level of respect and consideration. By all means, wild out. Just know where the line is, and keep all your toes on one side.

The Narcissist Tour continues Tuesday, November 9 at Gallagher Square in San Diego, CA. You can see the remaining tour dates here.

Cordae Explains Why He Thinks ‘Squid Game’ Is ‘Oversaturated’ On ‘Desus & Mero’

Sunday night, Cordae dropped by Desus & Mero to talk about his new music and his recent physical transformation posts on social media, but because it’s Desus and Mero, the conversation was quickly sidetracked into NSFW discussions about adult film, McDonald’s Filet-O-Fish sandwiches, and of course, the inescapable juggernaut of popularity that is Netflix’s Korean drama Squid Game, which Cordae thinks is “oversaturated.”

“That’s like a head ass, now,” Cordae said of the show when asked whether he’d watched it recently. “N****s overdid Squid Game so much.” While he allowed that “a lot of n****s did some dope sh*t with it,” he adamantly rejected Desus’ suggestion that he make an album based on the show. He did, however, seem interested in a parody of the show mentioned by the host. “I gotta check that, just for curiosity,” he quipped.

On a more serious note, Cordae explained how he lost so much weight in the photos he recently posted. He admitted that “I was just eating terrible. This is my first time getting money like this and we eating steaks, going to Mastro’s every day, getting chefs to pull up.” He says that he was able to shed the extra pounds by “just staying disciplined.”

Watch Cordae’s wild Desus & Mero interview above.

Snoop Dogg Wants Ownership Of Death Row Records — And Hints That He Could Get It

Appearing on the Million Dollaz Worth Of Game podcast, OG West Coast rapper Snoop Dogg had plenty to say with regard to the state of the region’s hip-hop scene — and the place within that scene for the pioneering label that originally helped open the door for LA’s dominance in the wider rap culture.

Addressing the diminished importance of Death Row Records in recent years, Snoop was adamant that he could not only bring it back but also make it the hub for the biggest artists in West Coast hip-hop again. “I think all of Death Row should be in my hands,” he asserted. “I should be running that sh*t. Just like I’m [in] a position at Def Jam, Death Row means more to me because I helped create that. I think they should give me that and let me run that shit with the merchandise out, with the music all over the world. [Add] some new West Coast acts.”

He even posited that were he in this position previously, he’d have been able to sign many of LA’s premiere acts, including Roddy Ricch, Ty Dolla Sign, and YG.

But the real kicker is that he believes he could secure ownership of the label soon. “A little birdie told me it may fly my way and if it do, you’ll get everything that I told you,” he said. “If I can get Def Jam poppin’, what could I do with Death Row? Just imagine that.”

Megan Thee Stallion, BTS, Olivia Rodrigo, And More Will Perform At The 2021 American Music Awards

The list of nominees for this year’s American Music Awards was unveiled last month. It’s a star-studded list, and so far, the list of artists set to perform at the Cardi B-hosted ceremony (which airs on November 21 on ABC) packs a punch, too. Organizers announced its first batch of performers this morning and the list includes Megan Thee Stallion, BTS, Olivia Rodrigo, and Bad Bunny.

Megan and BTS will be performing together to give their “Butter” remix its television debut. It’s not clear what song(s) Rodrigo will deliver for her AMAs debut, but Bad Bunny is set to perform “Lo Siento BB:/.”

More performers are expected to be announced soon, but one who won’t make the cut is Morgan Wallen. He’s up for two awards due to his performance on the charts, but AMAs organizers noted last month, “Morgan Wallen is a nominee this year based on charting. As his conduct does not align with our core values, we will not be including him on the show in any capacity (performing, presenting, accepting). We plan to evaluate his progress in doing meaningful work as an ally to the Black community and will consider his participation in future shows.”

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

Head In The Clouds Is Los Angeles’ Next Great Music Festival

Los Angeles isn’t exactly known as a hub for successful music festivals. Sure, there’s Coachella a solid two hours out of the city, but within the county lines (and neighboring Orange County), the reputation is a bit more scattershot. Events like FYF, Burgerama, and Beach Goth have all (rightfully) gone the way of the dodo after various levels of controversy, while fests like Made In America, Detour, and Festival Supreme couldn’t quite survive in the competitive atmosphere. Tyler The Creator’s Camp Flog Gnaw is the class of the town, and its producer Goldenvoice has been further dabbling into more niche events in the area of late. These can make you feel old (the aughts indie-celebrating Just Like Heaven), make you feel really old (the ’80s nostalgia brandishing Cruel World), or, as over the past weekend, make you feel like a part of something bigger than yourself, at 88 Rising’s Head In The Clouds festival.

Head In The Clouds debuted as a single-day event in 2018 and 2019 at Los Angeles Historic State Park, drawing more than 20,000 fans and necessitating this more fully-realized version. The ethos is pretty simple yet crucial: a celebration of Asian music and culture, both from the Asian continent and from Asian-Americans. Speaking with the LA Times earlier this year, 88 Rising (and festival) founder Sean Miyashiro said, “We just want the best of Asian music, so we can invite anyone. The last two fests were scrappy but monumental for us. This one is literally the live interpretation of everything we stand for.”

The resulting festival felt like a revelation. For cultures that often note that they feel invisible within American society, which was only underscored by the Covid crisis that saw them the subject of violence and scorn, this couldn’t be more important, especially as the event highlighted the depth and breadth of their influence. This could feel hyperlocal, like the San Gabriel Valley homage that was the 626 Night Market, to ocean-spanning, like a massive set from K-pop legend CL. During her sunset performance, rap star Saweetie highlighted her own heritage (Black, Filipino, and Chinese) while also shining a spotlight on the “Asian kings and queens” in the audience. If the audience didn’t feel seen in their day-to-day lives, Head In The Clouds was sure that Asian people wouldn’t feel that way on the festival grounds.

Head In The Clouds Festival
Philip Cosores

It’s a concept that makes more sense as the music world becomes more global. Festivals highlighting music from Africa and Latin America are becoming more common, while micro-festivals around specific cultures are beginning to leave the shadows for the mainstream. Diversity in the major music festivals is also more common, where occurrences like Blackpink’s appearing at Coachella and J Balvin’s dominance of the festival circuit are paving the way for more like them in the future, with international music treated like less like a curiosity and more like a pillar of popular music.

The majority of the big acts at Head In The Clouds wouldn’t feel out of place at a Coachella of Lollapalooza, like Japanese Breakfast, whose “banger after banger” performance proved why Michelle Zauner is one more music’s most exciting personalities, and Saturday headliner Rich Brian, whose earnest bars come across even better live than they do on record. But for someone like CL, who despite a new album that saw a big Rolling Stone feature and an appearance on Lil Dickey’s Dave remains unknown to many outside of Asian circles, the festival provided an argument for why that needed to change asap. The training that went into her K-pop career as a member of 2NE1 was on display as she danced, sang, rapped, and gave her all in such a manner that should put all American pop stars on notice that they need to up their game, immediately.

CL Head In The Clouds
Philip Cosores

Taking place just a day after the tragedy at Astroworld in Houston, there was a clear reaction from the festival, with waters being distributed at a frantic rate and security responding to calls for help with prompt and thorough assistance. But still, the events of the day before hung heavily on Head In The Clouds, and I imagine it will over festivals for a long time. But Head In The Clouds was a reminder that this kind of event can be so much more than the party atmosphere that many are reduced to. Festivals can be meaningful celebrations, and here’s to hoping that Head In The Clouds keeps growing and assuming its place as Los Angeles’ next great music festival.

Check out some more photos from the event below.

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

Saweetie

Saweetie Head In The Clouds
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Saweetie Head In The Clouds
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Saweetie Head In The Clouds
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Saweetie Head In The Clouds
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Saweetie Head In The Clouds
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Saweetie Head In The Clouds
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Saweetie Head In The Clouds
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CL

CL Head In The Clouds
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CL Head In The Clouds
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CL Head In The Clouds
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CL Head In The Clouds
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CL Head In The Clouds
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Japanese Breakfast

Japanese Breakfast Head In The Clouds
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Japanese Breakfast Head In The Clouds
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Japanese Breakfast Head In The Clouds
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Japanese Breakfast Head In The Clouds
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Rich Brian

Rich Brian
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Rich Brian
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Rich Brian
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Rich Brian
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Head In The Clouds Festival
Philip Cosores
Head In The Clouds Festival
Philip Cosores

Saba Announces His Back Home Tour Dates With Enny, Lute, And More

Chicago rapper Saba didn’t take long after announcing his third album to follow up with the dates for his upcoming world tour in support of the album, the Back Home Tour. The tour will launch in March 2022 in Europe and the UK before coming to the US in April.

Saba’s tour dates in Europe will be supported by a pair of local artists: English rapper/signer Enny, and Dutch-Sudanese R&B singer Gaidaa. When he returns to North America, Saba’s openers will be Dreamville rapper Lute (Saba appears on Lute’s new album Gold Mouf) and the Los Angeles singer Amindi. Tickets will go on sale at 10 am local time on November 12 at sabapivot.com. You can catch Saba onstage before the tour at Day N Vegas this Saturday, November 13.

See below for the full tour dates.

3/1 — Dublin @ Academy
3/3 — Manchester @ Manchester Club Academy*
3/5 — London @ Forum*
3/7 — Birmingham @ Institute 2*
3/9 — Brussels @ Botanique / Orangerie
3/10 — Cologne Luxor
3/11 — Paris @ FVTVR
3/13 — Zurich @ Dynamo
3/14 — Vienna @ Grelle Forelle
3/16 — Milan @ Circolo Magnolia
3/18 — Amsterdam @ Melkweg Main Hall
3/19 — Hamburg @ Gruenspan
3/20 — Berlin @ Yaam
3/22 — Copenhagen @ Amager Bio
3/23 — Oslo @ Parkteateret
3/24 — Stockholm @ Debaser

North America Dates with Lute and Amindi
4/11 — Phoenix @ Van Buren
4/14 — Dallas @ House of Blues
4/15 — Houston @ House of Blues
4/16 — Austin @ Emo’s
4/19 — Orlando @ Celine
4/20 — Atlanta @ Centerstage
4/21 — Charlotte @ Underground
4/22 — Pittsburgh @ Roxian Theatre
4/25 — Brooklyn @ Brooklyn Steel
4/27 — Washington D.C. @ Fillmore
4/28 — Philadelphia @ TLA
4/29 — Boston @ Paradise
5/1 — Toronto @ Phoenix
5/3 — Detroit @ El Club
5/6 — Minneapolis @ First Avenue
5/7 — Lawrence @ Granada
5/9 — Denver @ Cervantes
5/12 — Seattle @ Showbox
5/13 — Portland @ Crystal
5/15 — Vancouver @ Vogue
5/19 — San Francisco @ Regency
5/20 — Santa Cruz @ Catalyst
5/21 — Los Angeles @ Novo

Travis Scott Reportedly Cancels His Day N Vegas Performance Because He’s ‘Too Distraught’ After Astroworld

This past weekend was supposed to be a highlight of the year for Travis Scott, but instead, it became one of the biggest tragedies of his life. At his Astroworld festival, eight people died and many more were injured due to a crowd surge during Scott’s set. The rapper was supposed to be a headliner at this upcoming weekend’s Day N Vegas festival, but understandably, it looks like he will not be performing as planned.

Variety reports that Scott has backed out of the performance because he is “too distraught to play,” according to the publication’s source. As of this post, Day N Vegas organizers have yet to announce any lineup changes related to Scott.

Indeed, Scott seemed deeply bothered by what happened in the statements he shared. His first public response was a written statement in which he said, “I’m absolutely devastated by what took place last night. My prayers go out to the families and all those impacted by what happened at Astroworld Festival.” He reiterated that in a video he later shared, saying, “My fans really mean the world to me. I always just really want to leave them with a positive experience. […] I’m honestly just devastated. I could never imagine anything like this happening.”

Furthermore, Variety also reports that Scott intends to provide full refunds to all Astroworld ticketholders.

Travis Scott And Drake Are Being Sued Over The Astroworld Festival Deaths

What was supposed to be a joyous event turned into a tragedy over the weekend as eight people died during a crowd surge at Travis Scott’s Astroworld festival on Friday, November 5. Now, Scott is facing multiple lawsuits over the event and Drake is a defendant in one of them.

As previously reported, Astroworld attendee Manuel Souza is suing Scott, Live Nation, and organizer ScoreMore. The lawsuit claims the incident was the result of “a motivation for profit at the expense of concertgoers’ health and safety” and the “encouragement of violence.” It also calls the situation a “predictable and preventable tragedy.”

Souza’s attorney, Steve Kherkher of Kherkher Garcia LLP, wrote, “Defendants failed to properly plan and conduct the concert in a safe manner. Instead, they consciously ignored the extreme risks of harm to concertgoers, and, in some cases actively encouraged and fomented dangerous behaviors.”

Furthermore, NME reports that another suit was filed by Texas-based attorney Thomas J. Henry, on behalf of an unnamed Astroworld attendee. Listed as co-defendants are Scott, Drake, Live Nation, and NRG Stadium, and a press release from Henry’s law firm alleges the surge happened when Drake made a surprise appearance on stage.

“There is no excuse for the events that unfolded at NRG stadium on Friday night,” Henry said in a statement. “There is every indication that the performers, organizers, and venue were not only aware of the hectic crowd but also that injuries and potential deaths may have occurred. Still, they decided to put profits over their attendees and allowed the deadly show to go on.”

Beyond that, there’s yet another lawsuit, filed by civil rights and personal injury attorney Ben Crump on behalf of Astroworld attendee Noah Gutierrez, who claims to have offered assistance to crowd members in need in the VIP section.

Crump wrote in a statement, “We are hearing horrific accounts of the terror and helplessness people experienced — the horror of a crushing crowd and the awful trauma of watching people die while trying unsuccessfully to save them. We will be pursuing justice for all our clients who were harmed in this tragic and preventable event.”

The statement also notes that Crump expects to file more lawsuits on behalf of other victims in the coming days, so it appears Scott’s plate is full when it comes to legal trouble.

Saweetie Tweeted That She Wants Some Babies, And Certified Baby Maker Nick Cannon Is Down To Step Up

It was just this past summer that Nick Cannon cause the attention of social media and the entertainment world for the number of children he was seemingly having in a rather short amount of time. In June, model Alyssa Scott, the mother of Nick’s seventh child, revealed the birth of their baby boy Zen. Elsewhere, Cannon also had twin boys, Zion and Zillion, with Abby De La Rosa earlier this year, as that announcement came less than a week before Scott’s own. Furthermore, Cannon and Brittany Bell’s daughter Powerful Queen was born last December. In September, Cannon alluded to going celibate thanks to a conversation with his therapist, but he may break that rule for one individual.

Saweetie expressed her desire to have children in a tweet, writing, “I want some babies.” Cannon caught wind of her message and responded with a group of emojis that included a hand-raising one, a thinking face, and a laughing emoji. It all seems to be a joke from Cannon as it produced some laughs on the timeline. Saweetie has yet to reply to Cannon’s tweet.

The interaction comes after Anitta and Sweetie joined forces to perform “Faking Love” on The Late Late Show With James Corden.

Check out a screenshot above.

Saweetie is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

A New Report Claims Travis Scott Continued Performing For 37 Minutes After Astroworld Was Declared A ‘Mass Casualty Event’

An investigation into the tragedy that occurred at Travis Scott’s 2021 Astroworld Festival is underway as there are questions many want answers to. One of those includes whether or not Travis was aware of the lifeless bodies and overall chaos that occurred in the crowd during the showcase. Thanks to videos that were posted on social media, many believe that he failed to react despite seeing what was happening in the audience. However, according to a new report from the Houston Chronicle, Live Nation, the promoter behind Astroworld, was aware of the matter and took steps to shut down the show.

The Houston Chronicle says police officials said Live Nation allegedly agreed to end the show shortly after multiple people collapsed around 9:38 PM local time. City officials said the show officially ended at 10:10 PM local time, however, those in the audience said that Travis completed his set and finished at around 10:15 PM. It’s unknown if the call to end the show was communicated to Travis and he chose the ignore it and continue performing.

The report arrived as Kylie Jenner, Travis’ partner, came to his defense after the tragedy. “Travis and I are broken and devastated,” she wrote on her Instagram Story. “My thoughts and prayers are with all who lost their lives, were injured or affected in any way by yesterday’s events.” She added, “And also for Travis who I know cares deeply for his fans and the Houston community, I want to make it clear we weren’t aware of any fatalities until the news came out after the show, and in no world would have continued filming or performing.”

Travis and festival organizers behind Astroworld received their first lawsuit over the tragedy on Saturday. An attendee who was hurt at the show is suing for negligence and gross negligence and is seeking at least $1 million in damages.