The Estate Of Tupac Shakur Announces A Tupac Museum Experience

Within the last month alone, immersive experiences dedicated to Prince and David Bowie have been announced. Now, a creative collaboration between The Estate of Tupac Shakur, The Rock And Roll Hall of Fame and others has announced a contemporary art museum style experience dedicated to the life and work of Tupac.

Tupac Shakur. Wake Me When I’m Free, is a multi-sensory experience that showcases the late rapper’s music, poetry, and artifacts in a 20,000 square foot space that is set to tour around the world. The museum will have surround sound spaces that use technology to present rarities, photos, writings, etc. that represent the creative compositions that marked Tupac’s life. A press release said that “WMWIF will delve into the greater meaning of his activism, music, and revolutionary art.” Even Tupac’s influential activist mother, Afeni Shakur is said to be incorporated throughout.

Set to open on January 21st, 2022, the global touring exhibit begins at The Canvas at L.A. Live in Downtown L.A. and will move through select U.S. and international cities over the course of the next few years. Rock and Roll Hall of Fame Chief Curator & Vice President of Curatorial Affairs, Nwaka Onwusa led the curatorial efforts, along with Creative Director Jeremy Hodges of Project Art Collective. Hodges added his thoughts on the endeavor in a statement:

“It is a privilege to be a part of such a monumental project”, Hodges said. “Tupac Shakur was my Malcolm; he was my Martin, and to build an experience that honors such a prolific man, cannot be summed up in words. We wanted to create a memorable experience that will inspire you to be better than when you walked in, all while leaving you with the knowledge that he was a true revolutionary spirit.”

A “front of line” pre-sale goes on sale 11/09 at 10 am PT on wakemewhenimfree.com and general tickets go on sale 11/12 at 10 am PT.

J. Cole Is Secretly One Of Rap’s Most Stylish Artists

Before launching his currently running Off-Season tour, J. Cole made a statement with his performance at the iHeartRadio Festival. It wasn’t a political statement, or even an announcement, though. It was a fashion statement. Rocking a tie-dye shirt, sweatpants, and black Crocs, Cole captured the attention of social media. While he’s far from the only rapper to endorse the Broomfield, Colorado shoe brand’s signature chunky, no-effort clogs, it was notable that he did so during such a high-profile performance. However, it shouldn’t be surprising; J. Cole has always secretly been one of rap’s most stylish artists.

I know what you’re thinking: “J. Cole? Stylish??” And I get it. If you’re online in any way, you’ve likely seen the Fayetteville, North Carolina rapper getting roasted for seemingly putting minimal effort into his performance fits — see the aforementioned Crocs instance. He’s never been one to shout out name brands or construct elaborate ensembles with glittering accessories dangling from his neck or wrists. He’s the ultra-regular rapper whose almost extreme relatability gets him clowned for not being flashy enough either in content or presentation.

Let’s get a few things clear, though. Fashion and style are two different things. As Cole’s mentor Jay-Z once said, “I can’t teach you my swag / You can pay for school but you can’t buy class.” Just donning a stack of expensive items bearing the brand marks of Italian designers doesn’t equate to having style; anyone can buy their way into fashion icon status with enough money. Having style means having a signature look, an ethos behind what you’re wearing besides showing off your bank account. It’s about showing people who you are. Plenty of rappers are arguably more fashionable than J. Cole but while designers’ names pop off of individual pieces, their ensembles often look like they got dressed in the dark with their stunner shades on.

Cole knows exactly what he’s going for with his looks, opting for comfort over name recognition. And yes, he too flaunts established rules about color matching and fit, he usually turns out to just be ahead of a coming trend rather than out of style. Consider his ultra laid-back looks of late. Some may consider them frumpy or lazy, but who among us didn’t give up on jeans during the pandemic in favor of layabout fits better suited to our new working from home lifestyles (I mean, those of you who didn’t already work from home)? Even his adoption of Crocs as performance wear reflects the foam clogs’ newfound popularity and cultural cachet. Industry peers like Justin Bieber, Nicki Minaj, and Post Malone have collaborated with the brand with pieces so highly demanded they’ve sold out within minutes of availability.

Maybe Cole hasn’t become a fashion icon because his simple, cozy fits reflect his down-to-earth persona a little too well. Just look at Kanye West, who’s gotten away with leather kilts, retro puffer vests, cultural appropriation (those keffiyehs didn’t bother anyone else?), and all types of other outlandish sartorial choices — including his own lazy-boy, dad-life-inspired Yeezy brand — almost solely because he presents himself as a fashion maven, going to designers’ shows and pitching fits (no pun intended) about his perceived lack of support from those in the industry.

Say what you want about Cole’s love for tie-dye and baggy joggers, at least his looks have a lot of personality. Yeezy seasons 2-6 were roundly ridiculed for being bland and lackadaisical, with Kanye seemingly re-pitching the same shapeless, earth-tone pieces year after year. Cole may not have his own brand, but his style has an identity; he isn’t just mashing together designer pieces for the sake of Frankenstein-ing the most expensive outfit for the sole purpose of flexing. You can even see how his — and Yeezy’s — respective influences have begun to spread. More and more celebrities like Bieber and Billie Eilish have already embraced the cozy lifestyle dressing for comfort over Vogue approval… And fans have naturally reciprocated. Being outside after the past year is anxiety-inducing enough; why not at least be warm (or well-ventilated), mobile, and free from worries about showing off the quarantine 15 many of us picked up after a year of UberEats (or Postmates, or DoorDash) and suspended gym memberships?

If you ask me, J. Cole always had the right idea. He’s always just dressed like himself, even as he strove to be a superstar rapper. If anything, that’s the most hip-hop thing he could’ve done. Remember when the Beastie Boys tried to dress like rappers, with their matching Adidas sweatsuits? Russell Simmons saw right through them; they looked ridiculous. Instead, he told them, they should be themselves — that would endear them far more to the culture than looking like outsiders trying to dress the part. It seemed like that would be the rule forever, but somewhere along the way, that rule got lost. Keeping it real wasn’t enough; you had to look like you were rich — which, to the newly wealthy artists of the platinum era, meant wearing all the money they were “making,” even if they were just wasting their advance money to look cool by someone else’s standard.

From the moment he arrived on the scene, J. Cole offered an antithesis to the money-hungry image often associated with major label rap acts. Sure, for a while, he got caught up in the hype himself (hello, “Mr. Nice Watch”), but in time, he grew into his status and embraced his own way of doing things. His style is a reflection of his music, which is a rejection of rap’s status quo — or maybe just a reclamation of its roots. Yes, the pioneers of the culture wanted to be fly, but they wanted to be fly their way, to show the world who they were without frills or having to code-switch to fit in. Cole doesn’t switch up for anyone else’s approval, which is really what hip-hop is all about. For that alone, he should be considered not just a style icon, but one of rap’s role models for redefining the rules and showing the world that style and substance don’t have to be opposites. Like Cole’s intricate rhymes and his mainstream success, they can counterintuitively go hand-in-hand.

Anderson .Paak Is Launching A New Label Called Apesh*t

In a hilarious faux press conference posted earlier today on Instagram, Anderson .Paak announced that he’s launching a brand new label. Dubbed Apesh*t, he explained that the name is partly an acronym for “Anderson .Paak Empire” and a reference to the fact that “we on some other sh*t.”

A press release indicated that Apeshit is indeed a partnership with Universal Music Group and that Paak’s focus is on “no gimmicks, no button-pushing, just raw talent.” An unusual success story himself, this effort definitely feels like he’s trying to find other multi-talented artists that have gone undiscovered the way he was until he broke through on Dr. Dre’s Compton album in 2015, and then with his own album Malibu in early 2016. “I’m looking for artists that can captivate an audience,” he elaborated in the Instagram video. “I want musicians. I want people that can play instruments and perform at the same time.”

Apesh*t has a website up already proclaiming itself as “A disruptive platform for the most captivating talent in the world,” as well as a new Instagram account with upwards of 6,000 followers on its first day of existence. “Do you plan on signing artists from Korea?” one of the actors in the Instagram clip asked in Korean. Paak replied in Korean with “Yes lawd!”

It feels like strategic timing to introduce Apeshit to the world as An Evening With Silk Sonic, Paak’s album with Bruno Mars as Silk Sonic, is set to arrive on November 11th. As the video comes to a close, he looks at the camera and delivers a parting thought on the venture: “The game is crazy man. This industry can be like a jungle. Snakes, tigers, rainy days, hot days…What I’m trying to say is look: If the industry is like the jungle? Well, I guess we got no choice but to go APESH*T!”

Jay-Z’s Rock & Roll Hall Of Fame Speech Makes Dame Dash Amenable To Reconciliation

For years, former Roc-A-Fella Records partners Dame Dash and Jay-Z have been on shaky, uneven footing stemming from the label’s contentious split in 2005 when Jay-Z walked away from the partnership for a position as President of Def Jam. However, it seems that Jay holds less ill will toward his former partners than many of them hold toward him, as he gave a series of shout-outs during his Rock & Roll Hall Of Fame induction speech, including to third Roc founder Kareem “Biggs” Burke as well as Dame.

“Shout-out to Dame,” he said. “I know we don’t see eye to eye, but I can never erase your accomplishments. And I appreciate you and I thank you for that.”

That proverbial olive branch has apparently prompted Dame to consider reconciliation according to Page Six, which he told, “I’m glad he said it for the culture. We need to squash everything. So hopefully if that was an extended [olive branch], I’ll spin one back.”

However, the feisty mogul did set one condition for a possible reunion. “I have no beef with [him] if [he has] no beef with me,” he elaborated. “Let’s get the lawyers out of it then. Let’s talk like men, but I definitely appreciate it.”

Of course, the lawyers were introduced to the mix earlier this year when Dame reportedly attempted to sell Jay’s debut album Reasonable Doubt — the point of contention in the initial Roc split (although Dame blames other factors) — as an NFT. However, as it turned out, Dame was more interested in off-loading his stake in the now-defunct brand, which Jay tried to buy at a price Dame “deemed unacceptable.” Jay still sued to stop the sale, saying in court records, “Dash can’t sell what he doesn’t own. By attempting such a sale, Dash has converted a corporate asset and has breached his fiduciary duties.

The original trio of founders met over the summer to try and hash out their differences after a judge denied Dame’s request to block the meeting, but as yet, it appears they still haven’t buried their respective hatchets. Jay’s shout-out could be the first step toward getting the brash Harlem hustler back to the negotiating table.

It Sure Looks Like Kanye West — AKA Ye — Has Now Shaved Off His Eyebrows

Kanye West’s latest string of attention-grabbing stunts continues. Just a week after legally changing his name to “Ye,” the mercurial producer started wearing a playful but deeply unsettling Halloween mask for public appearances, then debuted a strange, seemingly self-styled haircut — but it doesn’t stop there. As photos from Kanye’s latest Sunday Service on October 31 emerged online, fans noticed yet another new change that will certainly raise a few eyebrows. Not Kanye’s eyebrows, though… because it appears he’s shaved them completely off.

It’s as yet unclear why he would do such a thing — other than, y’know, the whole Kanye of it — but fans have already noticed and begun sharing their impressions.

The move certainly appears to have been inspired in part by the controversial guest Kanye brought to the latest edition of Sunday Service, Marilyn Manson. Kanye seems to have developed a soft spot for the disgraced rocker over the past few months. After Manson was accused of sexual assault and several other musicians distanced themselves from him in the wake of his arrest for that assault, Kanye brought him out to the third Donda listening event in Chicago along with DaBaby, who was also under fire for making homophobic comments at Rolling Loud in Miami. Ye even added Manson to the final version of his album, and now, it looks like he’s even starting to take on some of Manson’s styling tips — for better or worse.

Summer Walker’s ‘Still Over It’ Tracklist Features Cardi B, SZA, Pharrell, And More

The wait for the follow-up to Summer Walker’s breakthrough 2019 debut Over It has been a roller coaster, one that’s now reaching the top of the climb before that final freefall that everyone looks forward to. First, Walker projected confirmation of the album’s November release timeline on the side of a building outside of the BET Awards, giving off heavy Yeezus guerilla marketing vibes. Then came a trailer announcing the November 5th official release date for Still Over It. That was followed by a tracklist teaser with an announcement for her next single, “Ex For A Reason,” featuring JT of City Girls, which dropped three days later.

Considering Over It broke Beyoncé’s record for the largest streaming week ever for an album by a female R&B artist, the build-up here is warranted. And now, today, Walker tweeted out the album cover along with the entire tracklist, and it’s stacked. Aside from “Ex For A Reason,” highlights include the album’s opening track, “Bitter,” with narration Cardi B, “No Love” featuring SZA, “Dat Right There” featuring Pharrell, plus tracks with Lil Durk, Ari Lennox, and more.

Check out the full Still Over It tracklist below.

1. “Bitter (Narration by Cardi B)”
2. “Ex For A Reason” Feat. JT from City Girls
3. “No Love” Feat. SZA
4. “Throw It Away”
5. “Reciprocate”
6. “You Don’t Know Me”
7. “Circus”
8. “Insane”
9. “Constant Bullsh*t”
10. “Switch A N***a Out”
11. “Unloyal” Feat. Ari Lennox
12. “Closure”
13. “Toxic” Feat. Lil Durk
14. “Dat Right There” Feat. Pharrell
15. “Screwin” Feat. Omarion
16. “Broken Promises”
17. “Session 33”
18. “4th Baby Mama (Prelude)”
19. “4th Baby Mama”
20. “Ciara’s Prayer (Narration by Ciara)”

Still Over It is out 11/5 via LVRN/Interscope. Pre-order it here.

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

Taylor Swift And Saweetie Are Set To Perform On ‘Saturday Night Live’ In November

So far, it’s been a big day in Saturday Night Live musical guest news. This morning, Ed Sheeran revealed that he will be able to perform on the show as planned following his positive COVID test. Now, not only has SNL confirmed the news, but they’ve also revealed their next two musical guests after Sheeran: Taylor Swift and Saweetie.

Swift will guest on the November 13 episode hosted by Jonathan Majors, while Saweetie will perform on the Simu Liu-hosted episode on November 20.

This will be Saweetie’s first time on the program. As for Swift, she’s an SNL veteran. Her first stint as musical guest came in 2009, and her upcoming performance will be her fourth. In her second 2009 episode, Swift had the rare honor of serving most as host and musical guest.

Beyond SNL, both Swift and Saweetie have been thriving lately. Swift is fresh off her first performance at the Rock And Roll Hall Of Fame, where she was on hand to induct Carole King. As for Saweetie, she recently had her own McDonald’s meal and her Netflix special Sex: Unzipped premiered just a few days ago.

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

‘Verzuz’ Expands To The Gaming World With A ‘Bigs Vs. Lils’ ‘Call Of Duty’ Tournament

After over a year of dominating the live music and live streaming spaces, the Verzuz brand is expanding to encompass live streaming video games with the next evolution of its competition format, Verzuz Gamez. While the musical hits battles have always been more about celebrating the legacies of those performers who have had a huge impact on hip-hop culture throughout the years, this time, the battle will be a straight-up fight to the finish as the inaugural edition of Verzuz Games will pit a pair of “big” rappers against two “lil” ones in a Call Of Duty: Vanguard tournament.

On Wednesday, November 3 at 6 pm PT, Big Boi and Big Sean will face off against Lil Jon and Lil Tecca for gaming supremacy in a three-hour, multi-round tournament format hosted by T-Pain with a performance by Migos. Aside from having a pretty cool theme, the teams also seem pretty well-balanced, what with pairing the oldest contestant with the youngest (you gotta handicap the zoomer, who was forged in the fires of online multiplayer chaos, by sticking him with the one guy who was around for Pong, otherwise Tecca would definitely run amok and clean up the field). Meanwhile, we’ll have to see if Big Boi and Big Sean can share chemistry as well as a misnomered moniker against one of rap’s first Twitch streaming adopters (Lil Jon — forever ahead of his time).

Tune in tomorrow night at 6 on Instagram, Triller, and Fite network.

Maxo Kream Will Never Buckle Under The ‘Weight Of The World’

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.

There are only so many people in the world that deal with pressure as Maxo Kream does. Through projects like 2018’s Punken, 2019’s Brandon Banks, and now Weight Of The World, the rapper reveals the causes o these pressures as well as what often pushes him through them. In an interview with Complex’s Andre Gee, he explained how the three albums relate to each other and further his goal of helping fans understand what goes on in his world. “I feel like Brandon Banks coming after Punken allowed my fans to understand Punken more,” he said. “So now, with this one, you’ll understand what’s going on from Brandon Banks, like where I left off.”

Throughout Weight Of The World, Maxo delivers clarity for his previous work, as well as clarity towards his current position and his hopeful future. The album presents a man who must balance the multiple worlds he’s immersed in as a family man, supportive friend, experienced gang member, and rapper, as well as the responsibility that arrives when these worlds collide — intentionally or not. He details the collision of the streets and family through the tragic death of his brother Mmadu, which he details on “Trips,” and his success as a rapper providing a better lifestyle for his family and friends, allowing them to live a life away from danger. His hopeful future is captured on “Mama’s Purse” when he raps, “I was tryna buy her love, but I really made it worse / Put a price tag on her love but can’t afford how much it’s worth.” Behind the tough persona lives a man who yearns to provide greener pastures filled with “greener knots” to his inner circle, even if the cost is more than he ever imagined.

While Brandon Banks covered Maxo’s childhood, growth, and his clashes with both loved ones (his father specifically) and the streets, on Weight Of The World, he’s a well-established man with a family of his own in the making. However, now his conflicts are with those who doubt his legitimacy and commitment to the lifestyle he often raps about. On “They Say,” just three songs into the album, he rhymes, “And they say Maxo a b*tch, they say Maxo a h*e / He got rich and he dipped, don’t come around no more / They say he switched on his clique, yeah, he turned on his bros / And he ain’t pimpin’ a b*tch, he out here trickin’ on h*es.” In response, Maxo sets the record straight with a menacing display of his receipts. “Like we ain’t slang that rock for paper, totin’ scissors,” he quips. “Told you worked n****s ass off so how I owe you n****? / ‘Cross the globe, took you to my shows, done bought poles for n****s.” In Maxo’s eyes, there’s more than enough proof that he’s carried the weight of the world for people, making his doubters’ attempts to rewrite history a sure failure.

To a certain extent, Maxo insists on facing the world’s pressures rather than finding a way to diminish them. It could be because this path, as dangerous and as ruthless as it’s been, has given him everything he wanted in life and more. It’s what allows him to rap this on “Big Persona” with Tyler The Creator: “Eight figure n****, no more section 8 / Moved momma out the hood / We ain’t doin good, b*tch, we doin great.” Even when people in his inner circle beg for him to detach himself from the risks, as his mom and preacher do on “Streets Alone,” Maxo’s only response is to double down.

Maxo Kream is more than deserving of a moment to breathe freely in a world without danger. Unfortunately, it appears that Maxo was born into a world where peril lurks around the corner. For Maxo, acquiescing to these dangers is a lot like running away from your own shadow, and that’s something he will never do. “Never ran from a n****, don’t ask if my legs work,” he says on “11:59.” For more than a half-decade, Maxo Kream has explained the many responsibilities, pains, and traumas that rest on his shoulders; on Weight Of The World, the rapper insists on carrying this weight. The ups and downs of the past years gave him the strength to do so, and hasn’t buckled under this weight before, he certainly won’t now.

Weight Of The World is out now via RCA. Get it here.

Terrace Martin’s New Album ‘Drones’ Will Feature Cordae, Kendrick Lamar, And Ty Dolla Sign

Although Terrace Martin’s last solo full-length collection came out four years ago (2017’s criminally overlooked Sounds Of Crenshaw Vol. 1 with The Pollyseeds), the Los Angeles producer has nevertheless remained busy throughout the past year, co-producing a number of EPs including They Call Me Disco with Ric Wilson and joining the jazz supergroup Dinner Party with 9th Wonder, Kamasi Washington, and Robert Glasper. However, today he announced his solo return with Drones, a new album coming out this Friday, November 5.

Included on the album’s 13 tracks are appearances from a veritable who’s-who of hip-hop luminaries including Cordae, D Smoke, Kendrick Lamar, Smino, Snoop Dogg, Ty Dolla Sign, and YG. Martin’s Dinner Party bandmates Kamasi Washington and Robert Glasper are also set to appear, along with a genre-hopping collection of rising stars and well-known hitmakers including Arin Ray, Celeste, Channel Tres, Hit-Boy, James Fauntleroy, Kim Burrell, and Kim Burrell.

In his press release for the new album, Martin teases the eclectic mix of sounds he intends to display throughout: “There are touches of R&B, touches of jazz, touches of hip-hop, touches of classical, Cuban music, West African music, house music,” he says. “You’re going to hear all elements of Black music within this record. It’s not one element I can leave out if I call myself a true Black artist.”

Drones is due 11/5 via Sounds of Crenshaw / BMG. You can pre-order here and check out the lead single, “Leave Us Be,” above.

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