Snoop Dogg turned 50 years old today and despite living a half-century life, the longstanding hip-hop act has no plans to reduce his role as an entertainer. On Wednesday that he will team up with the Harlem Globetrotters in their upcoming NFT sitcom Da Dogg Gone Gym. According to Hypebeast, the sitcom is part of the Globetrotters New Tech, New Trainer, New Tour campaign, which will feature limited-edition releases from Snoop and the Globetrotters. This includes the rapper’s new theme song for the team, which will be exclusively available on the cryptocurrency promotion site, VAST.
The sitcom will take place during the 1970s and feature Snoop as a Globetrotter trainer working with the viral Bay Area dancer Junebug. A release date for has not yet been shared, but it marks his latest step into the NFT world. Earlier this year he released a song inspired by blockchains titled “NFT,” as well as his very own Snoop Dogg Coins. Last month, according to Hypebeast, he also revealed himself to be the real-life buyer behind the NFT moniker Cozomo de’ Medici.
In addition to the NFT sitcom announcement, Snoop Dogg joined E-40, Too Shoot, and Ice Cube in their video for “Big Subwoofer.” Together, the quartet comprises the rap supergroup Mount Westmore, and they premiered the song itself in a performance prior to a boxing matchup between Jake Paul and Ben Askren back in April.
Nicki Minaj and her husband Kenneth Petty are currently facing a lawsuit from Jennifer Hough, who claims that, since getting married in 2019, the two have intimidated, bribed, and harassed her to change a past testimony in hopes of getting Perry removed from a sex offenders list. The harassment case has not yet started, but according to Rolling Stone, Minaj landed somewhat of a win, as it was ruled that she will not have to pay a $20 million default judgment in the case.
Earlier this week, Hough’s lawyer Tyrone Blackburn filed a motion on his client’s behalf alleging that Minaj and Perry failed to respond to the harassment case against them. However, a federal clerk for the Eastern District of New York ruled that Minaj did not fail to respond to the lawsuit, writing, “it appears” that she filed paperwork last week to hire a lawyer to defend her in the case. Despite this, the clerk noted that Petty “has not filed an answer or otherwise moved with respect to the complaint.”
Minaj delivered a sworn statement on October 15, stating that she hired a lawyer last month, but “innocent miscommunications” led to late payment fees and the inability to secure the attorney’s services. “My failure to respond to the complaint was the product of an innocent mistake, and I ask the court to excuse the delay so that I can defend what I believe to be an entirely frivolous case,” her statement read.
Judd Burstein, who will now represent Minaj in the case, shared a statement that aligned with her claims. “I confirm the truth of those portions of defendant’s declaration concerning my role in her failure to secure my services promptly,” he said.
Despite the ruling, Blackburn plans on defaulting the motion against Petty for the $20 million. “It’s interesting that Kenneth Petty is currently in the Eastern District of New York suing the state of New York, but he has no respect for this proceeding and no respect for this judge to come forward and to answer for raping Jennifer Hough in 1994 and all the harassment he and his wife and his goons visited upon her since then,” he told Rolling Stone.
The buyers of the Wu-Tang Clan album, Once Upon A Time In Shaolin, have been revealed as promised. PleasrDAO, a collective of self-declared “DeFi leaders, early NFT collectors, and digital artists,” with a penchant for “acquiring culturally significant pieces with a charitable twist.” The once-of-a-kind album, which was purchased by, “Pharma Bro” Martin Shkreli in 2015 for $2 million, certainly qualifies. The album, created by RZA in secret over a six-year period, was auctioned off as a kind of high-art stunt after only being played for a handful of people.
Shkreli, of course, lost possession of the album when it was seized by the US government after his 2018 conviction for securities fraud and subsequently auctioned off earlier this year. At the time of the sale, the buyers in question remained anonymous, agreeing to confidentiality with regard to the ultimate sale price. Today, though, The New York Times revealed PleasrDAO as the anonymous buyer in a story documenting both that sale price, $4 million, and the collective’s reasoning and ultimate goals for the album.
It should come as no surprise that the endgame is to make the album available to fans in some way — with permission from RZA and producer Cilvaringz — which, given the group’s own self-description, will likely involve non-fungible token (NFT) blockchain technology. Jamis Johnson, the group’s “Chief Pleasing Officer,” according to Rolling Stone, explained, “This album at its inception was a kind of protest against rent-seeking middlemen, people who are taking a cut away from the artist. Crypto very much shares that same ethos. The album itself is kind of the O.G. NFT.”
PleasrDAO — which stands for “decentralized autonomous organization” — shares collective ownership among its 74 members and have Cilvaringz support to make the album more widely available through listening parties or gallery exhibitions, but for now, it remains bound to the terms of its original sale: It cannot be released to the general public or reproduced until 2103.
In today’s UPROXX Sessions, Belly stops by to deliver a passionate performance of his song “Moment Of Silence.” The Canadian Roc Nation rapper got California cozy to show off the new track from his recently released album, See You Next Wednesday, rocking a colorful ensemble that countered his usual monochromatic looks. His performance drops after he previously made his React Like You Know debut, joining our panel to chat up Lupe Fiasco’s “Kick, Push” video.
Belly’s new album, See You Next Wednesday, marked a return to the limelight for him after releasing his last album, Immigrant, in 2018. Between then and now, he stayed busy behind the scenes, helping his XO Records benefactor The Weeknd with his smash hit album, After Hours, which won the two Toronto natives five 2021 Juno Awards (the Canadian equivalent of the Grammys). Belly then made his return earlier this year with a string of singles promoting See You Next Wednesday, including “Better Believe” with Young Thug, “Die For It” featuring Nas, and “Requiem” with fellow Canadian Nav.
Watch Belly’s “Moment Of Silence” performance for UPROXX Sessions above.
UPROXX Sessions is Uproxx’s performance show featuring the hottest up-and-coming acts you should keep an eye on. Featuring creative direction from LA promotion collective, Ham On Everything, and taking place on our “bathroom” set designed and painted by Julian Gross, UPROXX Sessions is a showcase of some of our favorite performers, who just might soon be yours, too.
Cardi B’s philosophy when it comes to clapping back is pretty clear; after all, she posted her thoughts directly to Instagram. “No one ever notices when you’re being provoked,” she wrote, “Just when you retaliate.” However, even acknowledging this age-old adage, which applies to street fights and NBA technical fouls alike, Cardi hasn’t stopped defending herself online when trolls attack — especially when it comes to her family.
With a hearing in Cardi’s assault trial over a 2018 strip club brawl coming up, some detractors on Twitter have taken to predicting that she’ll lose the case, despite pleading not guilty to the charges of assault and reckless endangerment. Cardi faces a maximum sentence of four years in prison (which seems unlikely, even if she loses), something a few folks on Twitter took great delight in hooting about (for what it’s worth, it looks like the comments are mostly coming from Nicki Minaj stans, which … maybe not the best time for all that, guys).
However, Cardi had a message for one of them after gloating “You’re going to prison” on one of Cardi’s recent tweets. “Before I go to prison you gone see me breakin more records and making more Ms,” she taunted. Another mocking tweet derided Offset’s potential shortcomings as a parent, prompting Cardi to defend him and wonder “why people think is sweet to play wit my kids.”
Before I go to prison you gone see me breakin more records and making more Ms https://t.co/LQWk6CSPe8
Despite being one of Twitter’s reigning queens of clever comebacks, Cardi did admit that she got tired of defending herself from detractors on both sides when she discusses politics. With that realization may come another — you should never, ever feed the trolls.
When most people go to McDonald’s, the end result is usually the customer ending up with some food to eat. If you’re Ye, though, that happens, but also your visit gets turned into a national ad campaign.
Two days ago (October 18), the artist previously known as Kanye West visited a McDonald’s location in Sweden and had himself a meal. Those who oversee the restaurant in the country saw an opportunity, as they went ahead and used Ye’s order as promotional material. The very next day, the chain shared images on social media of Ye’s order — chicken sandwich, chicken wings, fries, chocolate milkshake, frappé, and dipping sauces — and included the slogan “Treat Yeself.”
The McDonalds in Sweden has now made an advertising campaign based on Ye’s recent order and they’re using the slogan “Treat Yeself” pic.twitter.com/NO1h7CgCcz
Attentive music fans might at this point be wondering where the love for Adele is: The singer recently declared that she absolutely stans McDonald’s, saying, “My ideal meal, my death row meal, my last meal would be a chicken nugget with a Big Mac and then fries. That’s my three-course. I eat it at least once a week.”
Of course, McDonald’s has enjoyed a healthy relationship with the music world lately, as they have had promotional campaigns with Saweetie, Travis Scott, BTS, and others.
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.
Leave it to Thugger to continue to push the boundaries of what we should expect from him. After the success of his debut album So Much Fun, you’d think he’d lean further into the simple trap aesthetics that worked so well there, but instead, he takes a drastic stylistic departure akin to his “country” experiment Beautiful Thugger Girls on his latest album, Punk. However, despite its name, Punk is surprisingly low on power chords and rushed drumming, focusing instead on atmospheric, mellow production that sounds almost folksy.
It’s always been Thug’s way to make a left when everyone else expects him to make a right. Consider the mush-mouthed, yet irresistible chorus from 2014’s “Lifestyle” or the sartorially challenging cover from 2016’s Jeffery — both prime examples of Thug’s tendency to zig instead of zag while still adhering to a core of solid trap-rap fundamentals. Punk finds him again experimenting with sound and style but remaining as true as ever to his core aesthetic. In fact, it’s arguably the truest he’s ever been to himself — or at least, the most honest.
Starting with the very first song on the album, “Die Slow,” Thug is more revelatory here than he’s ever been. Over soft, poetry-house guitar strumming, Thug reveals childhood traumas, a prescient political outlook, and almost militant defiance toward being categorized, demeaned, or held back by societal expectations. Elsewhere on the album, the contrarian production leans tender, like some of the most emotive R&B ballads of the last ten years or so. “Insure My Wrist” is the most romantic ode to jewelry that hip-hop has produced in at least that span, which would be borderline surprising if Young Thug didn’t have a well-established history of being Young Thug.
“Love You More” also surprises, with its Nate Ruess and Jeff Bhasker appearances — but then again, it doesn’t, because Thug once sampled Elton John’s “Rocket Man,” sparking a years-long friendship that led to glowing assessments of Thugger’s talent from the knighted one himself. It’s also a gracious rumination on a relationship mostly bereft of Thugger’s usual cartoonish depictions of sex (although there is one line that reads as more considerate than jokey). Again, eyebrow-raising were it not from the same gentlemen whose catalog of hits includes “Best Friend,” a deceptively encouraging self-love anthem.
That isn’t to say he doesn’t go at least a little hardcore. While “Rich N**** Shit” with Juice WRLD is relatively far from Dead Kennedys — they’re philosophically opposite, on top of the sonic differences — the two rappers go for broke over a thumping, bass-turned-to-eleven beat with some good, old-fashion chest-thumping braggadocio. Meanwhile, the moody “Day Before” brings things full-circle with another confessional, ukulele-strumming introspective jam featuring Mac Miller. The punk promise here comes from the revelation that the song was literally recorded just one day before Mac’s tragic passing.
Thug brings out the best of his other guests on Punk, as well — particularly J. Cole, who stops just shy of a Thug impression on “Stressed,” a rejuvenated ASAP Rocky on “Livin It Up,” and Doja Cat on “Icy Hot.” While the tracklist feels excessive at times, the runtime comes across smooth, even with the bloat. As to why it’s called Punk, I think it boils down to Thug’s very personality. He’s always been anti-establishment, even as he slowly but surely became the establishment.
This album is his way of shaking himself loose from the tendency to stagnate and calcify as complacency sets in. He isn’t completely successful — perhaps a few more sonic cues from the rock world could have woken up some of the sleepier melodic songs — but the record is unapologetic, one-hundred-percent Thug. What’s more punk than being yourself? Maybe it’s just being willing to redefine exactly what that means, even if it’s just a little bit at a time.
Punk is out now via Atlantic Records and YSL. Get it here.
Young Thug is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
After being convicted of sex trafficking and racketeering in a New York court last month, R. Kelly’s local trial in Chicago has been set for August of 2022 according to Billboard. In that case, the singer stands accused of charges related to child pornography and obstruction of justice for alleged witness tampering and intimidation. Set to begin on August 1, the new trial is expected to last three to four weeks. R. Kelly will be defended in his second trial by his original attorneys Steve Greenberg and Michael Leonard after they abandoned the New York case before it went to trial.
Greenberg also noted during today’s scheduling hearing that the singer had been placed on suicide watch after being found guilty in New York, but was since cleared. Kelly’s sentencing case in that trial is set for May 4, 2022, and the singer faces up to life in prison. Statements made by Greenberg during the scheduling suggested that he would be “revamping” his legal team for an appeal once sentencing was complete. Kelly was present at the scheduling hearing via video call but Billboard notes that he was “unable to unmute himself to answer when asked by the judge to confirm the status of his legal team.”
A process server tried to serve Dr. Dre divorce papers at the worst imaginable time — at his grandmother’s funeral — according to a report from TMZ. TMZ’s sources say that Dre was at the cemetery in Los Angeles when he was approached, although sources differ on exactly when it happened. Dre’s people say the producer was standing next to the casket at the burial site, while Nicole Young’s say Dre was served in the parking lot after the funeral — which is decidedly less tacky, but still pretty tacky.
Dre reportedly wouldn’t take the documents by hand as a result, prompting the server to either leave them at the gravesite or in the parking lot, depending on which source you ask. According to TMZ, the papers contained the judge’s final orders regarding the payment for Nicole’s lawyer fees. The two parties had apparently disagreed on just how much Dre owed, with Dre’s side saying the $325,433 he paid already should have paid the balance in full. However, the judge apparently agreed with Nicole’s side — that Dre owed $1,550,000.
To kick off season two of the popular TV show Dave, a wonderful, tongue-in-cheek series that explores the life of David Burd, aka white rapper Lil Dicky, his crew heads to Korea to make a song with one of the country’s biggest stars — CL. After meeting the pop star during an award show appearance, Dave and his crew are a bit starstruck: “She looks like a Korean Beyonce,” exclaims GaTa, one of his closest collaborators. And although the overall tone of the series tends toward silly, GaTa’s estimation of CL is right on.
When it comes to K-pop, CL is one of the genre’s original icons, stepping into the spotlight at age 17 as the frontwoman for the girl-group 2NE1, and leading the collective to become one of the best selling girl-groups in the world with 66.5 million records sold. 2NE1 was part of the “second generation of K-pop stars,” following up the trailblazers in the ’90s, as today’s artists represent a new, third wave. As she gears up to release her official solo debut album, Alpha, this week, her longevity makes CL something of a bridge between the two eras.
2NE1 was a global force from 2009–2014, but after a two year hiatus, they officially broke up in 2016. During that time, CL began to establish her solo career, releasing the iconic debut “Hello Bitches” in 2015, and following it up in 2016 with the Wu Tang-sampling, reggae-tinged “Lifted” (complete with a cameo from Method Man himself in the Dave Meyers-directed video). Shortly after that, 2NE1 officially disbanded, but CL’s momentum was only building; “Lifted” made her the first solo female Korean artist to ever chart on the Billboard Hot 100, and only the third Korean artist ever to make an American chart appearance.
Obviously, in 2021, things are quite different with BTS racking up a No. 1 placement every time they drop a single. But CL was paving the way for the success of BTS, and back in 2016, seemed destined for the kind of commercial success the boy band and their army have accomplished. Instead, a long delay after her solo breakout had fans angrily tweeting #JusticeForCL at one point, angered over perceived label fumbling of the genre’s biggest female star. Things seemed to come to a head in 2019, three years after her momentum from “Lifted” had abated. CL unexpectedly announced she was leaving her long-time label, YG, and almost immediately released a left-field EP called In The Name Of Love as an independent artist.
Since K-pop artists are usually backed by rich, all-powerful label machines that help their music pop, this decision was a signal to everyone that CL was going to do things her way. The culmination of those efforts is Alpha, and though it was originally slated for release in the fall of 2020, the album was quickly pushed back to allow further fine-tuning, and likely to recalibrate live shows in light of pandemic-related delays. A few early tracks were released toward the end of 2020, the fashion-heavy, rap-sung “Post Up” that completely bricked, an insanely catchy haters rebuff, “HWA,” and the loved-up “5-Star.” Luckily, that first single doesn’t make the final cut for inclusion on Alpha , a wise choice.
Even as momentum was shifting back in the right direction for her debut album, CL was dealt another tough hand. At the top of the year she lost her mother to a heart attack, just before her own 30th birthday, and chose to mark the loss with a reflective, sad homage, “Wish You Were Here” released in February 2021. Taking a few months off after the song came out, instead, CL seemed to hit her stride this summer with the release of “Spicy,” a fiercely rapped Minaj-era banger that swaps speedy Korean verses for an English chorus: “She got the sauce and it’s spicy / You looking at the most fly Asians.” With frenetic EDM production and even an approximation of a drop, the song hit more of a mark than her late 2020 singles did.
Sharing a similar track in September, “Lover Like Me,” the swaggering tone for Alpha had officially been set — loud, brash, bold, and electric. “2020 was the beginning of my rebirth and rewriting my own story,” CL told Billboard earlier this year. “I can freely share different sides of me.” The album backs up this assertion with an eclectic mix of different styles and moods, even if it does tend more toward the bombastic style that defines those two 2021 singles. The range is there, though — album cut “Chuck” goes bouncier and more throwback, while another standout, “Paradise,” is an eerie trap song full of psychedelic flexes and slurred vocal effects reminiscent of Travis Scott. It might be the most modern rap track CL has ever done, and she sounds right at home in the post-Astroworld sound.
Alpha isn’t strictly big rap hooks, either; “5 Star” is joined by another slower track, “Xai,” an exploration of tropical house that shares DNA with the best of Major Lazer production. The piano-driven “Let It” is nostalgic of early 2000s pop, like if Vanessa Carlton learned how to jam a rap interlude into one of her catchiest tunes, and “Tie A Cherry” reminds me of the Selena Gomez and Gucci Mane collaboration, “Fetish” in the best way. Of course, unlike Selena, CL doesn’t need a rapper to guest — she handles both sections by herself. Despite the many high points, at times, the record drags. CL might be part of the bedrock for modern K-pop success, but her sound can feel stuck in the past. “My Way” hovers around the same BPM and siren-flecked sound as “Spicy,” but without any of the playfulness, and “Siren” is tepid R&B that could’ve been done by any number of mid-level artists playing in the shallow end of that genre’s pool.
Interestingly enough, one of the strongest songs from her new era is when she went lo-fi and vulnerable in remembrance of her mom. “Wish You Were Here” didn’t make the album, but it belongs alongside these tracks anyway, offering a welcome balance. Without the unrelenting insistence on domination, CL’s strengths were on full display — her absolutely beautiful singing voice, unexpected details like a shared family love for Stevie Wonder, and a canny ability to find new angles on done-to-death subjects like grief and love. The follow-ups to Alpha should focus on honing in on CL’s voice as an artist now, instead of endlessly emphasizing her well-established stature. Sometimes the best thing a successful artist can do is get quieter. Even alphas have a sensitive side.
(@DmikesTale_) 
