The obituary Eminem placed in the Detroit Free Press newspaper to promoted his upcoming might have been extreme, but that’s his norm. The “Houdini” rapper’s latest promotional clip is even more shocking.
Today (July 1), Eminem took to his official X (formerly Twitter) page to announce the official release date for The Death Of Slim Shady (Coup De Grâce). Instead of a simple reveal, Eminem shared a suspense-filled teaser visual to break the news.
“OH SH*T!!! THE DEATH OF SLIM SHADY (COUP DE GRÂCE) 7/12,” he wrote.
Although the caption of the post delivered the calendar goodies, frankly that isn’t the most exciting part of the upload. In line with Eminem’s latest string of music video and teasers influenced by movies (Batman and Friday The 13th), this clip is an eerily mashup of The Omen and Seed Of Chucky.
As the video opens, the audience is witness to the gift of life (the complete opposite theme of the forthcoming project). However, there’s a catch. After the doctor frantically attempts to revive the unresponsive newborn, his efforts pay off. Instead of a bouncing bundle of joy, a demon baby terrorizes the hospital room. With Slim Shady slated to be killed off, is Eminem seemingly reincarnated in the worst way.
Eminem is really putting effort into his current album cycle. The rapper has taken extra care to build up the hype for The Death of Slim Shady. He’s dropped teasers, collaborations with magician David Blaine, and a high concept music video for the single “Houdini.” The question on everybody’s mind, though, was when the album would drop. When would the Death of Slim Shady finally be revealed to the world? Well, Eminem gave fans an answer in predictably dramatic fashion.
The rapper released what appears to be the last of the album teasers on July 1. The video sees a grim scene at a hospital, in which a woman gives birth to an unresponsive baby. The doctors eventually get the baby breathing, but when it wakes up, it has demonic, black eyes. The mother asks what happened, and before anybody can answer, the baby flashes a split tongue and grows devil horns. The entire staff screams “holy sh*t” before running out of the delivery room. Then, the moment fans have been waiting for: a release date. The Death of Slim Shady will come out on July 12.
It’s a surprisingly quick turnaround, given how slowly Eminem has been releasing details. The rapper has, however, experimented with different rollouts in the past. Relapse had a lengthy promo cycle since it was supposed to be Eminem’s comeback. Recovery was billed as a correction the mixed reviews of Relapse, and Kamikaze was dropped out of nowhere. The Death of Slim Shady is obviously aiming to be a grand sendoff for Eminem’s alter ago, so it makes sense that he would want to make sure all eyes were on him.
Em hasn’t spoken in depth about The Death of Slim Shady, beyond his promos. He did, however, shed some light on his recording process during a January appearance on Shade 45. “I’m working on a little something,” he told Whoo Kid. Eminem also hinted future collaborations with 50 Cent, who appeared in the first promo for The Death of Slim Shady. “I told him whatever the f*ck he needs from me, I’m here,” the rapper explained. “That sh*t’d be crazy, though… 50’s on a roll right now. He’s been on a roll since the tour.” Hopefully we get to hear these two Aftermath stars on wax again.
GloRilla, hailing from Memphis, Tennessee, has rapidly ascended the ranks of hip-hop, making a significant mark with her distinctive style and commanding presence. Known for her gritty lyricism and unapologetic authenticity, she represents the voice of a new generation of female rappers. Her tracks often delve into themes of resilience, empowerment, and the raw realities of life in her hometown, resonating deeply with a diverse audience.
Further, her rise to fame has been marked by a series of impactful releases. GloRilla has proven her ability to craft commercially successful and critically acclaimed music. This ranges from breakout singles that dominated the charts to collaborations with industry heavyweights. This exploration of her five essential tracks also provides a comprehensive look at her journey, highlighting the key songs that have defined her career and solidified her place in the culture.
1. “F.N.F. (Let’s Go)” (2021)
Released in 2021, “F.N.F. (Let’s Go)” is the track that catapulted GloRilla into the limelight. Produced by Hitkidd, this anthem of independence resonated widely, especially among young women. Its catchy hook and energetic beat made it an instant favorite, dominating social media platforms. Moreover, the success of “F.N.F. (Let’s Go)” marked a turning point in GloRilla’s career. The song’s widespread appeal and impact spotlight her talent for connecting with listeners through relatable themes and high-energy performances. This track established her as a formidable new voice in hip-hop and set the stage for her continued rise in the industry.
A notable highlight in GloRilla’s discography, “Tomorrow 2” features a dynamic collaboration with the chart-topping Cardi B. Released in 2022, this track is a sequel to her earlier hit “Tomorrow” and further solidifies her presence in the rap game. The song blends GloRilla’s raw delivery with Cardi B’s charismatic energy, creating a powerful anthem about resilience and success. “Tomorrow 2” also showcases GloRilla’s ability to hold her own alongside established artists. The track’s production features a hard-hitting beat that perfectly complements both rappers’ assertive and confident lyrics. The collaboration boosted GloRilla’s visibility and highlighted her ability to adapt her style to different musical contexts.
3. “Blessed” (2022)
“Blessed,” released in 2022, is an inspirational and motivational anthem in GloRilla’s catalog. The track reflects her journey and her gratitude for her success despite her challenges. The production’s uplifting and melodic hooks complements her powerful storytelling. In “Blessed,” GloRilla shares personal insights into her life, emphasizing the importance of perseverance and a positive mindset. “Blessed” also emphasizes GloRilla’s ability to inspire through her music. It further showcases her depth as an artist and her commitment to delivering messages that uplift and empower her audience.
4. “Westside Baby” (2021)
“Westside Baby,” another standout track from GloRilla’s discography, vividly captures her roots and experiences growing up in Memphis. Through this track, GloRilla paints a vivid picture of her upbringing, highlighting her struggles and the pride she feels for her hometown. Additionally, “Westside Baby,” GloRilla’s lyrical skills shine as she delivers verses filled with authenticity. The track is a powerful narrative. This song reinforces her connection to her roots and demonstrates her capacity to engage listeners with compelling stories and a distinctive voice. “Westside Baby” is a significant piece of GloRilla’s artistic identity, embodying the spirit and determination that define her music.
5. “Nut Quick”
“Nut Quick” is all about GloRilla’s bold and unapologetic style. Released as part of her 2022 project Anyways, Life’s Great…, the track features a gritty beat and confident lyrics, reflecting her no-nonsense attitude. The production, marked by heavy bass and sharp snares, complements her fierce delivery. In “Nut Quick,” GloRilla’s lyrical content delves into themes of empowerment and self-assurance. The song’s assertive tone and catchy rhythm have made it a standout in her catalog, demonstrating her ability to craft impactful and entertaining music. “Nut Quick” reinforces GloRilla’s reputation as a fearless artist, unafraid to speak her mind and challenge norms within the genre. This track is a testament to her evolving artistry and dedication to making music that leaves a lasting impression.
Rick Ross has not let his foot off the gas. He has continued to diss Drake on social media and on record, despite the larger beef seemingly being over. It’s gone on for so long, in fact, that Ross’ baby mama, Tia Kemp, has hopped in the ring. Kemp dropped a diss track against Ross over the instrumental to his own song, “Hustlin.” She also clowned the rapper when he was seemingly attacked for playing “Not Like Us” at a show in Canada. It was Tia Kemp’s Instagram comment on July 1, however, that really set Ross off.
Drake posted a photo on IG, and Kemp wasted no time lavishing praise on the rapper. She posted two starry-eyed emojis in the comment section. Drake, never one to miss a passive aggressive opportunity, responded to Kemp by calling her “my goat.” It was this exchange that prompted Rick Ross to respond to both parties with a ruthless dig. He tagged Drake and wrote back: “pedo vs. granny.” Nothing clever, just a blunt insult for Drake and Tia Kemp. This is not the first time Ross and Kemp have had squabbles via social media. In June, the two got into a heated exchange regarding child support payments.
Ross celebrated Father’s Day by claiming that he no longer had to pay child support for the son he has with Kemp. Kemp did not waste any time clapping back at the rapper and threatening him with additional legal action. “You stupid, silly muthaf*cka,” she wrote. “I don’t give a f*ck about your support payments. And if I want some more, I’ll take my a*s over to family court and get some while he is going to college.” Kemp then went on to bash Rozay’s physical appearance. She also made reference to the rumor that he’s taking Ozempic for weight loss. “You ain’t worthy for me sitting in the system and going back and forth to court to drag your big, fat, funky Ozempic-taking a*s down.”
Coincidently, Drake also made reference to Rick Ross’ alleged Ozempic use. He claimed that Ross’ obsession with Drake could be a potential side effect of the drug on “Family Matters.” “What the f*ck I heard Rick drop, n**ga,” he rapped. Talkin’ somethin’ ’bout a nose job, n**ga. Ozempic got a side effect of jealousy and doctor never told y’all n**gas.” It’s safe to assume that Ross does not have plans to make up with either Drake or Kemp in the near future.
Hit-Boy has proven himself to be one of the most versatile producers in the game. He’s worked with a laundry list of legends, and scored major crossover hits. If it wasn’t for Jay-Z, though, Hit-Boy would have been significantly less successful. Not from a charts perspective, but a monetary one. The producer recently appeared on an episode of The Shop, and he detailed the ways in which the Roc Nation founder saved his career.
Hit-Boy, like most artists starting out, failed to recognize the poor quality of his first contract. He was merely happy to be signed. The more he learned, however, the more clear it became that he was in a bad publishing situation. “I’m actually still in my publishing situation,” he told the hosts. “I signed when I was 19 years old and I’m 37, so I’ve been in the deal a long time with Universal Publishing. Hit-Boy described the terms of the contract as “ancient.” The worst part was that the producer did not have a clear end date for his contract. He could have easily been held to these initial terms for the rest of his life.
Then Roc Nation stepped in. Hit-Boy credited Jay-Z and Roc Nation CEO Desiree Perez with helping to straighten out his publishing. “[They] really got me to a place I’m in now, where I have an end date,” he admitted. “But before, my whole career I was working without having a[n] actual end date to— the way we really get our money is through publishing.” These changes appear to be recent, based on the sense of relief Hit-Boy displayed during the interview.
“That’s going to be, like, life changing for me,” the producer explained. “Just to even have freedom as a grown man.” He also noted that his contract kept him from securing huge advances, the way that some of his producing peers have. “I haven’t been able to go do other deals or go get advances in different places like my counterparts have,” he lamented. “I eat very well, but I know what it’s really supposed to be.” Fortunately, Hit-Boy appears to be on the right track to achieving what it’s supposed to be.
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.
Summer has officially arrived, and the past four weeks have brought a bounty of new hip-hop to soundtrack your warm weather activities. From hard-hitting gutter anthems, to genre-bending party starters, here are the best hip-hop albums of June 2024.
Channel Tres — Head Rush
Channel Tres
Channel Tres’ first album for RCA Records is a cool collection of Compton house and techno that doesn’t just invite you to shake off your inhibitions — it demands it. While it might be a bit heady and left-of-center for rap traditionalists, it’s just the latest breadcrumb in a long trail of projects combining rap and dance music sensibilities going all the way back to Jungle Brothers‘ “I’ll House You” and Queen Latifah’s “Come Into My House.” It’s a fine addition to that canon while also challenging the conventions of hip-hop and traditional Black masculinity. “Gold Daytonas” is my favorite, but the most digestible tracks are “Cactus Water” and “Need U 2 Know.”
Lupe Fiasco — Samurai
Lupe Fiasco
Lupe Fiasco returns with an unabashedly nerdy album — does he make any other kind — with a head-scratching concept supported by head-nodding production and some genuinely thought-provoking beats. The concept is classic Lupe overthinking, extrapolating on a vignette from an Amy Winehouse documentary to build out an entire hypothetical on the title track (“What would it be like if [Winehouse] was a battle rapper?”), and indulging in Lupe’s own love for anime and Japanese culture to unpack his own ambitions and contradictions. It’s one of his more autobiographical projects, but as always, it works on multiple levels, giving it all the replay value of a classic anime like Cowboy Bebop.
Megan Thee Stallion — Megan
Megan Thee Stallion
Mining Meg’s tribulations of the past few years, Megan is impressive for its unflinching reflection of her personal pain and growth, as well as for returning the Houston Hottie to her roots. While her past projects got caught up in chasing pop appeal, here, she mostly sticks to the Texas trap that got her on the map, tapping Southern stalwarts like UGK and Big KRIT for lyrical support. Subjects on the album range from self-love — in more ways than one (contrast “Down Stairs DJ” with “Worthy”) — to Meg’s geeky interests (“Mamushi” dabbles in J-Rap, while “Otaku Hot Girl” samples one of her favorite anime). The high points are still the defiant challenges to her biggest detractors on “Hiss” and “Cobra.”
NxWorries — Why, Lawd?
NxWorries
If great things are worth waiting for, then Anderson .Paak and Knxwledge’s second project as a group is well worth the wait. Where their first masterpiece was something of a pimping handbook, its follow-up finds .Paak soul-searching through the process of divorce. He’s back on the streets and finding that the more things change, the more they stay the same. Described by some fans as a West Coast jazz rap version of Marvin Gaye’s infamous divorce album Here, My Dear (although, we’ve technically already had one of those — with the same name, no less — from Terrace Martin), Why Lawd? finds our guys lamenting not just the loss of love, but also just how hard it is out here to find a new one. Knxwledge outdoes himself, providing production that comes across as contemporarily cool in addition to being potentially timeless.
The summer music festivals of my youth were once a barren wasteland. Especially when it came to the food. For anyone that liked eating during a mass gathering of sweaty humans, you were given only the basics: a hot dog (roller or water boil), burger (in the foil bag, steaming through), chicken fingers, fries and if you were lucky there was a wild card item or two from Aramark or whatever corporate food vendor typically monopolized the concessions with their blandly passable offerings.
Fast forward to 2024, and festivals like Gov Ball now have 30+ food vendors, including NYC local brand names, food trucks, and even scratch kitchen pop-ups. The amount of vendors and amazing culinary choices — as well as gimmicky but appealing options — can give you whiplash while you try to decide how you want to spend your money.
Here at Uproxx, we’re pleased to do some of the dirty work, at your service. So we’re sharing the five best foods we tried at Gov Ball 2024.
A hyped up NY burger with “Social Club” in the name at Gov Ball, does it get any more IYKYK (*eyeroll*)? Does NYC need its own “Social Club” devoted to the sometimes pedestrian, sometimes high-falutin’, even gold foiled hamburger? Apparently, the only answer here is in the affirmative.
GBSC serves up a tasty perfectly crafted festival burger, with precise proportions of all of the non-traditional ingredients. Jalapenos provide the zip you’d hope for, the special sauce has just the right ratio of zest/creaminess, the pickles crunch gives the textural contrast without overpowering sweetness. Normally, the onions would be opted out on, but everything is sans substitutions at Gov Ball, and thankfully these onions are thin and flavorful enough to give some pungency without grossing out folks that may traditionally not order.
GSCB you won the burger battle at Gov Ball based on the rich thicker juicier flavorful patty, alone.
The best sweet treat at Gov Ball? The folks at Van Leeuwen Ice Cream may be able to claim that title, but if you waited 15-30 minutes in the sun for a milkshake or scoop of icecream, you already took an L in my mind. Easier was the line at Fan Fan, where several doughnuts were sampled, with the raspberry variety coming out squeaky clean on top.
The bright pink icing on top with slices of fresh raspberry is a scrummy (shoutout to Aunt Sister) setup, even in the humidity of June heat. The fresh doughy nut held subtle spikes of lemongrass flavor that cut the sweetness of the raspberry elements for well-balanced bites, making the overall experience not too weighty despite being a doughnut.
Lobster Rolls & More – Lobster Roll
Author
Price: $27
Can you trust a lobster roll at a live event? Can you trust one outside the borders of Maine, period?
The lobster roll from Lobster Rolls & More at Gov Ball was pure goodness. The basic and fresh potato roll (though not enhanced by any time on a flat top, regrettably) was packed with enough lobster claw and tail meat to feel like you almost got your money’s worth (at $27, that ain’t easy), slathered in rich butter sauce that hadn’t congealed yet in the heat.
When a place specializes in juices, specifically being served inside the fruit they are juiced from, there is a certain appeal to carrying around said fruit filled with icy cold refreshing just-squeezed juice on a hot summer day (is it a festival flex?). John’s Juice makes their juices to order, and fills the hollowed out pineapples with thin shards of ice and small chunks of fruit, along with the fresh juice.
The result was the perfect respite on a 90 degree Festival day, as well as a great palette cleanser if you had something savory to eat first. They’re big enough to share with a friend you’re comfortable enough to share a drink with, and portable enough to carry around until you’re sick of it or ready to try out your moves with both arms free. And refills are only $2!
Though not hitting the heights or dynamically nuanced flavor spectrum of the GSCB, No Good Burger is more of a riff on the Shake Shack/Smashburger variety. Simply appointed and made to order with pickles and special sauce, the No Good burger is a thinner and drier variety. The pickles and sauce eat a little sweeter than the competition, but you can add your own condiments to balance out the sweetness, if that’s not your thing. As is, the bun sort of mellows out the sweet note, leaving you with a burger that’s easily portable and simply satisfying.
Though No Good Burger lost the Gov Ball bitter burger battle, it was still one of the finest items sampled during the Festival and a solid pick if other food waits are beyond your threshold (mine is admittedly 15 minutes or path of least resistance).
It’s no secret that it’s been a major year for Sexyy Red. Aside from joining Drake on tour and taking part in several high-profile collabs, the St. Louis-born rapper unleashed her third mixtape In Sexyy We Trust just last month. As expected, it arrived jam-packed with hits. Many fans thought would make her a shoo-in at the BET Awards last night (June 30).
She was nominated for a few different awards, including Best Collaboration, Best Female Artist, and Best New Artist. The latter is what now has her supporters feeling snubbed, however, and they’re making their opinions known. Tyla took home the honor instead of Sexyy, and many feel as though this simply wasn’t fair.
Sexyy Red shared some fun clips and photos from the awards show on Instagram earlier today, showing her making it rain in the crowd, dancing, and more. Her comments section is flooded with fans insisting that she was “robbed,” as well as words of encouragement after the loss. “Sexyy should’ve won best new artist over Tyla tbf,” one commenter claims. “It’s ok sis, your efforts don’t go unnoticed. You won in my book,” another says.
Fortunately, it doesn’t appear as though Sexyy is too upset by the whole thing, as she’s gone on to share even more footage from the event. In one of her latest clips, she’s seen throwing around cash on the carpet, providing a heartfelt message to fans in her caption. “I do dis for da trenches da hood btches winnin,” she wrote. What do you think of Tyla winning Best New Artist at the BET Awards last night? Do you think the award should have gone to Sexyy Red or not? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
This past Saturday, The Roots brought the best parts of their annual festival, Roots Picnic, to the Hollywood Bowl for a special concert, Love Of My Life. Named after a song from the Philadelphia band’s 1999 fourth studio album Things Fall Apart (which was itself inspired by Common’s metaphorical 1994 storytelling track “I Used to Love H.E.R.”), the concert was dedicated to celebrating the group’s 30-year love affair with this thing called hip-hop. To that end, they recruited a slew of guests from the genre’s Golden Era to join them onstage to perform some of their greatest hits.
Arrested Development, Black Sheep, Common, Digable Planets, The Pharcyde, and Queen Latifah were all billed as performers, but throughout the evening, surprise guests ranging from Black Eyed Peas’ Will.I.Am to an all-star roster of pioneer women in rap, including The Lady Of Rage, MC Lyte, Monie Love, and Yo-Yo, all joined The Roots on the legendary stage. And, as befits any live performance played the Philadelphian ensemble (the most recent of which I have to compare it to was their New Year’s Eve show at the Wiltern in LA just seven months ago), those hits were reinterpreted, remixed, and transformed by the addition of the live band.
When the crew launched Roots Picnic back in 2008, I felt so left out, living on the West Coast. While endless sunshine and pretty people never really gets stale, it did feel a bit like I was missing out on all the best bits of culture taking place in the northeast. As social media became more commonplace, allowed more footage from the festival to enter the public consciousness, that feeling was only intensified. For someone who counts The Roots among his most formative acts, watching Black Thought freestyle for 15 minutes on a phone screen was as exciting as it was disheartening that I couldn’t see it live.
On Saturday, I did. It was glorious. I’ve seen LeBron James play basketball in person in a high school gym in the hood (another of those perks of growing up in LA). I got the same, transformative feeling watching Tariq Trotter, a master of his craft in the same respect, do things very few other earthly powers have ever been able to come close to reproducing. When Common came out to perform “I Used To Love H.E.R.,” to see nearly 17,500 other people rap EVERY. SINGLE. WORD. was akin to a spiritual experience.
The biggest pops, though, were reserved for Queen Latifah and the cadre of hip-hop sistren who joined her for a mini-set that proved that women have always run hip-hop — and always should. Not expecting Lyte, Rage, or Yo-Yo to put in appearances, I was genuinely surprised by the surprise guest appearances. And I was awed. These women, all well into their 50s, hit every bar. The mics were ON. I get why younger artists often look like deer in the headlights at these festivals, but I’m going to recommend that you festival organizers start sending out media packages for study with the booking contracts. This is what it’s supposed to look like.
The night ended, somewhat fascinatingly, with a singalong of Black Sheep’s “The Choice Is Yours.” It was a high point, but there were so many singalong moments that could have been the finale: Thought and Com running through the title track of the evening. Arrested Development crooning “People Everyday,” Will sitting in with Pharcyde for a rendition of “Passin’ Me By,” or the Jungle Brothers popping out to perform the Native Tongues posse cut “Buddy” with more than a few of the original artists in attendance.
The best part of the show was the best part of the Roots Picnic as an event. Getting to see all these pillars of hip-hop together, not just on the same stage performing their own sets, but as a group, playing off each other, enjoying each other’s company and vibing together. That’s the one-of-a-kind experience that makes Roots Picnic one of the premiere festivals throughout the year. Even getting to sample it at an iconic venue like Hollywood Bowl? You can’t beat that with a bat.
Giannis Antetokounmpo was spotted passionately vibing to Kendrick Lamar’s hit diss track, “Not Like Us,” while preparing for a game with Greece for the FIBA Olympic Qualifying Tournaments. In the viral video, he aggressively punches the air along to Lamar rapping, “Wop, wop, wop, wop, wop,” before nodding his head in enjoyment.
When The Art of Dialogue shared the clip on X (formerly Twitter), fans made plenty of jokes. “Giannis was also a bot who was streaming Not Like Us on spotify” one user joked, referencing the accusations that Lamar used bots to boost the popularity of the track. Another remarked: “Europe always gets American hits 2 months later.”
Kendrick Lamar Films Music Video For “Not Like Us”
Watts, CA – June 22: Kendrick Lamar smiles alongside Jay Rock, center, in between filming for the music video for “Not Like Us” at Nickerson Gardens on Saturday, June 22, 2024, in Watts, CA. (Michael Blackshire / Los Angeles Times via Getty Images)
“Not Like Us” has quickly become one of the biggest hits from Lamar’s career. He performed the track several times over to conclude his recent concert, The Pop Out – Ken & Friends, in Los Angeles. Afterward, he also took to the streets of his hometown to film a music video for the single. He’s yet to confirm a release date for that project. Drake, on the other hand, has been trolling Lamar on social media in recent weeks, but hasn’t put out any new diss tracks since “The Heart Part 6.” Check out the clip of Antetokounmpo enjoying “Not Like Us” below.
Giannis Antetokounmpo Is Loving “Not Like Us”
Giannis in the locker room, listening to Kendrick Lamar’s song “Not Like Us.” pic.twitter.com/s2s5pJRul1
— The Art Of Dialogue (@ArtOfDialogue_) July 1, 2024
The video of Antetokounmpo singing “Not Like Us” comes as the NBA’s free agency period continues to heat up. Former Golden State Warriors star Klay Thompson reportedly just agreed to a deal to join the Dallas Mavericks. Be on the lookout for further updates on Giannis Antetokounmpo as well as Kendrick Lamar and Drake on HotNewHipHop.
7/12,” he wrote.
