Arkansas’ own Bankroll Freddie has officially revisited his recent From Trap to Rap single “Rich Off Grass,” coming through with a Young Dolph assisted Remix. And while Freddie doesn’t opt to deliver any new verses for the occasion, the addition of Dolph is enough to imbue this version with more than enough character.
“A fortune off them bags got rich off that gas,” raps Dolph, his baritone vocals commanding a domineering presence. “From riches to rags, when they pull up to the spot they bring they whole stash / she introduce me to the plug, I bought that hoe a Jag / fuck that, I don’t wanna talk about the past.” Though he doesn’t spit too many bars, Dolph sticks around long enough to make the remix feel distinct — especially when paired with some new visuals to match. Check out “Rich Off Grass Remix” now, and keep an eye out for his upcoming album Big Bank, set to arrive on April 2nd.
QUOTABLE LYRICS
From riches to rags, When they pull up to the spot they bring they whole stash She introduce me to the plug, I bought that hoe a Jag Fuck that, I don’t wanna talk about the past
While there have been plenty of teasers for the Air Jordan 7, the official images have finally been revealed. In the images below, you can see that the shoe has a predominantly white leather upper, while the midsole and the tongue are navy blue. Some red is also found throughout the shoe, all while the Jumpman logo is gold. There are plenty of references to Paris Saint-Germain to be found here, and if you’re a fan of the team, these are shaping up to be a must-cop.
If you do, indeed, want to get yourself a pair, you will be able to do so as of May 22nd of this year. More details should be on the way soon, so keep it locked to HNHH as we will be sure to keep you all informed.
In 2016, Frank Ocean pulled off one of the biggest coups in the history of the American music industry when he finessed his independence with the back-to-back releases of Endless and Blonde. By fulfilling his contractual obligations with the Apple Exclusive Endless, Frank was able to release Blonde one day later as an independent artist and make a killing from the album’s commercial success. It’s an achievement that has nearly become a modern legend, but it was not the last bold move that the former Odd Future artist would make. Nearly seven months after unleashing Blonde, Frank returned with the nonheteronormative anthem “Chanel.”
“Chanel” has a lot of amazing qualities squeezed into its three-and-a-half-minute runtime. Its moody piano-driven production yields moments of infectious bravado, sheer honesty regarding Ocean’s bisexuality, and pure tenderness. The song notably kicks off with the legendary line “My guy pretty like a girl/And he got fight stories to tell,” which, while empowering, was an unprecedented thing for a mainstream R&B and Hip-Hop artist to say at the time. The song’s “See both sides like Chanel” chorus is equally iconic, and it remains a subtle, yet lyrically robust reference to one’s sexuality, outlook on life, and so much more.
Four years later, are you still bumping Frank Ocean’s “Chanel?”
Quotable Lyrics
V both sides of the 12 Steam both sides of the L Freeze smoke rings and they hail Sleet snow grind for the wealth Whole team diamonds is real Showed ’em how to shine by theirselves
LeBron James is known for being a huge sneakerhead and over the years, he has proven his love of sneakers by having a massive collection that goes well beyond his signature shoes with Nike. LeBron has shown off this collection in the past and if there is one thing for certain, he loves Air Maxes, particularly the Nike Air Max 95, which is easily one of the most iconic models in the Air Max library.
As a result of LeBron’s love of the silhouette, he will be getting his own colorway for it. While this colorway was teased just last week, Nike has come through with the official images, as seen below. The shoe is actually mismatched, and the colors align perfectly with the Los Angeles Lakers. The right shoe is purple, while the left one is yellow, although both shoes do have some elements of the opposite color. Overall, it’s a fun concept that Lakers fans are going to adore.
The release date is set for March 30th so keep your eyes peeled to your local retailer to see if these will be coming your way. In the meantime, let us know what you think about these, in the comments below.
During a recent interview with HipHopDX, Royce Da 5’9″ found himself surprised by an appearance from his former Slaughterhouse collaborator Joell Ortiz. From there, the pair proceeded to stroll down memory lane, reflecting on their time in the lyrically-driven supergroup, reuniting on Eminem’s Music To Be Murdered By, and sharing a few thoughts on the Griselda movement — another crew who consistently holds it down with elite bars.
Johnny Nunez/WireImage/Getty Images
At one point, host Marisa Mendez inquires if they ever felt slighted by the fact that the mainstream has embraced Griselda, implying that Slaughterhouse was not met with the same reaction. The answer is a resounding no from both parties, who make it clear that they have nothing but love for Westside Gunn, Conway The Machine, and Benny The Butcher. “They didn’t necessarily get more mainstream attention than we did,” clarifies Royce. “We actually released an album. It was two totally different journeys — I do understand the comparison.” “They anti-establishment, like we are,” adds Joell.
Mendez proceeds to ask about the creation of “I Will,” a highlight pseudo-Slaughterhouse reunion on Eminem’s recent Music To Be Murdered By. “That song was a joint we did a long time ago,” explains Royce. “Em just went back through it, cause he does that sometimes. Especially if we go to his studio to record it, nobody will take a copy of it. It’ll be something that exists in his world. When he called me and told me that he wanted to use it, I was like fuck, I know he ain’t gonna let me change my verse. But then I heard my verse and thought, okay, that’s cool.”
“I thought the exact same thing Royce,” laughs Joell. “I hadn’t heard it in years. It definitely held up.” For more from the former Slaughterhouse rappers, be sure to check out HipHopDX’s full interview with Royce and Joell below.
Just a week after releasing the charming “Beautiful Mistakes,” Maroon 5 and Megan Thee Stallion take a technicolor tour of LA in the song’s video, which they released today. The video revolves around M5 lead singer Adam Levine driving a pink convertible through a drab CGI cityscape modeled on the streets of Los Angeles. Slowly, the saturation of his surroundings turns up as he cruises, until he finds his car flying over an eye-popping candy-colored coastline, passing historical landmarks like Griffith Observatory and the Theme Building at LAX.
Eventually, Megan flies by in her own floating car to deliver the first half of her verse to the camera before jumping from her convertible into Adam’s to share the rest of their relaxing flight/drive over Randy’s Donuts as the sky fills with multicolored donuts.
The same day as Maroon 5 released “Beautiful Mistakes,” Levine drew attention online for a quote from his interview with Apple Music’s Zane Lowe in which he remarked that he feels like “there aren’t any bands anymore.” Although he quickly acknowledged that “there still are plenty of bands,” he expressed his wish that they got more attention.
That being said, Adam and his band seem to have a pretty good handle on the direction music has taken, collaborating with pop-rap stars who are in the limelight like Megan and Cardi B, with whom the band collaborated on “Girls Like You.”
In late 2008, when word broke that The Roots, the hip-hop group led by longtime friends Amir “Questlove” Thompson and Tariq “Black Thought” Trotter, were hired as the house band for Late Night With Jimmy Fallon, the news was met with bewilderment and bemusement. The reactions online tended to be some variation of, “Wow, that is huge for Fallon,” or, as one Gawker writer put it at the time, “The Illadelph generals opening up for that stuttering mop-headed ball of suck, Jimmy Fallon? It’s kind of tragic.”
There was definite logic to the hiring. The Roots remain one of the most versatile ensembles in all of music, comfortable and talented enough to both cover U2 classics at an NAACP event honoring Bono and serve as Jay-Z’s backing band for his legendary MTV Unplugged appearance. And they helped add a whiff of cool to Fallon as he brought his wide-eyed, constantly stoked brand of comedy to late-night TV.
But even the most ardent fan of The Roots had to wonder how this was going to work in reality. The band was coming to NBC after releasing the two darkest and most politically-minded albums of their career — 2006’s Game Theory and 2008’s Rising Down — that raged against school shootings, poverty, and institutional racism. The group was also a consistent concert draw, known for marathon-length performances and welcoming guests from every corner and era of the music world.
Underlying all of this was simple curiosity. How could one of the best hip-hop groups in the game translate their attitude and their sound for network TV, and appeal to middle-of-the-road viewers tuning in for toothless political humor, fawning celebrity interviews, and viral video-ready stunts?
The answer: by The Roots proving just how versatile they could be. For the past 13 years, even as they moved with Fallon from 12:30 am to 11:30 pm after the host was hired to replace Jay Leno as the host of The Tonight Show, the band has been game for anything.
They’ve taken part in various sketches that sometimes require them to dress in drag or act foolishly. They’ve been the backbone for beloved recurring segments like “Freestylin’ With The Roots,” “Slow Jam The News,” and Fallon and Justin Timberlake’s “History of Hip-Hop” bits. And they’ve proven to be welcome comedic foils, with Questlove and Black Thought bantering with Fallon in the manner of David Letterman and Paul Shaffer.
The Roots’ quick evolution into foils for late-night comedy was, in retrospect, inevitable. In an oft-told anecdote, Questlove remembers that, in 2008 when the band and Late Night’s producers were sizing one another up, he invited Fallon to come see them play at UCLA’s Spring Fling not expecting he’d actually show. But the lanky comedian did and quickly won The Roots over.
“I was doing an interview in a trailer,” Questlove told Brooklyn magazine in 2017, “and when I walked out… the eight of them — Fallon and the seven Roots — were making a human pyramid. He was able to disarm us in seconds… And I’m looking at my manager and we just stared there shaking our heads. I was just like, we’re stuck with this guy, aren’t we? And he just looked like, I’m afraid so.” A baker’s dozen years later and they’re still stuck with each other.
By all accounts, the members of The Roots were ready for something approximating a day job. The rigors of touring were starting to weigh on them as it meant leaving behind families and relationships for long stretches of time. As Questlove commented on Okayplayer.com around the time the news broke of their Late Night deal, “I don’t know if I want to be 40 on the road and single no more… I can’t even start to go on that path ‘til a woman takes me seriously. And ain’t no one taking a man serious who is in his home for only three months out the year.”
They were also students of music history, knowing that, although they were in a good spot financially after two decades of being together, they were potentially looking at a slow slide into obscurity. It was to the point that the group was tempted to sign a deal for a residency at The Borgata in Atlantic City.
The twist is, of course, that their nightly platform on NBC has made The Roots more popular than ever before, and, as a result, they’ve become even busier than ever. When he’s not DJing at various events around the world, Questlove has written a handful of books, directed the Sundance-anointed documentary Summer Of Soul (…Or, When The Revolution Could Not Be Televised), and hosts the popular Questlove Supreme podcast. Black Thought keeps popping up on mixtapes and albums by other artists and last year released his debut solo full-length that includes contributions from Killer Mike and Portugal. The Man. Both men are also likely the only hip-hop artists your grandmother would be able to easily namecheck.
What’s perhaps the most impressive part of The Roots’ move into late-night TV is how true they’ve stayed to themselves and the hip-hop culture they grew out of. As proven by the six albums they’ve released since joining up with Fallon, they’ve not lost an ounce of their fury and power. Or for a more concentrated dose, dial up the blistering 10-minute freestyle that Black Thought performed on Funkmaster Flex’s HOT 97 show back in 2017 and went viral shortly thereafter. It’s a testament to both the vaunted realms of celebrity that he and The Roots have reached and his skills as an MC that the performance was analyzed by writers at NPR and The New Yorker — and earned him a spot on the couch at The Tonight Show to talk about it.
That adherence to their personal politics did come at a cost back in 2011 when the band played on Tonight Show guest, and then-Presidential hopeful, Michelle Bachmann with a portion of Fishbone’s “Lyin’ A** B****.” The blowback was considerable and almost cost The Roots their cushy new job in network TV. But after agreeing to clear all walk-on music choices with the NBC brass ahead of time, the band was allowed to keep their spots.
Probably the most concrete example of how The Roots have moved easily into this strange land of TV celebrity while not losing an ounce of their credibility can be found in another video from the Late Night era. In it, the band is doing the job of helping get the crowd warmed up for taping an episode — playing some upbeat music to hype folks up. But for this moment, they’re joined by one of that night’s guests, rapper and actor Ice Cube, and with him, launch into a version of N.W.A.’s “Straight Outta Compton.” It’s a blast. The Roots drill down to the core of Dr. Dre and DJ Yella’s dense production and the rappers do their best to blur out the coarse language of the original song.
The key moment, though, comes when The Roots’ guitarist Captain Kirk Douglas puts down his axe and takes a turn on the mic, rapping Eazy E’s verse. Though they knew it was coming, the whole band seems to explode at that moment, watching their buddy step outside his usual role and play the part of a smack-talking, girl-chasing gangsta MC. Even the person holding the smartphone that’s filming the clip seems to shake with excitement at what is going down. But no one is more delighted than Questlove and Black Thought. As Roberts keeps spitting, they look over at each other with wide grins and sparkling eyes, giddy at what they’re witnessing and what they’re getting away with.
It appeared yesterday that a cryptic video Paul McCartney shared was teasing upcoming collaborations with Anderson .Paak, Phoebe Bridgers, Idris Elba, EOB (Ed O’Brien), Dominic Fike, St. Vincent, Damon Albarn, Beck, Khruangbin, Josh Homme, 3D RDN (of Massive Attack), and Blood Orange. Today, he has confirmed that to be the case: He is releasing a reworked version of his 2020 album, McCartney III, titled McCartney III Imagined, which features contributions from the aforementioned artists.
Tracks from the original album have been covered and/or otherwise reimagined by the guest artists and McCartney kicked things off today by sharing Fike’s rendition of “The Kiss Of Venus,” which he transformed from an acoustic ballad to an R&B jam.
During a Reddit AMA from December, McCartney cited Fike and other artists involved in McCartney III Imagined as modern performers he listens to, writing, “I’m lucky, I have a friend who sends me new music which helps me keep in touch with the modern scene. So I listen to people like Dominic Fike, Beck, St Vincent and Khruangbin. I also listen to a lot of classic oldies coming through, from rock n’ roll to 60’s to soul to R’n’B, with a sprinkling of classical music now and then.”
Listen to Fike’s “The Kiss Of Venus” cover above and check out the McCartney III Imagined art and tracklist below.
1. “Find My Way (feat. Beck)”
2. “The Kiss Of Venus (Dominic Fike)”
3. “Pretty Boys (feat. Khruangbin)”
4. “Women And Wives (St. Vincent Remix)”
5. “Deep Down (Blood Orange Remix)”
6. “Seize The Day (feat. Phoebe Bridgers)”
7. “Slidin’ (EOB Remix)”
8. “Long Tailed Winter Bird (Damon Albarn Remix)”
9. “Lavatory Lil (Josh Homme)”
10. “When Winter Comes (Anderson .Paak Remix)”
11. “Deep Deep Feeling (3D RDN Remix)”
12. “Long Tailed Winter Bird (Idris Elba Remix)”*
* physical release exclusive track
McCartney III Imagined is out 4/16 via Capitol Records. Pre-order it here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Each year around Grammy Week, The Roots hold an annual Jam Session inviting special guests from their endless list of collaborators and connections for a one-of-a-kind live show experience. Unfortunately, with most venues still shut down due to COVID-19 safety precautions, there won’t be a live show this year, but the fact that it’s streaming via Tidal means there’s no capacity limit, and fans from outside of Los Angeles get to “attend” as well. Also, this year, the band partnered with Oculus, granting virtual reality access so it can still feel like you’re front row.
The band revealed this year’s lineup in a press release sharing the details of the new partnerships. Special guests for this year’s event include R&B singers Ant Clemons, Ari Lennox, and Emily King, as well as rapper-producer Tobe Nwigwe and pianist-singer Jon Batiste. Burgeoning country star Brittney Spencer and soul icon Kathy Sledge of the legendary Sledge Sisters will also appear. Clemons is nominated for Best R&B Album for his 2020 debut Happy 2 Be Here, while Batiste has two nominations at this year’s awards.
Ahead of the Jam Session, The Roots have updated their Essentials Playlist on Tidal. You can check that out now, and watch the Roots Jam Session Saturday, March 13 at 6 pm PT / 9 pm ET in-app or via the embed below.