Lo and behold, Marvel fanatics and film buffs alike, can rest happy with the knowledge Black Panther 2′s theatrical release: May 6, 2022. Ryan Coogler and his creative figureheads were on hand at Disney’s D23 Expo this weekend to share the news, as well as other details such as the progress they’ve made since they sitting down to write the script (Oct. 2018).
“We’re really hard at work on it trying to give you something special,” director Ryan Coogler told those in attendance while at the podium. “We’re gonna take our time; we want it to be right.”
If I understand Coogler correctly, he and his cohorts are going to take their time with their brainchild in order to set it right. In the interim, Marvel fans will be asked to enjoy the other, less striking titles in the itinerary, be it another The Eternals starring Gemma Chan or the Black Widow spinf starring Scarlett Johansson, all slated to hit theaters in the middle to late months 2020.
The 3-year window leaves Marvel fans with enough a cool-f period, after witnessing what is likely to be a sh-storm political content leading up to, and after the Presidential Elections in 2020. Make like an oracle, and be your own superhero for once.
Not even 24 hours after its release, Missy Elliott’s new “Throw It Back” video has already amassed over 3.5 million YouTube views. It’s safe to say the inimitable Misdemeanor has been missed.
Presented by The Goldmind and Atlantic Records, the colorful, eye-popping visual finds Missy front and center as she “throws it back” with a crew of talented dancers. It also features a cameo from Teyana Taylor who kicks off the video as host to the “Hall Of Missy.”
“Throw It Back” is one of five fresh cuts from the Iconology EP, Missy’s first project in 14 years.
The new video arrives only days before the Grammy Award-winning artist will be honored at the 2019 MTV VMAs with the Video Vanguard Award, the first female MC to ever accomplish this feat.
Missy made history once again when she was inducted into the Songwriters Hall of Fame in June.
Hustlers has been getting a lot buzz for its killer cast, which includes Jennifer Lopez, Constance Wu, Cardi B, Lizzo and Keke Palmer. In addition to the big names that will be starring in it, Hustlers has an interesting and unique plot. Jennifer Lopez stars as the ringleader an operation strippers drugging and stealing money from wealthy Wall Street patrons.
It has been shared that the film – written and directed by Lorene Scafaria – is tracking for a $24 million debut at the US box fice. Given it only cost $20 million to produce, this is a pretty big win for its production company, STX Entertainment. If Hustlers hits this mark, it will make for the indie studio’s biggest opening to date.
Chris Brown is currently on tour to promote his new album but he’s not missing out on seeing his beautiful daughter grow up in front his very eyes. Although he will surely have less time to spend with family as he travels across the country, we’re sure he’ll be fitting in some quality time with his baby when he can. For now, he’s stuck watching videos her on his family’s proper social pages, including this one RoRo singing his most recent hit single.
She went for a swim with her grandmother when the camera came out, capturing Royalty in her element. Breezy’s mom prompted her to get a move on with her vocals as the song played in the background and she came through, belting out Drake’s verse in her adorable way. If Chris’ daughter isn’t the cutest kid on the planet, then we don’t know what’s good. Watch the video, reposted by a fan page, below.
Fourteen years since her last album, Missy Elliott is giving fans new music. On Thursday night, the hip-hop trailblazer will release her Iconology project, a collection of feel-good dance tracks.
Taking to Twitter, she made the big announcement. “This year has been a tremendous year for me…I am humbled and grateful. THANK YOU for allowing me to smell the roses,” tweeted Missy. “You, my fans, and God are the reason I am here and have celebrated every milestone with me! So, I have a SURPRISE for you…”
She continued, “At midnight tonight I’m dropping a collection of new songs! Let’s #ThrowItBack to a time when music just felt good and made us want to dance!”
This year has been a tremendous year for me…I am humbled and grateful. THANK YOU for allowing me to smell the roses. You, my fans, and God are the reason I am here and have celebrated every milestone with me! So, I have a SURPRISE for you…
Missy will receive the Michael Jackson Video Vanguard Award at the 2019 MTV VMAs on Monday and also take the stage for her first performance in 16 years. To celebrate, MTV will launch the Museum of Missy Elliott, an interactive experience honoring Missy and the creative visionaries behind some of her most iconic music videos.
Iconology marks Missy’s first new body of work since 2005’s The Cookbook. Since then, she has released singles including 2015’s “WTF (Where They From),” 2016’s “Pep Rally,” and 2017’s “I’m Better.”
It’s been a big year for Missy. In June, she also became the first female rapper to be inducted into the Songwriters Hall of Fame.
In addition to dropping her Iconology EP, the Grammy-winning trailblazer debuts a video for one of the five tracks, “Throw It Back.” Missy keeps innovating and snatching wigs (“…Till I see their scalps)” in the dance-heavy clip, which opens with a cameo from Teyana Taylor, who schools a young girl on “the innovator of all innovators, the game-changing sensation.”
Missy rolls out the pink carpet as she and her dancers glide down the street in their pink suits and bald scalps. She then uses her braids as a jump rope and gets in formation with her florescent MCM-clad dancers. After riding in a chopped-up car and rocking an “Iconic” chain, she switches into a patent yellow jumpsuit. Misdemeanor the astronaut also plants her flag on the moon, reminding fans that she’s still got it.
“Missy still got them losing control and every night is still ladies night,” she raps.
The hip-hop icon will receive a special Moonman of her own at Monday’s MTV VMAs. She will be honored with the Michael Jackson Video Vanguard Award and take the stage for her first performance in 16 years.
Her statement comes the all-knowing celebrity gossip website TMZ, who apparently got word that Rah Ali is not happy about what was said about her during Star’s debut podcast. On Keepin It Bute, Star said that she would have “spanked” Rah if she were present at the party. She also said the same about Nicki, but elaborated that her security is so strong that she’d probably never get through. Now, Rah Ali is coming through with her own message.
According to TMZ, Rah Ali believes that by dragging her name through the mud, Star Brim thinks she can cash in on her fifteen minutes fame. She reportedly says that, instead worrying about the fight from last year, she should figure out how to make a career outside the strip club. Ouch.
Are you team Rah Ali (Nicki) or team Star Brim (Cardi)?
It’s been 14 years since Missy Elliott released an album, but the legendary rapper, producer, and songwriter makes her long-awaited return with Iconology, a collection of new tracks. The EP, which features production from Elliott, Timbaland, and Wili Hendrix, is a throw back “to a time when music just felt good and made us want to dance.”
Additionally, the Songwriters Hall of Fame inductee has debuted an epic video for one of the five tracks, “Throw It Back.” The innovator keeps innovating and snatching wigs (“…Till I see their scalps)” as she rolls out the pink carpet in the dance-heavy clip, which features a cameo from Teyana Taylor.
On Monday, Missy will receive the Michael Jackson Video Vanguard Award at the MTV VMAs in New Jersey and also take the stage for her first performance in 16 years.
“This year has been a tremendous year for me…I am humbled and grateful. THANK YOU for allowing me to smell the roses,” she tweeted. “You, my fans, and God are the reason I am here and have celebrated every milestone with me!”
Earlier today, Michael Jackson’s former manager and spokesperson came from out nowhere to tell the world she had an announcement to make regarding the legendary artist. Considering the aftermath that came from Leaving Neverland, Raymone K. Bain could have been referring to anything. Perhaps there were more allegations coming against the King Pop. Maybe a posthumous album was being released. Nobody had a clue so fans the icon followed the situation closely, waiting for any information on the “mystery” announcement on social media. An advisory was sent out to the press, which reads: “2019 marks the 10th Anniversary Michael Jackson’s death; and, what would be his 61st Birthday on August 29, 2019. It is time to speak up, and speak out, on behalf Michael Jackson, in conjunction with a mandate made by him on October 6, 2006.” The special announcement was underwhelming to some but it’s long overdue for others.
As reported by CNN, a foundation has been announced in Jackson’s name. Many believed that information about MJ’s will would be revealed but Bain noted that she does not have access to those documents. During her announcement, she broke the news, saying, “I am honored to announce the establishment the MJ legacy foundation.”
The goal the foundation is to “preserve, protect and defend his name while supporting the numerous organizations he supported during his life.” Many that were in attendance for the press conference today in Washington, D.C. have said that the process was very bizarre. Still, people are glad to see Jackson’s legacy being preserved this way.
Lil GotIt has been proving to be one the hottest young artists out Atlanta. Under Young Thug‘s guidance, he’s readying himself for a big career outside the A. The rapper dropped f Hood Baby in 2018 which served as an introductory project for Thugger’s protege. A few months later, he came through with his second project which produced the hit “Da Real HoodBabies” which ultimately received the remix treatment with an additional verse from Lil Baby. Now, it seems like he’s readying himself to cap f the year on a big note with Hood Baby 2.
Lil GotIt is only three projects in but his third mixtape should be considered a triple-disc effort. The rapper revealed the tracklist for his upcoming project, Hood Baby 2 is 35 songs in total consisting both new and old songs. He has a long list collaborators on the project including Young Thug, Gunna, Lil Keed, Quavo, Lil Yachty, Lil Baby, PeeWee Longway, Lil Durk, Tee Grizzley, Yo Gotti, BlocBoy JB and more. In terms production, he got some powerhouses on deck such as Wheezy, ThatBoyCash, Zaytoven, and more.
Hood Baby is turning out to be a mixtape series at this point. In an interview with HNHH earlier this year, he explained where the album’s title came from, “It came from being in the hood and everybody treating me like a little bro. I’d write a song and then I started calling myself Hood Baby,” he explained. Peep the full interview here.
Louisiana’s Nilly, one of the participants from VH1’s competition series Signed, is back with a new single titled “Badder Than Bad.” The DJ Fresh Prince-produced track is a collaboration with Maxo Kream, who is coming off the release of his major label debut Brandon Banks.
“Not too many artists have the respect from the lyricists, the ladies and the streets all in one,” Nilly tells HipHopDX. “Maxo can cater to all crowds.”
He adds, “This is a song for the ladies to dance to. I want all women to feel like the baddest in the building when they hear this.”
Listen to Nilly’s “Badder Than Bad” featuring Maxo above or other streaming platforms here.
Reputation can follow n artist for the entirety their career. For Eminem, regardless how his music might have changed over time, his reputation is that a hardened warrior. The product many hard-fought battles. Occasionally wars. Sometimes with hip-hop challengers, others with emboldened pop stars. Regardless the target, Slim has never been one to pull punches. In some cases, he may opt to abstain entirely; consider his short-lived beef with his friend and collaborator Royce Da 5’9,” which found Em turning another cheek to “Malcolm X.” Yet for those who do manage to draw his ire, Eminem has made a habit ruining livelihoods and burning bridges to high heaven.
Since first establishing mainstream dominance with The Slim Shady LP, Eminem has been a lightning rod for criticism. The trend exists even today, with media pundits like Joe Budden and Lord Jamar continuously taking shots at the divisive legend. Yet there was a time when such disrespect would all but force a self-respecting artist into the ring. That’s not to say the targets were always top tier challengers, but that didn’t stop Em from doling out excessive force. In honor his formidable reputation, take a moment to revisit some the most legendary diss tracks his career.
J. Shearer/Getty s
Before Em became a household name, he was embroiled in a feud with House Of Pain’s Everlast. Legend has it that the beef originally gathered steam after Em “snubbed” Everlast in a hotel lobby, a la Cosmo Kramer. Feeling some type way, Everlast fired a few warning shots at Em on the Dilated Peoples track “Ear Drums.” “Cock my hammer, spit a comet like Hailey, I’ll buck a .380 on ones that act Shady,” he rapped, and thus sealing his fate.
Before long, Em responded in full, satirizing Everlast’s foray into guitar-driven rock-rap with “I Remember.” Stylized after Everlast’s then-aesthetic, Em unleashed both melodies and bars at in Whitey Ford’s direction. Though the sung parts are serviceable disrespect, Em’s holds nothing back in his extensive verse, stringing together some the most impressive multi-syllabic schemes in diss track history.
QUITTER w/ D12
“I Remember” was not the first time Em would reserve time for Whitey Ford. “Quitter” marked the finishing blow his one-two punch (unless we’re counting “Girls,” another diss record worthy remembrance), a furious assault bolstered by supporting fire from D12. Tonally different from its predecessor, “Quitter” finds Eminem spitting venom, upping the intensity his disrespect in the track’s first section. The topics discussion remain the same, but while “I Remember” served to contextualize the beef, “Quitter” was there to send Whitey into chaos.
Everything from his religion to his sexual orientation to his curious stylistic choices were put under a microscope, in the same manner as ants. At this point, Em had all but sealed the deal, allowing the “Lil Homies” to ride to war for the sole purpose making a point.
The thing about “Can-I-Bitch,” one Eminem’s most hilarious and brilliantly crafted tales to date, is that it was never intended for release. The track was ultimately leaked in the early millennium as part the Straight From The Lab EP, which stands among his most notorious collections leaked material. Yet the damage was done, and fans were treated to the zany dissection Canibus and his “intergalactical metaphors from Mars.” Channeling a bloodlust-fuelled Slick Rick, Em delivers an effortless flow that doubles as rather compelling narrative; a “Stan 2.0” if you will, complete with appearances from Dr. Dre, the Pet Shop Boys, and the peskily resilient Canibus.
The dawn Em’s most storied beef, “The Sauce” marked the first volley at one Ray Benzino, co-owner The Source and his most high-prile foe to date. After catching shots from Zino’s “Pull Ya Skirt Up,” Em retaliated in full force with a blistering assault. Like “I Remember” and “Quitter” prior, “The Sauce” and it’s successor “Nail In The Cfin” followed a similar blueprint. Before the pure, unapologetic disrespect was to be unleashed, Eminem allowed himself space to set the stage, dismantling Benzino’s life’s work while calling his credibility into question. What makes “The Sauce” so brilliant is how it doubles as autobiographical, providing insight into Em’s journey from aspiring emcee to global superstar. For that reason, it stands as one his most passionate songs to date, despite being a diss track.
NAIL IN THE COFFIN
There’s no disputing that “Nail In The Cfin” is the most scathing diss track Eminem has ever dropped. From the slow-burning tension the beat to the absolutely venomous bars, the second Em’s ficially released Benzino disses was akin to a public execution. Nothing is f-limits, and as the track progresses, Em becomes hate personified. You can hear the disgust in every line, and by the time the song concludes, Eminem has left no stone unturned. There’s a reason that history has dubbed this “the end Benzino,” thus transforming the name into a prophecy sorts.
The unficial cousin the Benzino trilogy, “Bully” marks another interesting chapter Em’s career. Originally rumored to have been intended for “Encore,” this haunting, melodic diss record was also part the aforementioned Straight From The Lab leak. And while it never saw an ficial release, “Bully” has developed a rampant cult following. Though the bulk the bars are reserved for Benzino, Em makes sure to acknowledge Ja Rule, Irv Gotti, and even Suge Knight. Like “The Sauce,” Em crafts “Bully” as a storyteller first, penning a cohesive narrative while retaining all the hate we’ve come to expect.
Though Em never quite gave Ja Rule the same attention he reserved for Benzino, that’s not to say Jeff Atkins got f easy. For the most part, Ja and Irv were 50’s cross to bear, though Eminem was not about to let “Loose Change” go unpunished. For the purpose this list, I was debating between “Bump Heads,” “Hail Mary,” and “Hailie’s Revenge,” which make up the trifecta Em’s Ja Rule disses (unless we’re counting “Shit Hits The Fan” and “I’m Gone”, so maybe it’s a pentalogy?) And then there’s “Wanksta” freestyle…Shit, I digress. In the end, there’s something about “Bump Heads” that places it at the top; perhaps it’s Em’s devil may care demeanor or the fact he peppers personal anecdotes in to further contextualize his relationship. Either way, it’s never a dull moment when Em and G-Unit ride to war.
MY NAME w/ XZIBIT & NATE DOGG
Though it was relatively blink-and-you-missed-it, Eminem and Dr. Dre both briefly feuded with So-So Def producer Jermaine Dupri. The beef was acknowledged in three servings, including Eminem and Xzibit’s “Freestyle,” Em and Dre’s “Say What You Say,” and the best the batch – Xzibit, Eminem, and Nate Dogg’s “My Name.” Though it never quite reached the same level as some his prior beef, a fact Em himself dances around on “My Name,” he made sure to issue a stern warning to Dupri without dulling his blade. Implementing references to his own work (“Square Dance”) and that his respected collaborator (Nas on “Ether”), Em’s second verse is a harsh reminder what inevitably happens once the bear is poked. Plus, whenever Eminem and Xzibit get on a track together, it’s pure excellence.
“The Warning,” Eminem’s scathing diss track to Mariah Carey and Nick Cannon, plays out like a restraining order on wax. Upon feeling disrespected by Mariah, with whom he had a former fling, hitting him with a dismissal, Em made her a mainstay in some his more disrespectful Relapse raps. In response, Mariah clapped back with “Obsessed,” which would ultimately seal her fate. In terms disrespect, “The Warning” ranks high on the scale, given Em is essentially penning the track as a vindictive ex-boyfriend with a rich history from which to draw. He even manages to use her own voice against her, leaving us with more questions than we have answers. Suffice it to say, Mariah Carey likely considered herself warned – is it no coincidence Nick Cannon recently took a few shots at Em?
The most recent the bunch, Eminem’s “Killshot” was quite possibly one the most anticipated tracks in recent memory. After an unexpected beef between himself and Machine Gun Kelly kicked f in September 2018, many wondered how Em was going to respond to “Rap Devil.” At this point, his reputation was long-built, prompting some neutral parties to (hyperbolically) fear for Gunner’s career safety.
When Em dropped “Killshot,” it served to silence the doubters for a brief moment, confirming that the legends were indeed true. And while Em’s full-fledged Machine Gun Kelly diss was certainly a brutal affair, it marked a curious detion from the others. Not everyone declared Em to be the unanimous victor, with some placing “Rap Devil” a cut above. Regardless where you stand, however, “Killshot” is everything we’ve come to expect from an Eminem diss track: brutal, technically savage, and forever void apologies.
You can hear a song countless times on countless occasions without ever reflecting on the emotional weight or context behind it. We sing along at parties and on crowded dancehall floors without so much as a second thought, breathlessly buying into the surface level euphoria whatever the DJ throws into the mix.
But closer inspection inevitably peels back the rhythmic cheer to reveal a synchrony that captures the essential nature catharsis. When given a moment to spell out what’s being said by our go-to mood maestros, it becomes abundantly clear that tracks like Lil Uzi Vert’s “XO TOUR Llif3,” with its unforgettable emo refrain, should be accompanied by an advisory sticker warning listeners the power ballad death-courting. For the song’s now ubiquitous creator, “Push me to the edge/All my friends are dead” isn’t just operatic posturing or a figure speech: Uzi openly acknowledges the loved ones that he’s lost (Ninety, Chico, Wee, Doo Dot) and the toll that it’s had on him throughout much Luv Is Rage 1.5. It seems almost grotesque when considered from an outsider’s perspective: how could such a potent funeral drone, haunted by repetitive chants about our ever-taboo mortality, become an international phenomenon, and in the sacred embrace the club at that?
It’s no surprise that sad music is self-medicating, but the manner in which some artists are capable secretly disguising their intentions has a funny way making for the most exhilarating, party-ready bops. Uzi’s sky-scraping elegy has resonated with millions, as if the exquisite electronics he utilizes somehow cover up the unnerving realities summoned forth from the nether realm. In truth, they aid in bringing his demons to life: “XO TOUR Llif3” now stands as a definitive millennial record, its maelstrom emotions driven by a paired sense intimacy and misery that is at the very heart the hip hop zeitgeist.
Bennett Raglin/Getty s
The song’s cartoonish exuberance and clockwork quotable aren’t singular: a great number music’s most popular contemporary hits are heavy forays into love and loss, and the ever-lurking fear never attaining true fulfillment or happiness. SoundCloud rap’s rise and fall in particular has brought with it a bountiful harvest tragic whomp whomps full rousing hooks and lyrical content structured around anxiety and despair. XXXTentacion’s biggest hit finds him dredging up suicidal ideation and (controversially) threatening to end his life if his one-and-only doesn’t heed his wishes. Roddy Ricch’s “Die Young” wrestles with the paranoia that nips at the heels hip hop’s young, rich, and famous. Lil Peep, who was on the cusp full-blown superstardom before his life was cut short by a drug overdose, nurtured the fraught minor keys and dulled senses that are ideal for dimly lit dive bars on tracks like “Awful Things” and “The Brightside.” Post Malone’s disgruntled moping and fixation on spurned love (“Better Now” and “I Fall Apart”) earned him the title one the most-streamed artists 2018. And Juice WRLD, whose entire musical existence is based on weaving heartbreak into trap tapestries, has watched the formula pay f in dividends with smash records “Lucid Dreams” and “All Girls Are The Same.”
“Sad bangers,” for lack a better descriptor, have been in business for as long as humanity has had reason to drown its sorrows in music. Although sonic emotion ten gets scrubbed clean through years widespread commercialization, few genres are as well-suited for complex expression as hip hop. For artists like trap renaissance man Future, the embrace hip hop’s sadder side beyond the threshold velvet entry ropes and brawny bouncers is colored by an underlying hurt. His twisted dispatches reek hedonism and self mutilation, his vocals always on the verge cascading into emotional overload, as if he’s the surrogate for every departed soul adrift at the bottom the bottle. On “Thought It Was Drought,” crisp 808s and Gucci flip flop flexes mask the fact that Atlanta’s answer to Phil Collins is more scared to lose the dirty swirling in his styroam than the possibility human connection. Magnum opus “Codeine Crazy” unleashes his best songwriting to date over distortion leaks that amplify the listless arousal and sexual frustration within. It’s an existential crisis counting down to zero in big digitized drips and moans.
Paras Griffin/Getty s
Beyond the woozy synths and pounding percussion that animate people to pursue their most primal instincts, what makes such songs so sticky is the way that the yearning for closure quivers against the silence, the embodiment words unspoken in writhing throngs partygoers. It’s as if doubling down on the melancholy while under the influence the beat helps “drag us out the mire.” Indeed, club music takes on added meaning when fueled by something deeper than material pinings, expanding its range expression to encapsulate the torment that underlines the need for an escape. Isolation and the insecurities it breeds are shown to be a universal struggle, celebrated through a clarity that is deeply affecting when wielded properly.
Pop culture’s proliferation the sad banger isn’t just a frivolous trend, but instead the realization refuge amidst colorful strobes and the churning bodies strangers. When Future and Chief Keef croon about finding release through illicit means, or perennial favorite Kid Cudi details how childhood trauma and the throes addiction have pierced every facet his existence, they capture what it feels like to be the last one leaving Folly’s on a Thursday, ears ringing, shirt splattered with gin and sweat stains, head spinning with loneliness. Even in this abstract combination sadness and ecstasy, seeming emptiness is replaced by a joy that both distracts from and pinpoints the reality the moment. It’s music that acts as a portal to a world nostalgia, transcendence, and wonder where negative emotions are mercifully capable consolation, and Lil Uzi Vert’s bipolar antics suddenly don’t feel so out place.
With his trial quickly approaching, we may finally be getting some new, ficial photos Tekashi69. The controversial rapper has been behind bars for nearly one full year after getting booked on federal racketeering charges. Alongside the rest his Nine Trey Blood gang members, Tek is facing a long time in prison for a string crimes that were organized as a group. Many the updates we’ve been able to provide on the young artist have come directly from his girlfriend, Jade, who ten shares tidbits information about him. The dancer recently took to her Instagram stories to answer a fan who asked about the last time she got to see 6ix9ine, to which she responded with a photo.
Bennett Raglin/Getty s
It’s unclear when the picture was taken but Jade appears to imply it was recent. She can be seen locking lips with the troubled superstar and as time has passed, 6ix9ine is back to his regular hair color. Obviously, multicolor hair dye would be nearly impossible to come across in prison, so it makes sense that he’s back to his roots.