News struck this week that Frank Ocean is planning on releasing a brand new single to the world, cancelling pre-orders for the “Little Demon” vinyl and replacing it with an unreleased track. Perhaps the reclusive star is also working on contributing to the first posthumous album released by Juice WRLD. Or, at least that’s what Lil Bibby is hoping for.
The head Juice WRLD’s label Grade A Productions, Lil Bibby, just sent out a public call for Frank Ocean to sing on the upcoming posthumous album by late 21-year-old Juice WRLD. The Chicago star passed away in December 2019 a drug overdose and, since then, his team has announced that unreleased music will eventually find its way onto streaming services. While there remains no release date for Juice WRLD’s first posthumous project, Bibby is not making it a secret that he wants the sweet, soothing tones Frank Ocean’s voice on there.
“Gotta get Frank Ocean on this Juice album,” said the rapper-turned-executive on social media.
Lil Bibby worked extremely closely with Juice WRLD during his life and he likely knows who the star would have enjoyed collaborating with. Perhaps Frank graces that list.
In Juice WRLD’s first musical appearance since his death, he featured on Eminem‘s “Godzilla,” which saw the Chicago rapper end up in the Guinness Book World Records. Are you hoping Frank Ocean comes through with a feature on the upcoming body work?
The singer has announced that an unreleased track is on the way. Fans who pre-ordered the 7″ vinyl of “Little Demon” his Blonded website last year received an email on Tuesday saying that they would receive a new, unreleased song instead.
“‘Little Demon’ will be replaced with a new, unreleased Frank Ocean song,” reads the email. There were no further details as to what song they would be receiving or when it would arrive, but they were given the option to cancel the order by Feb. 28 if they wanted.
“Little Demon” is Ocean’s collaboration with Skepta that premiered on Apple Music’s Blonded Radio last year. Ocean previously previewed the song’s Arca remix during his PrEP+ party on Halloween in New York.
The reclusive singer hasn’t released new music since “In My Room” and “DHL” last fall. There were rumors that he planned to roll out a larger collection of music after fans noticed graphic icons of Ocean in various poses at the bottom of the single covers, each potentially representing a new track.
Ocean is slated to headline Coachella in April alongside Travis Scott and Rage Against the Machine.
Ever since the release Blonde, which has been hailed as one the defining albums the last decade, Frank Ocean fans have been kept in the dark regarding the potential new music. Last year, the reclusive star re-emerged from the shadows to organize a series PrEP+ parties in New York City, where he would go on to debut a handful previously-unheard songs. The former Odd Future standout released “In My Room” and “DHL” to a worldwide audience, but other songs like “Little Demon” with Skeptaremained unreleased on streaming services. If you wanted to listen to the track over and over, you could pre-order the vinyl copy on Frank’s ficial webshop. While that fered an opportunity for stans to get their fix new music, they’re celebrating an even greater announcement today as it was revealed that, instead getting “Little Demon,” Ocean would be gifting them with a brand new unreleased record on vinyl.
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As reported by The Fader, anybody who ordered the physical copy “Little Demon” received an e-mail this morning that claims that it will be replaced by a “new, unreleased Frank Ocean song.” Fans are able to cancel their orders before the end the week with a full refund but, to be honest, why would anybody want to do that? It’s such a rarity to hear new music from the superstar so, when the chance arises, you’ve got to go for it.
There is currently no known information as to when the new song will arrive and if it will hit streaming. Knowing Frank Ocean’s history though, we can safely assume that the drop will be pretty quiet if he does end up coming through on a global scale.
The modern hip-hop landscape feels like fertile ground for lone wanderers. Though it wasn’t always. There was once an era in which rap crews reigned supreme, gangs roving the game waving their own respective flags. Especially at the turn the century. Every superstar seemed to have their own loyal band. Interesting dynamics and standout members proved inevitable — all part the fun. Any hip-hop head in their late twenties can likely rattle f names like D12, G-Unit, State Property, The Lox, Bravehearts, Disturbing Tha Peace, Tha Eastsidaz, and the St. Lunatics. Some have delivered hip-hop classics; others have faded from memory.
The rap crew has been a mainstay in the game since the late eighties, since Dr. Dre, Eazy-E, Ice Cube, MC Ren, and DJ Yella united to form NWA. Years later came Wu-Tang Clan, arguably the greatest band to ever bless the culture. The product ten emcees, disparate in styles though united in vision, the Shaolin warriors achieved commercial and critical dominance. Likewise did legendary groups like Bone Thugs-N-Harmony and Three 6 Mafia have untold impact on the culture, their influence on production trends and flow-schemes evident now more than ever. Cam’ron, Mase, and Big L fought record label attention as Children Of The Corn, their movement shattered by Big L’s untimely murder. The Hot Boys, a New Orleans based collective helmed by the notorious Birdman, brought a new bounce to the table. Nas, AZ, Foxy Brown, and Nature joined Dr. Dre for The Firm, a mafioso clique that ultimately floundered under the weight expectation.
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The list goes on. To shine a spotlight on all deserving parties would require far more than a single article. But there is one interesting pattern worthy exploration, one that really came to manifest in the early millennium. The idea that a commercially successful rapper had a band little homies waiting in the wings, ready to be put on. Was it a label-fuelled movement? Perhaps; you can bet the Interscope powers that be were salivating at the thought a D12 album, especially if it didn’t impact Em’s contract as a solo artist. Business aside, the arrival a crew ten introduced new dynamics, undoubtedly fueled by a good-natured sense healthy competition. Upon listening to D12’s Devil’s Night and St Lunatics’ Free City, there’s a certain edge to both Eminem and Nelly, culminating in some their rawest and most effortlessly confident work.
Such results wouldn’t be possible without capable colleagues and standout members. For D12, it was Pro, the architect behind the Dirty Dozen’s vision; and course the gruesome Bizarre, but he’s a standout for reasons beyond technical prowess. For St-Lunatics it was the original schoolboy, Murphy Lee, the high-school prodigy who had a decent solo career in his own right. Those familiar with the group might be quick to vouch for Ali’s prowess, but Murph’s marketability gave him leverage once the crew hype faded. And in most cases, such a fate is not a matter if, but when. Sadly, rap crews ten benefit most from one illustrious centerpiece; if one the supporting players can find solo success, it’s akin to a late-game Hail Mary catch. Sometimes the buzz is so ridiculous it impacts everyone in the vicinity. It happened to Lloyd Banks, who carved his way from G-Unit’s punchline king to a respectable solo artist with a classic to his name. Young Buck found similar success in his own right, with Straight Outta Cashville serving as a respectable look for the Nashville emcee.
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Circumstances matter. When a group arises on equal footing, as was the case when Jadakiss, Styles P, and Sheek formed The Lox in the mid-nineties, the established dynamic allowed for a smooth transition into solo waters. Especially for Kiss and Styles, who explored new artistic depths on their debut albums Kiss Tha Game Goodbye and A Gangster And A Gentleman. Such cases skew closer to the Wu-Tang model, in which no discernible skill-based leader is selected by default. It’s the reason The Lox has been able to thrive for as long as they have, despite boasting only three crew albums to their name. Same goes for the Diplomats, who formed in 1997 after the dismantling Cam’ron’s Children Of The Corn. With Cam, Jim Jones, Freekey Zeekey and later addition Juelz Santana operating on more or less equal footing, the healthy competition from within allowed each member to forge solo careers on their own merit. Sadly, tension ultimately destroyed the group from within, an inherent risk when four capable emcees move forward with no authoritative leader calling the shots.
The rise and fall the Diplomats echoes that a newer group, the lyrical powerhouse that is Slaughterhouse. At the time their formation, Royce Da 5’9”, Joe Budden, Joell Ortiz, and Crooked I were all accomplished lyricists, despite having never sustained long term success in the mainstream. Benefitting from the combined attention their already established solo fanbases, the group was all but unburdened by the pressure breaking an artist into the mainstream. The raison d’etre was simple: strive for lyrical excellence in the spirit hip-hop tradition. Pure in theory, albeit naive: rather than pursuing the mixtape route, the group signed with Shady Records and attempted to reinvent themselves as commercially ble. In this case, it could be said that a case “too many cooks” brought upon their downfall; others might argue that ego and creative differences played a role. As this moment, their lost sophomore album Glass House remains an urban myth, forgotten until that one fateful day it leaks from the bluest ether.
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Such sharp demises are the risk when no clear group hierarchy exists. In some ways, the “little homie” model is the more sustainable option, though the ceiling is significantly lower. Look no further than Ludacris’ short-lived Disturbing Tha Peace family, though it ultimately gave us Tity Boi. Or Nas’ Bravehearts, whose main contribution to the game was “Oochie Wally” — do with that what thou wilt. In hindsight, it’s rare for a group (not to be confused with a duo) to sustain a lengthy and creatively fulfilling career. Even a modern-day quartet like Black Hippy, comparable in many ways to Slaughterhouse, never found the time nor motivation to link up for an album. Heavyweight stars seldom do — does anybody remember the short-lived promise CRS, the Thom Yorke sampling trifecta Lupe Fiasco, Kanye West, and Pharrell Williams?
Yet today’s era has brought several exciting movements into the fold. Borne vision-chasing principles previously seen in the likes Wu-Tang Clan and The Diplomats yet instilled with a contemporary desire to shift culture, SpaceGhostPurpp’s Raider Klan was among the most impactful early movements to benefit from the internet. In 2008, the hazy and eclectic producer united with artists like Kadafi, Dough Dough Da Don, the late Jitt, and eventually Denzel Curry and Yung Simmie. Drawing influence from their environment Carol City, Raider Klan’s impact went on to stretch beyond music, encompassing the community and providing like-minded artists with a means expression. Though with massive collectives this nature comes another risk, that varying degrees both talent and motivation will lead to varying degrees success and sustainability.
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When that does end up happening it need not tear a crew apart. Even as clear standout members begin to thrive as solo artists, some groups remain tethered by a sense familial loyalty and mutual artistic respect. The A$AP Mob comes to mind, as brought to life by visionary creative Yams in 2006. Inspired by a shared desire to push several facets artistic culture ranging from music to fashion, the Mob united several like-minded New Yorkers under one banner. Though A$APs Rocky, Ferg, Twelvvy, Nast, Ant, and producer Ty Beats have all experienced different career trajectories, the Mob and by extension Yams’ memory represents a shared ideology above any well-defined creative goals. A similar vibe was felt during the rise Odd Future, the primary creative outlet for a young Tyler, The Creator. Originally formed in 2007, Odd Future’s formative lineup consisted Tyler, Hodgy Beats, Jasper, and Left Brain, who quickly found their music gaining steam. As the band outcasts gained notoriety, Earl Sweatshirt, Domo Genesis, and Frank Ocean added their minds to the creative brain trust. Unlike the Mob, however, Odd Future is more or less inactive, fondly remembered for the spirit they once represented.
And so it goes. Though the rap crew all too ten meets an untimely and unamicable end, few go out without leaving a pround impact on the fans. Sometimes, if luck would have it, the dust might even settle to reveal a classic album or two. It’s hard not to look back on all the movements come and gone and not feel a pang nostalgia. Past, present, or future, what’s your favorite hip-hop crew?
The Super Bowl is coming on Sunday. The thing about the Super Bowl is that everyone tunes into it but there’s a good chance there’s a large chunk folks who are just tuning in for the commercials. Companies blow millions dollars to get their advertisement placed during one the biggest nights on television.
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Now, if you know Kanye, then you know he’s a big fan McDonald’s. In Frank Ocean‘s Boys Don’t Cry magazine, Kanye penned a poem in tribute to the fast good chain called “McDonald’s Man.” McDonald’s recently revealed their ad for the Super Bowl and they got a few major name celebrities to help them out without actually appearing in the commercial.
Kanye West and Kim Kardashian also contributed by revealing their go-to orders at McDonald’s. For Kanye, he’s a simple guy who enjoys his nuggets. His go-to order consists a six-piece, three packets BBQ sauce, a chocolate McFlurry, and a small fries. Kim’s order is a bit more left-field than Kanye. Although she does have the six-piece nuggets, small fry, and chocolate McFlurry, she also adds an apple pie and a cheeseburger. Oh, and for dipping sauce, she opts for honey which she says is “the only way to eat” chicken nuggets.
Other celebrity orders include Whoopi Goldberg and Millie Bobby Brown.
Los Angeles, CA – Tyler, The Creator won his first Grammy Award at the 62nd Annual Grammy Awards on Sunday night (January 26). The Odd Future mastermind accepted the award in the Best Rap Album category for his fifth studio album IGOR, which was released last May.
The former Billboard 200 chart-topper beat out Meek Mill’s Championships, 21 Savage’s i am > i was, YBN Cordae’s The Lost Boy and J. Cole’s Revenge of The Dreamers III.
Tyler was previously nominated in the Best Rap Album category for 2017’s Flower Boy and Album of the Year for his contributions to Frank Ocean’s Channel Orange.
As Tyler got up to give his acceptance speech, he brought along his mother Jasper Dolphin who was shedding tears of joy for her “baby.”
“That’s my mom if y’all wondering, “he says. “Hello. I don’t know if I’m gonna be up here again so bare with me. Damn, I don’t got nothing prepared. One, to my mother, you did a great job raising this guy.”
Prior to the win, Tyler was asked by a Rolling Stone reporter about the controversy swirling around the Recording Academy. Ousted President/CEO Deborah Dugan filed a discrimination complaint last week and accused the awards show of being “ripe with corruption.”
“I’m half and half on it,” Tyler said. “On one side I’m very grateful that what I made can be acknowledged in a world like this. But also — it sucks that whenever we—and I mean guys that look up to me—do anything that’s genre-bending or anything—they put it in a rap or urban category.”
Read Tyler’s full comments below.
Tyler's full comments after being asked by a reporter (from RS) about the controversy over Grammy voting. pic.twitter.com/L5f2Gbydmz
In some ways, being a songwriter is one of the more selfless ways that an individual can carve a niche in the music industry. There is a particular type of energy required to help others reach dreams by telling — in essence — your story. For some, though, their aspirations make it impossible to sit on the sidelines forever. Rapper Saint Jhn is an excellent example of this: the aha moment when an artist embraces their true calling.
This is (in many ways) the case with singer/songwriter Tiffany Red. Though she’s embracing her role as a new artist, she’s spent the past decade gainfully employed in the music industry writing for a who’s who of A-list performers. Her first placement on Jennifer Hudson’s self-titled debut album earned her a Grammy award. She’s since solidified herself as a go-to writer, even transcending her writing skills into television — notably for both Star and Empire.
However, it’s her music that’s become her focus as of late, with her latest EP Call Me Red, Vol 1 poised to be her breakout. Having been a faceless figure behind the pen until her initial foray, 2018s Drake, transitioning from writer to artist means starting at square one. For Tiffany, though, taking chances is how she got into the business.
“I’ve been writing — like writing poetry and stuff like that — since I was about 12,” she tells HipHopDX. “I was always creative in high school … I always did well in English, and writing has always been the way that I express myself.”
It was in high school, when a friend of hers convinced her to turn her poetry into a song, that her path became clear.
“That was the day I discovered I knew how to write melody … I didn’t really like grow up singing or anything like that,” she says. “I went from being this unmotivated kid to having a purpose. Since I was little, I was like ‘fuck this shit.’ I knew that when I got into the world, all this shit they were telling me in school was not going to fucking matter.”
She ran with it, and her big break came at the age of 20 when taking a chance led to a domino effect that changed the course of her career. It stemmed from the most unlikely of sources: singer Omarion’s 2006 sophomore album, 21.
“‘Midnight’ was my favorite song on there. I looked up who wrote it, and it was The Underdogs,” she explains. ”I Googled them, found all their information, and just cold email shot my shot. The publisher of the company had just got hired; he responded to me and was like, ‘Yo, why don’t you come to L.A.? You can come fuck with us for a week.’”
Though initially reluctant, her mother let her go, under the agreement that if it didn’t work out, she would go to school. She never looked back, landing her first significant placement within her first year. “I fell into it … it’s stars aligning type shit.”
As she admits, nothing came easy — and her true success came with dedication.
“There came the point where the Grammy didn’t matter anymore. I was broke; I would’ve sold that shit if they would’ve let me sell it back then,” she says with a laugh. She’s since written for the likes of Jason Derulo, Tamar Braxton, Fantasia and more. This, of course, on top of writing for network television.
“I’ve been writing for Empire for the last two years, so like of course, there’s the stuff that’s not out yet, you know,” she says. “But, I will say this though, I think I have both songs on the premiere episode when it comes back — also another episode later in the season.”
With all her success, that has now spanned well over a decade, she explains that her confidence was ultimately the barrier that kept her from forging her path as an artist.
“At the beginning of my career as a writer, I had a lot of people who told me I couldn’t sing, which was discouraging,” she says, pointing to the caliber of singers who she was around consistently. “I was always really insecure about my voice, but when I really started singing and found my voice, I realized that tone is the most important part of somebody’s vocal identity,” she states.
As she got more comfortable in her skin, she began to understand the power of her vocal tone — often noticing that singers would leave elements of her reference tracks in the final mix.
“I got to a point as a writer where I wanted to tell my story, and my songwriting style was changing because I was starting to produce,” she explains. “I also engineer, so I record all my stuff. My style started to become so mine that I was just like, dang, this sounds like something… I don’t want to give it to somebody else.
“I was so sick of giving my shit to somebody else. Like, I was sick of listening to somebody else telling my story and not tell it as well as I know I did,” she adds. “I had written for all these people, and my voice is what was selling the records. It was what was making the people pick them and stuff. So, I started just doing me.”
Though two EP’s preceded it, Call Me Red, Vol. 1 feels very much like a real intro to Tiffany’s full potential. It’s a project that came together over roughly three years. It’s also a project that almost didn’t see the light of day.
She recounts, “I had an accident over the summer [of 2019] … in August, I was on set for a photo shoot, and I fell through a roof. It was crazy. I fractured my ribs and almost died. I landed on some asphalt. Like, it was insane.”
She continues, recalling her initial thoughts upon realizing she’d survived.
“After I realized I wasn’t dead, it was, ‘Oh my God, I didn’t put my projects out … that was one of my first thoughts,” she admits. “I feel like that’s why the music feels so genuine; I’m singing from a place of like, I almost didn’t get to do this.”
During this period, she couldn’t walk or sing without pain. “I was really in a different place. I was in physical therapy and just rehabbing every part of my life while I was finishing this project. Everything that could go wrong went wrong all at the same time.”
It’s the perseverance she exhibited offline that makes the feedback on the project all the more special for her.
Still, her position remains insanely unique, and the longer one chats with Tiffany, the more she reveals the depths of her career highlights. She came into her own in a cohort that included names like Frank Ocean (with whom she shared a manager). She has traveled to Korea and written wildly successful K-Pop records (something she casually mentions they want her to do again). But, at this point in her career, she‘s going with the flow.
“I’m never going to stop writing for other artists. I’m never going to stop producing for other artists. I’ve just gotten to the point now where I work with people that I want to work with. Like, if I’m not passionate about it, I won’t do it. That took me 13 years.”
According to Tiffany, Call Me Red, Vol. 2 is already underway — as well as the grip of upcoming projects she’s not willing to disclose just yet. However, she does hint at getting involved in television (in front of the camera this time).
Stream Tiffany Red’s Call Me Red Vol. 1 below, and be sure to follow her Instagram for updates.
Michelle Obama has debuted a new workout playlist on Spotify, sharing a Hip Hop-heavy selection of songs on Sunday (January 19).
The former first lady’s collection includes tracks from The Carters (JAY-Z and Beyoncé), Cardi B, 2 Chainz, Lizzo, Anderson .Paak and the late Nipsey Hussle, among others.
Obama’s picks arrive a few weeks after her husband Barack unveiled his Best of 2019 playlist, which also featured multiple Hip Hop artists. Michelle’s song list features a portion of “cool down tracks” with cuts from Meek Mill, EarthGang and more.
Check out Obama’s Spotify workout playlist stream and tracklist below.
“A God Like You” – Kirk Franklin
“V.3005” – Childish Gambino
“Soulmate” – Lizzo
“My Money, My Baby” – Burna Boy
“Tints” – Anderson .Paak f. Kendrick Lamar
“Clique” – Kanye West, JAY-Z & Big Sean
“Come Down” – Anderson .Paak
“Drogba (Joanna)” – Afro B
“Feelin’ So Good – Remix” – Jennifer Lopez f. Big Pun & Fat Joe
“Press” – Cardi B
“APES**T” – The Carters
“Chuck Baby” – Chuck Brown
“Hussle & Motivate” – Nipsey Hussle
“Rule The World” – 2 Chainz f. Ariana Grande
“Feels Good” – Tony! Toni! Toné!
“Perm” – Bruno Mars
“One Kiss” – Calvin Harris, Dua Lipa
“Finesse – Remix” – Bruno Mars f. Cardi B
“Before I Let Go” – Beyoncé
“Tambourine” – Eve
“Toast” – Koffee
“Slide” – Calvin Harris f. Frank Ocean & Migos
“Cross Me” – Ed Sheeran f. Chance The Rapper & PnB Rock
“Turnin’ Me Up” – BJ The Chicago Kid
“South of the Border” – Ed Sheeran f. Camilla Cabello & Cardi B
“I’M DOPE” – Tobe Nwigwe f. David Michael Wyatt
Cool Down tracks
“24/7” – Meek Mill f. Ella Mai
“Automatic” – The Bonfyre
“Show Me Love” – Alicia Keys f. Miguel
“I Want You Around”- Snoh Aalegra
“Honesty” – Pink Sweat$
“Lay Me Down” – Sam Smith
“Blessed” – Daniel Caesar
“Godspeed” – Frank Ocean
“Collide” – Tiana Major9 f. EarthGang
Michelle Obama has released her workout playlist to help inspire everyone to stick to their New Year’s resolutions.
“It’s about that time when New Year’s goals and resolutions get just a bit harder to stick to. To fer a little inspiration, I want to share my go-to 2020 #WorkoutPlaylist with all you. These songs always seem to give me that extra boost to get through my toughest workouts. What’s on your playlist? #IAmBecoming #SelfcareSunday,” she wrote on Instagram, Sunday.
The playlist includes tracks from Beyonce, Childish Gambino, Lizzo, Cardi B, Bruno Mars, and Anderson .Paak, Frank Ocean, Meek Mill, and Alicia Keys and more. It’s separated into two sections, beginning with the traditional workout playlist and then ending with nine tracks designated as “cool down” songs.
This is a similar move to that her husband, former President Barack Obama, who releases an annual list the best songs the year. This year’s list included Frank Ocean, Young Thug, J. Cole, Travis Scott and more.
The Obama’s recently earned an Oscar nomination for their Netflix documentary American Factory. The couple has another documentary on the way for 2020 as well, titled Crip Camp, and is planned to be released through Netflix.
Frank Ocean is coming for our wallets once again. Everything the man does is drenched in so much anticipation and mystery that it’s hard to not jump at the opportunity to participate in whatever it is he is fering. Oh, Frank’s selling an adhesive metal phone ring with a rotating ring stand and emblazoned Blonded logo? Take my money! That’s just one the items included in the elusive artist’s latest merchandise drop.
Blonded is clearly not just associated with Frank’s 2016 album, but has become his whole brand, since he continues to create within this theme. On Friday, Frank shared a variety products through his website, blonded.co. Aside from the phone ring, you could purchase an iPhone case (if you have one the latest models), silk boxer shorts, cozy socks, sweatpants and hoodies. All the items feature the Blonded logo printed on them, which results in them being prestigious and pricey. You never know when Frank will make his next move, but you do know how rabid his fanbase is, so jump on these products fast before they sell out!
Frank Ocean has been confirmed as the Sunday headliner Coachella this year. Perhaps he will a bring custom merch booth to the desert as he did when touring Blonde in 2017.
“Godspeed” is the quietest, tenderest moment on Frank Ocean‘s 2016 masterpiece, Blonde. A fun fact about the track is that James Blake is a co-writer on it. In December, Blake embarked on a mini solo piano tour, which consisted two shows in New York and two in Los Angeles. Following these performances, videos surfaced online the British singer-songwriter-producer playing intimate renditions “Godspeed” for enraptured crowds.
For those who couldn’t it make it to these shows and were not satisfied with the sound quality concertgoers’ footage, Blake just shared a snippet him playing the Blonde ballad and it’s beautiful. “New decades resolution was to spend more time at my instrument than at a laptop,” Blake wrote in his video post. “So here’s a cover I play a song I helped write – Godspeed by Frank Ocean. I think I messed up a lyric near the beginning but hey, none these are gonna be perfect.”
In an interview with Variety, Blake explained the inspiration behind his short string piano shows: “I love playing the piano and haven’t done solo shows] in a long time. Right now, I’m … in England we use the term “bricking it” — it means sh—ing yourself with fear] — about the show tomorrow. Maybe it’s best to temper the audience’s] expectations, send out a caveat tweet. Anyway, I do one or two solo songs during my standard] live show, like Joni Mitchell’s] “A Case You” or “Vincent” by Don McLean, and I always crave more.”
Some artists are very transparent about the recording processes for their albums, while others prefer to work in private until a finished product is presented. Updating fans on an album’s progress opens the door to them feeling entitled to have an opinion on whether it’s taking too long. SZA recently teased that we can expect new music from her this year, so if she doesn’t follow through on that promise, you can rest assured that she’ll receive an earful (or angry tweets, rather) from her followers. When artists are secretive about recording, the public can forget to pester them about the status their projects. No one ever knows what the hell Frank Ocean is up to, so it’s hard to have any expectations for when he’s going to drop some new new. He’ll do it when he does it and we’ll wait patiently in the meantime.
Sports betting website, Bovada, analysed the varying predictability levels the music industry’s most admired artists to determine the likelihood whether they will release albums in 2020. According to the betting odds listed below, you can be fairly optimistic about Rihanna, Kendrick Lamar, Childish Gambino, Frank Ocean, and J. Cole dropping within the next twelve months. Survey says there will not be a sequel to Kids See Ghosts anytime soon.
Check out the numbers and see if you feel confident enough to place any bets.
Will Childish Gambino Release An Album In 2020? Winner Yes -300 No +200
Will J. Cole Release An Album In 2020? Winner Yes -700 No +400
Will Lil Wayne Release An Album In 2020? Winner: Yes -700 No +400
Will Adele Release An Album In 2020? Winner: Yes -400 No +250
Will Beyoncé Release An Album In 2020? Winner: No -220 Yes +155
Will Cardi B Release An Album In 2020? Winner: Yes -700 No +400
Will Drake Release An Album In 2020? Winner: Yes -350 No +225
Will Frank Ocean Release An Album In 2020? Winner: Yes -220 No +155
Will JAY-Z Release An Album In 2020? Winner: No -270 Yes +180
Will Kanye West And Kid Cudi Release A Collaboration Album In 2020? Winner: No -700 Yes +400
Will Kendrick Lamar Release An Album In 2020? Winner: Yes -240 No +165
Will Kid Cudi Release An Album In 2020? Winner: Yes -800 No +425
Will Lil Nas X Release An Album In 2020? Winner: No -220 Yes +155
Will Nicki Minaj Release An Album In 2020? Winner: Yes -140 No EVEN
Will Post Malone Release An Album In 2020? Winner: No -270 Yes +180
Will Pusha-T Release An Album In 2020? Winner: No -280 Yes +185
Will Rihanna Release An Album In 2020? Winner: Yes -400 No +250
Will SZA Release An Album In 2020? Winner: Yes -600 No +350
Will The Weeknd Release An Album In 2020? Winner: Yes -320 No +210
Will Travis Scott Release An Album In 2020? Winner: No -270 Yes +180
In the black-and-white shot, Frank can be seen rocking some the pieces from the collection while the “Prada” name next to him is turned sideways, becoming an acronym for “Programming Rhythms And Dancing Again.” This creative choice is part the unique approach Prada has taken in order to “reinvent conventional identity” through their campaign. The “Prada” name has been turned into various acronyms in order to serve as “a playful metaphor for a confident embracing the indefinability the idea Prada itself.” The collection features “a trinity contemporary creatives, pivotal cultural personalities now and archetypes the hyper fragmented mindset tomorrow,” including actor Austin Butler and director/screenwriter Nicolas Winding Refn.
“Each embodies a single identity the Prada man, one aspect, one outlook, multiplied by each image, each definition. They are representations the legion individuals that comprise the collective…Each these men uses words to define themselves: the lyrics a song, the words a script. They are a blueprint, a template, for life, for living, for feeling. Here, words are used as a means to redefine the image, to attempt to define the indefinable – PRADA,” the label stated.
The most popular concert tickets, tour stops, and artists around the country, based on SeatGeek data through Wednesday, January 8th.
Welcome to our weekly report on the world of live music, based on exclusive data from SeatGeek, a ticketing platform that enables fans to buy and sell tickets for sports, concert, and theater events. Read on for insights into the most popular artists and festivals from the prior and upcoming weeks.
Most Popular Artists and Festivals
Past Week, Based on SeatGeek Web Traffic
1. Post Malone (Rank last week: 2)
Post Malone is as popular as ever due to his new album, Hollywood’s Bleeding, and his current “Runaway Tour.” The tour will pick back up in February 2020, and is currently slated to run through June 25 in Salt Lake City at the Vivint Smart Home Arena.
2. Coachella Festival (Rank last week: 54)
Although we’re still in the doldrums of winter, it’s almost time to start getting pumped for Coachella. The popular annual California fest has just dropped details behind its 2020 lineup, with Rage Against the Machine headlining.
3. Billie Eilish (Rank last week: 1)
Besides a January 18 performance at iHeartRadio’s ALTer Ego festival, held at The Forum in Inglewood, CA, fans won’t be able to catch Billie Eilish live until her “Where Do We Go? Tour” kicks off in March.
4. Harry Styles (Rank last week: 3)
Harry Styles has a busy 2020. The former One Direction frontman is hitting the road next year for the “Love On Tour” trek, which will feature Jenny Lewis and King Princess as openers. The North American leg kicks off on June 26 in Philadelphia.
5. Trippie Redd (Rank last week: 4)
Lil Mosey has dropped a video ft. Trippie Redd, “Never Scared,” right in time. Trippie Redd will be hitting the road for the “Love Me More Tour” in just a few weeks, kicking things off on January 22 at the Showbox SODO in Seattle.
Past Week, Based on the Percent Increase in SeatGeek Web Traffic
1. Coachella Festival 1360%
California’s annual Coachella Festival has announced details for its 2020 edition. Enjoy headliners Frank Ocean, Tame Impala and a Rage Against the Machine reunion this April in Indio.
2. Rascal Flatts 726%
After an impressive run in the country music biz, the legendary trio Rascal Flatts are calling it quits. The band has announced details behind the “Life is a Highway” farewell tour, which is slated to kick off on June 11 in Indianapolis, IN.
3. Jimmy Buffett: 206%
The margarita man himself, Jimmy Buffett, has announced another batch of tour dates slated for 2020. The “Slack Tide Tour” will kick off on April 16 with intermittent performances throughout the year.
4. Calibash: 146%
Fans of Calibash, rejoice. The singing sensation will be appearing live three times this month, alongside Bad Bunny and Rosalia. The first two performances will take place at the Staples Center in Los Angeles on January 11 and 12, followed by a concert at T-Mobile Arena in Vegas on January 25.
5. Rod Stewart: 141%
Rod Stewart has just revealed his 2020 touring plans. In between long stretches holding down his residency at Las Vegas’ Caesars Palace, Stewart will tour North America for several months. The first of his traveling shows this year comes at the Hard Rock in Hollywood, Florida.
It’s a hotbed of activity in Los Angeles this week, with top performers filling in seats at some of the city’s top venues. On January 11, Calibash (alongside Bad Bunny and Rosalia) will take the stage at the Staples Center, where just two days before Kane Brown will have also sold out the stadium. Calibash will do it again on January 12, with yet another performance at the iconic City of Angels venue.
Rex Orange County, well into his “Pony Tour,” is also performing in LA, only he’ll be at the Shrine Auditorium on January 10 and 11. Or, you can travel a couple hours south and see Tool take the stage at the Viejas Arena in San Diego on January 10. Billy Joel will be in the other hot part of the country, Florida, for a gig at the Seminole Hard Rock Hotel and Casino. You can also catch Celine Dion, first at the State Farm Arena in Atlanta and then the Bridgestone Arena in Nashville.
Coachella Valley Music and Arts Festival has a long history – a 20-year-long history to be exact. The mega-festival has grown to bring in 125,000 people for each its two weekends and has become one the biggest events in music. Music festivals continue to proliferate each year, but Coachella remains the most talked-about and most-emulated. It highlights the hottest up-and-comers and books the most impressive headliners to provide weekends filled with surprises. YouTube Originals will explore how Coachella has evolved into such a massive cultural phenomenon in its forthcoming documentary, Coachella: 20 Years in the Desert.
The doc will include behind-the-scenes stories the festival’s origins, exclusive interviews and footage iconic performances from the likes Billie Eilish, Kanye West, Daft Punk, Travis Scott, LCD Soundsystem, Rage Against The Machine, Pixies, Jane’s Addiction, Björk, The White Stripes, Moby, Beck and Radiohead. YouTube will debut the flick on March 31 and will also be streaming many the festival’s sets for the tenth year in-a-row.
Coachella revealed its 2020 lineup last week with Rage Against The Machine, Travis Scott and Frank Ocean as headliners. Other notable acts include Megan Thee Stallion, 21 Savage, Lil Uzi Vert, Big Sean, DaBaby, Summer Walker and Roddy Ricch.