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Miley Cyrus Teases A Studio Version Of Her Blondie ‘Heart Of Glass’ Cover

As Miley Cyrus fans are anxiously awaiting the arrival of her She Is Miley Cyrus album, which the singer said might be on hold until she’s able to safely tour again, Cyrus had decided to grant her listeners a track to hold them over for the time being. Last week, Cyrus took the iHeart Radio Music Festival stage and delivered a passionate cover of Blondie’s “Heart Of Glass” and now, Cyrus has announced it will officially hit streaming services.

Cyrus originally teased fans with a studio version of the track Sunday when she took to Twitter to ask fans, “Should I drop Heart Of Glass on streaming?!” Of course, her listeners jumped at the opportunity for more Miley content to stream and were overjoyed by the possibility.

On Tuesday, one fan urged the singer to upload to song to streaming services “today,” and the singer agreed.

Cyrus’ “Heart Of Glass” is her latest in a string of covers. Earlier this month, the singer put her own spin on a jazzy rendition of Billie Eilish’s recently-released single “My Future.” Before that, Cyrus sang a cover of The Beatles‘ “Help” to a completely empty Rose Bowl stadium as part of Global Citizen’s Global Goal: Unite for Our Future livestream.

Watch the live cover of “Heart Of Glass” above.

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Even Ann Coulter’s Infuriated Over Trump Skirting On His Taxes, And She’s Calling On Democrats To Fix A Broken System

Back in 2016, Ann Coulter, conservative troll extraordinaire, published In Trump We Trust: E Pluribus Awesome! As it turns out, she may have trolled herself, big time, by favoring a president who has disappointed her multiple times over the past four years. Yet of course, she still very much dislikes almost everyone and tosses out xenophobic comments of her own on the regular, so she’s not a nice person, but maybe she’s worth a few moments of attention on occasion, like this week.

Notably, the issue of President Trump’s tax avoidance has upset Coulter a great degree because, well, it’s upset most people who don’t realize why a (supposed) billionaire has paid less in taxes for years (and not paid for it in other ways, as with Wesley Snipes) than almost every other taxpayer in the U.S. In fact, Coulter is incensed, and she’s going somewhere (asking Democrats for assistance) that she’s never gone before now.

“I don’t think the conservative take on @realDonaldTrump paying no taxes should be: BECAUSE HE’S SMART!” Coulter raged. “I’ve paid nearly 50% of my income in taxes, year after year, and any system that allows billionaires to pay ZERO is unspeakable corrupt.” She then added, “How about changing it, Democrats?”

Yep, when you insult Ann Coulter’s wallet, she’s gonna be mad. Is she really paying 50% of her income in taxes, though? There’s gotta be some hyperbole there, but irregardless, her point — that billionaires (or millionaires, which is likely the actual word that should describe Trump) shouldn’t be skirting their tax bills — stands. Further, this is probably one instance in which most people would agree with her. 2020 is weird! Your move, Nancy Pelosi and Chuck Schumer.

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Tory Lanez’s Team Allegedly Impersonated Megan Thee Stallion’s Label To Do Damage Control After Shooting

It seems that releasing a whole album calling out his “haters” may not have been enough for Tory Lanez in his ongoing campaign to mitigate the career damage Megan Thee Stallion’s accusations might have done to him. According to a new report from Billboard, Tory’s team has been on a press campaign to do damage control, but rather than simply speaking on his behalf, it seems they went an extra mile and impersonated representative of Megan’s label, 300 Entertainment, to engender sympathy for the Canadian rapper.

Billboard’s report comes from an unnamed source who is apparently close to the situation. The source alleges that Lanez’s team created fake text message conversations between Tory and Megan, sending them to various media outlets in order to undermine Megan’s credibility. In one, an email from a fake address for 300’s Head of Creative, Kevin Leong, linked to a report claiming Megan did not want to testify against Tory.

Of the fake email, 300 Entertainment wrote in a statement: “In this day and age, digital security is of utmost importance. The email impersonation of our Head of Creative Kevin Leong, with the intent to disseminate false information, has been brought to our attention and we are working diligently on Megan’s behalf to get to the bottom of the matter.”

The report comes after Megan’s lawyer accused Tory of unleashing a smear campaign against her. Tory’s recently-released album, Daystar, was purported to tell his side of the shooting incident between the two rappers but was censured by fans for instead gaslighting Megan about her accusations and lashing out at Megan’s supporters like Kehlani and Jojo for removing him from their projects.

Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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All The Best New Pop Music From This Week

This week’s best new pop music had some major comebacks. Ex-One Direction member Zayn dropped his first solo single of the year, Lana Del Rey lent her vocals on a folksy remix, and Joji released his highly-anticipated sophomore album.

Each week, Uproxx rounds up the best new pop music. Listen up.

Zayn — “Better”

This week was an exciting one for Zayn. Not only did the singer signal the beginning of a new era of music with “Better,” but he also became a first-time dad after Gigi Hadid gave birth to their daughter. The song is a fitting edition to his new role of father, as he sings of aiming to be a better man to his significant other.

Matt Maeson — “Hallucinogenics” Feat. Lana Del Rey

Though Matt Maeson released his hit track “Hallucinogenics” two years ago, this week he tapped Lana Del Rey to color the song with her wistful vocals. Singing over a lulling guitar, Lana melts her dreamy voice over Maeson’s textured baritone, adding a moving element to the already poignant track.

Joji — “Your Man”

This week, Joji followed his breakout debut album Ballads 1 with the slow-burning effort Nectar. While many of the songs display Joji’s expert production, “Your Man” stands as a blissful summary of the record and showcases the singer’s atmospheric vocals paired with hip-shaking instrumentals.

Melanie Martinez — “The Bakery”

Melanie Martinez released her stunning record K-12 last year alongside a narrative film. After a successful tour behind the effort, which was cut short by the pandemic, the singer leans more into her twee-feminist-meets-victorian-era creative direction with “The Bakery.” Released as part of her sugary After Hours EP, the song boasts an earworm beat under Martinez’s buoyant lyrical delivery.

Jessie Reyez — “No One’s In The Room”

Though Jessie Reyez followed-up her stunning debut record Before Love Came To Kill Us with a deluxe version, the singer wasn’t finished sharing new music. This week, Reyez graced fans with two brand-new songs, including her soulful number “No One’s In The Room.” Like much of her music, Reyez is grapping with the bigger picture and sings of religions, morality, and identity over sizzling instrumentals.

Maisie Peters — “Maybe Don’t” Feat. JP Saxe

After teasing the collaboration for weeks, Maisie Peters and JP Saxe have shared their playful single “Maybe Don’t.” The song features both wide-eyed singers trading off verses about overcoming anxieties in the face of a new crush.

Kylie Minogue — “Magic”

Back in July, pop icon Kylie Minogue made her shimmering return with the club-ready tune “Say Something.” Now, the singer returns with “Magic,” an equally lush tune that points to a funky and synth-heavy LP from the veteran singer, which is only a little over a month away from being released.

Baby Queen — “Pretty Girl Lie”

UK singer Baby Queen shared “Pretty Girl Lie” to herald her upcoming six-track debut EP Medicine. About the effortlessly-catchy single, the singer said: “I wrote this song after becoming increasingly frustrated with the relationship between my real-life identity and the person I was pretending to be online,” Baby Queen aka Bella Latham explains. “I grew up with really bad body dysmorphia which I believe was partly caused by the image of the stereotypically ‘pretty girl’ I saw in the media all around me, and the fact that photoshop made this image completely unattainable.”

Max Leone — “5”

Up-and-coming artist Max Leone shared the mesmerizing track “5” this week, continuing to flesh out his dark-pop discography. Shying away from his previous, blissful tracks, Leone’s “5” sheds a light on his moodier side, urging himself to live life to the fullest over expertly-layered, simmering instrumentals.

Skyler Cocco — “The Drive”

NYC-based singer Skyler Cocco debuted the effervescent single “The Drive” after band MUNA gave it their stamp of approval during a livestream. In a statement, Cocco said she penned the song as a reflection on difficult aspects of a relationship: “It’s the cooldown period after a fight, where you take some space to really let your own words resonate and see where you were wrong in a situation, and realize what you’re putting at stake by not changing those behaviors.”

Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

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Universal’s ‘Jurassic World VelociCoaster’ Looks Scarier Than Being Chased By Actual Raptors

Jurassic World: Dominion, the third and most Laura Dern-starring film in the Jurassic World series and sixth Jurassic movie overall, is currently scheduled to come out on June 11, 2021. “Currently” being the operative word, for obvious reasons. But should the trilogy-capper stick to that date, it will coincide with the debut of Jurassic World VelociCoaster, a new coaster coming to Universal Orlando Resort in “summer 2021.”

The roller coaster will “feature more than 4,700 feet of track, with riders reaching speeds of up to 70 mph,” according to the Orlando-based My News 13, including a “360-degree barrel roll and a zero-gravity inverted stall that will send riders upside down across 100 feet of track. The VelociCoaster will also feature a ‘top hat’ that will propel riders 155 feet into the air before they plunge into an 80-degree drop.” In other, less-fancy words, it’s fast. Chris Pratt and Bryce Dallas Howard will appear in character as Owen Grady and Claire Dearing, unlike Jimmy Buffett, who you can only find at Universal CityWalk.

Jurassic World VelociCoaster is located in Universal’s Islands of Adventure, also the home of Hagrid’s Magical Creatures Motorbike Adventure, Skull Island: Reign of Kong (R.I.P. Kongfrontation), The Amazing Adventures of Spider-Man, Dudley Do-Right’s Ripsaw Falls, and The Incredible Hulk Coaster. It looks too scary for this rollercoaster coward, so I’ll stick to the old school Jurassic Park: The Ride, thank you very much.

(Via My News 13)

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Halsey Celebrates Her Birthday By Sharing New Songs On A Deluxe Edition Of ‘Manic’

Today (September 29), Halsey turns 26 years old. Ahead of the big day, the multi-Platinum singer teased that fans would get some treats this week, as she tweeted, “Tomorrow is my birthday so of course I have presents for you the whole week.” Now it looks like one of those has surfaced: She has released an expanded deluxe edition of her latest album, Manic.

A lot was added here. Most notably, there are two news songs: “Wipe Your Tears” and “I’m Not Mad.” Aside from those there are also a handful of songs Halsey released recently but that didn’t appear on the album: her Marshmello collab “Be Kind,” the Juice WRLD-featuring version of “Without Me,” and the Illenium remix of “Without Me.” Beyond that, there are acoustic and “stripped” versions of Manic cuts “Graveyard,” “You Should Be Sad,” “Alanis’ Interlude,” “Without Me,” and “3am.”

Last night, Halsey shared some early birthday tributes from her fans. In one impressive display, a group of South American fans created an interactive map, which shows birthday messages from fans and where they come from. Halsey was a fan, sharing the project and writing, “ohhhhhhhh my gosh this is sooo amazing!!!!!! I love it.” She added later, “stop my birthday isn’t until midnight and I’m already *tears*”

Listen to “Wipe Your Tears” and “I’m Not Mad” above, and stream the full expanded edition of Manic below.

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Disney+ Launched A GroupWatch Feature, So You No Longer Have To Watch Baby Yoda Alone

Disney+ officially launched its new GroupWatch feature on Tuesday, which allows users to share their viewing experiences with friends — provided they also have a Disney+ account.

The GroupWatch feature joins other streamers like Amazon and Hulu, which have capitalized on the lack of communal watching experiences thanks to the current quarantine conditions. But while those streaming platforms offer a chat feature, GroupWatch will only allow users to communicate via emoji. Given Disney+’s emphasis on family friendly entertainment, eliminating the chat feature ensures that younger viewers won’t be subject to the dangers and explicit content of online commenting. However, the GroupWatch feature works across several platforms including home computers, mobile phones, and streaming devices, so there are ways to still text and/or chat with friends while co-watching the latest episode of The Mandalorian together.

Here’s how GroupWatch works. Via CNBC:

  • Open Disney+ on your iPhone, Android phone or on Disney’s website.
  • Search for a movie or TV shows.
  • Tap the GroupWatch icon (an outline of three people) on the Details page of their chosen content.
  • Invite up to six people who also subscribe to Disney+.
  • They’ll receive an invite to join your party.
  • Once everyone has joined, start the movie or TV show you want to watch.

Note: you only need to start the group on a phone or through the website. You can move over to a smart TV or a streaming device afterward. Just open the Disney+ app on your TV and then tap the group icon again.

Once you’re up and running, anyone can pause, rewind, or fast-forward whatever content you’re watching along. They can also fire off emoji during the viewing experience, which we’re guessing will involve plenty of hearts when Baby Yoda returns at the end of October. How do you not react to that little face?

(Via CNBC)

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It Looks Like Cardi B Wants To Drop Some ‘WAP’ Alcohol, According To A Reported Trademark Application

Since Cardi B and Megan Thee Stallion released their collaboration “WAP,” the song has been everywhere. Just about everyone has offered their opinion on the raunchy track, like conservative talk show host Tucker Carlson and even the animal rights organization PETA. Now, Cardi is trying to cash in on the song’s recognition by securing a trademark for the phrase “WAP.”

According to TMZ, the rapper filed for a “WAP” trademark with the US Patent and Trademark offices last week. According to the publication, Cardi wants the place the phrase on every kind of merch item imaginable — headbands, clothing, jewelry, purses, shoes, posters, and even ‘WAP’-titled cocktails and soft drinks. Apparently, the rapper made sure to cover all her bases by also applying for the trademark on liquor, beer, sports drinks, soft drinks, fruit juices, and mineral water.

This isn’t the first time Cardi tried to get a trademark approved. Last year, the singer filed a trademark request for her catchphrase “Okurrr,” as she planned to use it to sell merch items like mugs, t-shirts, and posters. But her plan was foiled when the US Patent and Trademark offices denied her request, saying the phrase fell under the category of “widely-used commonplace expressions” and didn’t belong to a single individual.

Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

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NBA Youngboy Was Arrested On Gun And Drug Charges In Louisiana Along With 15 Others

Baton Rouge rapper Youngboy Never Broke Again — aka NBA Youngboy — was arrested Monday in his hometown, according to local news station WAFB9. Youngboy — real name Kentrell Gaulden — was among 16 people arrested on drug and firearm charges. Although the report is vague about what those charges may be, Youngboy is apparently facing several, including felony possession and stolen firearms charges. All 16 people arrested face similar charges.

Unfortunately for Youngboy, this constitutes yet another setback in a career that’s seen enough for a lifetime — and it arrives at the worst possible time for the 20-year-old rapper, just when he has an album to promote. His debut album, Top, was just released a few weeks ago, climbing to the top of the US Billboard 200 with 126,000 equivalent units sold/streamed. He was only just released from probation stemming from his 2018 battery/kidnapping case after pleading guilty to misdemeanor battery. He was caught on tape slamming his then-girlfriend to the floor in a hotel hallway and dragging her back to his room.

He spent some time in prison in 2019 after an altercation at another hotel and after violating his previous probation by using social media. He was released in August and placed on house arrest, only narrowly avoiding more prison time. With yet another arrest on his record, it’s entirely possible his luck is soon to run out.

Youngboy Never Broke Again is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Bartees Strange Is 2020’s Breakout Indie Star

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.

Bartees Cox, Jr. — an instinctive pleaser who learned as a child to quickly assimilate while moving from home to home frequently — remembers the moment when Bartees Strange — a rambunctious, extroverted indie-rocker — was born. It is not a happy memory.

At the time he was a teenager living outside of Tulsa. His father worked in the military, and his mother was an opera singer. Before the age of 12, he had lived in England (where he was born), Germany, Greenland, and various points in the United States before settling in Oklahoma. His rootless childhood made him adaptable to various communities and social situations. But it also caused an identity crisis. Who was he, exactly? Did he really know his true self, or was he merely a series of affable facades designed to keep him protected in uncertain situations?

“I’ve never talked to anyone about this,” Strange confided during a phone conversation earlier this month, “because when I was in high school I was a pretty depressed person. And I tried to kill myself by taking a bunch of pills. I went downstairs the next day — I didn’t die obviously — and my mom, she says, ‘Oh, you look strange.’ And I said, ‘Yeah.’ And then I just went to football practice.

“That was where Bartees Strange originated,” he added softly. “That interaction and me being glad I didn’t die, and taking on this new focus of just really living my life the way I want and not putting limitations on myself just because someone may see me in one way.”

In 2020, the 31-year-old singer-songwriter has defined himself as one of most exciting emerging artists in indie by releasing two startling albums. In March, he put out Say Goodbye To Pretty Boy, a collection of mostly covers by one of his favorite bands, The National, plus a handful of excellent originals. In Strange’s hands, The National’s nervy, cinematic dirges are transformed — “Lemonworld” is remade as a melodramatic emo-rock anthem, and “All The Wine” becomes a glitchy, atmospheric electro-ballad. All the while, Strange’s casual prolificacy with melding guitar rock with R&B, hip-hop, and EDM styles is stunningly showcased.

Strange takes this approach even further with Live Forever, an album written entirely by Strange that he considers his proper debut. While Live Forever clocks in at a relatively brisk 36 minutes, it feels more epic than that, moving from the rousing synth-rock of “Mustang” to the murky space-soul of “Mossblerd” to the rambling, desolate folk of “Far.” It’s a showcase for an artist who seems equally capable of sounding like The National, Frank Ocean, James Blake, or the dozens of artists that fit in the wide-open space between those reference points.

On the eve of Live Forever‘s release, the Washington D.C.-based Strange is brimming with confidence, sounding like a man liberated from a life he did not want — before becoming a musician, he held an administrative position in the Obama administration — who now finds himself, finally, on his proper path.

“I see bands The National and I’m like, ‘These dudes, they’ve got families and relationships and great friendships and they tour the world and they make whatever they want. I want that.’ It took me years to be able to say it without feeling foolish but I aspire to that. I feel like I’m entitled to that.”

Why did you put out a covers album before Live Forever?

The National thing happened super organically. I was actually shopping Live Forever when I was meeting Brassland. I had the idea for The National thing, and I’d literally just gone to the show at The Anthem. I just pitched the idea pretty blindly. And I think two weeks later I sent him pretty much the whole EP. I called [my manager] Jamie and I was like, “Maybe we should rethink everything because nobody knows who I am and this might be a good way for people to get an understanding for me and my story and what I’m trying to do before my record comes out.”

Do you think reinterpreting someone else’s songs will influence your own songwriting?

I mean, it definitely allowed me to try some things. I love beatmakers and I love dance music and I love house music. That’s actually one of the reasons why I love The National so much, because of Aaron Dessner’s integration of low-tempo rhythmic electronic shit, I love that stuff so much. And I’d always wanted to make more songs that leaned on that and so with “About Today” and “All the Wine” and a lot of the songs on Say Goodbye to Pretty Boy, I was like, “Yeah, let’s explore this.” I’m producing my next record now, and there’s a lot of that Say Goodbye To Pretty Boy feel on those songs, mixed with all the rock stuff I do.

There’s a cliche about debut albums that artists spend their whole life up to that point writing them. Had you been thinking for a long time about what Live Forever would ultimately sound like?

A couple of his songs are definitely like that. I can listen to my songs and hear shit I was doing when I was 14 years old, you know? You’re just watching these songs grow with you. “Mustang” and “Boomer” and “Stone Meadows,” those rock songs, I’ve been picking at those songs for years but never really figured out what they were supposed to do until I had the unifying vision for what I wanted the record to be. “Mustang,” the first time I wrote that song it sounded like Gene Autry, super slow, big drawl. That was when I was 20 years old, first picking on that song. And then other songs like “Flagey God” and “Mossblerd,” “Ghostly,” “Far,” those songs I wrote specifically for this, that I had when I was in other bands and I was like, “No, I’m going to sit on this one for a while, I’m going to use that.”

Aesthetically, you’re working in many different genres and making them fit together. How deliberate were you about that? Was that a conscious goal — to make this musically omnivorous album – you had going into the project?

It’s funny that you phrase it that way, because I’ve always thought of it the other way. I hear this song one way, a rock song with a hip-hop verse and a pop chorus, but no one’s going to get that so I need to just make it a rock song. I’ve always tried to walk myself back to make it more digestible for other people. And with this record I was just like, “I’m just going to make the stuff I like. These are the sounds that come natural to me.” I never go into the song thinking, “Oh, I want to rap on this and then sing on the chorus and then have a country outro.” I just write it and I take a bunch of shots at it. I remember looking at the record at the end and I was super intimidated by it. I remember we recorded “Boomer,” I didn’t want to record that song because I thought it was too much and I’m really glad we did. But it’s a part of the record thematically, too, letting yourself be yourself, letting yourself shine through.

Can you elaborate on that? What was it about “Boomer” that initially made you unsure about putting it on the record?

Because of the outro. I thought people would think it was corny. I loved it. I thought it showed that I didn’t take myself too seriously. I felt like it was true to who I am, where I’m from, the people I’m from. It’s just like a punk gospel country outro on top of a Thao & the Get Down Stay Down chorus and a DaBaby style rap verse, like starting right on the one when the song starts.

You’ve talked about how you moved around a lot has a kid. How do you think that shaped the person you became?

It taught me how to fit in quickly. If I wanted to have friends I needed to quickly assimilate. I’ve told my partner this all the time: There was a period of time really up until my mid-20s where I don’t think I even knew what I liked or enjoyed. I just did the things that I felt would fit me into the communities I thought I needed to be in. It was a way to stay safe and to keep my head down, you know? And I feel like that was something I learned moving all over the world, which is you get there, you figure out what people are into, and you do that. And that just makes it easier on everybody. I think that’s a good thing and a bad thing, in a way.

How did you finally get over that? Was there a turning point for you where you were like, “Well, I don’t want to just fit in, I want to be myself.”

When I was in Oklahoma I did everything I could possibly do to get out. Everyone knows me as a musician but in college I interned a lot. I was the kid who had internships every semester, working a full-time job, going to school full-time. I was dead set on finding a way out of there. And I got an internship in D.C. and just hit the ground running, I had a really hard time here just getting money and getting my first job and finding a place to stay. I was homeless here for a little while, just slugging it out, trying to make things work. And then I got a job that led to another job that was ideally like my dream job: I was working in the Obama administration, I was a press secretary at the FCC, I was working on net neutrality. All of these things that I thought I wanted and I just absolutely hated it and I hated myself. It was so miserable and I knew that I wanted to be playing music and I knew that I wasn’t letting myself because of all these, honestly, genres. All of these things that I told myself I’m supposed to be, or this person I’m supposed to become. And I quit that job about as fast as I got it and moved to New York and started playing in bands all the time.

You’ve talked about how genres can be limiting, and how you’ve always heard music as a combination of different sounds from different places. As a Black artist working in the indie sphere, do you feel especially susceptible to being narrowly classified? It seems that Black artists are almost automatically called R&B or hip-hop, regardless of what their music actually sounds like.

Yeah. And I feel like narrow definitions translate into actually painful realities. For example, growing up the only Black people I saw on TV were rappers. It was a crime, it was some horrible news story. It wasn’t always a super positive connotation, as much as I love hip-hop and everything around it. I think it’s powerful and super empowering, but it limits your worldview of what you think you can do with your life. I didn’t know any Black kids that were studying abroad or doing anything like that. I had a very narrow vision of what I could accomplish because of what I had seen.

I attribute a lot of that to genres, what’s being fed to us and how people are categorized. There’s a part in “Mossblerd” when I start talking about my nephew and I’m watching him, he’s just running around Hidden Valley, selling drugs, toting a gun. He’s 16 years old, he saw that on TV. He’s been fed that that’s his place in the world, is to be that person. And I feel like genres have a big role to play in that and how Black people see themselves and what we’re told we can accomplish and where we fit in.

So that song is about that, how in the industry, genres, they keep us in our boxes. I’m basically saying Tyler The Creator, he put out a pop record, the best fucking pop record to come out in 10 years, and he’s getting classified as this urban artist and it’s hitting his pockets. I think about stuff like that. It’s interesting. I think I’m still playing around with those ideas, how to clearly draw the line between genres and representation and how it actually matriculates into day-to-day life for the people who look up to these people. I did my best to explain that clearly, but it’s still hard for me to explain.

There’s such a long history about that thing you’re talking about, how genres are defined by race. I wrote a book a couple of years ago about classic rock history, and there’s a chapter about how classic rock radio, when that first started, just defined what classic rock was along racial lines. There were virtually no Black artists on classic rock radio. And it’s like, why aren’t the Isley Brothers on classic rock radio? Why isn’t Stevie Wonder on classic rock radio?

Or The Gap Band.

Ernie Isley is an incredible guitar player! One of the greatest of all time.

Of all time.

Or Funkadelic. Who from the ’70s rocks harder than Funkadelic?

Or fucking Rick James, man. I look at Rick James and Led Zeppelin, I’m like, “Yo, Rick James was a monster.” All those bands. It’s interesting to look at Diana Ross, and if you just thought of her as a singer/songwriter and you just put her right up next to Stevie Nicks. Their records, I feel like, are evaluated completely differently. Looking at her as an R&B queen or a disco queen, I feel like it limits the breadth of her genius. Like all of these people, it puts them in a little weird box.

Live Forever is out October 2 on Memory Music. Get it here.