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YG’s new album, My Life 4Hunnid, finally has a solid release date: October 2. The Compton rapper has been teasing tidbits from the album — the second-to-last of his current record deal with Def Jam — all year, including singles “Laugh Now Kry Later!” (not to be confused with Drake’s song with a similar title), the contoversial “Swag,” and the Day Sulan-featuring future gym playlist staple, “Equinox.”

Since the beginning of the year, YG’s been on something of an emotional rollercoaster, beginning with arrest for alleged involvement in a robbery, his breakup from Bay Area singer Kehlani, and the fallout thereof. Since then, he signed Day Sulan to his label, drew criticism from multiple sources including Kamaiyah, Chika, and fans who thought his “Swag” cover was disrespectful, and put out the inspirational but controversial video for his song “FTP,” which both captures the overall mood of anti-police protests across the nation and (some say) exploited their imagery to promote his own pockets.

My Life 4Hunnid arrives a little over a year after YG’s fourth album, 4Real 4Real. With three singles out, we have a pretty good idea of what to expect: More upbeat, gangsta rap anthems with a few introspective moments in between.

My Life 4Hunnid is due 10/2 via Def Jam Recordings.

If nothing below suits your sensibilities, check out our guide to What You Should Watch On Streaming Right Now.

The Public (Peacock Original film) — Emilio Estevez directed and wrote this film (in which he also appears) about Cincinnati becoming ground central for an act of civil disobedience-turned-standoff with police. Alec Baldwin, Jena Malone, Taylor Schilling, Christian Slater, Che “Rhymefest” Smith, Gabrielle Union, Jacob Vargas, Michael K. Williams, and Jeffrey Wright star.

Hope Frozen: A Quest to Live Twice (Netflix documentary) — A harrowing journey gets the spotlight in this award-winning documentary feature from film from Thailand. The documentary follows two Thai Buddhist parents who have their two-year-old, Einz, cryopreserved when she dies from brain cancer.

Dead Pixels (CW, 8:00pm EST) — Nicky’s dad attempts to bond with him over Kingdom Scrolls, but the plan backfires in a morbid manner.

Tell Me A Story (CW, 9:00pm EST) — Hannah heads back to NYC in search of Gabe, who’s being held captive, and Jordan discovers a terrible truth.

Transplant (NBC, 10:00pm EST) — Besh is under fire, facing immense scrutiny, and finding his days York Memorial Hospital to be numbered.

Late Show With Stephen Colbert — Janelle Monáe, Jacob Soboroff

The Late Late Show With James Corden — Rainn Wilson, Anthony Ramos

The Tonight Show Starring Jimmy Fallon — Ewan McGregor, Willie & Bobbie Nelson, Kesha

Late Night With Seth Meyers — Wendy Williams, Blake Griffin, Yola

Jimmy Kimmel Live — John David Washington, Snoh Aalegra

The Houston Rockets followed a familiar script this season, winning a bunch of games while boasting one of the league’s most potent offenses led by MVP candidate James Harden. Unfortunately, they also perpetuated their history of unceremonious postseason exits.

After being ousted by the Lakers in five games in the conference semifinals, a shakeup was inevitable, and it wasn’t long before head coach Mike D’Antoni announced he planned on letting his contract run out and become a free agent instead of working out a new deal with the franchise. It raised the specter of whether head exec Daryl Morey might find himself on the hot seat as well, given the growing skepticism about the Rockets’ philosophy toward roster construction and the hefty price tag they paid, and will continue to pay, for acquiring Russell Westbrook.

However, Rockets owner Tilman Fertitta put those questions to rest on Tuesday, throwing his full support behind Morey.

The Rockets front office will face plenty of questions this offseason about they plan to retrofit their roster, given the financial realities involved, as well as what direction they want to go in terms of coaching. Morey Ball was as much a product of their data-driven GM as it was D’Antoni’s run-and-gun philosophy.

But another disappointing playoff run once again threatens to undermines the efficacy of that approach. Finding a coach to navigate the treacherous waters ahead will be no easy task. There are plenty of intriguing candidates. Alvin Gentry, Dave Joerger, Brett Brown, Kenny Atkinson, and Nate McMillan have all found themselves in the market suddenly, and there are a host of others.

It’s unclear whether Morey will stay the course with what’s carried the team this far or whether he plans to recalibrate his approach. Either way, it will be fascinating to watch, and he has ownership’s support to back him up.

Looking at Ali’s photos as a series, you’re left with the comingling senses of sensuality, vulnerability, and power — a mix that demands the viewer’s deep attention. So it comes as little shock that last year his work attracted the eyes of festival spaces like Afropunk and ENVSN as well as outlets like Forbes. In the second half of the quarantine, Ali has returned to the series, sending prop kits via mail and guiding his subjects on framing and poses over the phone.

As #BlackKings ramps back up, we linked with Ali for an in-depth chat about what he hopes to achieve with the project and why public art is so vital right now.

What was the inspiration for the #Blackkings Project?

#Blackkings is a portrait series I put together about two years ago. It was inspired, truly, by me wanting to connect with people around me that I may not have had a chance to connect with before and reach out to certain individuals that I felt were moving and shaking the world. Now I have this mission statement where I talk about what representation means and what the project means to me but it just started out by me reaching out to friends and reaching out to people around me that I thought were dynamic.

The project in itself is 100 Black men of distinction. I’ve been trying my best these last two years to capture as many men as I could who were intersectional and intergenerational. I’ve been able to shoot people like RZA, Trayvon Martin’s older brother, who is just amazing and has kind of held Trayvon’s legacy up by his activism and continuing to fight for social equality. I’ve been able to shoot even younger people like 10-year-old Jeremiah Harvey who had a viral moment a couple of years ago when he was wrongly accused of theft. The picture to come out of that international story was of him crying and for at least 10 pages you’ll see pictures of him crying on Google. I thought it was my duty as an artist to capture him smiling at 10 years old.

An important part of your work is exploring the beauty of black men, sometimes even after or in spite of personal trauma. Why is it important for you to explore beauty in the face of tragedy?

I feel like we’re at a point now where Black stories are being told. However, I feel like we need more Black people telling those stories. Blackness is more than just a color, or culture, it represents so much to me and to other Black people, it represents struggle, it represents joy, it represents all these things. A big part of our story just so happens to be pain, but I wanted to show how we can move through pain and I want to show you what comes through the other side of that. Even though a lot of the guys that I’ve shot have gone through these life-changing events or had to struggle to get to where they are, they’re living proof — from pressure makes diamonds.

I really wanted to show that and I wanted to do it from my Black male perspective.

Your art has brought you both acclaim and followers, what do you think about the images is resonating so strongly with people right now?

I think that it’s really just the subjects that have helped me do that. It’s my job to show up and mirror who they present to me, but it has truly been amazing to watch this organic movement happen with the photos. As an artist, I feel like I have one definition of what I’m trying to show, and I feel like it has really been a testament to these men and their lives and what they mean to other people.

I think that also, a lot of these men work in media, or work in the industry, but some of them are just first-generation college students. It all happened very organically.

You like to photograph people who you find inspiring or phenomenal, what makes somebody interesting enough to photograph for you?

I didn’t have any rules or guidelines in the beginning. I really was only shooting people who I thought were interesting myself or people who I’d wanted to shoot with and never had an opportunity to do so. As the project grew, and I saw what it meant to other people, I started to dial back on the scope of people who I had been shooting. I like to see people who are out there living their best lives, living up to their true potential, or helping somebody else live up to their full potential.

You don’t have to move the world, but I would like to think the people I’m shooting are moving the world just by being their authentic selves.

You mentioned shooting RZA — what does he mean to you personally?

Still hard to put into words! RZA is not human, he’s a spiritual force. It’s an interesting feeling, I feel like you only see people like him in cartoons or Quentin Tarantino movies. He’s so enigmatic but at the same time so real. I think that before meeting him, I thought of him as a founding father of hip-hop and especially New York hip-hop, but after meeting him… I think he’s got so much to share.

He’s one of those men that are just oozing from the pores with wisdom, being able to sit with him and talk and get into his mind a little more was really inspiring.

He’s a nod to the past, but he’s able to stay current and he’s a true testament to resilience.

Of the people you’ve shot, who has left you the most in awe?

There have been a couple! Meeting Jeremiah Harvey was definitely a moment for me. One because I had stalked his mother for a good year leading up to the shoot. His initial viral moment… it really wasn’t planned, of course, and they kind of had to go into hiding because the media and the press and all the journalists coming after them. So after about a year of searching through pages and pages, I finally got a moment to sit down with them and spend the day with them. Afterward, Jeremiah told me he wanted to be a photographer.

That really made my heart, bro. I never had a moment like that before, but I could truly see that in me he saw himself, and in him, I saw me.

Meeting Walter Fontroy was also an amazing thing. Walter is a little up in age and he also organized and marched with Martin Luther King Jr. and just to sit with him and hear him talk about Martin and everybody else that was involved with helping him get to where he is was also beautiful.

Meeting Jahvaris Fulton was a beautiful moment, too. Again, shooting people in spite of trauma is important to me. The person I met — I would’ve never known that he had lived through such a traumatic experience. To be able to see who he has become since this terrible tragedy was powerful. He came across very transparent. He’s just a ball of energy that I didn’t know I needed in my life. But after I met him we’ve been very consistent and the best of friends.

I think with this project I’ve not only gained mentors, I’ve gained good friends, and I’ve gained a lot of people that I’m learning from.

You’re part of casting Black men in a new light. In what ways do the media and society continue to fall short when it comes to depicting Black men?

A big part of this project was me showing 100 intersectional and intergenerational men because I wanted to show the different facets of us. When we’re shown, it’s a binary. They show the highly successful exceptions to the rule — like the Jay-Zs and the Diddys and the people on TV — and then we get the opposite side of the spectrum: us on the news, mug shots, and all this conditioning and framing that we’ve been so used to for decades now.

Personally, I wanted to shoot this because one of my favorite photographers is a white male photographer. I really love Robert Mapelthorp. I loved his series called: The Black Book. I have it on my coffee table. When you look at this book you see dozens of Black men, but they don’t have a name and they’re very anonymous and they’re in very compromising positions. When you look at them they’re highly sexualized. One thing I wanted to do was show these men in their truest forms. I didn’t ask anything of them, I just let them show up as they are, but I wanted to take away this fetishized gaze that we typically view Black men through. I also wanted to show that Black men with Berets on can be joyful, they can be all these different things, not just militant.

I think that’s why it resonated with so many people. Black men are just Black men, in general. But with a beret, we start to think of the Black Panther movement and this highly militarized highly masculine highly dominant individual, but no one does a deep dive into these individuals characters and who they are or what they stand for.

I just wanted to show these men, in that way. So far I’ve had trans, cis presenting, gay, bisexual, straight, light-skinned, brown-skinned, dark-skinned — all physical characteristics I’ve sought out. I even had the opportunity to shoot two of my very close friends, one who has vitiligo and is out here living his best life as a model and one who is out here with albinism and is the first person with albinism who has been able to grace an international runway.

You want to take the Black Kings project to the subways of New York City and other large public places, why is this series landing in a public place so vital to you?

I truly believe in public art, I believe public art can be very healing and bring together communities. When you put a project like this out in the public, it gives people a chance to stand still and empathize with whoever it is that they’re viewing. My whole mission of this was just to show these men in their true form, I think during Black History Month we only focus on a good five people. I want to show 100 people who are out here doing stuff right now, whether they are out here protesting, or simply going to college.

Put these in the subways and on public transit and places where ads typically are will recondition how people view Black men and how Black men view themselves. I really wanted to show not just people like RZA but the everyday person as well, so that the everyday person can see something of themselves in the photo.

It would be refreshing to be able to enjoy art instead of ads!

I work in Times Square now and I gotta tell you, most people who walk around here are desensitized. There are a million ads around us but I don’t think we’re consciously taking it in. The moment you take an ad down and put up some public art people are going to take notice and dial into that and try to figure out why it’s there in that space. That’s what I’m hoping to do, just get away from the distractions and give people a moment to focus on the beauty of Black men.

You’ve also expressed an interest in wanting to use augmented reality in your visuals, could you tell us more?

My hope with this project is to eventually get it published and to have it in these public installations outside through Instagram and social media. I’m hoping to have murals put up of these men in different places in New York City and eventually the US where images of black men like this don’t exist. I would like to partner with a Snapchat or some kind of AR platform that would allow me to tell their stories. Essentially what I’m hoping to do is get these photographs muralized so that when you look at them through Snapchat they’ll talk to you and tell you the history of the space it’s in or a little bit about the subject.

I think that’s important because this generation is a little different. I think older people are more inclined to stop and appreciate something but I feel like it takes a little bit more to get the younger generation’s focus.

So you want to take the gallery format and put it into the streets?

I’ve seen ad companies and all of these million dollar companies using this technology to sell products but I’ve yet to see people really using it for art. Typically people are pushing you to a sale, but I have yet to see this used in this way so I’m hoping to do that.

What do you have planned for the future: is there a Black Queens project in the works?

You know I want to do exactly the same thing. I have the same purpose for shooting black women and with that project, I don’t even see me shooting all 100 women myself. I would love to share the spotlight, it’s not about me, that’s what I’ve learned. This project is bigger and means more than it does to just me. I’d love to partner with 4 or 5 other black or brown women and do 25 collaborations with each to total out to 100 women and do collaborations with let’s say a painter or a sculpturist, or a muralist or a writer, and have these women showcase other women and their perspective. I’ll just be the help essentially, a collaborator.

That’s what I’ve started to form as a thesis for the next project.

Now that we’re living a more locked down less active lifestyle, how has the pandemic affected the project?

The job of the creator is to remain malleable and resourceful and while the nation struggles with both unemployment and empowering African Americans, artists have continued to create despite all odds. One of the most important things I personally continue to learn throughout life is the beauty in perspective. Simply put, what could look like a setback is really a chance to redefine your focus & that is oftentimes what needs to happen in order for you to get it right. So, while social distancing has kept us separate, one could also say it has also connected us even more digitally.

Whereas, I don’t find it my place to document the struggle for equality on the streets, being able to virtually photograph someone became a concept out of necessity for many including myself. Since this pandemic has started, I’ve been able to digitally host and photograph men for #BLACKkings including ABC Black-ish Star, Marcus Scribner as well as a few others. While this process is far from ideal, it’s helped hone my communication and reinspired me to think out of the box.

For the first time in its 23-year run, South Park will air a one-hour special that naturally focuses on the most incendiary and controversial topic of the moment: the pandemic.

In a new teaser released by Comedy Central on Tuesday, “The Pandemic Special” features the resident of South Park as they struggle to cope with “2020 problems,” which appear to go beyond the coronavirus. While the pandemic takes a front seat as Randy tries to use the global disaster to fuel his legalized weed sales, and Cartman refuses to wear a mask, the children also find themselves returning to a strange new school environment where their teachers are police detectives?

Here’s the official synopsis:

Randy comes to terms with his role in the COVID-19 outbreak as the on-going pandemic presents continued challenges to the citizens of South Park. The kids happily head back to school but nothing resembles the normal that they once knew; not their teachers, not their homeroom, not even Eric Cartman.

Given South Park’s penchant for skewering “both sides” of the political aisle, the special will undoubtedly be a lightning rod for controversy as it barrels into the contentious debate surrounding the pandemic. Unlike other hot topic issues satirized by the show, there is a real and ongoing death toll, which will be a tricky minefield for South Park creators Trey Parker and Matt Stone to navigate. That’s particularly the case after recent revelations that President Donald Trump is on tape admitting to journalist Bob Woodward that he knew about COVID’s deadliness while simultaneously downplaying its severity to the public.

South Park: The Pandemic Special airs September 30 at 8 PM EST on Comedy Central.

(Via South Park)

Just a month after bragging about how she got her ring on “WAP,” Cardi B has filed to divorce her husband Offset of Migos, according to TMZ. Cardi filed documents in Georgia court looking to dissolve their life partnership, with Cardi listed as plaintiff and Offset as defendant. The couple was married in 2017 and have had a tumultuous relationship since, temporarily separating in 2018 before patching things up and having a seemingly picture-perfect marriage since. Their daughter, Kulture, was born in 2018.

Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

This story is being updated.

Beabadoobee is gearing up to release Fake It Flowers, her highly anticipated debut album, in a month from now. Before fans get the whole album, though, the 20-year-old offers another teaser of it today with a video for “Worth It.” The video sees Beabadoobee in a rundown motel room, dancing around and ignoring attempts at contacting her as she, as press materials put it, “captures the emotions of letting go of the nostalgic sentiments and mistakes that still haunt us from a previous time in our life.”

During the YouTube premiere of the video, Beabadoobee noted of the shooting process, “This was so mentally draining to film but it was so fun I really hope you like it.” She also previously said the song is “simply about teenage infidelity and the mistakes one can make when they’re tempted to do things.” She continued, “It’s a bit of a confession song but also an understanding that it’s a part of life.”

If all goes well, fans will be able to see this song and others performed on stage in 2021: This time next year, Beabadoobee is planning on being in the midst of a UK/Ireland tour.

Watch the “Worth It” video above.

Fake It Flowers is out 10/16 via Dirty Hit. Pre-order it here.

The concept of Slowthai‘s “Feel Away” video has been done before — notably in the movie 1994 sci-fi comedy Junior — but Slowthai uses it to flip the the mood and and get contemplative instead of outrageous or funny. Where usually the UK grime upstart would be raging and flailing, here he uses an elaborate and surreal dream sequence to process his feelings about losing his baby brother. He prefaced the video’s release with an Instagram post dedicated to his brother the day before, announcing the song’s title and guests, James Blake and Mount Kimbie.

As befits those two features, the overall tone is morose, as Slowthai’s visit to the maternity ward with his girlfriend turns into a bizarre fantasy, with Slowthai becoming pregnant instead and giving birth as his girlfriend marries someone else. He wakes up and sees the baby, which turns out to be made of cake — I guess that particular quarantine craze got to all of us, in one way or another. Slowthai explains the video’s concept in statement: “This song is about the doubts we have whether it be within friendships, your partner or with our family,” he says. “It’s about putting yourself in the other person’s shoes so you have a better understanding of the situation.”

Earlier this year, Slowthai appeared in the video for Disclosure’s “My High” with Aminé and released the video for “BB (Bodybag).”

Watch Slowthai’s “Feel Away” video with James Blake and Mount Kimbie above.

The Miami Heat only needed nine games to advance to the Eastern Conference Finals, sweeping the Indiana Pacers in four games and knocking off the top-seeded Milwaukee Bucks in five. Now they face a stiff test in the Boston Celtics, a team that entered the season with defensive questions, particularly in the frontcourt, but have more than proven their capabilities on that end during their playoff run.

Boston suffocated the Sixers in the opening round and continued to be salty on defense against the Toronto Raptors in a seven-game slugfest. Facing the Heat, though, will present a wholly different challenge than anything they’ve seen in this postseason. Miami has been the best offensive team in the Eastern Conference playoffs thus far, despite facing two teams with strong defensive identities. Their varied dynamic, with an ability to score efficiently inside and out, makes them a stern test for this Boston defense.

Where Toronto’s offense often became a slog in the halfcourt, the Heat are far more comfortable and effective thanks to their floor balance. Goran Dragic and Jimmy Butler take much of the on-ball responsibility, attacking favorable 1-on-1 matchups and taking advantage of having an elite screen man in Bam Adebayo, who is great at creating enough space for them to drive to the rim and make decisions from there with the defense collapsing around them. The Celtics were very good at keeping the Raptors guards out of the paint, but Adebayo presents an entirely different dynamic as a roll man compared to Serge Ibaka and Marc Gasol (who were often popping to the perimeter). The Celtics will have plenty to think about defensively, from staying in front of Dragic and Butler to staying attached to Miami’s various shooters.

The first question for the Celtics is how they will decide on matchups for this Miami team — and maybe more importantly, how they shift those assignments as the game wears on. Boston has a ton of versatile perimeter/wing defenders, but how they deploy those players and picking their spots for who to get the most grueling matchups (and thus expend the most energy) will be important.

Dragic has been sensational for Miami this postseason, averaging 21.1 points per game and providing Miami with a much-needed creator capable of breaking down defenses to get to the rim, making scoring opportunities for himself and collapsing defenses to open up the Heat’s bevy of shooters. The point guard matchup in this series, with Dragic against Kemba Walker, could very well be a deciding factor, but a luxury Boston has is sending different looks at Dragic rather than having Walker take that responsibility all to himself.

Butler has been the unquestioned closer for the Heat this postseason, dominating key fourth quarters and elevating himself to the title of “best player on the floor” no matter the opponent. He’s averaging 7.4 points per fourth quarter this postseason, hitting 58.6 percent of his shots (and 50 percent of his threes) on a robust 31.7 percent usage rate. The Heat are outscoring their opponent by 30 points per 100 fourth quarter possessions with Butler out there. Butler’s been great all postseason, averaging 21.8 points per game on a 25.5 percent usage, but those numbers also illustrate how much more aggressive and assertive he is in the final quarter.

Early in the game, Butler seems far happier to let Dragic initiate and let the Miami offense play with its egalitarian flow, as the ball pops around the perimeter in search of the open man. In the fourth quarter, though, it shifts far more to Butler being on the ball, creating for himself and others (his assist percentage also jumps from 19.8 overall to 25 in the final quarter). That means a defense must adapt too, and that’s among the key challenges for Boston’s defense.

Expect Marcus Smart to be the player that draws the assignment of Jimmy Butler in the fourth quarter, but the question is whether Brad Stevens will be willing to deploy Smart on Dragic early in the game to apply ball pressure. Milwaukee found its greatest defensive success in the Miami series when they had Eric Bledsoe press up on Dragic and try to make him uncomfortable, compared to when they sagged off and played soft on Dragic to wall off driving lanes. The same could be said in the Toronto series for Boston against Kyle Lowry, but Stevens wasn’t always quick to send Smart after the Raptors lead guard early in the game. Jaylen Brown also figures to get some time on Dragic and Butler, as the Celtics will look to show both some different looks throughout the game.

Beyond the deployment of Smart, there’s the question of how they choose matchups on the Miami shooters, namely who draws the assignment of chasing Duncan Robinson around the court. Defending Robinson is, in effect, a full-time job and can be physically draining due to the fact that he never stops moving and work off of screens to try and create enough space for a catch-and-shoot look or a dribble-handoff opportunity with Bam Adebayo. Those Robinson minutes might be when Stevens deploys some of his bench wings, letting someone like Semi Ojeleye expend their energy chasing the sharpshooter around the floor rather than tiring out his offensive stars like Brown or Jayson Tatum.

Tyler Herro likewise requires constant attention, but isn’t quite as consistent a mover as Robinson, although he is a far greater on-ball threat. I’d expect him to see an awful lot of Brown and Tatum, particularly because any time they can get Herro on one of those two in transition or semi-transition, that’s going to be a major win for Boston on the offensive end. When Jae Crowder and Andre Iguodala are on the floor, Walker will likely pivot to one of those two given they are the least concerning offensive threats for the Heat, with Smart or Brown taking on the Dragic assignment.

In the frontcourt, Stevens has shown a willingness to roll with whomever has the hot hand in a matchup, as he’s bounced from Daniel Theis to Robert Williams to even playing Grant Williams at the five down the stretch in Game 7 against Toronto. Adebayo should have a significant advantage over any of those, but Stevens finding the right matchup who can at least keep Adebayo off the offensive glass, where he’s dominated this postseason (OREB% of 9.5 in the playoffs, fifth among players averaging 20 minutes per game). Theis will get first crack at Adebayo, but the more athletic Williams might see extended burn in this series as well in an effort to come closer to matching Adebayo’s burst and athleticism.

The Heat present such a different level of stress for a defense compared to the Raptors, and Boston will have to match their energy and effort across the board. However, while Milwaukee had a stubborn attachment to their scheme and system, Boston is far more adaptive as a group. Stevens isn’t afraid to go to different matchups and try different things in a series, and the coaching matchup in this one — much like Celtics-Raptors — figures to be excellent. Erik Spoelstra has to find balance between putting his best offensive lineups on the floor and having enough wing defenders to keep Boston’s offense in check. Stevens’ task is more about deployment of his usual rotation and trying to find opportunities to take Walker and Tatum off of Miami’s toughest assignments in order to get the most out of them on offense.

That chess match begins on Tuesday, but expect adjustments and counters from both teams on a nightly basis in this series.

Lil Nas X has proven he can dominate the Billboard charts, but now he’s about to see if he can exhibit the same mastery over the New York Times Best Sellers list: The rapper announced today that he’s releasing a children’s book, C Is For Country. The book, illustrated by Theodore Taylor III, is intended for readers aged 3 to 7 years old and is set for release on January 5, 2021.

The pre-order page for the book describes it as an “ABC picture book” in which the rapper and “Panini the pony” embark on “a joyous journey through the alphabet from sunup to sundown”:

“Parents who play Grammy winner Lil Nas X’s 12-times platinum single Old Town Road on repeat will want to take their kids and ride on over to this ABC picture book from the music mega-star!

A is for adventure. Every day is a brand-new start!

B is for boots — whether they’re big or small, short or tall.

And C is for country.

Join superstar Lil Nas X—who boasts the longest-running #1 song in history—and Panini the pony on a joyous journey through the alphabet from sunup to sundown. Experience wide-open pastures, farm animals, guitar music, cowboy hats, and all things country in this debut picture book that’s perfect for music lovers learning their ABCs and for anyone who loves Nas’s signature genre-blending style.

Featuring bold, bright art from Theodore Taylor III, with plenty of hidden surprises for Nas’s biggest fans, C Is for Country is a celebration of song and the power inside us all.”

Pre-order C Is For Country here.