After releasing two albums in 2019, Baby On Baby and Kirk, 28-year-old Charlotte native DaBaby appeared to be a T-shirt cannon blast of fresh air for fans of bars-first rap, weary from a near-nonstop deluge of woozy, singsong trap of the past few years. According to some fans, DaBaby started rapping two weeks before the beat dropped and never let up until he’d 64-bar, ultra-combo’d it into submission. Whether this was a good thing or not depended on who you asked: Many nostalgic (and uncurious) fans welcomed the “return” of so-called lyrical rap, while others wished that DaBaby would switch up his flow.

On Blame It On Baby, his third album in less than 18 months, DaBaby tries to split difference. On many of the tracks, like album intro “Can’t Stop” and “Blame It On Baby,” he maintains his FN Herstal-manufactured flow, blasting away at the beat with motormouthed punchlines that smack listeners upside the head with boast after boast. On others, like “Find My Way” and “Drop” featuring A Boogie Wit Da Hoodie, he tries on the crooning flow popularized by rappers like A Boogie which has seemingly dominated the hip-hop space for the past three years.

Meanwhile, on some tracks, like catchy, guitar-driven “Rockstar” featuring Roddy Ricch, DaBaby and his guests strive for the platonic ideal of doing a little of both. Incidentally, “Rockstar” is also where this approach works the best. However, it’s not so much DaBaby’s flow that needs to change; it’s the fact that after three albums, we still know very little about who he is outside of his typical, punch-first-ask-questions-later bravado. We don’t know what kind of circumstances he came from, or how he feels about how stardom has changed them.

He glosses over that sort of emoting on tracks like “Sad Shit,” on which he proclaims “Let me do some sad shit for the real n****s,” but never really reaches beyond the typical jealous ex leanings that have also become de rigueur in the modern era of rap — over an incongruously cheerful-sounding beat, no less. Meanwhile, when he raps like he did on Baby On Baby, he still stands out as one of the better punchline writers in the game. On “Can’t Stop,” he boasts, “All these icy VVS on my neck, let’s play hockey,” and jokes, “I turn piss into lemonade.” If anything, he only needs to slow down to allow these bars to hit the way he wants. Rather than swinging for the fences, he instead attempts to hit a line drive, a tricky proposition that only highlights the drawbacks of such an approach, as well as of his relentless release schedule.

The shortcomings of DaBaby’s waffling were evident in the initial responses Blame It On Baby received from fans the day of its release. Fans quickly ridiculed both his reliance on the style that had made him popular and the inclusion of tracks like “Find My Way,” on which he incorporates more melody. While that may make fans’ complaints seem contradictory and inconsistent, it illustrates the trouble with listening to the comments section; oftentimes, the customer does not always know what they want — ergo, the customer is not always right.

Had DaBaby leaned all the way into his stylistic evolution, he may have alienated his original fans, but he could have showed skeptics that he had more to offer than he’s previously shown, making it worth diving into his back catalog. However, by sticking to his guns, he could have preserved and solidified a hardcore base of “day-ones” whose loyalty would pay off in the long run — think fan bases like those of under-the-radar trap faves like Moneybagg Yo or Young Dolph, or even Buffalo-based Griselda Records, whose releases rarely stray from the fan-favorite bangers they’ve consistently churned out for years.

Ultimately, it seems DaBaby’s overachieving 2019 may be working against him. Expectations are higher, the margin for error is thinner, and the exposure is greater. Listeners haven’t really had the chance to ease into being his fans; they were either pummeled by forced repeat plays of “Bop” or watched him suddenly pop up on festival lineups and album tracklist features without the luxury of getting to know his work over time. Incidentally, 2019’s other breakout star, Megan Thee Stallion, found herself in a similar position with the release of her new mixtape, Suga, earlier this year as well.

It’s somewhat ironic that one of the standout tracks on Blame It On Baby, “Nasty,” features the return of the duo’s powerful chemistry from “Cash Shit,” one of the biggest 2019 hits for both rappers. Fittingly, “Nasty” is also one of the album’s more polarizing tracks among fans; some love that it features Ashanti as it samples her 2002 hit “Baby,” while others feel it detracts from the harder-hitting mood that DaBaby set with his previous works. It seems that you truly cannot please everybody, no matter how hard you try.

Blame It On Baby is out now on Interscope Records. Get it here.

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.

Michigan punk group Dogleg recorded their recently released debut album, Melee, in a garage and in a basement. That’s especially appropriate these days, since the coronavirus is keeping artists and home and not leaving them with many recording locations beyond their garages and basements.

The pandemic is also preventing Dogleg from touring behind their new release. Bassist Chase Macinski tells Uproxx that’s a huge bummer, since he believes the band’s kinetic live shows are what turn curious listeners into full-blown fans. The band hasn’t needed concerts to get people hooked on Melee, though. The album recently surpassed one million streams on Spotify, and it has earned white-hot critical reception: It’s one of the year’s highest-scoring albums on Metacritic.

Instead of hitting the road, the members of Dogleg are hitting their respective couches, but they’re staying busy, too. Macinski tells us he and the rest of the band are maintaining an active online presence in support of Melee (which is named after the classic GameCube title Super Smash Bros. Melee, by the way). During our conversation, he also spoke about personal themes on Melee, shared his thoughts on some of the biggest recent video games, and discussed how his expectations for the album have already been shattered.

Your new album is out now, and I’ve seen it getting some really positive press, and I saw that the album recently hit one million plays on Spotify, so nice job there. How does it feel to have your first album out and see it do as well as it has?

Thank you. It’s kind of unbelievable, to be honest. I did not expect it to do as well as it’s doing by any means. I think my expectations were absolutely blown out of the water because of the phenomenal job of all the people we have working on our team. We knew we made a really good album. We had no idea of how successful it would be in the short term, because when we were writing the album, I was like, “I’m just trying to make something that… even if it doesn’t explode right now, ten years from now, it will be like a cult classic,” you know? But I think because we have such a phenomenal team that we’re working with, we were able to bridge that gap immediately and already hit that milestone, which is phenomenal.

I would think, though, that there’s probably a sort of bittersweetness to it with everything going on in the world as the album has come out. How does this kind of pandemic impact an act like a Dogleg, which has a fan base and admiration but isn’t like a global superstar pop act?

It’s hard to measure how detrimental this is. We feel like it’s definitely hurt us, because we feel that our live performances are what solidified people as our fans. We’ve worked really hard on writing this album. We’ve been writing this album for probably two or three years, it feels like. People who have been hearing these songs live are still not sick of them, and I feel like a huge part of that is the energy and performance that we put in during our live shows. So, it sucks that we can’t really hook people in with all the shows that we’ve had lined up for the upcoming spring and summer.

I guess we’re not too worried because we’ve got such good reception on the music, but we just want to stay relevant on people’s radar until they can finally see us in person, and then they can be like, “Holy sh*t, they are the real deal.”

Since you’re not playing shows now, what are you guys doing to pass the time?

We’re just trying to generate content, things that we can post online, things like music videos. I stream on Twitch every Monday from 7 to 11 and I play [Super Smash Bros. Melee] with people over this online service called Netplay, and that connects to computers so that they can play console games together, which is really cool.

Other than that, Alex has been doing acoustic Instagram and other streaming service live performances where it’s just like him and a microphone. Before all of this happened, before Michigan got put in lockdown, we did a live studio session with our friends at Eureka in Downriver, Michigan. So we have videos, we have live things we can do, and we have just things that we want people to engage with.

Melee addresses difficult times that [singer Alex Stoitsiadis’] mom has gone through. From your end, how did it feel to help him bring that ultra-personal message to life?

I feel like that reflects on the Dogleg writing process, and that’s interesting because lyrics are the last thing we add to any song. A lot of the instruments happen first and they all start with a riff, or a simple progression, and then we build on that. All of our songs have that tenacity or ferocious anxiety, and a lot of tension. When we put all that into the songs, I believe Alex felt very natural out letting his emotions and his expressions in that manner. I think it was because all of us were feeling all of those emotions that we were able to provide an outlet for him and his personal experiences.

Going back to the video game front…

That is my forte.

I was going to say, that is also my forte. So, since you and the band seem to be the most game-literate group around today, I figured I would get your thoughts on a few recent high profile games: Have you been getting into Animal Crossing at all? My girlfriend has already put in so many hours, it’s bonkers.

I personally have not played Animal Crossing because I don’t own a Switch, but Alex does, and Alex has played a ton of Animal Crossing. It’s cute, but personally I’m not going to say anything negative, because everyone’s going to think Dogleg hates Animal Crossing, even though I love it.

I watch my girlfriend play and it’s not quite my thing either, but I certainly get the appeal. I tend to like a game that has more direction and that is less open, if that makes sense.

Yeah, yeah. I’m a big fan of games that challenge me instead of games that let me only escape from reality, in a sense. And so, I respect Animal Crossing, but it isn’t my cup of tea personally.

How about the new Pokémon games, Sword and Shield?

Our drummer, Jacob [Hanlon], has a Switch, and he’s been playing it and he really likes it. He’s been grinding it out to find… I forget which Pokémon he wants perfect EVs for. I think it’s a psychic type. He’s grinding out in the Battle Tower trying to perfect his team. Him and a bunch of other people in the DIY music scene actually started a Pokémon league for [online battle simulator Pokémon Showdown]. You can assemble whatever teams you want and automatically customize movesets, EVs and IVs, and natures. He’s been participating in that league and I think he’s doing pretty well. He has a buddy who enters and wins Pokémon tournaments, and it’s really exciting to see the competitive aspect of that applied to Sword and Shield. I’m just absorbing how serious Pokémon can get.

Finally, how does Super Smash Bros. Ultimate compare with Melee?

My stance on Ultimate is that Smash Ultimate is what Smash 4 [Super Smash Bros. For Wii U and Super Smash Bros. For Nintendo 3DS] should’ve been. We’re only making up for lost time with Ultimate. When Ultimate came out, I was like, “OK, so we’re finally here.” We should’ve already been here. That’s OK, I guess, but let’s keep pushing it forward and make an intricate platform fighter like Melee is. So unfortunately, Ultimate, I would play it casually, but I’ll never enter a tournament for it, and I don’t think I’ll ever stop entering Melee tournaments.

So you’re not going to put Ultimate at the merch table over Melee any time soon.

I’m not, but Jacob thinks he’s pretty damn good at Ultimate, so sometimes if he’s feeling up to it people can challenge Jacob to it.

Melee is out now via Triple Crown Records. Get it here.

Live entertainment is a rare luxury these days, since the coronavirus pandemic has necessitated that concerts and tours either be rescheduled or canceled entirely. Fortunately, though, there are a number of events that were filmed before self-isolation became widespread. One of those things is “Let’s Go Crazy: The Grammy Salute To Prince,” a tribute concert that was taped in late January. Last night, on the fourth anniversary of Prince’s death, the show was aired, and it featured some special performances.

Foo Fighters busted out a rendition of “Darling Nikki,” which fans know is far from their first experience with the song: They released a cover of the track in 2003, as a B-side on the Australian version of the “Have It All” single. The band’s Tayor Hawkins previously said Prince originally objected to the band’s cover, which is why it wasn’t released in the US. It seems that issue eventually became water under the bridge, though, as Dave Grohl and Prince later jammed together.

Another highlight was St. Vincent’s funky performance of “Controversy”:

Deborah Dugan, then the Recording Academy President/CEO and now famously not, said of the show when it was announced, “Prince. The Purple One. His Royal Badness — regardless of how you identify him, he is indisputably one of the greatest musical virtuosos of all time. With his subversive attitude and commanding nature, he straddled musical genres and created electrifying music that was bursting with character. He continues to serve as an inspirational icon for artists and fans worldwide, and we are so honored to pay tribute to his legacy.”

Other performers included Earth, Wind & Fire; Chris Martin; John Legend; Usher; and others; so watch more clips from the show below.

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

It might be hard for people to celebrate right now given the state of the world. Today (April 22), however, is Earth Day, and the pandemic has had the welcomed side-effect of drastically reducing air pollution. That’s something to smile about, and Kacey Musgraves is spreading joy today with “Oh, What A World 2.0,” a slightly poppier version of her Golden Hour highlight.

Musgraves shared a statement about the new edition of the song, saying:

“There is a lot to feel downhearted about on this Earth Day. Everyone and everything feels out of balance. People are suffering and the future is uncertain. In the face of a pandemic that has brought cities to their knees, a song can feel small. A melody can seem insignificant. This is a global moment of acknowledgment and respect for the power of nature and for so many of us — extreme challenges and sadness. But in the midst of all the loss and uncertainty there are signs everywhere of human compassion and renewal. The earth is healing. Bluer skies hang over China and Los Angeles. Clearer water and a positive effect on wildlife is being seen. In spite of all its troubles, it’s still a wild, beautiful world and if you need proof, it’s out there. You just might have to look in a different corner of the sky.

Right now, there are so many brave people that deserve Medals of Honor: the nurses, doctors, grocers, the delivery and truck drivers, cashiers, gas station attendants, the scientists, restaurant workers, the single parents, and SO many others. I’m just a songwriter but my hope is that if I bring the light I have in my spirit to the table, maybe it could be a form of energy that lifts someone else’s spirit for a moment. Oh, What a World — dedicated to our planetary home and all the quiet heroes this Earth Day: you’re the northern lights in our skies.”

Listen to “Oh, What A World 2.0” above.

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These are here to stay.

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Kate, 46, recently went public with 22-year-old Goody Grace. And while they seem perfectly happy, it hasn’t stopped people expressing their opinions on the relationship.

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“OMG this is a whole other JoJo and I love it.”

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The policy announcement comes during a time when the immigration system has already slowed down significantly.

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Last Updated: April 22nd

Now that Disney+ has more animated films than we know what to do with, it’s easy for animation buffs to get discouraged flipping through Netflix’s offerings, which skew heavily toward mass-produced kiddie TV programs and dire-looking CGI direct-to-video sequels. But a little digging turns up quite a few unexpected animated gems — and what Netflix’s animated offerings lack in depth, they make up for in breadth. The range of techniques and narrative approaches on display here highlights what makes the animation medium so exciting and fruitful. So here are the best animated movies on Netflix right now.

Related: The Best Adult Animated Shows On Netflix Right Now

Despicable Me (2010)

Run Time: 95 min | IMDb: 7.6/10

Steve Carrell voices the criminal mastermind Gru in this animated adventure, which contains a surprising amount of heart. And minions. There are so many minions. Gru adopts a trio of orphans (Margo, Edith, and Agnes) to help pull off his latest scheme but gets more than he bargained for when he begins to form a real family with the girls. Of course, going soft isn’t good for business, so most of the fun in this film comes from watching Gru try to hang onto his hard rep and failing, miserably.

Monster House (2006)

Run Time: 91 min | IMDb: 6.6/10

Dan Harmon helped pen this animated horror-comedy about a house that comes alive to eat children. The story itself is actually quite dark — it involves unhappy spirits and bullying and death — but the hijinks lighten things up a bit as three kids try to get to the bottom of the legends surrounding the place and the man who owns it.

The Princess and the Frog (2009)

Run Time: 97 min | IMDb: 7.1/10

Anika Noni Rose and Oprah Winfrey voice this imaginative Disney flick about a waitress in New Orleans with dreams of leaving her small-town life behind. Rose plays Tiana, a young woman who hopes to one day open up her own restaurant who gets entangled in a magical adventure when she makes the mistake of kissing a frog — who’s really a prince named Naveen that’s been cursed by a Voodoo doctor. When Tiana also turns into a frog after the smooch, the two are sent on a journey through the bayou, outrunning demons and hunters in order to find a real princess for Naveen to kiss before midnight.

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The Incredibles 2 (2018)

Run Time: 118 min | IMDb: 7.8/10

Our favorite superhero family is back with a new mission that requires a reversal of roles for its patriarch. Bob Parr (Mr. Incredible) is forced to stay home and look after the kids — including Baby Jack Jack whose powers continue to grow — while his wife Helen (Elastigirl) saves the world, becoming the new face of the superhero presence. While Elastigirl goes on covert missions aimed at restoring her family’s good name, Mr. Incredible struggles to raise the kids. There’s plenty of humor to be mined from his parental woes, especially when it comes to Jack, who eventually requires a special suit to control his abilities. Unfortunately, Elastigirl’s new employer plans to wreck the reputation of superheroes once and for all, using her family to do it, which means it’s up to the kids to save the day (again).

The Breadwinner (2017)

Run Time: 94 min | IMDb: 7.7/10

Based off a best-selling book by Deborah Ellis, this Angelina Jolie-produced animated drama follows the story of a young girl named Parvana, who’s forced to disguise herself as a man in order to provide for her family when her father is sent to prison by the Taliban. The film is set in war-torn Afghanistan, in a village under Taliban rule where women aren’t permitted to hold jobs or even buy food without the presence of a male relative. When Parvana’s father angers a member of the Taliban, he’s thrown in prison, and she pretends to be a man in order to earn money and food for her mother and sisters. The film is a gripping, honest look at some difficult-to-swallow issues, and it’s done in the most visually-stunning of ways.

The Adventures of Tintin (2011)

Run Time: 107 min | IMDb: 7.3/10

Andy Serkis, Daniel Craig, and Jamie Bell lend their talents to this animated adventure about an intrepid reporter named Tintin, who teams up with a rarely-sober sea captain named Archibald Haddock to find some sunken treasure. Tintin and Haddock must battle against other greedy hunters, including the film’s villain (voiced by Craig) to uncover Haddock’s ancestral connection to a sunken ship and the cases of gold still inside it.

April And The Extraordinary World (2015)

Run Time: 105 min | IMDb: 7.3/10

In an alternate version of 1941 where France has been led by a line of Napoleons and leading scientists mysteriously disappear, young April, her talking cat Darwin, and the shady Julius go searching for April’s missing parents. It’s an interesting take on a history where technological advancement isn’t a thing, where “steampunk” is reality and TVs and cars don’t exist. April’s journey starts in the dreary, stuck-out-of-time France but leads her to fantastical advancements that still make sense in the world we’re presented with. The heart of the film lies in the love that plucky, stubborn April has for those she cares about, and the film’s driven by charming animation and a genuinely interesting concept. It’s a fun trip that’s just out-there enough for adults while being accessible for the young and young at heart.

Space Jam (1996)

Run Time: 88 min | IMDb: 6.4/10

We’re not here to defend the merits of this ’90s sports flick. Some consider it good cinema, others not so much. But the fact remains it’s a fun watch, one that defined many a childhood. It’s also got a weird as hell premise — the Looney Tunes must win a basketball match to earn their freedom and to do that, they need Michael Jordan — a guest cameo by Bill Murray, and some great, nostalgia-inducing animation.

My Entire High School Sinking Into The Sea (2016)

Run Time: 75 min | IMDb: 6.1/10

This animated drama feels like it belongs on Adult Swim, not Netflix, but it’s a refreshing change-up from the rest of the family-centric options on this list. With a voice cast that includes Jason Schwartzman, Reggie Watts, Maya Rudolph, and Lena Dunham, the film follows a group of students whose seaside high school falls off a cliff, forcing everyone trapped inside to go into survival mode. Think Lord of the Flies but stranded at sea. Schwartzman plays Dash, a young kid forced to reconcile with his ex-best friend to save a group of students, and Susan Sarandon pops up as a lunch lady named Lorraine who displays some heroics of her own. It’s quirky and crudely-drawn, but that’s part of the charm.

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Tarzan (1999)

Run Time: 88 min | IMDb: 7.3/10

The most memorable thing about Tarzan is probably the Phil Collins-led soundtrack. That’s not a dig, because every song in this movie is a banger, but the story is fun too. It follows a man named Tarzan who was raised by gorillas in the jungle when his family was killed. As a man, he encounters a new set of colonizers, one of whom he falls in love with, that threaten his family, his home, and his way of life.

The Croods (2013)

Run Time: 98 min | IMDb: 7.2/10

Prehistoric times were rough, you guys and this film is proof. Ryan Reynolds, Nic Cage, and Emma Stone lead an impressive voice cast for this Dreamworks movie about a family of cavemen (and women) whose home, errr cave, is destroyed. They’re forced to trek through a fantastical land to find shelter with the help of a strange newcomer. It’s silly, though beautifully animated, but the comedic chops of Reynolds and Stone keep things afloat.

The Little Prince (2015)

Run Time: 108 min | IMDb: 7.8/10

Pulled from its theatrical release mere weeks before it was supposed to hit theaters, this adaptation of Antoine de Saint-Exupéry’s beloved children’s book combines several different types of animation to mixed but ultimately winning results. One’s a charming stop-motion retelling of the original book. The other’s a more familiar Pixar-ish tale of a young girl pushed too hard to succeed who meets an aged Aviator. The film’s not entirely successful, but ambition and lovely visuals go a long way.

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Spider-Man: Into The Spider-Verse (2018)

Run Time: 117 min | IMDb: 8.5/10

The Oscar-winning animated film quickly made its way to Netflix last year, which means if you didn’t get a chance to see it in theaters, you no longer have to wonder what all the hype is about. The story follows a young kid named Miles, who becomes the web-slinging hero of his reality, only to cross paths with other iterations of Spider-Man across different dimensions who help him defeat a threat posed to all realities. Mahershala Ali, John Mulaney, and Jake Johnson make up the film’s talented voice cast, but it’s the striking visuals and daring story-telling technique that really serves the film well.

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I Lost My Body (2019)

Run Time: 81 min | IMDb: 7.6/10

This beautifully animated French fantasy film follows the story of a young man named Naoufel, or rather, his hand which has been severed from his body and spends most of the film escaping labs and trying to get back to its owner. The film flits between the past and present, watching Naoufel’s life unfold from a young orphan to an accidental carpenter’s apprentice — which is how he lost his appendage — all while exploring themes of love, loss, and destiny.