The world of eSports is beginning to look more like the traditional sports landscape in a variety of ways. Competitive video games like Overwatch League and League of Legends are getting more airtime on TV, and the absence of sports in recent months thrust sports sims like Madden and NBA 2K on ESPN and showcased pro gamers in a new light.

As eSports leagues get bigger, though, one emerging trend is that they’re actually starting to look a lot less like the sports we’re familiar with. When it comes to fashion in particular, the eSports world has seen an influx of luxury brand influence and streetwear collaborations that have changed the look of competitive gaming in a big way. Some of these changes are more subtle than others. Louis Vuitton, for example, in 2019 made a case for the League of Legends World Championship trophy and released a digital capsule collection designed by Nicolas Ghesquière.

The trophy case is literally ceremonial, but the Summoner’s Cup joins other trophies like the FIFA World Cup, the Davis Cup and the trophies awarded to winners of the French Open at Roland Garros as prizes wrapped in the company’s signature wordmark. Deals like these work both ways: it legitimizes eSports in a distinct visual way, and these luxury brands see the huge streaming numbers eSports events get as an opportunity to get more eyeballs on their products.

“The eSports audience is global, highly engaged, and has grown to a scale that is on par with some of the biggest sports and entertainment audiences in the world,” said Naz Aletaha, head of global eSports partnerships and business development at Riot Games, which owns League of Legends. “Brands see value in reaching this increasingly hard-to-reach, digital-first audience by connecting with their passion points and elevating their gaming and eSports experiences.”

Aletaha related it to how companies partner with traditional sports leagues and teams. But for streetwear designers, the relationship is often more personal. Streetwear and music artist Joe Perez cited his love of Call of Duty first and foremost when it came to his decision to partner with its eSports league on a design project.

“I kind of got involved myself about a year and a half ago and kind of got lost in the world,” said Perez, Kanye West’s former art director who has also designed album covers for stars Billie Eilish and Janelle Monáe. “I started learning about the culture that’s involved in Call of Duty and how it brought in people from different cultures and backgrounds together. And I really liked that part of the game and the platform.”

Perez designed a limited run hoodie for Call of Duty League’s inaugural season, which had a worldwide tour moved online-only due to the coronavirus pandemic. The two working together is another example of a mutually beneficial partnership at play. His name is significant in the streetwear scene, which lends the upstart Call of Duty League some credibility in a highly competitive fashion world. And for Perez, it’s a chance to transform an industry whose early eSports “jerseys” looked more like NASCAR fire suits or ad-filled pro bowling gear than something LA Lakers star Kyle Kuzma would wear casually.

“When it came to eSports and Call of Duty League, it is like a startup,” Perez said. “It gave us a starting point where we could built it up and kind of cross-pollinate the two cultures: this second culture kind of being the streetwear that I help build with Virgil (Abloh) and Kanye while I worked at Kayne’s studio.”

Perez noted his work with Virgil, the Pyrex and OFF-WHITE founder, and the “design language” that comes with streetwear. Bringing that influence to a largely unexplored market, the thinking goes, would undoubtedly stand out against other products leaning heavily on traditional sports design.

“A lot of esports leagues had jerseys and tee shirts and merch that felt very sports-oriented. And, well, that’s great, but what does the eSports language look like? We already know what the sports language looks like, from anywhere from Formula One racing to NASCAR to football. We know that language,” Perez said. “But here what was an interesting challenge was we had the ability to build that from scratch. That’s why I really wanted to get involved.”

One particular advantage was the time he had to develop something that felt authentic to both the pros competing and the fans who have grown up watching Call of Duty evolve into a pro touring league. Other projects he’s worked on develop at a much faster pace — album art often needs to come together in a matter of days, and tour merchandise sometimes gets a week of break-neck development at most. But Call of Duty League offered more time to build something new and apply it to other pieces of merchandise that reflected what many fans are already wearing.

“We have liberties to kind of redefine what (Call of Duty) looks like. The one-off special drops of this nature and each platform has its own personality and culture that comes with it,” Perez said. “So it’s really important to kind of digest that and put that into the merch so the fans feel like they’re getting not only a piece of the league and a piece of the brand but the personality of the game.”

And to be sure, the sheer variety of games and players in the eSports scene does make for different results across the industry, letting companies and sponsored gamers create special collections that cater to their own fans and causes. Call of Duty League’s Chicago Huntsman may honor Michael Jordan with a shirt extremely influenced by Chicago Bulls nostalgia, for example, but FaZe Clan’s merch runs a much more varied gambit in the different leagues in which they own teams.

Andbox, which owns Overwatch League’s New York Excelsior, has even developed a line of apparel and fragrance around Overwatch star Jong-ryeol “Saebyeolbe” Park. The SBB Collection includes a cherry blossom-inspired hoodie, bomber jacket and shirt. To his fans, the limited run of merchandise is instantly recognizable and contributes to a good cause, but to those outside of the eSports world it would look nothing like sports merchandise.

Andbox designed the collection to release much like major fashion houses reveal their products, and the limited run of merch follows streetwear sensibilities more than anything you’d see from the traditional sports world. And for designers like Perez, the merging of eSports and high-end fashion has been a long time coming.

“This is something that I’ve expected for years, quite honestly. I knew that in entertainment there’s this evolution going on that’s emerging between films and interactive and this culture that’s emerging with video games online and with Twitch,” Perez said. “It’s the most exciting as a designer and creative director to see a new frontier kind of blossom. Obviously you want to be a part of that and help define that. And through that you can kind of inspire and dictate the language for another generation so that challenge always excites me.”

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Thanks in part to social media, many things that would have been considered non-controversial in the past have now been given greater meaning. More access to information — and the need to project the right “brand” — means almost everything is politicized, from the music we listen to, to the food we eat. DaBaby is finding that out now, as a recent post of his on Twitter has many fans crying “fowl.”

The North Carolina rapper probably didn’t mean to make any political statements when he posted himself cuddling up with a freshly-bought bag of Chick-Fil-A on Wednesday, but thanks to increased awareness of the restaurant’s founders’ political donation history, there are many in the hip-hop community who consider the chicken shack persona non grata (Kanye notwithstanding). Those fans let DaBaby hear about it in their replies to his post, calling him out for “supporting” the brand — especially at such a sensitive time when protests against police brutality continue across the nation.

DaBaby responded to the backlash, wondering whether his critics were just bored and joking that “I ain’t know n****s couldn’t eat Chick-Fil-A during the protests,” setting off another round of angry replies from his followers.

See DaBaby’s original post, the responses to it, and his eventual reaction above.

Saints quarterback Drew Brees took to Instagram on Thursday morning to apologize for an interview he gave to Yahoo! Sports this week in which he said he wouldn’t respect anyone who protested during the upcoming NFL season, even in the wake of another onslaught of deaths at the hands of the police this spring. Yet even in the apology was not enough to satisfy many, who felt it came across as empty after the uproar this week.

As many have said in recent days, words are empty without action. They seem even more empty when they come only in the face of backlash.

Booger MacFarland of ESPN, who is also a native of Louisiana and NFL veteran, was succinct in his frustration, tweeting that he believed Brees said, “Im sorry for the way that America is crucifying me , I’m not sorry for what I said. Got it.”

New York Giants running back Jonathan Hililman one-upped MacFarland’s comment by noting Brees, in his eyes, only felt the need to apologize after teammates responded with disappointment.

This is in reference to comments from a handful of teammates like Michael Thomas and Alvin Kamara, who made their feelings known about Brees’ stance shortly after he gave the interview.

In question here is why Brees continued to hold onto the idea that players’ protests, from Colin Kaepernick and beyond, are about the American flag or U.S. military, when these players have been quite vocal about the intention behind their protests and the strategy of doing it the way they do.

Others were frustrated that while Brees had no qualms about getting on TV to relay his opinions in the first place, his apology only came via social media, finished off with a picture that many have discovered might be a stock photo.

To that end, 76ers forward Tobias Harris, who had previously wished that Brees would avoid making a statement altogether, urged Brees to “take your ass on camera and apologize” if he wanted to make true inroads and critiqued his photo choice.

At the same time, Saints linebacker and Brees’ teammate, Demario Davis, called Brees’ apology “leadership at its finest” in a CNN appearance on Thursday morning.

Another Saints player, left tackle Terron Armstead, put up a Twitter thread shortly after Davis’ TV appearance and wrote, “Speaking with him and a few of my teammates we know that accountability and responsibility is the only way to move forward from this.”

Some NFL reporters noted that the Saints’ locker room was not pleased in general with how Brees spoke out, but Davis and Armstead’s comments indicate something of a pacification, at least for now. The rest of the sports world seems to want more out of Brees to atone.

Earlier in the week, animal rights activists Carole Baskin was awarded full control of the infamous zoo featured in the Netflix series Tiger King. Baskin had successfully sued Joseph Maldonado-Passage, a.k.a. “Joe Exotic,” and the animal trainer isn’t taking the decision lying down.

According to CNN, Exotic’s legal team plans to file an appeal to fight the lawsuit decision and take back control of the animal sanctuary, but not before drumming up public support by referencing the death of George Floyd? That’s an awkward approach to say the least:

“While we again acknowledge it is truly time to pray for justice for George Floyd’s family as well as an end to systemic racism in America, we must address Carol [sic] Baskin’s treachery before it goes unchecked,” a tweet from an account run by Maldonado-Passage’s management team read.

Of course, it doesn’t bode well for Exotic’s case that he’s currently serving a 22-year sentence for animal abuse and attempting to have Baskin killed in a murder-for-hire plot that was prominently featured in the Netflix docuseries. However, Baskin has recently ran into some trouble of her own.

As part of the ongoing investigation into the mysterious disappearance of Baskin’s husband Down Lewis, the Hillsborough County sheriff’s department has confirmed that the strange will leaving Baskin her husband’s fortune is “100% a forgery.” The will had raised eyebrows from the start due to the fact that it contained a line about making Baskin the beneficiary if Lewis should ever disappear. Experts have said that wills don’t normally predict that a person will go missing before it happens, but nothing in the Tiger King world has ever been normal.

(Via CNN)

The NBA’s return from the COVID-19 pandemic appears slated to begin on July 31 in Orlando. Twenty-two teams will make the trek down to Disney — the 16 playoff squads, plus five additional teams that were on the outside looking in from the West and one, the Wizards, from the East — with eight regular season games and a play-in tournament eventually occurring for the 8-seed.

There are obvious logistical questions that come with this, like where all of these teams will be housed, how they will avoid individuals who enter Disney World’s gigantic complex in some form or fashion as it begins readmitting park-goers, and most prominently, what happens if someone contracts the virus that has killed more than 100,000 Americans? From a pure, basketball perspective, there is a gigantic ask being put on players, as there is a scenario in which a team could be asked to play a monstrous 36 games in 73 days.

This season is already one of the strangest, if not the strangest, in league history. It is fair to believe, as I do, that coming back at all is misguided, while others will argue that this season’s champion will carry an asterisk next to its name until the end of time. There’s also another question looming less large: What the hell is next season going to look like?

What we know so far is that the league plans on finishing up the 2019-20 regular season no later than Oct. 12 and, uh, that’s it. This is not meant to be a knock on the league, because so much of this is being figured out on the fly, as is oftentimes the case in rapidly-changing and unprecedented situations. Perhaps Adam Silver, the NBPA, and the Board of Governors have spent substantial amounts of time discussing how 2020-21 will play out, but given the complexity of the task at hand, it’d be hard to blame them if they put that on the back burner for the time being.

As such, we wanted to map out what things could look like in a perfect world from the day this season ends, leading into the 2020 offseason, training camp, and next year. As an added twist, this hypothetical included one stipulation: Next season must begin on Christmas Day, in large part because that is the marquee day on the league’s regular season calendar and this gives the NBA the opportunity to test out a Dec. 25 start date, a permanent alteration to the schedule that gives them the flexibility to avoid overlapping with the NFL for nearly four months. (You’re currently saying “they can start on Martin Luther King Jr. Day to further avoid this,” but don’t worry, we’ll get there!)

Let’s jump ahead to Oct. 12, 2020, where the [spins a big wheel] Memphis Grizzlies just beat the [spins another big wheel] Indiana Pacers in a seven-game Finals slugfest. In a normal offseason, things would wrap up in mid-June, followed by the NBA Draft several days later and free agency beginning about 10 days after that. This time around, with the draft lottery and combine having already occurred (something Shams Charania of The Athletic says is the plan), we can try to follow this, with the 2020 NBA Draft taking place on Oct. 16 (a Friday) and free agency beginning at 6 p.m. EST on Oct. 30, exactly two weeks later.

The next month or so is a standard offseason on a shorter timetable. Teams are afforded the chance to build via trades and free agency throughout November. At the start of December, training camp and preseason begins, with the league easing back into regular season basketball on Dec. 25, with the gigantic caveat that this would be much easier to pull off in the event a vaccine is found for COVID-19. And to be clear, that caveat applies to everything in this post.

Vaccine aside, this is going to be an awfully tricky needle for the league to thread. Some teams will have 1.5 or two months worth of an offseason depending on how far they make it in the playoffs. Others — and this is an important thing to remember in this entire conversation — will have gone nine and a half months without playing a competitive basketball game. It will be unfair, one way or another, to have an offseason that is too short for the best teams or too long for the non-Orlando ones.

The potential solution I would like to propose is stretching out the 2020-21 season as much as possible while making permanent shifts to its calendar so that we’re not rushing to stay within the nominal NBA schedule — think back to 2011-12, when the league played 66 games starting on Christmas, wrapped up the regular season by the end of April, and crowned a champion on June 21. This does not, however, mean that the league has to play a full, 82-game schedule.

Instead, we take a page out of the conversation that consumed the restart discourse this year and play a 70-game season, as to satiate regional sports networks. This would roll into June, with an All-Star Break sometime in April, and with 12 games lopped off the schedule, the league could seriously limit things like back-to-backs and make the workload easier on players. There is, of course, an issue that would need to be sorted out with regards to things like paying stadium workers and gate revenue, along with lost money from games not taking place in arenas during this postseason. Going to 70-games is a suggestion, but it’s also extremely flexible if it is determined that a full, 82-game season is best.

What this does let the NBA do, though, is own the biggest gap in the sports calendar. Football is a monolith that dominates the discourse from September until the first week in February. Currently, the NBA spends nearly four months going head-to-head with the NFL, and with how much air the NFL sucks up, I hypothesize that distancing it from that could help with those pesky television ratings. That’s especially true if the NBA comes back right around Week 16, when football is wrapping up its regular season, and gives the league the chance to iron out wrinkles during the NFL playoffs, when people have their eyes locked on football games, anyway.

But once the Super Bowl wraps up, the NBA, theoretically, is kicking into high gear come February and March. The rust is gone, the kinks are all worked out, and with its only competition being hockey and soccer, there is space for the NBA to more or less flood the airwaves. Major League Baseball, despite the best efforts of its baseball-hating owners, would begin its season in late-March or early-April, and you’d be hard-pressed to find anyone who believes the NBA would have an easier job boosting its ratings going head-to-head against the NFL than it would against MLB, MLS, and the NHL.

This would roll into the postseason, which would begin in early-June, a time in the sports calendar when there is no football — American or European (save for MLS) — baseball is doing its thing, and the NHL is finishing finding a home for the Stanley Cup. Over the next two months, a generally barren wasteland in the sports world as we wait for football season to get here, the NBA is the biggest show in sports by a mile. For the league that is so completely aware of how it is able to shape the sports discourse, one has to assume that the possibility of being able to hold its postseason largely unopposed in the world of sports from June to August would be an enticing proposition. It could even try to pack the draft and the start of free agency into the window before the NFL kicks off, should that be on the table.

Next year would present a unique hurdle in the form of the Olympics, which are expected to run from July 23 to August 8. This would be a tricky situation once every four years (or three, given the timeline of the 2020 Games) should this alteration to the schedule become permanent, and various international squads could either use European players and/or amateurs, but there is a pride that comes from donning national team gear and competing for international glory. Perhaps the league can load up on back-to-backs during the regular season and go best 3-of-5 in the first round of the playoffs to lop off a few days, or perhaps some players would just have to come to grips with the fact that a deeper postseason run could cost them the chance to go to Tokyo next summer.

All of this is quite tricky to map out. We have no idea what this season will look like when it resumes, we have no idea how the pandemic will ebb and flow in the coming months, and we have no idea what anyone’s priorities will be once conversations ramp up about the next campaign. If the NBA wants, though, the 2020-21 campaign could be the dawn of a new era, one in which the league’s calendar shifts forever.

It’s not often that a 25-tweet thread is worth reading, but trust me, this one, from comedian Kenny DeForrest, is worth it. Back in January 2015, Dave Chappelle was in New York to support his buddy and that week’s SNL host Kevin Hart. DeForrest was doing some hosting of his own, at the Knitting Factory in Brooklyn, when he reached out to fellow comedian Joyelle Nicole Johnson to see if Chappelle might want to drop by.

“We start the show thinking he MIGHT come,” he tweeted. “A couple comics in, he sneaks in like a boxer with his hood up. We’re in the green room smoking, drinking & joking. The dude is a machine. Every topic that came up, he had something profound for. We bring him up last, the crowd LOSES IT.” Chappelle asked the crowd for “headlines” to riff on, and someone in the audience suggested “police brutality.” This was, as DeForrest pointed out, “days after the cop that choked Eric Garner to death in Staten Island (you know, murder) was not indicted by a grand jury,” so tensions were high:

“Chappelle starts talking about Eric Garner and wathching him get murdered in cold blood on camera and how it makes him scared for his children… He said “I thought body cams would help, but what good is video evidence if y’all don’t care?” A clearly privileged white girl (she had a wide brimmed felt hat for chrissakes) shouts ‘Life’s hard, sorry ‘bout it!’ and it takes the air completely out of the room. A collective gasp. Chappelle zeros in on her. ‘What did you say?’ She repeats it. Chappelle starts going in.

He doesn’t go in by making fun of her hat, however. He enlightens her, and everyone else in attendance, about systemic racism. “He starts educating the crowd on the history of black people and the police. He talked about slave patrols and Rodney King and Watts and Emmett Till and Black Wall Street. He talked about Trayvon Martin, Michael Brown, and he talked about John Crawford III,” and apartheid ending in South Africa due in part to “critical mass,” DeForrest tweeted. Chappelle then told a story about getting pulled over by a cop in Ohio… the same cop who would go on to murder John Crawford III. He got off with a warning, though, because the police officer recognized him; his takeaway: “I shouldn’t have to be Dave Chappelle to survive police encounters.”

After the set, Nicole Johnson told Chappelle that the “dumbass white girl” wanted to talk to him. She and her friend come back to the green room and they’re both “humiliated,” DeForrest wrote. “Hat girl speaks first: “I just wanted to say I’m sorry for what I said and thank you for educating me. I was ignorant before, but I want you to know I learned from you tonight and I won’t say things like that anymore.” Chappelle’s response:

“You’re ok. That’s all we can ask. Know better, do better. I want to thank YOU for hearing me and listening. That’s your role. And now you know. Now you’re part of that critical mass we talked about and next time you hear a friend say some ignorant sh*t like you said, it’s your job to correct them and share with them what you learned tonight. THEN, you’re no longer part of the problem, you’re part of the solution.”

You can read the entire thread below (and follow Joyelle Nicole Johnson here).

Barcelona’s Primavera Sound Music Festival was slated to celebrate its 20th anniversary this year with an eclectic lineup of artists like Kacey Musgraves, The Strokes, Bad Bunny, and even a rare performance from Pavement. But, due to the pandemic, the festival rescheduled twice and organizers were forced to cancel the festival’s debut in LA this summer. To suffice, the festival has decided to begin streaming full sets by some of its notable past performers.

Titled Live & Relive Primavera, the festival will begin streaming Thursday and continue throughout the weekend. Some of the performances airing include Sharon Van Etten’s 2014 set, Angel Olsen’s 2017 appearance, Blur’s 2013 reunion, Jamie xx’s 2017 performance, and Christine And The Queens’ set from last year’s festival.

Sharing the livestream schedule to social media, Primavera Sound said the festival would be taking place this weekend, if not for the pandemic: “Today we should be dancing together in Parc del Forum, so we deserve a celebration!” the festival wrote. “Join us this weekend on PS Life and stream some shows we really love from the history of our festival.”

Primavera Sound’s Live & Relive Primavera livestream arrives shortly after the festival confirmed the first wave of artists for their 2021 iteration. Next year’s lineup so far includes Gorillaz, Tame Impala, 100 Gecs, and more.

Check out Primavera Sound’s full streaming schedule above.

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

Talib Kweli has likely grown accustomed to being the one asking the questions as the host of People’s Party With Talib Kweli, but on Wednesday night, he was given the opportunity to switch sides and answer a few as a guest on The Tonight Show Starring Jimmy Fallon. Throughout the ten-minute interview, Kweli addresses the ongoing protests against police brutality, reveals the first instance of racism he experienced as a child, watching his kids join the protests, and his hopes for the future.

When Fallon asked Kweli about protesting with his kids, he beamed, “My kids are wonderful. I love them so much. When Trayvon Martin was murdered by George Zimmerman, I went to have a meeting with Harry Belafonte… [he] put me in touch with Dream Defenders. They were occupying the state capital in Tallahassee, trying to try to reform and change ‘Stand Your Ground’ laws. When Trayvon was murdered, my son was 17 years old. I took my son down to Florida and we occupied the building with the Dream Defenders. That was me and my son’s first activism together.” He also notes that his daughter is also protesting in his native Brooklyn neighborhood where his bookstore, Nkiru Books, was once located.

After pointing out that the current federal administration is leaning toward fascism, he implores viewers not to forget to stand for equality “when the cameras are off,” name checking The Movement For Black Lives, Black Visions MN, and Black 2 The Future as organizations that “help the marginalized, the poor, and the people that fuel the fire that creates America.”

Watch Talib Kweli’s interview with Jimmy Fallon on The Tonight Show above.

In just a little over three weeks, the world will arrive at the halfway mark in a year that has felt more like seven. Examining 2020 through a musical lens, one of the year’s highlights has by far been the excellence displayed by the many artists throughout the R&B genre. Delivering his album before crossing the year’s halfway mark, Ro James’ Mantic arrives nearly a half-decade after the New York-based crooner entered the genre with his rugged style.

Almost four years to the date of his debut album Eldorado, Ro James’ sophomore album once again places him under a good light within the genre, years after his Grammy-nominated platinum single, “Permission.” Packaged together with 15 songs and help from Masego, Miguel, and Brandy, Mantic exhibits Ro James’ growth while staying true to himself. Dark and raw, the album finds him putting forth his best efforts to preserve the sensual highs of love in his relationships.

Led by a seductive sample of Usher’s “Can U Handle It,” James attempts to convince a woman that true happiness lies with him and not within her relationship on “Last Time.” A candle-lit affair, he graces the woman with roses of excitement and anticipation all in an attempt to allude her to her true self-worth. “About a million things I could do to make you smile,” he sings. “To me the things he ain’t doing, girl, it ain’t right.” Answering a similar question posed on the Usher sample, Ro James ponders if he can handle the current relationship on the Miguel-featured “Too Much” as the lows begin to outweigh the highs. Attempts to be long-lasting partners fall short as they turn out to be nothing more than on-and-off lovers. Calling her the “prescription to my antidote” early in the song, Ro James later admits “They don’t love me like you do, and that’s a fact, girl” while labeling her as “ain’t sh*t” on the song’s chorus.

Two songs later, James colorfully captures the deep-rooted feelings in his relationship on “Rose.” With promises to water their love and keep it from dying, he emphatically promises that “As long as it’s yours and mine / This love ain’t dying.” Giving listeners a track to groove and two-step to, James and Masego switch up the pace on “Slow Down.” As described by Masego in his verse, their partner’s love of Porsches, Lambos, Teslas, and the other speed demons of the world has her racing to love. Accustomed to this fast life, the R&B talents attempt to slow the rush to love and instead to take in and appreciate the true beauties of love. Showcasing the lust he holds within for his partner, James delivers a bedroom magic ballad on “Baby Blue.” Shedding much of the production elsewhere on the album, James turns into the acoustic lane as he lays a tender touch to his partner moments before sparks fly. “Worthy lover, set me free,” he begs. “I’m falling, won’t you rescue me?”

On his latest body of work, Ro James proves that love excels when one caters to their sensual pleasures as well as that of their lovers. Whether a sense of appreciation, lust, or comfort is desired, Ro James provides it with little to no hesitation. Mantic also highlights that despite being four years removed from his debut album, James’ love ballads have yet to lose their authentic and down-to-earth touch.

Mantic portrays Ro James as the man to be with, the problems exhibited on the album rarely come from his end. The puppetmaster to his love life, James is quite often aware of the lacking elements as well as the ones that appear in excess. As a result, he operates in-sync with the desires of his lover all without surrendering his idea of the perfect relationship. Whether it be the nighttime excitement found within the sheets or the daytime thrill found in a drive with the top down, Ro James brings varying examples of these sensual highs to his relationships and preserves them in hopes of a long-lasting love.

Mantic is out now via Bystorm/RCA. Get it here.