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Taylor Swift was unveiled today as Time‘s Person Of The Year for 2023. During her cover interview, she touches on everything from the journey of her career, re-recording her albums, and her personal life.

At one point, Swift goes into the preparation she needed ahead of her massive The Eras Tour — where she performs for over three hours at each show. She also revealed how she landed on the tour’s choreographer.

Who Choreographed Taylor Swift’s The Eras Tour?

Swift used choreographer Mandy Moore (not the actress) as the leading guide for The Eras Tour. The suggestion came from Swift’s friend, Emma Stone, who has worked with Moore previously on La La Land. “Learning choreography is not my strong suit,” Swift admitted.

“I wanted to be so over-rehearsed that I could be silly with the fans, and not lose my train of thought,” she also shared.

Swift did three months of dance training, along with a gym routine that started six months before the tour kicked off. “Every day I would run on the treadmill, singing the entire set list out loud,” she added. “Fast for fast songs, and a jog or a fast walk for slow songs.”

The results paid off, as Swift relies on choreography heavily for the performances of “Vigilante Sh*t,” “Mastermind,” and more.

Taylor Swift is officially Time‘s Person Of The Year for 2023. This award certainly comes as no surprise, as very few people had a better year than the “Karma” hitmaker. Having released re-recordings of her timeless records Speak Now and 1989, slayed on her critically-acclaimed Eras Tour, and made major headlines with her beau Travis Kelce, 2023 was the year Taylor Swift was everywhere.

And of course, to wrap up a year of celebrating their fave, Swifties are going to want to get their hands on a copy of the already iconic issue.

Fans can purchase a copy from Magazine Shop. The issue comes in three different cover variants, and fans can purchase one of three covers for $9.99, or all three covers for $27.99.

Swifties may also be able to purchase a copy of the issue at Barnes & Noble bookstores, or wherever magazines are sold.

In this issue, Swift discusses a multitude of subjects, of which, Swifties have been dying to know — details of her friendship with Beyoncé, the prep that went into her Eras Tour, where she hid while she was recording Reputation, and of course, where her romance with Kansas City Chiefs tight end Travis Kelce began.

Time‘s Person Of The Year 2023 issue is on newsstands now.

Deadpool 3 is one of the most anticipated big-budget movies of 2024, along with Dune: Part Two and Furiosa: A Mad Max Saga. But unlike those films, the Merc with a Mouth’s first official adventure in the Marvel Cinematic Universe has been plagued by people (and the paparazzi, who do not count as people) taking grainy photos of muscular men in tight costumes.

Ryan Reynolds really would like them to stop doing that.

“Surprises are part of the magic of theatrical movies,” the Deadpool actor wrote in an Instagram Story. “It’s important for us to shoot the new DEADPOOL film in real, natural environments, using practical effects as opposed to making the movie indoors and digitally. Telephoto lenses continue to spoil surprises and create a difficult situation for everyone.”

Reynolds is hoping “some of the websites and social channels hold back showing images before they’re ready. The film is built for audience joy – and our highest hope is to preserve as much of that magic as possible for the finished film and the big screen. Part of the reason people post spoilers is because they’re excited. I realize these aren’t real world issues and it’s firmly in the ‘good problems’ bucket.” He added, “I love making this movie.”

It’s simple: if you don’t want every movie to look like it was filmed in an abandoned mall or airplane hangar, please don’t take or share set photos.

Deadpool 3 comes out on July 26, 2024.

(Via Comic Book)

The best place to gossip about celebrities and various royals is when you are watching TV with your friends, which is why Watch What Happens Live is a perfectly chaotic place to bring random celebrities to the hot seat with Andy Cohen, who does not beat around the bush, even when he should.

Natalie Portman was on the show when she shared that a certain Royal is not up to date with his Star Wars lore. How embarrassing for him! Portman starred in 1999’s Phantom Menace, and she met (now) King Charles III at the London premiere of the film. Charles would have been a 51-year-old man at the time, well within the target demographic for a space adventure. But he was also a Royal, so he likely didn’t know much about the franchise.

“I remember Prince Charles — he was then Prince Charles — asked me if I was in the originals,” Portman said, before reminding him she was barely alive when Return of the Jedi hit theaters in 1983. “I was like, ‘I’m 18,’ ‘ Portman laughed. “But he was very friendly.” He is known for being quite a normal person.

On the bright side? Portman also opened up the possibility of returning as Padme. “No one has asked me,” she said, adding. “But I’m open to it.” Let’s bring the whole gang back together!

(Via People)

There’s a heck of a (sobering) pickup line around 0:55 in the new trailer for Masters Of The Air: “You might be the last pretty face I ever see.”

Apple TV+ sure lets it rip with this look at their latest WWII series from Steven Spielberg and Tom Hanks. This show, of course, follows 2001’s Band Of Brothers and 2010’s The Pacific. This time, America’s Boys fly straight towards Hitler while the show adapts Donald L. Miller’s book, Masters of the Air: America’s Bomber Boys Who Fought the Air War Against Nazi Germany.

As you can see, this trailer soars into both glory and devastation with battle scenes filled with aerial bombardments. We hear Austin Butler halt his Elvis voice to lead the Bloody Hundredth (i.e. the 100th Bomb Group) as Major Gale Clevin, and there’s Barry Keoghan as Lt. Curtis Biddick. (That might be a jarring sight considering Keoghan’s most recent role that freaked out a bunch of theatergoers, but suspend your disbelief, please.) Branden Cook, Ncuti Gatwa, Nate Mann, Anthony Boyle, Rafferty Law, and Josiah Cross co-star, and together, they will experience the most elevated of highs. However, this trailer also dives into the lows experienced by America’s airmen. From the synopsis:

Masters of the Air” follows the men of the 100th Bomb Group (the “Bloody Hundredth”) as they conduct perilous bombing raids over Nazi Germany and grapple with the frigid conditions, lack of oxygen and sheer terror of combat conducted at 25,000 feet in the air. Portraying the psychological and emotional price paid by these young men as they helped destroy the horror of Hitler’s Third Reich, is at the heart of “Masters of the Air.” Some were shot down and captured; some were wounded or killed. And some were lucky enough to make it home. Regardless of individual fate, a toll was exacted on them all.

Apple TV+’s Masters Of The Air streams on January 26, 2024.

Time revealed that Taylor Swift is the 2023 recipient of their Person Of The Year, complete with a full cover story where the pop star discusses her decades-long career and her new relationship with football star Travis Kelce. Swift had been in the running alongside Barbie, Hollywood Strikers, King Charles, and more. Here’s what to know about why Time ultimately picked her.

Why Did Time Choose Taylor Swift As The 2023 Person Of The Year?

As the magazine points out, it was practically impossible not to be aware of Swift’s massive impact across the globe — which is why she’s the first solo musician on the cover. After kicking off The Eras Tour in March, she performed at shows worldwide for over three hours at a time. Her concert film also marked a unique deal, cutting out streaming and distributing the movie through AMC Theaters.

Swift had three No. 1 records this year, adding to her total of being the woman with the most. She encouraged fans to register to vote. She also became a billionaire this year. Back in 2017, Swift had previously been featured among “The Silence Breakers” as the Time‘s Person Of The Year pick, where she spoke about harassment and assault.

“For building a world of her own that made a place for so many, for spinning her story into a global legend, for bringing joy to a society desperately in need of it, Taylor Swift is TIME‘s 2023 Person of the Year,” the publication concludes.

Basically, Swift took over the news nearly every day this year, which is what led to her being selected.

Taylor Swift is officially Time‘s Person Of The Year. It was a hell of a year, which saw her embark on her critically acclaimed Eras Tour, re-record and re-release Speak Now and 1989, and begin dating Kansas City Chiefs tight end Travis Kelce.

The news of Swift and Kelce seemed to arrive rather suddenly, which led to Swifties sharing theories as to when their romance began.

When did Taylor Swift and Travis Kelce start dating?

Swift revealed that she and Kelce began dating around the time Kelce shared on his New Heights podcast that he had attempted to give her a friendship bracelet during one of the stops of her Eras Tour. Kelce, however, was unable to talk to Swift before or after the show, as Swift prefers to save her voice for the 44 songs in her setlist.

“This all started when Travis very adorably put me on blast on his podcast, which I thought was metal as hell,” Swift said in her new Time cover story. “We started hanging out right after that. So we actually had a significant amount of time that no one knew, which I’m grateful for, because we got to get to know each other. By the time I went to that first game, we were a couple. I think some people think that they saw our first date at that game? We would never be psychotic enough to hard launch a first date.”

The episode aired in late July, just weeks before the NFL season kick-off, and weeks before the two officially went public. It’s safe to say their secrecy worked out all too well.

As NFL fans have surely noticed, Taylor Swift has popped up at a number of Kansas City Chiefs games this season, to support Travis Kelce. It turns out she’s become a real fan of the game: The newly minted Time 2023 Person Of The Year said in her cover story, “Football is awesome, it turns out. I’ve been missing out my whole life.”

Of course, though, some football fans just trying to watch the game have been annoyed by broadcasts focusing on the pop star in attendance. That doesn’t seem to bother Swift in the slightest, though.

In her Time interview, Swift spoke about how TV broadcasts of games have been covering her, saying, “I don’t know how they know what suite I’m in. There’s a camera, like, a half-mile away, and you don’t know where it is, and you have no idea when the-camera is putting you in the broadcast, so I don’t know if I’m being shown 17 times or once.”

She added, “I’m just there to support Travis. I have no awareness of if I’m being shown too much and pissing off a few dads, Brads, and Chads.”

Swift also talked about the origins of her and Kelce’s relationship and her first NFL game, saying, “This all started when Travis very adorably put me on blast on his podcast, which I thought was metal as hell. We started hanging out right after that. So we actually had a significant amount of time that no one knew, which I’m grateful for, because we got to get to know each other. By the time I went to that first game, we were a couple. I think some people think that they saw our first date at that game? We would never be psychotic enough to hard launch a first date.”

Read the full cover story here.

Taylor Swift just received one of the biggest honors in all of legacy print media: Today (December 6), Time named her their 2023 “Person Of The Year.” As part of a new cover story, Swift spoke some about her relationship with Travis Kelce, filling in some previously unknown details about their origins.

For one, she and Kelce are officially a “couple,” and they’ve been involved for longer than most people probably think. She explained:

“This all started when Travis very adorably put me on blast on his podcast, which I thought was metal as hell. We started hanging out right after that. So we actually had a significant amount of time that no one knew, which I’m grateful for, because we got to get to know each other. By the time I went to that first game, we were a couple. I think some people think that they saw our first date at that game? We would never be psychotic enough to hard launch a first date. […]

When you say a relationship is public, that means I’m going to see him do what he loves, we’re showing up for each other, other people are there and we don’t care. The opposite of that is you have to go to an extreme amount of effort to make sure no one knows that you’re seeing someone. And we’re just proud of each other.”

Swift, by the way, is really into football now: “Football is awesome, it turns out. I’ve been missing out my whole life.”

She also spoke about how the media covers her when she turns up to Kelce’s NFL games, saying, “I don’t know how they know what suite I’m in. There’s a camera, like, a half-mile away, and you don’t know where it is, and you have no idea when the camera is putting you in the broadcast, so I don’t know if I’m being shown 17 times or once. […] I’m just there to support Travis. I have no awareness of if I’m being shown too much and pissing off a few dads, Brads, and Chads.”

Check out the full cover story here.

Hip-hop in 2023 was largely a game of hard left turns and stylistic leaps of faith. From Doja Cat’s bridge-burning fourth album Scarlet to Lil Uzi Vert’s wildly experimental Pink Tape, hip-hop artists went out of their way to subvert expectations and push the boundaries of the genre — and their fans. Don’t get it twisted, though; none of this was provocation for provocation’s sake. Instead, it was these artists’ way of paying homage to hip-hop’s roots in its 50th year — the true foundation of sonic experimentation and musical play, not just mean-mugging and tough-guy posturing.

So, no, our list this year (which includes a few projects released after last year’s cutoff) doesn’t feature too much gangsta rap or elitist encyclopedia rap. But we feel that it captures the true breadth of hip-hop’s contemporary landscape, from rappers who sound more like rockers to the most popular radio mainstays and the future stars bubbling just under the radar. Here are the best hip-hop albums of 2023.

Aminé and Kaytranada – Kaytraminé

The term “album of the summer” gets tossed around quite a lot lately, but this joint effort from the Portland rapper and Canadian dance producer earns it with 11 breezy-yet-diverse approaches to the seasonal sound and its related topics. From the glitzy, mellow “Rebuke” to the funk-tinged Pharrell feature “4Eva,” the lively spirit of the warmest months of the year comes through in ways both unexpected and comfortingly familiar. – Aaron Williams

Blxst & Bino Rideaux – Sixtape 3

Blxst and Bino Rideaux stumbled upon their secret sauce with “Savage” from Sixtape in 2019, and the third installment, Sixtape 3, is the LA rappers’ most complementary offering yet. “Shaq and Kobe, it’s only right if we three-peat,” Blxst poses in “Road Runnin.” Blxst and Bino trade alley-oops, lyrically and thematically. The provocatively lustful “ Doin Yo Stuff” is balanced out by the romantic, slow jam-adjacent “Get Away,” and the groovy “Baccseat” brings the opposing emotions under one roof. The empathic dunk is “Blueprint,” where Blxst and Bino cleverly flex “boss sh*t.” No lies were told. – Megan Armstrong

Chika – Samson

Chika’s mental health struggles have been heartbreaking to witness. Instead of retiring from rap, with the guidance of trained professionals, her album, Samson reveals the kinks in her armor. Through the project, listeners learn that Chika is a mystery that even she herself is still figuring out. The unabashed biblical references sprinkled on Samson stress that both Chika’s bars and professional footsteps have been ordered by a higher calling. Samson is Chika emerging from the belly of the beast, ready to stake her claim in the rap scene. – Flisadam Pointer

Doja Cat – Scarlet

While Doja Cat and her antics have proven polarizing over the past few months, her ability to make hits is undeniable. On Scarlet, Doja prioritized lyrics and her hip-hop craft overall, showcasing her abilities on the confident and assured “Go Off” and the horrorcore-influenced “Demons.” Though she’s previously denounced her past pop hits, old habits die hard, notably with the infectious “Paint The Town Red.” – Alex Gonzalez

El Michels Affair & Black Thought – Glorious Game

Listen, you can go ahead and call me a stodgy old crank for continuing to value technically superior exercises in formalism in 2023. That’s fine. Black Thought remains the (read: THEE) finest bar-for-bar, straight-up rapper in hip-hop to this day and it’s worth honoring that — especially when he possesses the awareness to pair his prodigious talents with production worthy of the finest funk-soul excursions into ’70s Classicism this side of Adrian Younge’s Luke Cage soundtrack. – A.W.

Gunna – A Gift And A Curse

If I told you a year ago that Gunna, after the success of chart-topping success DS4EVER, would be releasing a “comeback” album in 2023, you’d probably call me crazy. However, that was the case for the Atlanta rapper this year. Gunna was one of many indicted in the ongoing YSL RICO, and his image with the public took a turn for the worse when he accepted a plea deal for a release 10 months after his imprisonment. Gunna was called everything from a snitch to a traitor, and while the facts proved otherwise, his fourth album A Gift & A Curse also proved that he wouldn’t let them hinder his career. So with it, Gunna delivered one that silenced his critics, set forth a summer hit with “F*kumean,” and etched itself into the conversation for album of the year. – Wongo Okon

J Hus – Beautiful And Brutal Yard

When most folks think of UK rap (at least here in the US), they primarily think of grime or drill, two categories that are great representations of Black diaspora culture in the island nation. However, that’s also a woefully incomplete and reductive understanding. Fortunately, more people are bound to get hip to J Hus’ unique fusion of Afropop and dancehall sensibilities with hip-hop swagger and flows, thanks in large part to the Drake co-sign he receives on “Who Told You.” But there’s also the cheeky takedown of phony tough guys on “Masculine,” the sly come-ons of “Nice Body” with Jorja Smith, and the overall counter geographical tropical vibe to recommend J Hus’ latest. – A.W.

Jack Harlow – Jackman

Jack Harlow heard the complaints about his last album, Come Home The Kids Miss You, and responded in kind with a 10-song salvo of tracks that saw the Louisville rapper revert to the hungry, intensely-focused artist he was as he freestyled and battle-rapped his way to the top. The highlights: “They Don’t Love It,” “Gang Gang Gang,” and “Blame On Me,” which saw his talent for conceptual songwriting flexed to a degree fans hadn’t seen for nearly two years. – A.W.

Killer Mike – Michael

Killer Mike has put out six solo albums and four as a member of Run The Jewels over the past 20 years, yet Michael could very well be his debut album. It’s certainly his most biographical; on songs like “Down By Law,” “Motherless,” and “High & Holy,” he introduces us, for what feels like the first time, to an adolescent Michael Render, detailing the trials, tribulations, and temptations that gave us the controversial, outspoken figure Killer Mike has become. With a Southern Baptist soundscape and show-stealing turns from André 3000, Fabo, Young Thug, and more, Michael gives us our clearest picture of the rapper yet. – A.W.

Lady London – S.O.U.L.

For the past few years, the Bronx, New Yorked-based rapper has been raising her profile with a stream of impressive freestyles, endearing herself to the internet’s community of hardcore hip-hop traditionalists. With S.O.U.L. (Signs of Universal Love, she finally delivers on their investment, offering a collection of songs that show she can stick to a concept and execute it at a high level. With samples of the classic hip-hop that influenced her style and guest appearances from some of R&B’s most vibrant presences, like Jeremih, Tink, and Capella Grey, S.O.U.L. solidifies London’s place as one of boom-bap rap’s strongest torchbearers. – A.W.

Larry June & The Alchemist – The Great Escape

The Great Escape is a portal to idyllic, immaculate bliss. It’s like the musical version of Anthony Bourdain: No Reservations — taste-testing beats and flows — as Larry and Al traveled together while recording. The likes of Action Bronson (“Solid Plan”) and Ty Dolla Sign (“Summer Reign”) sweeten the pot, but the substance is found in June’s straightforward lyricism complementing The Alchemist’s trippy soundscapes. “I get impulsive, if I want it then I go and cop it,” June raps on the hazy “ 60 Days,” unintentionally causing an unshakable impulse for a fresh Larry June and The Alchemist joint album every summer. – M.A.

Lil Uzi Vert – Pink Tape

After almost two years of delays, Lil Uzi Vert’s sprawling Pink Tape finally arrived in July with a disarming array of styles and sounds to choose from, displaying the full range of dimensions the protean Philly rapper has always offered but rarely unleashed all at once. Paring down a list of 1,500 song ideas to the 26 represented here should be considered an accomplishment in itself, but for those songs to also represent such a diverse spectrum of musical influences from alternative and metal to something I can only call techno-rap is an exciting distillation of how much more territory hip-hop can explore. – A.W.

Lil Yachty – Let’s Start Here

Is Lil Yachty’s experiment in psychedelia technically hip-hop? I think the point he makes with Let’s Start Here is: who cares? (We’re including him here because of how Yachty got his start, the mode of the music he primarily makes, and the fact that he spends as much of this rock-inspired effort rapping as he does singing.) Yachty’s always bristled at the thought that he could be limited to just one genre. Here’s the strongest argument in his favor. – A.W.

Luh Tyler – My Vision

Luh Tyler is like the perfect synthesis of predecessors such as Kodak Black and Lil Tecca, with the carefree confidence of pre-graduation youth and the poised, deceptively clever pen game of the frequently incarcerated gangster rapper. By combining his natural gifts with an easygoing, unpracticed charisma and subject matter centered more around teenage fantasies of luxury lifestyles than drug game-produced shootouts, Luh Tyler cleans up the typical Florida approach to hip-hop without losing his cool. – A.W.

Metro Boomin – Heroes & Villains

Arguably the most dominant producer of the streaming era, Metro Boomin comes close to creating his magnum opus with this late 2022 compilation (which is after Uproxx’s cutoff for Best of 2022 consideration). His full curatorial superpowers go on display in Heroes & Villians as he assembles his own Avengers of rap titans — or a Legion of Doom if you want to see it another way. 21 Savage, Future, Migos, Travis Scott, and more help fill out the roster, but the star here is always his production, skillfully tying them all together. – A.W.

Noname – Sundial

Noname isn’t in rap to make friends but to platform important causes. On her latest album, Sundial, Noname uses the project’s brief run time to have an intense communal conversation, as she’s so militantly pointed out during her triumphant NPR Tiny Desk Concert. Nothing and no one is off limits. Sundial is sharply witted banter about politics, classism, racism, and more. Whoever said rap was in its flop era clearly hasn’t listened to Noname’s Sundial because the project is a lyrical masterclass and a brilliant display of what craftsmanship sounds like. – F.P.

Oddisee – To What End

Oddisee, one of the most consistent voices operating in the rap world for the past decade or so, has reached an impasse with himself about why he does what he does. And, in the spirit of true talent, he winds up using that as inspiration on this, his 10th studio album, which questions the nature of aspiration. To What End finds Oddisee wrestling with not just his goals and ambitions but what they might cost and whether it’s all really worth it. For us the listeners, it is. – A.W.

Offset – Set It Off

“I could’ve kept it to myself / They can’t be too upset,” Offset raps on “Blame It On Set.” We can’t blame him for letting three-plus years elapse between his 2019 debut solo album, Father Of 4, and October’s Set It Off after listening to the latter — a conceptual LP soaked in meticulous artistry. Not even tasteful Michael Jackson cosplay on the album’s cover overshadows Offset’s authenticity. He’s at total ease — equal parts playful (“Jealousy” featuring Cardi B) and vulnerable (“Say My Grace” featuring Travis Scott). Be thankful he didn’t keep these bars to himself any longer. – M.A.

Quavo – Rocket Power

It wasn’t the Migos reunion we wanted, but Quavo’s first solo album since 2018’s Quavo Huncho gave us something else we needed: An album of emotional growth from one of rap’s most stoic hitmakers. It’s his most adult music yet, expanding on the emotional fallout from the loss of Takeoff, yes, but also detailing how Quavo became Quavo — and how Migos became Migos. There’s a vulnerability in tracks like “Hold Me” and “Greatness” that deepens his usual boasts and gives dimension to the sharp-sighted trap bangers that have come to define Quavo’s career. – A.W.

Sexyy Red – Hood Hottest Princess

In this business, one of the dangers of getting too invested in what looks to be a promising young talent based on one compelling single is having that investment bust out when a full project lacks the magnetism of the song that got you invested in the first place. Fortunately, that didn’t happen with Sexyy Red, the sassy St. Louisan who captivated us with the delightfully disaffected “Born By The River,” followed up with the relatable ratchetry of “Pound Town,” and paid off our interest by not retreating a single step on Hood Hottest Princess, which turned out to be every bit as uproariously lascivious as her breakout singles. – A.W.

Skyzoo x The Other Guys – The Mind Of A Saint

A masterfully executed concept album inspired by the characters and events of the drug-game epic Snowfall, The Mind Of A Saint finds Skyzoo putting his feet in the shoes of the show’s principal criminal mastermind. Sky writes through the perspective of an older, wiser Franklin Saint who turned to the pen instead of the bottle — after all, he did finish the project before the final season had aired — but even with two layers of functionalization, the words and themes ring true. – A.W.

Teezo Touchdown – How Do You Sleep at Night?

“Maybe they were gonna be a painter until somebody said they couldn’t paint / Maybe thought they was the next Jean-Michel ‘til somebody yelled, ‘No, you ain’t,’” Teezo Touchdown sings on the unorthodox alt-rap “Impossible.” The other 13 tracks on his fiercely authentic and genre-defiant debut album, How Do You Sleep At Night?, confirm (at least) two things: Teezo didn’t listen to anyone who might have told him he couldn’t, and he’s not interested in becoming the “next” anything — unless it pertains to his entrancing individual evolution. – M.A.

That Mexican OT – Lonestar Luchador

Aside from having one of hip-hop’s most luxurious pseudonyms, Texas native That Mexican OT also had one of its most outstanding projects of the year. Although his native Bay City is an hour away from Houston proper, he fits right in alongside its continuum of throaty, laid-back rap stars (which also includes, in some circles, Bun B, despite his hailing from Port Arthur, similarly removed from the city itself). On Lonestar Luchador, the gravely baritone with which OT spits first catches you off-guard, then lures you in with its smoky texture, like the state’s best barbecue. The standout is “Johnny Dang,” but “Cowboy In New York,” “Barrio,” and “Groovin” are all well worth the spin. – A.W.

Travis Scott – Utopia

Five years removed from his last album and returning to the spotlight after a two-year absence, Travis Scott offers a view of Utopia that may run counter to our expectations but certainly illuminates exactly where the Houston rapper sees himself. While he goes back to what’s worked for him on tracks like “Hyaena” and “I Know?” he also blasts his way forward with the fan-favorite “Fe!n” and recaptures his and Drake’s charming chemistry on “Meltdown.” If Utopia doesn’t set the standard for the rap world around it as Astroworld did in 2018, it feeds Travis’ base, laying a sturdy foundation for the future. – A.W.

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