Adele has been a fixture in the British tabloids since she first broke into the scene with her 2008 debut album, 19. Like this one: “Someone Like Boo Hoo.” Following the conclusion of her record-setting residency in Munich, Germany, the “Hello” singer poked fun at the weird (and often fake) stories about herself by creating her own fake scandalous headlines.
“After years of putting up with the tabloids, I decided to join in on the fun and create my own for the Munich shows,” Adele, who is about go to on a long break from music, wrote on Instagram. “When I tell you it was a highlight of my week to write and create these every Sunday after the shows… I think I missed my true calling! A friendly piss take on myself and the real ones! Truly, it is so much fun writing absolute nonsense!”
One headline from the satirical The Saturn Times reads “IT’S ONE ADELE OF A RIDE,” and it shows Adele riding around the stage on a bike. “Days before opening night, Adele was seen gallivanting around the grounds of Adele World on a bike, as she prepares to kick off her run of shows in Munich,” the story reads. “Dressed in all black with white trainers, the London born songstress was sure to stay safe and responsibly wore a helmet.” Another headline screams “STORM ADELE,” as she performed during a torrential rainstorm.
A new Vogue profile on Gaga notes she and Polansky “got engaged in April after a day of rock climbing.”
Gaga also revealed how she and Polansky met: “My mom met him and she said to me, ‘I think I just met your husband,’ and I said, ‘I’m not ready to meet my husband!’ I could never have imagined that my mom… found the most perfect person for me?”
She went on to speak about the 40th birthday party of Sean Parker, the co-founder of Napster and founding president of Facebook, with whom Polanksy is friends. She said, “I got invited and I said, ‘I wonder if Michael is going to be there,’ and my mom said yes, and so I went to the party and I kept asking for him, and he finally came over to me and we talked for three hours. We had the most amazing conversation.”
Polansky shared his perspective, saying, “I didn’t know much about her and honestly wasn’t sure what to expect. I was struck immediately by her warmth and openness — she was so genuinely curious about what my life was like growing up in Minnesota.”
After talking on the phone and going on dates, the two ended up living together during the COVID-19 pandemic. Gaga said:
“It was really kind of special. I’d been so focused on my career since I was a teenager. And the gift of that time was that I got to completely focus on my relationship. I met this totally supportive, loving human being who wanted to get to know me — outside of Lady Gaga.”
Polansky said, “We had this amazing chapter of a weird kind of normalcy that’s essential for any relationship to develop in a real way — taking walks, making coffee, hanging out with the dogs, reading books together… The pandemic was easier on her than you might think. She’s used to being isolated because of her fame and was able to take so much of it in stride. I think she loved the chance to slow down. She’s been operating at an unfathomable level of intensity for years and it’s no secret it had caught up to her.”
Gaga also said:
“I feel very grateful that I wasn’t alone. I had never met anyone like Michael. He’s so smart and so kind. And his life and my life are very different. He’s a very private guy and he’s not with me for any other reason than that we are right for each other. But I think what I want my fans to know is that I’m just, like, so happy. I’m healthy. I feel like the last time they heard from me — in this way — was Chromatica, and that album was about an absolutely horrible time for me with my mental health. I was in a really dark place. I struggled for, like, many years before that. But everything started to change. Because I had a real friend who saw the ways in which I was unhappy and why. And he wasn’t afraid to truly hold my hand. And get to know me. On a very deep level.”
On Wednesday night, September 4, Drake and Lil Durk turned to another popular streamer. Adin Ross previewed an unreleased Drake and Durk song being referred to as “Discontinuing Wokhardt” on his livestream. Several X (formerly Twitter) accounts, such as Complex, have captured and circulated Ross’ livestream.
According to Genius, Drake raps (or sing-raps), “Discontinuing Wockhardt / What seal do I pop now? / What seal do I pop now? / What seal do I pop now? / You know that the Act’ gone, I can’t get no Wok now.”
Afterward, Ross said, “Wait, I just realized — why’d they have me preview that? Is it because I was on lean? I’m not on lean no more. And how does The Boy know about — yeah, nah, he’s tapped in. Damn, that was hard.”
When EA Sports welcomed a group of media members and streamers down to their Orlando campus for a launch event for Madden 25and College Football 25, there was a palpable excitement from the EA Sports team to show off what they were bringing to both games. While I was there mainly to get a first look at the first college football game in more than a decade, it was obvious that they felt this year’s version of Madden was a real breakthrough moment.
A big reason for that was their new physics-based tackling and rushing system, BOOM Tech, which they felt was going to lay the foundation for the next generation of Madden games. The product of more than two years of development, is the first time the Madden team has been able to build a physics-based engine, which takes into account everything from a player’s weight to how fast they’re moving and in what direction at impact to deliver an increasingly realistic feel to the game. The hope, if all goes right, is that this is will let them add more physics-based actions to the game to replace animation-based gameplay.
Just after the game launched, Uproxx got to sit down with Clint Oldenburg (Production Director) and Kenneth Boatright (Game Designer), who both went from playing in the NFL to being part of the Madden team, to discuss the two-year process of developing BOOM Tech. While a physics-based engine wasn’t an initial goal the team set for themselves, it turned out to be the solution they found when exploring how to give players more control and feel as ball-carriers and tacklers.
“There were two steps that led to it,” Oldenburg explained about their realization. “Number one, our players were very clear in telling us ‘animation-based gameplay,’ as they referred to it, is not what they wanted anymore. They wanted more control, agency, and emergence in their gameplay. So that set the problem statement. And then once we started brainstorming with all of our internal teams — and that’s not just to say American football or Madden — we were working with some of our advanced teams around the entire EA Sports label to find different solutions for that. And when physics-based tackling became one of those solutions, then we started doing consumer insights, testing and stuff with our players, and that was the thing: Of all the different solutions that we had kind of brainstormed about how to accomplish the vision against that problem statement, that was the thing that the players that we surveyed said was most interesting to them. And so we started building it with what we call our A Team, which is an advanced animation team that every sports team at EA utilizes, and working directly with them to see how we could bring it to life.”
From that point, it was a matter of building, tuning, and refining the system, trying to strike the right balance between realism and player control — two things that don’t always work in harmony when building a video game. For as much as players want the game to look and feel like what they see on Sundays, they also want to be able to do things that you wouldn’t ever see on the field and are only really possible in a video game.
Both Oldenburg and Boatright pointed to that as one of the great challenges in designing the game. Whether the challenge was creating a running and tackling system, or building the game’s blocking system and tuning it to get it to work how they wanted and how they thought players would want it, the sheer size of this effort was one of the main reasons it took two years for BOOM Tech to make it into the game.
“The tools that we have are pretty powerful in that we have the ability to swing it pretty far in either direction. I wish we could, externally, show some of the early videos of this thing,” Oldenburg said with a laugh. “We’d tune the physics up so far that we can explode a player all across the field if we wanted, right? So we have mins and maxes, and obviously we’re not going to go to either end of that, because that would not be authentic or realistic, kind of funny to look at.
“But finding that center point is difficult and rewarding all at the same time, and the way that I think of it, football is a game of inches,” he continues. “Any coach or player will tell you that. And what we’re trying to portray to our players is that every inch matters. So as the tackle is starting, what is the approach and angle and leverage point of the tackler? What is his speed and momentum? And then that carries through into the point of impact. That pays off into the tackle resolution. And all of those factors of physics, just like they do in real life, impact the outcome of that tackle. And that’s why, you were at the media event, we referred to this as physics-informed animation selection. Very clearly not ragdoll. We could make it more ragdoll if we wanted, but that’s not what it looks like on Sundays. And so we’re literally using all of those different factors, different physics factors, to find the most perfect outcome that we can produce that looks as authentic as possible.”
That is also where having former NFL players like Boatright (a former defensive lineman for the Seahawks and Cowboys) and Oldenburg (who spent time with six different teams as an offensive lineman) on the design team pays dividends. They can provide firsthand guidance on what something should look and feel like, and also how the game’s AI should think and operate.
“I think the biggest thing is considering the player’s weight, player ratings, and really just thinking about a player’s intent,” Boatright said. “As a defensive player, I can be lining up a guy perfectly, but there’s certain elements that you just can’t account for: the ground, a blocker coming out that you might kind of stutter to deal with. But it’s just the feeling of when you have a guy squared up, you’re a cornerback, he’s Derrick Henry. Now, it doesn’t matter how much intent that corner has in them, there’s certain factors that come into play where it’s just like, hey, you’re not going to blast this guy the same way a big Ray Lewis type might with a smaller guy, you know what I mean? So just getting that momentum, getting that feel of, this guy’s a big dude that has punishing ability. Getting that intent, that momentum to feel proper, the way the contact and their approach angles change, just trying to make sure those things are correct. When talking to some of the other designers that were involved in this area, trying to make sure it felt like, this is the NFL player that has that boom to him. We got to make sure the way these guys fall feels accurate. So there’s just a lot of conversation around trying to make sure that the momentum of the stuff and the outcome of it looked realistic.”
The Madden team sees the game’s future as being physics-based, with BOOM Tech and the tackling engine as their first foray into the space. Their goal is to expand that to everything that happens on the field, but as they learned with BOOM Tech, that’s a process that requires considerable care and a willingness to be honest about when it’s ready to deploy. The goal was to unveil BOOM Tech as part of Madden 24, but they decided to keep it out of that game to give themselves another year to work with it, particularly as they ran into a number of unknowns in the development process.
By giving themselves an extra year rather than rushing out a product that wasn’t ready, they not only got more time to tune and get things right, but also avoided a situation where players decided that physics-based engines weren’t what they wanted because it didn’t function as intended at launch.
“The direction that we’re moving now and into the future is physics-based. We’re starting with physics-based tackling because that was the most obvious spot,” Oldenburg said. “But we want physics-based across all of gameplay, because that’s what our players are telling us. And to your point, if you put a feature out a little bit too early or a little pre-baked, the response is going to be, ‘We don’t like this. This isn’t what we asked for.’ Even though it might be in two, three, four years a really good feature, you’re not going to get the leverage or the ability to keep that in and keep iterating on it if it doesn’t hit the mark when it first comes out the door.”
One of those areas that can be expanded on in the future is blocking, which isn’t the first thing that comes to mind when people think about video game football, but will be the biggest complaint if it doesn’t work how players want it to. Oldenburg, the former offensive linemen, previously headed up blocking in Madden but recently handed that off to Boatright, who made his career on the other side of the trenches. They believe having that perspective from both sides of the ball has given them a more well-rounded approach to line play in the game.
Part of the challenge of developing better line play in the game is accounting for all the things that happen in video game football that don’t happen in real life. The principles that dictate how lineman move and function in various systems on the field can be broken when players get moved around the field in ways in a game that don’t happen otherwise, with how players will lurk and try to shoot gaps. As a result, they’ve tried to expand lineman logic to give them a bit more individual freedom to pick up defenders that might not be their normal responsibility.
“We got some new technology in place that allowed us to do some different things within the blocking realm. We added some new functionality between the pass protections. Users had a lot of issues with certain glitchy behavior being allowed, certain blitzes and metas or whatnot,” Boatright said. “But when you’re making a game it’s that piece that Clint talked about, one realistic and then the game world combined. There’s certain stuff that you can do in the video game that you have to account for that you just won’t see in real life on Saturdays and Sundays. So there was just a lot of work that went into trying to account for the freedom that we give users, the control that we give users, and then trying to allow each individual blocker a way to think a little bit more about his individual situation that’s going on between logic as well as animation play.”
There are still areas for improvement, but as they note, it has to be looked at as a years-long process. The reason physics-based tackling is in the game now is new game systems allow for that kind of detail and the technology has come far enough to make that a reality. The same challenge exists in expanding blocking logic, because there are limitations placed on what lineman can do because their movements and decisions are dictated by an algorithm. As Oldenburg explained, that is something they’re constantly working on and figuring out ways to expand the algorithm to take more into account and allow blockers to operate more lifelike.
“Open field blocking is one of those artificial intelligent pieces that I think we’re always going to be iterating on, year over year. What makes it extra challenging in real life as a blocker — and I was a zone guy, so I pulled a lot and I was downfield a lot. In real life, I have a brain, and I know the concept of the play,” Oldenburg explained. “And so instantly, as I’m running in the open field, I have an idea in my head where that ball carrier is supposed to be. And that’s going to give me a pretty good idea of who I need to block and which direction I need to block them in when I’m trying to find a target. In a video game, that’s just an algorithm. It’s basically an exercise in finding … every frame or every couple of frames, it’s running an algorithm to say, “Who is the biggest threat to the ball carrier at this time?” And that’s why you see, sometimes they wander and change their mind. They don’t have eyes, they don’t have brains, right? I know that’s kind of breaking down the veil of a video game. They can only do what the algorithm tells them to do, and improving that algorithm so it can take into account, where’s the ball carrier supposed to be? Or maybe, where is the ball carrier now? Or, what is my leverage point? Those are things that we’re always talking about to improve authenticity. Not necessarily simple to put in the game, but as technology grows, the hope is that we can take some of this data from real world NFL GPS tracking, and some of the knowledge we have about how a play should be blocked, and start applying that to the algorithm.”
The nature of building a video game with an annual release is as Madden 25 launches, the team is already focused on Madden 26 and figuring out how to build on the foundation that exists. Part of that is constantly evolving the game logic and taking advantage of new systems and technology that allows them to give video game players more to consider in real-time, so they can think and act more like the players on the field. Now, having built a physics-based engine for tackling and running the ball, they’re looking at where they can go next with that idea. Oldenburg hopes to add physics-based trenches to pass and run blocking, as well as how defensive backs and wide receivers interact.
Ultimately, the goal is to create less predictability and give users more control. The challenge is providing that control while staying true to the product on the field, which is the ever-present push and pull that exists with creating a sports simulation video game.
The New York Times’ Joe Coscarelli profiled the 27-year-old born Michael Todd Gordon and noted, “Gordon has been writing and recording with Bieber.”
“He’s searching,” Mk.gee said, adding, “Anything that comes out of his mouth: That’s pop music. You can really do pretty wild stuff behind that, just because it represents something.”
Bieber has plenty to write about. He and Hailey Bieber, his wife of six years, recently welcomed their first child, Jack Blues Bieber. The 30-year-old perennial hitmaker announced Jack’s birth with an August 23 Instagram post showing the baby’s tiny foot.
Meanwhile, Mk.gee just kicked off his second tour of 2024 after releasing Two Star & The Dream Police in February. Check out his purported setlist here, and see his remaining dates below.
09/06 — Oakland, CA @ Fox Theatre
09/07 — Los Angeles, CA @ Hollywood Palladium
09/08 — Los Angeles, CA @ Hollywood Palladium
09/09 — San Diego, CA @ Observatory North Park
09/11 — Denver, CO @ Summit
09/13 — Houston, TX @ White Oak Music Hall
09/14 — Austin, TX @ Emo’s
09/15 — Dallas, TX @ House of Blues Dallas
09/18 — Atlanta, GA @ Tabernacle
09/19 — Louisville, KY @ Mercury Ballroom
09/20 — Nashville, TN @ Marathon Music Works
09/21 — Newport, KY @ MegaCorp Pavilion
09/23 — Silver Spring, MD @ The Fillmore Silver Spring
09/24 — New Haven, CT @ Toad’s Place
09/25 — New York, NY @ Terminal 5
09/26 — Boston, MA @ Citizens House of Blues Boston
09/28 — Philadelphia, PA @ Franklin Music Hall
09/29 — Brooklyn, NY @ Brooklyn Paramount
10/01 — Toronto, ON @ HISTORY
10/02 — Detroit, MI @ St Andrew’s Hall
10/03 — Chicago, IL @ The Vic Theatre
10/05 – Minneapolis, MN @ Uptown Theater
10/29 — London, UK @ Electric Brixton
10/30 — London, UK @ Electric Brixton
10/31 — London, UK @ Electric Brixton
11/02 — Paris, FR @ Elysee Montmarte
11/04 — Berlin, DE @ Betonhalle
11/05 — Amsterdam, NL @ Paradiso
12/03 — Brisbane, AUS @ The Triffid
12/05 — Sydney, AUS @ Metro Theatre
12/06 — Meredith, AUS @ Meredith Music Festival
12/07 — Melbourne, AUS @ Max Watts
12/08 — Melbourne, AUS @ Forum Theatre
Ludacris is known for doing a number of different things — he’s an actor, a businessman, a philanthropist, and a guy who drinks glacier water in Alaska. Before he was able to make a career doing those things, though, Luda was a rapper from Atlanta who specialized in making some absolutely iconic music videos.
Perhaps his most well-known video is for the track “Get Back,” which was directed by Spike Jonze and is famous for the comically large arms that he wore the entire time. If you are like me, you’ve probably wondered what the hell happened to those arms after the video came out, and on Wednesday evening we got the answer: Ludacris still has them.
We know this because he threw out the first pitch for the Atlanta Braves’ game against the Colorado Rockies at Truist Park. And As you can guess, he wore the arms out to the mound, kept the baseball stuck to his palm, and launched it to home plate — you can watch the video here.
Shockingly, this was not the worst first pitch any of us have ever seen, because while it was a ball, he at least got it to the plate. Credit to Ludacris for that, and I hope this is not the last time that we see him throw out a first pitch at a baseball game while wearing the “Get Back” arms.
Sade has not released an original studio album since Soldier Of Love in 2010. While there’s no news of that changing anytime soon, Sade will soon release her first song since contributing to the A Wrinkle In Time and Widows soundtracks in 2018.
On Wednesday, September 4, Sade confirmed her participation in Transa, a compilation album by the non-profit Red Hot in an effort to support transgender awareness. Sade’s track is entitled “Young Lion,” and, according to Variety, is dedicated to her son, Izaak.
Variety additionally relayed that Transa consists of three-and-a-half hours of music. The album “has over 100 contributing artists and is structured across eight chapters and 46 songs — a nod to the eight-stripe rainbow pride flag.” Transa will be released on November 22.
“We started talking about all the gifts that trans artists have been giving to the world, and wanted to create a Red Hot project that centered and celebrated those gifts,” Dust Reid said, as per Variety. “We hoped to create a narrative that positions trans and non-binary people as leaders in our society insofar as the deep inner work they do to affirm who they are in our current climate. We felt this is something everybody should do. Whether you identify as trans or non-binary or otherwise, if you took the time to explore your gender, get in touch with the feeling side of yourself, maybe we would have a future oriented around values of community, collaboration, care, and healing.”
Reid put together Transa with Massima Bell, beginning in 2021.
After a 1-8 start to the season, the playoffs looked out of the picture for the Indiana Fever and star rookie Caitlin Clark. The team faced a difficult opening schedule, but things just were not clicking for Indiana’s top players, and it seemed like it would take some time for them to develop the needed chemistry to rise up the WNBA standings.
However, the Fever quickly stabilized things, moving into playoff position by the All-Star break and a month off for the Olympics clearly did Clark and the rest of the Fever well. They have come back on a tear, led by the dynamic play of Clark and Kelsey Mitchell, winning six of seven games to move above .500 at 17-16 with seven games to play, and despite not playing on Tuesday night they clinched a playoff berth thanks to losses by the Sky and Dream. Clark met with the media before Indiana’s game against the Sparks on Wednesday evening and explained why, while it’s a great accomplishment, she’s not satisfied with simply making the playoffs in her rookie season.
“It’s definitely a big moment for this place, but at the same time I came in with the expectation this is what’s going to happen,” Clark said. “For me this isn’t a party. Yeah, it’s great, I feel like it’s a great accomplishment, but there’s so much more left to be done. Yeah we made the playoffs, there’s six regular season games. I mean, I’m not just happy being in the playoffs. I feel like we have a team that can win and advance, going one game at a time. So I think that’s what it is for all of us, it’s like, yeah celebrate it, enjoy it, like it is really huge for this organization, not being to the playoffs since Tamika [Catchings] was here if I’m not mistaken. It’s been a long time. I’m definitely most happy for Kels. Kelsey’s been in this place for seven years and has never been to the playoffs, so she definitely deserves this moment, and obviously, she’s been playing really good basketball too. She’s definitely helped us earn it.”
The expectations externally on Clark coming into this season were astronomical, but it’s clear she was putting similar internal expectations on herself to succeed in her first year in the WNBA. This is also the right approach to have, especially for a team that’s peaking at the right time and could win a series in the playoffs. After the season is when you can fully appreciate what just making the playoffs means to that organization, but in the moment she and the Fever should absolutely be thinking bigger.
The way she and Mitchell have figured out how to play off of one another — after a rocky start where neither seemed fully comfortable offensively — has given Indiana the league’s most dynamic scoring backcourt in the league. Clark noted later on that she was “lucky” to play with someone like Mitchell and that she thought Kelsey deserved player of the month over her. The question is whether they can hold up against the WNBA’s best on the defensive end in the playoffs, as they’ll likely face the Lynx, Sun, or Aces in the first round. However, none of those teams will be all that excited to deal with Indiana’s offense, and if the Fever can keep it rolling as they have since the end of the Olympic break, they’ll be a handful for any of the top seeds.
Spoilers For House of the Dragon will be found below.
About a week ago, George R.R. Martin promised/threatened to blog about everything that he feels has gone wrong on the current Game of Thrones prequel series. His turnaround time on such vows might be improving, but also, it feels like GRRM is only getting started because he did indeed go on a lengthy rant about HotD, but he centers his concern upon Season 2’s “A Son for a Son” episode, otherwise known as the Blood and Cheese atrocity.
Martin does not hold back and delivers 1,800+ words on the subject, and much of his discussion revolves around the chaos theory-related “Butterfly Effect,” which holds that the tiniest aberrations/alterations in events can spark wide-ranging, even destructive impacts on the whole. His essay is actually rather wild, considering that HotD is halfway finished and multiple other GoT spin offs are in the works (with A Knight of the Seven Kingdoms arriving in 2025), so Martin needs to preserve his working relationship with HBO. Yet Martin’s displeasure with a certain Blood and Cheese change led him to conclude his (SPOILER FILLED)essay like this:
“And there are larger and more toxic butterflies to come, if HOUSE OF THE DRAGON goes ahead with some of the changes being contemplated for seasons 3 and 4…”
Very dramatic stuff for sure. He’s essentially upset about the absence of Maelor, who is the third child of Helaena and Aegon II Targaryen yet does not appear in the show for what Martin suggests are budget-related reasons. Martin explains why he acquiesced to the omission under the understanding that Maelor would appear in the third season, and then this happened:
“Sometime between the initial decision to remove Maelor, a big change was made. The prince’s birth was no longer just going to be pushed back to season 3. He was never going to be born at all. The younger son of Aegon and Helaena would never appear.”
I will not even attempt to summarize the rest of Martin’s layered argument, but he outlines the many reasons why he believes that removing Maelor from the story will smash the emotional resonance of significant future HotD events into smithereens. He also publicly (albeit vaguely) calls out future story decisions from showrunner Ryan Condal by referring to “Ryan’s outline for season 3,” and overall, man, this predicts serious tension between Martin and the prequel spin off’s creatives.
Of course, Martin is not known for mincing words, so perhaps this dust-up will blow over with time. However, if you are looking for a GRRM-related show that does not seem to upset him, he’s a producer on AMC’s Dark Winds, which recently found a new audience on Netflix and will be moving into a third season in 2025. Enjoy!
Sometimes the best new R&B can be hard to find, but there are plenty of great rhythm-and-blues tunes to get into if you have the time to sift through the hundreds of newly released songs every week. So that R&B heads can focus on listening to what they love in its true form, we’ll be offering a digest of the best new R&B songs that fans of the genre should hear every Friday.
Since the last update of this weekly R&B column, we’ve received plenty of music and news from the genre’s artists.
Here are the new releases you need to have your eye on this week:
Victoria Monét — “SOS (Sex On Sight)” Feat. Usher
Victoria Monét’s new single, “SOS (Sex On Sight)” with Usher, begins the official rollout of her Jaguar II deluxe album. “SOS (Sex On Sight)” is a steamy and sexy record that showcases the burning desire that a couple shares and the “the urgency you feel when you need some love, physical touch and quality attention,” as Monét noted in a press release.
Halle — “Because I Love You”
Halle dives into a grungier side of her artistry with her latest track “Because I Love You.” Co-written with the equally-talented British singer RAYE, Halle uses the new record to capture the deep love she has for her partner. “It’s an anthem that tells the story of all of the beautiful passion and euphoria you can feel with that person,” she said in a press release.
Kehlani — While We Wait 2
Kehlani is the gift that keeps on giving in 2024. Two months after dropping her fourth album Crash, the Oakland native is back with her TK mixtape and sequel to 2019’s While We Wait. Fourteen projects make up While We Wait 2 which includes features from Lucky Daye, Vince Staples, Destin Conrad, FLO, Dixson, and others.
FLO — “Bending The Rules”
British girl group FLO finally announced their debut album over the weekend Access All Areas and with it came their new single “Bending The Rules.” The elegant record gives room for the girls to showcase their vocals as they confess their growing feelings for their significant other.
Muni Long — Revenge
Muni Long is trying to “solidify myself as an R&B giant,” and her sophomore album Revenge is her latest step in trying to do that. The 14-track album is mostly composed of vocals from Long, minus a feature from GloRilla, for an album that she hopes makes listeners “feel like I did when I heard Maxwell’s first album.”
Leon Thomas — “Mutt (Remix)” Feat. Freddie Gibbs
Leon Thomas is about to be busy for the rest of 2024. He’ll soon be on tour with Blxst for the I Will Always Come Find You and now’s ready to release a new album. His second LP Mutt is set for a September 27 release date and with that announcement comes a new remix of its title track with Freddie Gibbs who fits like a glove over the song’s textured and thumping production.
Jazlyn Martin — Identity Crisis
Jazlyn Martin is a name and face you know from Peacock’s Bel-Air series, but she’s also a very talented singer, something that can’t be denied with her debut EP Identity Crisis. Its seven songs showcase her enchanting and delicate vocals as well as a deeply personal exploration of Jazlyn’s experiences and the societal and coming-of-age challenges she faced in her life.
LARA’ – Luvology
Texas-based singer-songwriter LARA’ emerges with her second album Luvology. The project follows her 2019 debut Sol Soliloquies and tis 15 songs call on Rapsody, Blk Odyssy, Sebastian Mikael, Ambré, and more for a body of work that examines love and its various complexities as well as honestly detailing some of her personal experiences with love.
Tempest — The Ranch
Tempestfinally arrives with her debut project. Her five-track EP The Ranch captures the many flavors and feelings that she provides through her music. Between the cheeky “The Ranch” with Amindi and the unapologetically free “Cha Cha Freestyle,” The Ranch is inspiration to stay true to themselves and live it out in the open.
Charlie Bereal — “Walk With The Father”
California singer Charlie Bereal keeps the soul alive with his new single “Walk With The Father.” On the track, co-produced by Josef Liemberg, Bereal reflects on realities that hit those who come to the big city in pursuit of their dreams only to be greeted by a harsh reality check.
Jordyn Simone & Lekan — “Don’t Wake Up”
Jordyn Simone began the year with her No Demo Left Unheard EP and now the Los Angeles native is looking to end the year on a high note. She’s back with “Don’t Wake Up” alongside Lekan. Together, Simone and Lekan advocate for living out your dreams and not waking up to face reality.
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