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With his third studio album under RCA Records coming out this fall, Louisville, Kentucky rap-singer Bryson Tiller returns to drop off his second single of the cycle, “Always Forever.” Following in the same vein as the SWV and Mary J. Blige-sampling “Inhale,” “Always Forever” is a slower song showing off Tiller’s vocals more than his bars. Finding him nearing the end of a relationship (again), Bryson implores his paramour to “say you’re done doin’ it for me, then say bye.”

The Kentuckian Trapsoul pioneer began his comeback late last year with a feature on Summer Walker’s debut album Over It, dueting with the breakout singer on “Playing Games.” From there, he provided feature vocals on projects from Wale (“Love… (Her Fault)“) and Kyle (“The Sun“) this year after a relatively quiet period in the wake of his second album, True To Self, released in 2017.

With few details about his upcoming third album revealed, fans have been impatiently waiting for a True To Self followup for nearly three years. With two singles released in the same month, though, it appears Tiller might finally be ready to show them what he’s been working on and the next evolution of his ’90s R&B sample-driven sounds.

Listen to Bryson Tiller’s “Always Forever” above.

I had no clue what to expect from the 2020 Emmys. The only things I knew going in were: no audience, nominees basically Zooming in from their homes, very high potential for chaos. As a fan of this last thing, I was intrigued. Award shows can be very stale and formulaic, by design. Even the fun moments typically fit inside the same nice little box year after year, whether it’s a decent monologue zinger or solid presenter banter or a notable speech. There’s a plug-and-play feel to it all that I understand and accept, but that gets tedious.

This was not that. This was exceptionally weird and not always polished and there were historic wins and raging fires and farm animals. It was a mess, which I mean as nothing short of the highest compliment I know how to give. It was… kind of a blast. The Weird Emmys were fun. Let’s dig and discuss, with the classic Winners and Losers format.

WINNER — All of whatever exactly that was

Ladies and gentlemen, I am pleased to report that I loved the Weird Emmys. That’s what I’m calling them, now and forever: The Weird Emmys. It was delightful, more like a cable access show that had been given a multimillion-dollar budget than your standard slick awards show. Would I have liked it if they had tried to do something this crazy under normal circumstances, not as a result of a global pandemic, just to mix it up? I don’t know. I doubt it. The whole thing had a very strong “yeah, we don’t know either, let’s just try a bunch of stuff and see what happens” vibe that made me much more forgiving to whiffed bits and technical difficulties than I might have been any other year. Everyone was doing the best they could. I can appreciate that.

But yes, it was very weird. Some notable moments included:

• Jennifer Aniston putting out a stubborn trash fire before the first award was even handed out
• Randall Park presenting an award with an alpaca in a bow tie
• Tracy Morgan hijacking the entire proceedings for about 90 seconds after showing up on-screen with a Tracy Ullman mask
• Hilarious high-school shop-class quality mystery boxes that opened up and shot an Emmy and confetti at both John Oliver and RuPaul, who are, in opposite ways, kind of the two most perfect people to shoot an Emmy and confetti at

And so on! Again, if you tried any of those things in a standard awards show, I bet I would have groaned about it being a little much. Here? It fit surprisingly well. The whole thing was fun and weird and chaotic and the underlying “something could go wrong at any moment and I don’t want to miss it if it does” quality gave what is usually a cookie-cutter event a high-wire level of danger. By the end, I was rooting for things to go wrong, not necessarily because I wanted anyone to be embarrassed on live television, more just because everything was rolling with it and game for anything. I have very few complaints about any of it, which is an odd place to be in the morning after the Emmys.

WINNER — Schitt’s Creek, Watchmen, Succession, Etc.

One of the stranger parts of the night, even given how many strange things I just listed, was how… normal things went otherwise. Schitt’s Creek cleaned up in a huge way, sweeping the comedy awards for acting and picking up some writing and directing ones, too. Succession won a bunch of awards and I got to hear the music from the show each time it won, which softened the blow of Cousin Greg losing the Best Supporting award to Billy Crudup. Watchmen won a zillion awards, one of which went to Regina King, who promptly and correctly stated “This is so freaking weird.” Another went to writer Cord Jefferson, who, in his acceptance speech, thanked Jeremy Irons for “farting in space,” which I really appreciated because it gives me a chance to post these screencaps again…

… and to point out that Jeremy Strong, in character as Kendall Roy on Succession, the role for which he won the Best Actor award, pooped the bed last season. The lessons are twofold: One, it’s kind of funny that the two big drama winners this year prominently featured poop/fart content and the big comedy winner didn’t, really; two, I am a child.

LOSER — Lots of other good shows

It bums me out a little that shows like The Good Place and Better Call Saul and especially What We Do in the Shadows got shut out this year. It’s not that the winners weren’t deserving. Pretty much every award that got handed out was understandable or at least defensible. The Schitt’s Creek trophy parade was adorable and I was very happy to watch it chug along. That said, there’s something that feels, I don’t know, wrong about “On the Run,” the legendary Jackie Daytona episode of What We Do in the Shadows, not getting recognized at all. This is why there should be a Best Fake Name category at these shows. I have always said this.

WINNER — Dan Levy being very happy for his real and/or TV family

This was honestly my favorite part of the Schitt’s sweep, just watching Dan Levy in the background when his co-stars won, absolutely beaming like he was their father, which is weird because one of his victorious co-stars was his real father, Eugene Levy. Find one person in your life who is as unequivocally happy for your success as Dan Levy is for the cast of Schitt’s Creek. Find that person and never let them go.

LOSER — Any future award show that does not feature a beloved castmember of Friends extinguishing a stubborn fire before the first trophy is handed out

I touched on this in the opening section but it must be discussed again, in more detail. Before the first trophy of the night was handed out, Jimmy Kimmel started a fire in a trash can and Jennifer Aniston tried and failed to put it out a number of times. Zip ahead in the clip up there and watch it again. Watch Jennifer Aniston’s face as the fire keeps flaring back up. Watch her especially the last time, when it becomes clear the situation has moved from “silly bit” to “potentially dangerous situation involving smoke and fire.” Here, look.

I can’t possibly describe how happy this made me. If you had come up to me before the show started and told me “Jennifer Aniston will have to frantically extinguish a trash fire before the first commercial break,” I might have kissed you on the mouth, social distance be damned. That is all I wanted out of this bozo circus, flaming garbage and anarchy and a television icon in a fancy dress wielding a fire extinguisher as we all inch closer to a situation where the fire alarm goes off and the sprinklers turn on. I wish there had been more fire. They could have done the entire show inside the burning building as the cast of Friends fought the blaze for all I cared. Give Schwimmer a fire hose. No half measures.

WINNER — In-home acceptance speeches

Can I be honest for a second? Like, really honest, bordering on earnest? Most of these were charming. Bouncing from one person’s house to the next throughout the night made it feel kind of like we were checking in on various slumber parties. And it was cool to see the various ways people did or did not get into it. John Oliver wore a hoodie. Some people were in t-shirts. Titus from Kimmy Schmidt appeared to be drinking from a red Solo cup. But my favorite was Best Actress winner Zendaya, who got dressed as hell, quarantine or not, and was there with like her whole family supporting her and whooping in the background. That was cool. It felt like there was more real excitement going on, with everyone comfortable in their own homes and not trying to march through a crowd to the stage as an orchestra plays.

Even the speeches played better, I think. I can understand if some viewers were turned off a little by the heavy political nature of some of them, but given the situation and the fact that none of them were interrupted by self-satisfied applause breaks from the crowd, it felt more real, more intimate, like it was all from the heart and not part of the pretentious show this can sometimes devolve into. Some of them felt very sweet. There’s something to be said for letting people get comfortable on the couch and giving them a glass or two of wine instead of putting them in formal attire on a stage in front of other famous people. I don’t know what we can do with this going forward, but it’s still true.

Also: It was very funny to me that the astronaut who sent a message to the audience from a space station orbiting the earth from the cosmos appeared to have a better connection than Mark Ruffalo and Jennifer Aniston, the former of whom sounded like he was the one in space and the latter of whom appeared to be operating on a satellite delay like a war reporter in the Middle East. You people are millionaires. Figure out your damn WiFi. Or don’t. This was actually funnier.

WINNER — The bits, surprisingly

Again, there’s no way to separate this from the overall tone and weirdness of the night, but most of the bits worked for me, even the opening monologue with the fake audience ruse that lasted longer than I expected it to. This is strange because I am often anti-bit at award shows. So many of them seem forced or dragged out, or like they might have looked great on paper before someone actually tried to create them. But this time around, I mean, sure. NoHo Hank from Barry as a Russian mailman named Derek Magicjohnson? Why not? Letterman in a tuxedo in the wilderness for a few minutes? Absolutely, could have lasted longer. Sterling K. Brown bounding onto the stage and selling the holy hell out the whole “my show won an award whooooops I’m just here to present” gag to a completely empty room and therefore zero bailout laughter? I respected it so much.

WINNER — Me

This was the most fun I’ve had watching an award show in… maybe ever. I don’t think there are a ton of lessons we can learn from it. I don’t think it’s something we can recreate in another year, without the very bad circumstances that made it a necessity. (At least I hope not, Jesus Christ.) I wonder how, or even if, we’ll remember it 10-15 years from now, if it will go down as a famous moment in history or just be a bonkers one-off, more of a footnote than a whole chapter. I don’t know any of that even a little, as this is all still just as strange for us at home as it was for the people there taking part in it. I do know that I liked it a lot, though. It was fun to watch everyone throw stuff out the window and against a wall and try to figure it out together. It’s more or less what we’re all doing right now, as a society.

.The Weird Emmys were a blast. Let’s never do it again.

Within minutes of the new WandaVision trailer making a surprise drop in the middle of Sunday night’s Emmy awards, Marvel fans began going wild with speculation that the Disney+ series would be a Marvel Cinematic Universe adaptation of the comic book storyline “House of M” — but with a twist. The fan fever was so strong that “House of M” started trending on social media, so here’s a quick breakdown for all of you non-nerds out there.

In “House of M” comic storyline, the full potential of Wanda Maximoff/Scarlet Witch’s powers are revealed as she alters the very fabric of reality itself following the “loss” of her two children. (They never really existed, but we won’t make this too complicated.) By the end of the storyline, reality is restored to its previous state before Wanda suffered a mental breakdown, but there are damaging consequences across the entire Marvel universe as mutants lose their powers and are no longer being born.

With the Disney+ series WandaVision (parts of which take place in the 1950s), the trailer appears to question what is real and what is not, which parallels the events of “House of M.” Plus, as Forbes notes, there’s a pretty significant Easter egg sitting right out in the open:

The House of M theory got a big boost after the trailer last night when a certain wine bottle got a surprising amount of screen time for an 80 second trailer. The name on the wine bottle, “Maison du Mepris,” translated from French means “House of Contempt” or some are saying…House of Misery. Literally “House of M.”

Of course, theories that “House of M” would factor into WandaVision have been kicking around ever since the show was announced over a year ago. But with this new trailer, fans are leaning hard into what implications a “House of M” adaptation might have for the MCU as a whole. While the comic book storyline saw the reduction of mutants, there’s a prevailing theory that WandaVision will essentially be “House of M” in reverse by creating a shift in reality that brings the X-Men into the MCU.

Of course, these are just fan theories for now, but as the Twitter user notes below, the MCU has a long history of playing very fast and loose with its adaptations of comic book story lines. Anything is possible.

WandaVision will premiere on Disney+ in December.

Succession creator Jesse Armstrong may have sent an “un-thank you” message to Donald Trump and Boris Johnson after winning Outstanding Drama at Sunday’s Emmys, but that wasn’t the most notable acceptance speech of the weekend.

That honor belongs to Dave Chappelle, whose comedy special Sticks and Stones won three awards, including Outstanding Variety Special (Pre-Recorded), during the Creative Arts Emmy virtual ceremonies. He beat fellow nominees John Mulaney and Tiffany Haddish, among others, despite Sticks and Stones being widely panned for taking “aim at everyone from queer and transgender activists and the #MeToo movement to critics of R. Kelly, Kevin Hart, and Louis C.K… He even mocks the men who accused Michael Jackson of child sex abuse in the HBO documentary Leaving Neverland, which he calls ‘gross’ and urges his audience not to watch,” according to Vox.

Chappelle (who never won an Emmy for Chappelle’s Show) took aim at his critics in his acceptance speech. In front of an audience, he sarcastically called the win a “complete surprise. I mean, I read all the reviews and they said so many terrible things. They were embarrassed for me; I had lost my way, it wasn’t even worth watching. I hope all you critics learn from this. This is a teachable moment. Shut the f*ck up forever.” Chappelle also ripped the Academy of Television Arts & Sciences for not giving Stan Lathan, who won Outstanding Directing for a Variety Special, a directing Emmy until now.

He said this:

“Stan Lathan has been directing television since 1968,” Chappelle continued in regards to the director of Sticks & Stones. “Any show I watched growing up, he directed it… And finally, you motherf*ckers finally gave him an Emmy tonight. He deserves so much more, but I’m glad you came around.”

You can watch the speech below.

(Via Complex)

Jackson State University made quite a splash late last week when reports emerged that they were hiring Pro Football Hall of Famer Deion Sanders to be their new head coach. While there was pushback officially on the Sanders news, that JSU seemed to want to keep a surprise, it was confirmed and on Monday he made his debut at the HBCU.

Sanders has been rumored to be eyeing an entrance into the college coaching ranks in recent years, with his name popping up in various coaching carousel rumors. Primetime has long been involved with youth and AAU football, including a coaching role at Under Armour’s High School All-America Game for years. Now, he’ll take over a Jackson State program that was a perennial SWAC contender for years under coach Rick Comegy, but since his departure in 2013 has struggled to reach the same level of success.

One thing is certain about Sanders’ impact as a head coach, and that is that he will bring plenty of attention to the Tigers program and should be capable of making a splash in recruiting. Primetime has never been one for keeping a low profile and his entrance on Monday to his introductory presser made clear that he’s bringing that swagger and flash with him to Jackson State.

Coach Prime, as he has quickly adopted as his new preferred name, explained why he wanted to join Jackson State and what he planned to bring to the Tigers.

It will be, if nothing else, fascinating to see what Sanders can do with the Jackson State program, as its profile has raised immensely just with this hire.

Good Joe Bell (which premiered this week at the Toronto International Film Festival) is Reinaldo Marcus Green’s followup to his fantastic 2018 debut feature length film, Monsters and Men. The thing the two films have in common is neither has that big cathartic moment, because in reality that sometimes never does come. Though, he does admit he’s tempted. GOing as far to have those scenes filmed, but resisting putting those in the final cut. And what he does here with Mark Wahlberg as the title character is pretty remarkable.

It’s an unusual pairing, which doesn’t seem lost on Green. His last film was inspired by the death of Eric Garner, and now he’s directing Wahlberg, an actor who has made four Peter Berg movies over the last seven years. But, as it turns out, it’s a pretty great pairing – with Wahlberg, in a true story about a father trying to raise awareness about bullying after his gay son commits suicide, giving maybe his best performance to date. But it’s Wahlberg who sought out Green, and Green tells us how that all went down. Also, he gives us an update on his next film,King Richard, which has Will Smith playing Richard Williams the father of Venus and Serena.

Mark Wahlberg is also a producer on this film. Did he hire you? How did that work?

So we were living in Italy and I had to fly from Italy to Boston to meet him. So I flew, I touched down, I had the meeting, and I flew back. And I didn’t know that that was the hiring process. But I met him and I sat down with Mark and we had an hour-long conversation. He had another day left on a movie with Pete Berg that he was shooting in Boston…

That could be any timeline over the last eight years, that he was finishing up a movie with Pete Berg.

[Laughs] I know. Whatever the last one he was doing in Boston.

I think that was Spencer Confidential?

That’s the one. And look, we hit it off. And by the end of it, Mark told his assistant, who was sitting far in the back somewhere, “Give him my number.” And I was like, “Wait, am I supposed to call Mark?” And then I remember just being pretty happy flying all the way back to Italy and thinking, “I might’ve just gotten this job, but what does that mean, and when do we start?” But that was the process. And then at that point, we started pretty much FaceTiming every day, talking about the script and what we wanted to do.

It’s fascinating that you two have come together on this. I kept thinking that while watching it. Did he just want to do something different?

Well, when I saw that he was attached, I thought it was a really interesting choice. I loved Mark as an actor and always thought that he was great in a lot of things that he’s done. He’s been able to be a crossover actor in many ways. And so I was fascinated already by the idea, and excited by it. And of course part of meeting Mark, as much as I was being interviewed and trying to get a job, was trying to see, is this real? Is he going to give the time and the passion towards this project? And I guess what I respected most about it is that we just talked about it like a film, making a great film. His work ethic is unbelievable. I had never seen that before. And it’s not that other people don’t work. I had just never had that much access to someone who works that hard.

It’s weird because he’s your boss, too, and you’re directing him. I mean, if he’s not happy…with Deepwater Horizon J.C. Chandor changed into Pete Berg pretty quickly. That would be in the back of my mind.

And I don’t know what it is. Maybe it’s where we come from. I never felt that with Mark. I grew up with guys like Mark and he makes you feel that way instantaneously. And so I think, yeah, absolutely. It was sort of in the back of my mind, like, I hope I could give Mark the platform to give the best performance of his career. I mean, that’s every director’s dream, right?

Right, but you might have done that.

And maybe he looked at me like, “Wait, this guy actually thinks he can do that.” I don’t know. Sometimes you’re giving off that energy, too. It is a really complicated role. It’s not easy. It doesn’t give you easy answers. Mark is tough, but he’s loving, and he’s got that vulnerability. I’m sure you’ve seen The Last Dance, but it’s like Michael Jordan was willing to take the shot, whether he missed it or not. He just wanted the ball. I just want the ball and I’m willing to take that shot.

This movie resists the big moment. Which is fitting since it’s about a father searching for something he never quite finds.

And maybe it’s my style. It’s my preference of how I like to see it. But yeah, we knew that, right? It is a true story, right? You put Mark in that role, a lot of people want to see Mark with his shirt off. There’s no room for that in this film. This is not what that movie’s about and I didn’t want to distract. Mark is someone that’s supposed to be the Joe Bells of the world, right? But then you’re seeing something that you’ve never seen of him before, right? So we’re constantly, I think, trying to subvert all of those expectations and surprise people as well.

And then, in the end, it’s this tragic tale anyway. But you’re waiting for that release and it doesn’t come. The big stirring moment…

And I’d be lying to you if I didn’t tell you we didn’t have it on the hard drive. I think it’s the scenes you shoot, and you realize that that’s not true to the story. It’s the scene that you have, and you realize that we can’t let Joe off the hook here. It’s important not to. That’s essentially what the movie’s about, right? But we have that scene. We have that release. In Monsters and Men I had that release, too, and I had to resist strongly not putting it in because I thought it would do the movie a disservice. And those are difficult decisions to make. It’s like, do you want to see him have that? And we’re conditioned sometimes to want that, and it’s really hard to not.

And I’d be remiss if I didn’t say Reid Miller’s amazing in this movie, too. I mean, my goodness.

A star is born. It’s rare you find someone that possesses the qualities of an actor of his age. But, also, he possessed the outward strength that Jadin had, but also the deep vulnerability that he needed to get to in the film. He just had so many elements that worked in his favor. And look, he’s such a sensitive kid and he’s a sweet young man. You can tell he was going through things of his own, as we all are, and those are the intangibles that … I can’t do that. I hopefully directed him and got a great performance, but he’s admitting things that are happening in his own life, and you feel that. And I think the camera’s capturing that.

Your next film is about Richard Williams, played by Will Smith, and his obviously very famous two daughters, Venus and Serena. Is that still on track? Is the pandemic affecting what that is going to be or when it’s coming out?

It’s back on track. So it comes out Thanksgiving 2021, and we are currently in prep and scheduled to return to shooting. So, we shot three weeks, so we have another, I think, six or seven weeks left to shoot and we start shooting at the end of October. It’s another heartbreaker. But I think it’s a really, really exciting story and one not a lot of people know. We know the Williams sisters, but we don’t know this story. And I think that’s what really excites me: is for us to really get to know the Williams family and what brought to the greatest athletes to our shore. It’s amazing. It’s a story behind two of the greatest athletes that ever walked the planet.

You can contact Mike Ryan directly on Twitter.

After demanding an apology from J. Cole and Kendrick Lamar on Twitter recently, Kanye West was met with an apology demand from one of his own rap heroes over the weekend — one he respects as fair play, considering how he was early in his career. In classic Kanye fashion, he did not, however, apologize.

Over the weekend, pastor and former Bad Boy rapper Mason Betha — aka Ma$e of Harlem World — called out Kanye’s recent rant about his contract situation with Universal. While Kanye used his Twitter tirade to frame himself as a Jon Snow making a valiant stand against the giants of the industry, Mase reminded him he’s more of a Don Quixote, tilting at windmills — and he’s hardly the first.

“Much of what you are feeling has been expressed before,” Mase wrote on Instagram. “But when I was saying it, the same system and mindset that you are fighting against today, used you to shame me for leaving the very same system!” Of course, Mase is referring here to Kanye’s line on 2010’s “Devil In a New Dress” referring to Mase’s decision to walk away from music to pursue ministry:

“Don’t leave while you’re hot, that’s how Mase screwed up.”

Now Mase says Kanye owes him a public apology, writing: “I know today you may see it very differently so… You owe me (and my family) a public apology and then some, if anyone owes you one.” For his part, Kanye acknowledges “Ma$e is right about that line,” admitting on Twitter “l always felt funny about that line … Ma$e is one of my favorite rappers and I based a lot of my flows off of him.”

However, Mase probably shouldn’t hold his breath waiting for that apology. Instead, Kanye gave another of his signature excuses and simply accepted that maybe he has some lyrical karma coming his way. “I’m the king of ‘ooh can I get away with this bars’ so I reap what I sow when the next generation does the same to me.”

Ironically, Kanye has been the target of similar criticism since his own (questionable) turn to religion in 2018, making headlines for alleging that contracts wouldn’t allow him to talk about Jesus (despite winning a Grammy for a song called “Jesus Walks” in which he says “They say you can talk about anything except for Jesus”), pushing his collaborators and employees to refrain from premarital sex, and spending $50 million on his Sunday Service concerts. And while Mase called out Sean Combs for the terms of his contract, Kanye may have more parallels to Puff than to any of the artists who claim Diddy stiffed them on their royalty checks.

So don’t be surprised if Big Sean or Kid Cudi or Travis Scott comes out swinging in 2030. According to Kanye, what goes around, comes around.

This fall, Weezer, Fall Out Boy, and Green Day were supposed to make ’90s and ’00s alternative rock fans’ dreams come true with the joint Hella Mega Tour. Naturally, like most other live entertainment events, that will not be going on as planned. Weezer and Fall Out Boy have made up for it in a small way, though, as the groups faced off against each other on Family Feud.

During one of the show’s characteristically leading questions, Weezer and Fall Out Boy (the latter of whom were joined by “This Ain’t A Scene, It’s An Arms Race” video star Seth Green) speculated who of their loved ones strippers in Hell would look like. The top answer, naturally, was “mother,” and others included “grandmother,” “ex,” “mother-in-law,” “wife/mate,” “dad,” and three people surveyed decided to respond “dog.”

Before that question kicked off, Pete Wentz and Rivers Cuomo shared a hug, with Wentz commenting, “I think that’s the first time we ever hugged.” With a laugh, Cuomo added, “Maybe the last time.”

The winnings went to charity, so Weezer played in support of Reverb, while Fall Out Boy played for the Fall Out Boy Fund, which may sound like a scheme for the group to line their own pockets but is actually a fund they launched in 2017 to give back to Chicago.

Watch clips from the episode above and below.

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

Week 2 in the NFL saw a number of high profile players suffer injuries that threaten to keep them out for a prolonged period of time and potentially end their seasons. The 49ers were hit particularly hard, with Nick Bosa suffering what the team fears is a torn ACL, Solomon Thomas and Raheem Mostert also suffering knee injuries, and Jimmy Garoppolo spraining his ankle.

Elsewhere in the league, Saquon Barkley also likely has a torn ACL in his right knee after going down on a first quarter carry for the Giants, Broncos starter Drew Lock is out for a few weeks with an AC joint sprain, and Panthers star running back Christian McCaffrey had to leave their loss to Tampa with an ankle injury of his own.

McCaffrey did not return to the game after scoring a second half touchdown, in which there didn’t appear to be much contact with his ankle that would’ve caused the injury — although it’s more than possible that he aggravated an earlier injury.

That there wasn’t a clear moment of the injury occurring due to force or a clear role added to concern for the severity of McCaffrey’s injury, and while we still have not heard an official diagnosis, Adam Schefter of ESPN reports the star back will miss “multiple weeks.”

It’s obviously a major blow for a Panthers team that does so much with McCaffrey and leans on him both as their lead rusher and a big part of their passing attack. At the same time, after an 0-2 start the goal has to be keeping him healthy for their long-term goals after giving him a big contract this offseason that put him atop the list of highest paid running backs.

Del Amo, California-bred, TDE-backed rapper Reason is back with a new track, just in time for his birthday. He celebrates turning 30 with “The Soul (Pt. 2),” a reflective track produced by Lonestarrmuzik and Bregma. As it sounds, “The Soul (Pt. 2)” is a followup to a previous single Reason dropped in 2018. The original “The Soul” was released in celebration of Reason’s signing to TDE; the newer one is an introspective recollection of Reason’s life since.

To recap; he re-released his album There You Have It in September 2018 to critical acclaim, then went on his first tour opening for new labelmate Jay Rock. He was one of the 100 or so artists invited to the Atlanta recording sessions for Dreamville’s Revenge Of The Dreamers III compilation, featuring on the standout track “LamboTruck” with Dreamville’s Los Angeles county representative Cozz (earning him his first platinum plaque), and toured with JID.

Earlier this year, he teased his second studio album under Top Dawg Entertainment, New Beginnings, and released the single “Might Not Make It” as part of Top Dawg’s Fan Appreciation week. Also this year, he released the singles “Trapped In,” “Pop Sh*t” with Ab-Soul, and “Field N****s.” After becoming one of the more prolific members of the South LA rap crew, Reason’s next project has built up a level of anticipation rivaling even TDE’s most well-known members.

Listen to Reason’s new single “The Soul (Pt. 2)” above.