All the iconic directors are crafting Netflix movies these days, and David Fincher is now joining them. Even more notably for cinephiles, he’s doing so with a 1930s Hollywood throwback to the days of Orson Welles, and when social critic/alcoholic screenwriter Herman J. “Mank” Mankiewicz scrambled to put the finishing touches (and his name) on the Citizen Kane screenplay. If Fincher’s prowess and Gary Oldman in the title role weren’t enough to get you onboard for Mank, then perhaps hearing that Trent Reznor and Atticus Ross are doing the musical honors will be the final enticement you need.
As if we weren’t already hungry enough for the filmgoing experience, right? Between the sounds and the sights (sumptuously rendered through flawless black-and-white visuals), those who love movies are in for a treat. The Gone Girl and The Social Network director is essentially bringing us his own Citizen Kane for the Internet crowd. It’s mind-boggling to consider in such meta-terms, so it’s probably best to simply enjoy the experience.
Along with the swaggery Oldman, the ensemble cast includes Amanda Seyfried as Hollywood siren Marion Davies and Lily Collins as burlesque queen Rita Alexander. Viewers will also enjoy performances by Arliss Howard, Tom Pelphrey, Sam Troughton, Ferdinand Kingsley, Tuppence Middleton, Tom Burke, and Charles Dance.
Aside from her ascending music career, Mxmtoon is also a popular social media personality. She has well over a million followers across various platforms, including Twitch, where she has about 119,000. Yesterday, she was part of a viral game streaming moment: Alexandria Ocasio-Cortez joined a number of big-time Twitch streamers (including Mxmtoon) for some rounds of the latest mega-popular game, Among Us.
Mxmtoon had one particularly impactful interaction with the representative, as she got killed (in-game, of course) by AOC early in one of the rounds. She was absolutely flabbergasted. She shared a clip of the moment on Twitter, which showed her character getting shot in the head by AOC’s. Once Mxmtoon realized what happened, she squealed in shock, exclaiming repeatedly, “AOC killed me!” As the other players in the game discussed the death, Mxmtoon had her hands over her mouth, was restless in her chair, and was otherwise blown away by the moment. She captioned her post, “today. i was killed by @AOC in among us within the first five minutes.”
On Monday, AOC tweeted, “Anyone want to play Among Us with me on Twitch to get out the vote? (I’ve never played but it looks like a lot of fun).” After joining Twitch and getting everything organized, AOC joined a group of internet personalities — including Pokimane, Gus Johnson, Myth, and Jacksepticeye — and streamed for about three-and-a-half hours last night. It was one of the biggest moments in Twitch history: It reached over 435,000 concurrent viewers, which appears to be the third most ever.
Watch an archived video of AOC’s full stream here, watch Mxmtoon’s full stream here, and check out some other highlights below.
Maybe it’s because I’m one of those cursed ’90s Kids who grew up during the Disney Renaissance (Beauty and the Beast, Aladdin, The Lion King), but I still get excited whenever Walt Disney Animation Studios releases a new movie. That excitement has let me down (the mid-2000s were a rough time for non-Pixar Disney animated movies), but the studio has been on a hot streak lately with Frozen, Zootopia, and Moana. But thankfully, it looks like Raya and the Last Dragon, the 59th Walt Disney Animation Studios feature that dates back to Snow White and the Seven Dwarfs, is more Wreck-It Ralph than Home on the Range.
Directed by Don Hall and Carlos López Estrada (who directed Blindspotting) and written by Qui Nguyen and Adele Lim (who wrote Crazy Rich Asians), Raya and the Last Dragon stars Kelly Marie Tran (The Last Jedi) as Raya, a lone warrior, and Awkwafina (Jumanji: The Next Level) as Sisu, the titular last dragon. The teaser trailer above has thrilling action, gorgeous animation, and adorable animals (I am already in love with Tuk Tuk). In other words, it’s a Disney movie, one that I am very excited to see.
Here’s the official plot synopsis:
Long ago, in the fantasy world of Kumandra, humans and dragons lived together in harmony. But when an evil force threatened the land, the dragons sacrificed themselves to save humanity. Now, 500 years later, that same evil has returned and it’s up to a lone warrior, Raya, to track down the legendary last dragon to restore the fractured land and its divided people. However, along her journey, she’ll learn that it’ll take more than a dragon to save the world—it’s going to take trust and teamwork as well.
Dolly Parton has a once-in-a-lifetime voice that can bring people to tears.
Just ask Stephen Colbert.
The “Jolene” singer was the special guest on Tuesday’s episode of The Late Show, where she discussed her new book, Songteller: My Life in Lyrics, and the songs that her mother used to sing to her. “Mama used to sing all those songs brought over from the old world. Mama was a good singer, too, and she would just sing a capella all the time,” Parton said. “So many of those songs were sad, and as I say, some of them just ‘plum pitiful.’ But there was a song she used to sing called ‘Bury Me Beneath the Willow.’ It was about a girl that was going to get married, and her boyfriend left her at the altar or whatever, so she died, of course, she killed herself, I suppose.” Cue the waterworks.
Parton must be used to people having an emotional breakdown during her songs, because she asked Colbert, “Are you crying?” but continued singing. “I’d better hush before you cry yourself to death and can’t finish your show,” she joked afterwards. “Like a lot of Americans, I’m under a lot of stress right now, Dolly,” Colbert said through tears of joy and sadness. “You got under my tripwire right there, I’ll tell you right there, that was pretty beautiful… Isn’t it funny that sometimes there’s nothing happier than crying?”
In 1983, T.D. Allman wrote a book called Miami: City Of The Future, which introduced the world to the saying “The Miami of today is the America of tomorrow.”
It’s a phrase that can be either hopeful or fearful, and documentarian Billy Corben, along with his producing partner Alfred Spellman, have essentially adopted it as their career mantra. Since 2001, the duo have documented “Florida f*ckery” through 13 documentaries, from Cocaine Cowboys to The U to 2018’s Screwball, all of which to varying degrees posit that South Florida is both a metaphor and a cautionary tale for America at large. Along the way they’ve essentially become, as I like to think of it, the Mark Twains of insane Floridiana.
In that sense, their latest, 537 Votes, premiering October 21st on HBO, is a culmination of sorts. It’s an examination of the peculiar and extremely Floridian circumstances that gave us first a contested presidential election in 2000 and eventually a dubious “victory” for George W. Bush — by the infamous factor of 537 votes. As Corben puts it, we’ve been “living in the epilogue” of that moment ever since.
“As we’ve chronicled South Florida over the years, ‘Miami of today is the America of tomorrow’ has rung true more often than not,” Spellman says. “537 Votes is probably the best encapsulation of that, because Miami of 2000 certainly looks like the America of 2020.”
And what did Miami of 2000 look like? It was place polarized by the Elián Gonzalez case, riven with internal conflicts, and ruled by a minority, in the form of the (largely rightwing) Cuban-American exile community. It was the scene of the infamous “Brooks Brothers Riot,” a Republican political stunt influencing a presidential election victory that was first called (mistakenly) by a Bush cousin at Fox News, legalized through a deciding vote by a justice appointed by Bush’s father (Clarence Thomas), and certified by Bush’s Florida campaign manager, Katherine Harris (in her capacity as Florida’s then Secretary of State). And how we got there is a story all its own, involving one young refugee, Cuban-American talk radio, a shady judicial power broker, and Miami’s then-on-the-rise Democratic star mayor Alex Penelas — whose failure to provide security allowed Republican operatives to own the streets, shouting and intimidating their way to a political victory.
The strength of Corben-Spellman films is their ability to mine all the ridiculousness that make Florida stories so irresistible for the rest of us, while also making the case that we should be paying attention to them as more than mere diversion. Florida at large, and Miami specifically, is so often the Ghost of America Future, rasping cryptic warnings about cronyism and demagoguery through garish fake tan and tacky dye job in a WWE-style spectacle.
Again, never is this more true than in 537 Votes, documenting a stolen election that gave us a Mariel Boatlift of hypotheticals: If Gore wins, do we get 9/11? Do we get the Iraq War? Do we go from massive budget surpluses to massive deficits? Do we get a financial crisis? Do we get ISIS and a European refugee crisis? Mass surveillance, Abu Ghraib, Trump… the list goes on. In every example you could at least make the case that the bad thing might not have happened if not for… (*shakes fist*) Florida!
“I think Miami is like this laboratory of humanity,” says Spellman. “You don’t think about Cincinnati or Phoenix. I’m always saying that — this shit would never happen in Cincinnati. But Miami just has this way of all the worst excesses and worst instincts of humanity revealing themselves here. Because we’re a border town, because we’re a place of such a transient population, people move in, they move out, it has kind of this rhythm where almost every 10 years it resets itself and it develops a new image, a new identity.”
“Most other American cities have some sort of indigenous industry,” Corben says, looking a bit like a cool professor with his glasses and shaggy hair, but sounding more like a less bellicose Jim Rome. “Like Motor City, every other city kind of had an identity built around a particular business or company or institution. Miami never had that. I mean, we sold sunshine. We said ‘Come here for vacation. Come here to play.’ So everybody who moved here to live here permanently has to find a hustle to survive. Everybody has always subsisted from hustle to hustle.”
If the Miami of today is the America of tomorrow, the obvious question that comes to mind is, uh… how do we avoid that? Especially since, with a president who lost the popular vote, a vacant seat on the Supreme Court, mass voter suppression efforts afoot, and the widespread fear that the courts might once again step in to decide an election, the 2020 parallel to 2000 is so head-slappingly obvious that it’s almost redundant to mention.
“Brad Blakeman, the Bush campaign operative, has his metaphor about the three-legged stool,” Corben says. “You had to win in the courts, you had to win in the canvassing board recount rooms, and you had to win on the streets. And Al Gore lacked that third leg, and thus his stool fell.” [I’m ignoring the intense poop and penis euphemisms in this statement, though it’s perhaps fitting in a discussion centered around Florida, America’s dong.]
“What does Rick Sanchez say in the movie? ‘While the Democrats were trying to do the right thing, the Republicans were figuring out how to win.’”
“Close elections can be stolen,” Corben goes on. “This fault line that has been dividing over the last 20 years really starts to break and split in 2000. Thinking that we could rely on these checks and balances and the Electoral College or the Supreme Court to say, ‘Well of course you have to count the ballots.’”
“What’s crazy about it is that not only did they stop the recount, but they threw away votes. Bush’s lead had narrowed to 154 by the time the US Supreme Court intervened, and then they said ‘Nah, f*ck it. Let’s throw away those votes that had been discovered in a partial recount.’ I think about Matthew Broderick in Election, when Tracy Flick wins by one vote. He takes the two ballots and he crumples them up in his hand and he just throws them in the trash. The Supreme Court of the United States basically did that in 2000.”
For the rest of us, we can only hope and pray and perform elaborate animal sacrifices that the impending election doesn’t come down to another inept mayor, naive Democrats, and a few shady election officials in South Florida. But for Billy Corben and Alfred Spellman, choosing to remain focused on Florida F*ckery has been the career gamble that paid off.
“Billy knew our third partner, Dave Cypkin, since they were three,” Alfred Spellman says. “They went to preschool together. Billy and I met in TV production class, and started making short films together in high school. We all kind of met back up in 2000 to make Raw Deal. So we’ve never really had real jobs. We had our first production company when we were 15. Our dads had to sign the paperwork.”
“We were the youngest filmmakers in Sundance history when we debuted Raw Deal: A Question of Consent,” Corben says. “We did like 60 interviews in five or six days, and the last question was always the same. Now that you’ve made a big splash at Sundance, are you going to move to New York or LA? And we just said, ‘No, we’re going to go home.’ We felt that Miami and Florida, Florida at large and Miami specifically, were just this under-tapped resource of characters and stories that we wanted to tell. We wanted Florida f*ckery to be our genre.”
As they say, be careful what you wish for.
‘537 Votes’ premieres on HBO October 21st. Vince Mancini is on Twitter. You can access his archive of reviews here.
For nearly two weeks, there have been daily protests in Nigeria over accusations of kidnapping, harassment, and extortion made against the Special Anti-Robbery Squad (SARS) police unit. Things got even more serious yesterday when demonstrators were reportedly shot by SARS officers. The situation has captured the attention of people abroad, including Beyonce, who shared a message about it.
Taking to her BeyGOOD Twitter account, she wrote, “I am heartbroken to see the senseless brutality taking place in Nigeria. There has to be an end to SARS. We have been working on partnerships with youth organizations to support those protesting for change. We are collaborating with coalitions to provide emergency healthcare, food and shelter. To our Nigerian sisters and brothers, we stand with you. Please visit Beyonce.com for a list of organizations to show your support.”
As Al Jazeera notes, SARS was established in 1984 as the country battled rising levels of crime and kidnappings. The unit was initially successful, but Fulani Kwajafa, who created the unit, recently said, “SARS of today is not the same SARS I established in 1984. [It has been] turned into banditry.” The new wave of protests was sparked after a viral video allegedly showed SARS officers killing a young man. Authorities denied the authenticity of the video and arrested the man who filmed it.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
It takes a lot of confidence to declare oneself a “legend.” It likely takes a lot more to say one is “running” any city, state, or other location with which one is affiliated. But it takes an abundance of talent, hard work, and longevity to stake a claim to both of those conditions at once and uphold a pretty reasonable argument. Fortunately for T.I., whose 11th studio album, The L.I.B.R.A. (The Legend Is Back Running Atlanta), he’s got not only the requisite confidence to employ such a lofty album, but he’s also got the track record to — mostly — justify it.
Before any T.I. stans take up arms on behalf of the 40-year-old Atlanta rap veteran/trap rap pioneer, here’s an explanation for that “mostly.” Far from intending any offense, that “mostly” is buttressed by a recent revolution in the musical style T.I. freely admits he had help in inventing. The current sound is far removed from the subgenre he, Gucci Mane, and (then-Young) Jeezy carved out of the Peach State’s rich red soil. It’s been reinvented, reinterpreted, remixed, and utterly upended by mad scientists like Future, Migos, and Young Thug, who’ve added melody, vocal experimentation, and a whole constellation of new star producers whose approaches are wildly different from those of DJ Toomp, Jazze Pha, and Lil Jon.
Yet, to his credit, T.I. has remarkably kept pace with the rapidly-changing landscape in a way he might sneer at New Yorkers and Los Angelenos for being (mostly) unable to. While up north city dwellers rail against the various metamorphoses of the Big Apple sound and West Coasters remain locked in a G-Funk haze, T.I. and his Dirty South compatriots have shepherded their newcomers, proving adaptable and generous in sharing their spotlight rather than desperately grasping onto their last vestiges of relevancy.
So yes, mostly. T.I. hasn’t had a No. 1 peak since 2008’s Paper Trail and while he’s been critically praised in recent years, his last handful of projects haven’t been as fervently received by younger fans who are more likely flock to his successors’ releases, as is so often the case in hip-hop. But he’s aged gracefully and more importantly, used his platform to bestow his blessing on future generations of potentially game-changing stars. While The L.I.B.R.A. seemingly boasts that it’s about T.I. coming back to reclaim his crown nearly a decade and a half after he declared himself King, it’s really about him choosing his successors and graciously passing them the torch.
As he did for then-relative newcomers Young Thug and Nipsey Hussle in 2014 with Paperwork, T.I. demonstrates his gift for recognizing talent here, vouching for budding stars like 42 Dugg and Mozzy with “On The Hood,” acknowledging the lyrical dexterity of the Griselda Clan by pairing Benny with Jadakiss on “Make Amends” and partnering with Conway on “1/2 Ticket,” and even doing his best to make up for giving the world Iggy Azalea by anointing Tokyo Jetz on “Hit Dogs Holla.” He also crowns current stars Lil Baby and 21 Savage, ensuring that their contributions over the past two years are recognized on “Pardon” and “Thank God,” respectively.
As for the “legend” part, T.I. utilizes the age-old adage about being known by your friends to his advantage here, bringing along marble-cast monuments like Jadakiss, Killer Mike, Rick Ross, and Snoop Dogg to accompany him on tracks that speak to his chameleonic ability to rap to damn near anything. He and Snoop are smooth old-school players on “Moon Juice,” while the luxury raps flow like silk on the Rick Ross-featuring “Respect The Code.” T.I. works to show off any many aspects of his personality as possible, including his outspoken — and occasionally misguided — political passions on “How I Feel” with Killer Mike, a song that harkens right back to the early-90s protest rap that had Republicans clutching their pearls.
But the most touching inclusions — and maybe the most significant, since every king needs an heir — are those of T.I.’s kids. On “Family Connect,” he and his son Domani finally collaborate on a song that explains the wait and makes it worth it. T.I. is fond of sharing wisdom with listeners, but with his son as a foil, his advice feels all the more urgent — and somehow, satisfying as well. “Learn to be the thermostat, not the thermometer,” he counsels. It’s not just solid guidance for a son, but for anyone listening — framing it as the former makes it more palatable and poignant.
Then, he cedes the final track to his daughter Deyjah, giving her the final say in their very public 2019 embarrassment over his ill-advised, ill-timed, and possibly misinterpreted joke about her doctor’s visits. “Deyjah’s Conclusion,” rather than rehashing the past or casting around for some pithy insight, instead reflects back the confidence 19 years of living with one of the biggest shit talkers on the planet must impart on someone: “I bet you were expecting to hear something different / Probably hoping I’d serve you some tea more specific to business of ours / But I’m just too gifted to be here on that bullshit you see / Evolution is key, and stagnation ain’t me.” Consider the future to be in excellent hands, indeed.
The L.I.B.R.A. is out now Grand Hustle. Get it here.
George Dickel/Four Roses/Noah’s Mill/iStock/Uproxx
Christopher Osburn has spent the past fifteen years in search of “the best” — or at least his very favorite — sips of whisk(e)y on earth. In the process, he’s enjoyed more whisk(e)y drams than his doctor would dare feel comfortable with, traveled to over 20 countries testing local spirits, and visited more than fifty distilleries around the globe.
When it comes to trending whiskey terms, “small batch” is an important phrase to know. Put simply, a bottle receives the “small batch” appellation when it’s made up of a limited number of barrels. The problem is, there are no set rules as to what exactly defines “limited.” Whereas “bottled in bond” is strictly governed, small batch whiskey is up to the distillery’s discretion.
Though that’s a pretty massive range, it’s safe to assume that a small batch whiskey is made in more limited quantities than a distillery’s more mainstream offerings. This often makes these expressions more sought after (and expensive). To help you explore the style, I’ve cracked open my tasting notebook and shared six of my favorite small batch whiskeys below.
Small Batch Select is made up of six of Four Roses’ 10 bourbon recipes, each painstakingly hand-selected by master distiller Brent Elliot. This blend of whiskeys is 104 proof, non-chill filtered, and available only in small batches. It’s a step up from the brand’s original Small Batch and is available all year long.
Tasting Notes:
This whiskey deserves a long nosing before your first sip. You’ll be met with subtle hints of cinnamon, dried cherries, and charred oak. The palate offers up sweet cream, brown sugar, toasted oak, and Christmas spices. The finish is long, warming, and filled with rich vanilla and a subtle kick of cinnamon spice.
Bottom Line:
This is not a mixing bourbon. Drop a single ice cube in your glass, pour the bourbon over it, sit back, and sip slowly while the world goes by.
When it comes to Tennessee whiskey, Jack Daniel’s is king. But if you’re looking for a change of pace, look no further than George Dickel. You can’t go wrong with any of Dickel’s whiskeys, but where the brand truly shines is with its George Dickel Barrel Select. Made using only ten barrels, all hand-selected by the master distiller, this high corn (84%) whiskey is aged between 10 and 12 years to give it a mellow, well-balanced flavor.
Tasting Notes:
To truly get the most out of this small batch whiskey, it needs to be nosed thoroughly. You’ll discover hints of charred oak, sweet cinnamon, and rich vanilla. The first sip is sweeter than you’d expect, due to its high corn content. On the palate, look for flavors of dried cherries, caramelized sugar, and cooking spices. The finish is long, warming, and filled with mellow caramel, and just a whiff of peppery spice.
Bottom Line:
This whiskey works well mixed into your favorite cocktail, but why would you want to waste it by mixing it with other flavors? It should be enjoyed neat or on a single rock to experience the nuanced notes.
Elijah Craig Small Batch is made with roughly 70 barrels, a relatively high number to be called small batch. Each is taken from the middle and upper floors of the barrelhouse.
Still, small batch bottles don’t get more classic than this one — as the expression has existed longer than the term itself.
Tasting Notes:
On the nose, you’ll find your nostrils filled with hints of charred oak, sweet cream, almonds, and subtle cinnamon spice. The first sip yields more toasted oak as well as rich vanilla, butterscotch, and mouth-watering caramel. The finish is medium in length, dry, warming, and ends with a pleasing warm kick of peppery spice.
Bottom Line:
While this is a great sipper, Elijah Craig Small Batch really shines in cocktails. Use it as a base for an old fashioned or Manhattan and you have the makings of a great evening.
One of the most well-known founding fathers of the bourbon industry, Colonel Edmund Haynes Taylor, Jr. was rewarded by having his name adorn one of the most south-after bottles of bourbon on the market. This small batch bourbon is made up of hand-selected barrels aged in the very warehouse built by E.H. Taylor, Jr., bottled in bond, and designed for slow sipping and nothing else.
Tasting Notes:
Take your time drawing in this bourbon before taking your first sip. You’ll be met with hints of sweet caramel, candied orange peel, vanilla cream, and just a hint of cinnamon. The first sip brings flavors of dried cherries, charred oak, cooking spices, and sweet cream. This extremely well-balanced, complex whiskey ends in a long, warming crescendo of subtle white peppery spice.
Bottom Line:
Doing anything other than sipping this bourbon neat or on the rocks is totally unacceptable.
Noah’s Mill is a bit of a mystery. Winner of multiple awards, it’s labeled under the Willett distillery portfolio, but the actual distillery where it was produced is unknown. What we do know is that it’s a small batch blend of bourbons between 4 and 20 years. While that might seem like a ridiculous range, it creates a unique, well-balanced, mellow bourbon perfectly suited for mixing or sipping.
Tasting Notes:
A unique whiskey like Noah’s Mill deserves a nice nosing (all of these picks do!). Right away, your senses will come alive with the aromas of dried fruits, spicy cinnamon, and almonds. The first sip brings forth charred oak, sweet cream, caramelized sugar, and subtle cooking spices. The finish is long, well-balanced, warming, and ends with a kick of cinnamon tempered with smooth, mellow caramel sweetness.
Bottom Line:
If you’re able to get your hands on a bottle of Noah’s Mill, you might not want to waste it by mixing it into cocktails. It makes a great old fashioned, but definitely save some for sipping over a single ice cube.
Booker’s, an unfiltered, uncut, rugged bourbon is the highest alcohol content whiskey in Jim Beam’s “Small Batch Collection.” It’s bottled at cask strength, but the actual alcohol content varies based on each batch. On top of the differing ABVs, the age changes based on each seasonal release.
Tasting Notes:
On the nose you’ll first notice a raw kick of alcohol and the musty, mysterious smell of the rickhouse itself. This is followed by charred oak, sweet vanilla, and warm cinnamon. The first sip drops hints of sweet corn, brown sugar, toasted caramel, and dried fruits. The finish is long and warming, but also filled with Christmas spices, sweet cream, and butterscotch.
Bottom Line:
Some drinkers might not be able to handle the high alcohol content and might want to water it down by adding it to a cocktail. But you really shouldn’t mix with this one. Sip it slowly over gradually melting ice on a chilly fall evening.
Three years removed from his last full-length project, Beach House 3, Ty Dolla Sign is preparing to release his third album, Featuring Ty Dolla Sign. The project has been in the works for well over a year, one fans began to anticipate after his “Purple Emoji” record with J. Cole. In the year since that single, Ty has blessed fans with a number of singles and guest features, some that found him working alongside Russ, Thundercat, Big Sean, SZA, Schoolboy Q, and more. Now, the West coast crooner is ready to deliver what he’s fans have spent a long time waiting for and with three days left until the arrival of Featuring Ty Dolla Sign, he returned to share the album’s loaded tracklist with fans.
Readying a whopping 25 tracks, Ty Dolla Sign calls on Kid Cudi, Post Malone, Thundercat, Anderson .Paak, Burna Boy, Big Sean, Roddy Ricch, Kehlani, Future, Young Thug, Gunna, 6LACK, and more for his third album. The tracklist reveal comes after Ty shared the album’s third single, “Be Yourself” with Jhene Aiko. The single joined “Expensive” with Nicki Minaj and “Ego Death” with Kanye West, FKA Twigs, and Skrillex as the first tastes of Ty’s upcoming third album.
You can check out the artwork and full tracklist below.
1. “Intro”
2. “Status”
3. “Temptations” Feat. Kid Cudi
4. “Serpentwithfeet Interlude”
5. “Spicy” Feat. Post Malone
6. “Track 6” Feat. Kanye West, Anderson .Paak, and Thundercat
7. “Freak” Feat. Quavo
8. “Double R” Feat. Lil Durk
9. “Expensive” Feat. Nicki Minaj
10. “Burna Boy Interlude”
11. “Tyrone 2021” Feat. Big Sean
12. “It’s Still Free TC”
13. “Real Life” Feat. Roddy Ricch and Mustard
14. “Nothing Like Your Eyes”
15, “By Yourself” Feat. Jhené Aiko and Mustard
16. “Universe” Feat. Kehlani
17. “Lift Me Up” Feat. Future and Young Thug
18. “Time Will Tell”
19. “Dr. Sebi”
20. “Powder Blue” Feat. Gunna
21. “Everywhere”
22. “Slow It Down”
23. “Your Turn” Feat. Musiq Soulchild, Tish Hyman, and 6LACK
24. “Return”
25. “Ego Death” Feat. Kanye West, FKA Twigs, and Skrillex
Featuring Ty Dolla Sign is out 10/23 via Atlantic. Get it here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The path to Dej Loaf’sSell Sole II album is one that first began back in 2019 when she made her return to Instagram and announced the album was on the way. The announcement came five years after the Detroit native unleashed its predecessor, Sell Sole back in 2014. The mixtape helped launch her career, one that produced projects like All Jokes Aside and F*ck A Friend Zone with Jacquees and well as countless other singles and guest appearances. Six years later, DeJ Loaf is ready to unleash Sell Sole II and just days before its release, she revealed its promising tracklist.
Presenting 16 tracks to fans, Sell Sole II presents guest appearances from Lil Uzi Vert, Rick Ross, Gunna, Conway The Machine, Benny The Butcher, Big Sean, 6LACK, Boldy James, 42 Dugg and Sada Baby. The album will arrive on October 23, just five months after she delivered her No Saint which boasted a set of strong tracks including the project’s title track. Taking to Instagram to celebrate the upcoming project, Dej shared her thoughts on Sell Sole 2 and how her career has progressed over the year.
Calling the upcoming release her “first album ever,” Dej said, “I’ve been blessed/and able to move around the world mainly from the support of the people and of course my first Mixtape #SELLSOLE!” She added, “Also my EP #AndSeeThatTheThing (6 songs) With songs like “hey there” “back up” “try me” “desire” Etc..and simply my ORIGINAL style alone kept me in this sh*t. Few years later,Few singles later “No Fear” “Liberated” Great records. Still no album! I took matters into my own hands because I wanted to give y’all more music!”
Dej concluded her message by explaining why she felt it was necessary to do a Sell Sole II effort. “I felt the need to do a #SellSoleII because that’s how I was feeling recording these records! Back to the root!” she said in the Instagram post’s caption.
You can view the Sell Sole II artwork above and its tracklist below.
01. “Bird Call 2”
02. “Queen”
03. “Cross That Line”
04. “Bubbly”
05. “IDK” Feat. Big Sean
06. “No Passes”
07. “Obvious”
08. “Choose”
09. “No Ceiling” Feat. Gunna
10. “Tap In” Feat. 42 Dugg & Sada Baby
11. “Open Hand” Feat. Rick Ross
12. “Get Money” Feat. Benny The Butcher, Conway The Machine & Boldy James
13. “Just Like Me”
14. “Simply” Feat. Lil Uzi Vert
15. “Back To My Ways Again”
16. “Up” Feat. 6LACK
Sell Sole 2 is out 10/23 via Yellow World and BMG Rights.
Lil Uzi Vert is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
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Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
