Metro’s response to “shut your ho ass up and make some drums” has gone viral on TikTok.
Metro Boomin’s “BBL Drizzy” diss beat directed at Drake has gone viral on TikTok and everyone is getting in on the fun by remixing it.
The producer responsible for the beat behind the track that kicked off the war between Drake and Kendrick Lamar, “Like That,” decided to join the sparring rappers by dropping his own sort of diss track with “BBL Drizzy” last week. The track samples comedian King Willonius’ AI-generated parody song of the same name, which Metro acknowledged in a tweet.
When the 30-year-old producer shared the beat on SoundCloud, he also made a proposal. “Best verse over this gets a free beat just upload your song and hashtag #bbldrizzybeatgiveaway,” he tweeted, later adding that the winner will also get $10,000 and a runner-up will get a beat. The song, which references Rick Ross’ nickname for the Toronto rapper, alludes to the allegation Drake got cosmetic surgery on his abs.
Following the release of the beat, it’s been blowing up on TikTok and other social media platforms thanks to its catchy nature and the litany of remixes coming through. We’ve got everything from rapped verses on the beat, to someone adding a saxophone solo to the instrumental.
Itâs hard to define âabsolute victoryâ in something as subjective as a rap battle, but landing a No. 1 single with a diss song has to be pretty close. With his monstrous Drake disses âEuphoriaâ and âNot Like Usâ doing historic streaming numbers, Kendrick Lamar will likely add the accomplishment to his accolades when the Billboard Hot 100 chart is updated next week. Outdoing Drake on his own turf would be a fitting punctuation for a contest thatâs seen Kendrick turn the Toronto rapperâs customary weapons of internet savvy, infectious hit-making and strategic release tactics against him. In repurposing Drizzyâs tools, Kendrick bested Drake at his own game; he beat Drake by being Drake.Â
Kendrick kicked things off by reimagining Drizzyâs famous quick-release barrage into an even more potent product. During the Meek Mill, Drake war of 2015, Drizzy dropped his first diss, âCharged Up,â only to spin the block and unload the far superior âBack to Backâ four days later. The move left Meek shell shocked. Kendrickâs variation began with âEuphoria,â a freeform Drizzy diss he dropped on an unceremonious Tuesday morning. Amid a flurry of quippy insults, Kendrick teased his subsequent back-to-back release. Riffing on Drakeâs timestamp series, he followed up with â6:16 in LA,â a pensive, yet stylish Friday morning drop that oscillates between warning shot and condescending advice. To be sure, the double-play was a moment. But it was also a Trojan Horse.
That same night, Drake fired what should have been a kill shot, âFamily Matters.â The shapeshifting diss track was an incisive barrage of quips aimed at The Weeknd, Rick Ross, Metro Boomin, ASAP Rocky and Kendrick himself. In it, he accuses K.Dot of physically abusing his wife. Itâs an accusation thatâs as weighty as it is unsubstantiated (for now), and the song itself quickly became a trending topic. But Kendrick quickly delivered a counterstrike with âMeet the Grahamsâ less than 40 minutes later. Laced with a grim Alchemist beat, the track captured even more attention with the claim that Drake had a hidden 11-year-old daughter. The move effectively swallowed Drakeâs momentum. It was a character decapitation via surprise attack â think Afro Samuraiâs dad getting his head lopped off with Justiceâs hidden third arm.Â
Pushing Drakeâs back-to-back strategy to even wilder extremes, Kendrick came back with âNot Like Us,â a bouncy, Mustard-produced bop that both expanded on the tactic and opened the door to another one: framing your diss track as a banger. Speaking to XXL in 2013, Drizzy described the virtue of creating a diss song that was also an inescapable hit, saying that itâs âmore painful than anythingâ for the loser. He did it to Common in 2012 with his verse on Rossâ âStay Schemin,â and, by 2015, he would also do it to Meek with âBack to Back.â You have to think heâs having a mean case of deja vu following the release of âNot Like Us.â Laced with West Coast bounce, indelible one-liners and an anthemic hook, âNot Like Usâ is an early contender for Song of the Summer, alongside the song that launched this beef, Future and Metroâs âLike That.â
Beyond the obvious club-ready elements, âNot Like Usâ also embodies the social media-centrism of modern times. Drake famously used his 2015 OVO Fest to post Meek Mill memes on-screen and get laughs from the audience. Kendrick is ostensibly extremely offline, but much of âNot Like Usâ feels designed for virality. The beat itself is fit for krumping, and Kendrick stretches his vocals to accentuate his one-liners in a way that makes them ideal TikTok and Twitter fodder. âTryna strike a chord and it’s probably A minor,â Kendrick raps, turning his elongated syllable into a wink. Itâs all a subtle way of repurposing Drakeâs time-tested songwriting tools. (That line is a cousin of a Drizzyâs lesbian pun from âEvery Girl.â) Substitute the âToosie Slideâ dance for Crip-walking TikToks. Drake had people in the club screaming about Twitter fingers; Kendrick will have them shouting pedophilia accusations.
Kendrickâs stratagems go beyond song construction, too. He usually dropped during Akademiks livestreams, with the presumed goal of being able to capture Akâs exaggerated looks of disappointment. The subsequent reactions go viral, which only fortifies the Kung-Fu Kenny hype machine. Kendrick also took off the copyright strikes from reaction videos so creators can make money. Itâs an indirect, altruistic form of profit-sharing and another way to beat Drake, who once gave away $1 million to random strangers during the âGodâs Planâ video.
This yearâs Grammyâs is set to take place on Sunday, Feb. 5, at 8 p.m. on CBS, and it will stream live and on-demand on Paramount+.
âCelebrating the miracle of music is at the core of everything we do at the Recording Academy and today we are proud and honored to celebrate musicâs power to lift people up and to bring them together,â said Harvey Mason Jr., CEO of The Recording Academy. âIâm energized by this yearâs slate of nominees and how each of them uses their craft to inspire us, and to remind us that music is our universal language. Each of these deserving nominees has helped provide the world with an incredible soundtrack and is a true testament to how vibrant our entire music community truly is.â
Below is a list of all the 27 fields and 91 categories for the Grammy Awards.
âGOD DIDââ Tarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled featuring Rick Ross, Lil Wayne, JAY-Z, John Legend & Fridayy)
âThe Heart Part 5â â Jake Kosich, Johnny Kosich, Kendrick Lamar & Matt Schaeffer, songwriters (Kendrick Lamar)
âJust Like Thatâ â Bonnie Raitt, songwriter (Bonnie Raitt)
âGOD DIDâ â Tarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled featuring Rick Ross, Lil Wayne, JAY-Z, John Legend & Fridayy)
âThe Heart Part 5â â Jake Kosich, Johnny Kosich, Kendrick Lamar, & Matt Schaeffer, songwriters (Kendrick Lamar)
âWAIT FOR Uâ â Tejiri Akpoghene, Floyd E. Bentley III, Jacob Canady, Isaac De Boni, Aubrey Graham, Israel Ayomide Fowobaje, Nayvadius Wilburn, Michael Mule, Oluwatoroti Oke & Temilade Openiyi, songwriters (Future featuring Drake & Tems)
Best Country Solo Performance
âHeartfirstâ â Kelsea Ballerini
âSomething in the Orangeâ â Zach Bryan
âIn His Armsâ â Miranda Lambert
âCircles Around This Townâ â Maren Morris
âLive Foreverâ â Willie Nelson
Best Jazz Vocal Album
The Evening : Live at APPARATUS â The Baylor Project
Linger Awhile â Samara Joy
Fade to Black â Carmen Lundy
Fifty â The Manhattan Transfer with The WDR Funkhausorchester
Jordan Peeleâs Nope is everything movie fans have come to expect from him.
The directorâs third feature film is over the top, odd in the best ways, terrifying, smart, original, and captivating, as well as perfectly cast. The film also follows the trend of Peeleâs mysterious films continuously summoning audiences to theaters in an era where Marvel, franchises, and reboots rule the box office.Nope opened with $44 million on its opening weekend, making it the best for an original film opening since Peeleâs Us, which made $71.1 million in April 2019.
The director knows that people are thirsty to be entertained, while others want to be stimulated. Thatâs why he made Nope a spectacle that is also injected with thoughtful commentary and symbolism that will feed the curious minds who love to dissect his films. Peeleâs casting choices are also one of his greatest strengths as a filmmaker and that was reinforced by having Daniel Kaluuya and Keke Palmer as his leads in his third directorial project.
The sci-fi thrillerâs storyline is about siblings OJ Haywood (Kaluuya) and Emerald Haywood (Palmer), who have been Hollywood horse trainers since they were children. The film picks up six months after their dadâs bizarre death and OJ is the one living and working full time at the ranch, while his sister pursues other paths like acting, directing, singing, producing, etc. OJ is the muscle behind the operation; he cares for the horses and the ranch, but he is too introverted and reserved for a Hollywood set. Emerald is the one with the charisma and the upbeat energy needed to work in showbiz. OJ looks to his sister for rescue when theyâre on set for a commercial at the start of the movie, and from the first time you see Palmer on the screen, all your focus shifts to her.
As the film progresses, we learn that there is an otherworldly object, or creature, living in a cloud above the ranch that may have caused their fatherâs death. Down on their luck and short on money, the Haywoods set out on a mission to capture the creature on video so that they could have the âOprah shotâ that could launch them into fame and wealth. There has been a connecting thread of societal commentary throughout Peeleâs films that he often leaves open to interpretation for the audience, and Nope was no exception. In this case, the film explores Hollywood and the film industry and how Black people have had âskin in the gameâ since the beginning of filmmaking.
The chilling horror moments in the film provide plenty of jump scares while also showing the great lengths people are willing to go to get that one viral moment that could change their lives because anyone in their right mind would pack a bag and leave. Nope also explores the trauma that child stars often live with through Ricky âJupeâ Parkâs (Steven Yeun) story, as well as the importance of siblingsâwho are oftentimes the people by your side when shit hits the fan regardless of your differences, which Emerald and OJ so perfectly represent here.
Both of the characters are so incredibly dissimilar, but so are Palmer and Kaluuya in their delivery as actors. Palmerâs character Emerald helps the tense film breathe a little easier. She adds levity, humor, and an authenticity thatâs difficult to portray if thatâs not something you already carry within. During a global press conference for the movie, Complex asked the actors what they learned from each other as professionals during filming, a question that gave them both pause. âI found it hard to show joy and be natural. And be extroverted and natural with it. Itâs a very hard balance to do. It is way harder than people realize,â Kaluuya said. âPeople look at drama and think (itâs difficult)âbut itâs kind of really simple. But in terms of being joyous and exuberant and then having a reality and a realness to it is very difficult, and Keke has that for free, naturally.â
He added: âSheâs just got it. That is what I was taking in a lot, the decisions she made, like, âOh, thatâs how you do that? Thatâs how you could do that? I didnât see it that way or think of that way, I never would have arrived at that.ââ
Emeraldâs humor is perfectly sprinkled throughout Nope, and at times you almost forget youâre watching a horror film. Palmer, alongside Brandon Perea (who plays an electronics store employee named Angel Torres and also delivered a standout performance), add the necessary comedy to make the story feel more realistic. Even in real life, sometimes we laugh to keep from crying. Both Emerald and Angel donât seem to take things as seriously as OJ does at first, so in the hectic moments where they do panic, the audience knows itâs for good reason. Palmer shines the brightest in the third act, though, going from the filmâs comedic relief to a full-on horror and then action starâadding even more excitement for all the roles she will inevitably land after Nope.
Palmerâs relaxed acting style is comparable to some of the most seasoned and respected actors out there. Sheâs genuine and raw and completely natural at what she does, which makes for the best acting. She may have decades of experience, but Nope is her best performance yet. Emerald is her vessel to let the world know what she is all about. Peele recognized that in her when they met, and he told Complex in an interview that he wrote the role specifically for the actress. She hits the full spectrum of human emotion throughout the filmâjoy, fear, sadness, confusion, resilience, etc.âand those last 15 or so minutes of the film undoubtedly belong to her. Palmer is a star, and an Oscar nomination in the Supporting Actress category seems appropriate here.
Palmer is also obviously not alone in her greatness. Kaluuya delivers yet another masterful performance as OJ, who is a quiet, focused man of few words, and whose priority is the ranch and its animals. In the filmâs most frightening moments, Kaluuyaâs character stays calm. OJ keeps his cool while managing to also show slight glimpses of fear, intimidation, heart, and determination as he dodges the creature in the sky. The actorâs poise in the roles weâve seen him in so far is what made him a star and an Oscar winner so early on in his career. Iâve referred to him as the Denzel Washington of our generation, but that doesnât seem like enough anymore. Peele referred to Kaluuya as being to him what Robert De Niro is to Martin Scorsese, which is the most fitting comparison, and my only hope is that there will be more collaborations between them down the line. READ MORE: https://www.complex.com/pop-culture/keke-palmer-nope-lead-roles/third-act
A man goes to therapy to fix his issues but he ends up getting addicted to the treatment. .Starring: Jay Prodigy, Cristiana Alvarez & Shahd Elkhier Written & Directed by: Semmi A Cole Director of Photography: Michael Jarrett
After showcasing our fierce 15 last year, Billboard runs the table back and presents this year’s Hip-Hop/R&B Artists to watch Class of 2021.
Last year, Billboard watched a bevy of rookies take a leap forward and graduate into stardom. Rod Wave, Jack Harlow, and Don Toliverâs chart dominance helped solidify their standing in the hip-hop game while R&B singer Kaash Paige exuded promise on her sizzling debut. Along with standout campaigns in 2020, the hip-hop community mourned the losses of Brooklynâs Pop Smoke and Chicagoâs King Von, as both stars were victims of gun violence. With 2021 currently in session, a new breed of neophytes looks to cause a stir. After showcasing our fierce 15 last year, Billboard runs the table back and presents this yearâs Hip-Hop/R&B Artists to watch Class of 2021. Check out our list below.
In 2020, Blxst rocketed to success when fans unwrapped his eight-track project No Love Lost. The Cali polymath doesnât shy away from messy topics, working through heartbreak and relationship woes with elastic ease. Fortunately, Blxst doesnât allow his losses to define him, as he proves to be a slithery Casanova on âWrong or Right,â âOverratedâ and âBe Alone.â His skill for hitmaking shines on the projectâs deluxe edition, as he recruits West Coast all-stars Dom Kennedy (âGot It Allâ) and Ty Dolla $ign and Tyga (âChosenâ) for his daily escapades. â CARL LAMARRE
Lil Babyâs My Turn was one of the biggest hip-hop releases of 2020, and featured 42 Dugg, the Detroit rapper with a sprightly flow and knack for riding beats, on a pair of tracks; one of those, âWe Paid,â became a top 10 hit on the Hot 100 and served as a mainstream breakthrough. After his mixtape Young & Turnt 2 demonstrated his leading-man appeal last year, 42 Dugg is looking ahead to a new project that will be jointly released through Yo Gottiâs CMG and Lil Babyâs 4PF. â JASON LIPSHUTZ
With the drill scene still commanding New Yorkâs attention, Staten Islandâs prized gem CJ barreled his way into the hip-hop mainstream with his explosive hit âWhoopty.â Moving into the top 20 on the Hot 100 this week, CJâs single not only earned him a partnership with Warner Records earlier this month, but a fistful of co-signs from previous New York greats Cardi B, 50 Cent, Busta Rhymes, and more. With a forthcoming EP executive produced by French Montana en route, expect CJ to bring a healthy balance of drill and melody. â C.L.
Justin Bieber featuring Chance the Rapper, âHolyâThe earnest, restrained âHolyâ doesnât exactly announce the arrival of Justin Bieber as a Christian pop star â heâs more doing devotional R&B, blending themes of loyalty and faith with those of romantic commitment. (For example, âI donât believe in nirvana, but the way that we love in the night gave me life, baby.â) These are lines that are already fuzzy in gospel and contemporary Christian music (CCM), but Bieberâs turn in this direction â amplified by a squeaky, nimble, praise-adjacent verse from Chance the Rapper â signifies both Bieberâs ongoing journey away from his tumultuous teen years and also the increasing visibility of spirituality in secular spaces. Did you have Justin Bieber-goes-Amy Grant on your 2020 bingo card?
Sam Smith, âDiamondsâ
Gloria Gaynorâs âI Will Survive,â morphing from ballad to club propulsion, has been a durable template for songs by resentful exes. The latest is Sam Smithâs âDiamonds,â a denunciation of a mercenary partner that starts as a lament but gradually takes on a 4/4 disco thump and busily scrubbing rhythm guitar. âYouâre never gonna hear my heart break,â they (Smithâs pronoun) declare, adding, âTake all the money you want from me.â But thereâs anguish in their voice, even as the beat pushes Smith toward freedom.
Blood Orange and Park Hye Jin, âCall Me (Freestyle)â
The pandemic has fostered the kind of web-surfing that leads to unexpected, long-distance collaborations. For âCall Me (Freestyle),â Devonte Hynes, a.k.a. Blood Orange, places his melody and lyrics atop the hazy, looping piano refrain and drum-machine beats of âCall Me,â a 2018 track by the South Korean singer, songwriter and producer Park Hye Jin. Her vocal in Korean, from the original track, chants, âDonât answer my phone. Itâs just a depressing story anyway.â Above her serenely melancholy piano, Hynes â sometimes harmonizing with himself â sings in quick triplets about bicycling late at night and poses questions: âHow do you feel?â âWhen was the last time that you cried?â Mood: suspended, isolated, wondering. READ MORE:https://www.nytimes.com/2020/09/18/arts/music/playlist-justin-bieber-chance-the-rapper.html
She has eight nominations Sunday night, a performance slot and the devotion of fiercely loyal fans. Whatâs behind this Lizzo momentum? Letâs discuss.
JON PARELES Lizzo enters this yearâs Grammy Awards with the most nominations â eight, including all four top categories. Nominations donât guarantee wins â ask India.Arie or Jay-Z â but Lizzo also has a prime-time slot as a performer, and she knows how to take over a screen.
Going big, of course, is Lizzoâs home turf and her brand. Sheâs a physical force, reveling in her body. Her musical skills are considerable: Singing, rapping, writing, playing flute and leading an ecstatic troupe onstage, sheâs a full-spectrum entertainer. Sheâs ubiquitous as a celebrity, online presence and self-appointed idol, an exemplar of unshakable self-love and punch-line-slinging, take-no-guff arrogance who started her 2016 EP, âCoconut Oil,â with a song that instructed, âWorship me!â (Her social-media posts mingle her own milestones with fans testifying about how she helped them accept themselves.)
And she turns up the volume, speed and energy. âCuz I Love You,â her long-in-the-making major-label debut album â Lizzoâs first indie album, âLizzobangers,â came out in 2013 â literally starts with a scream and rarely lets up from there.
CARYN GANZ Wins or no wins, this is Lizzoâs year at the Grammys, which isnât a shock because 2019 was Lizzoâs year everywhere: the charts (she earned her first No. 1 with âTruth Hurtsâ), the red carpet (did you catch her tiny Valentino bag?), so many presidential candidatesâ playlists (we see you are feeling âGood as Hell,â Pete Buttigieg!). It helped that her hallmarks â the emotional cheerleading, the fierce attitude, the big-tent sound â aligned so perfectly with the national mood distilled to its rawest form on social media, where people (young women in particular) are anxious, angry, craving humor and distraction, and tired of seeing perfectly posed influencers flogging tummy-slimming teas and pretending to be flawless. And the B-side to all that, of course, is Lizzo has the voice and stage presence to back everything up.
JON CARAMANICA In a year when the Grammys were looking to display an embrace of difference, a modicum of open-earedness, a sense that the show is taking place in the present day and not being hologrammed in from a decade or two earlier, it would have been difficult to invent a musician better suited to the situation than Lizzo.
Lizzo is indisputably modern â a singer and a rapper, a meme-ready (or meme-biting) songwriter, a hilariously present personality in every sense. And yet she is completely legible to the sorts of people who vote for Grammys: She prefers time-tested pop structures, she revisits the sweaty soul and disco energy of the 1970s, and sometimes even finds herself channeling some 1920s bawdiness. Or thereâs that one song that (lawyers stop reading here) rips off Bruno Mars ripping off everyone else, which is the type of thing Grammy voters love, because it reminds them of when they were relevant.
WESLEY MORRIS That, Jon C., I must say, is the only nagging element of âJuice.â It really is a Bruno Mars song. And Lizzo makes the approximation feel like a dare â anything Bruno can do, she can do with a flute. But thereâs more going on with the sweetest sugar of that song. The chorus also knows the real delight of CeCe Penistonâs âFinallyâ is the stanked-up âYa-ya-ee,â so it swipes that, too. âJuiceâ is a perfect pop song. All high. Even the deadpan bridge â âSomebody come get this manâ â is cleverer than it needs to be. (You guys, why is that not up for record or song instead of, or alongside, âTruth Hurtsâ?) SEE MORE ON THIS STORY:https://www.nytimes.com/2020/01/23/arts/music/lizzo-grammys.html
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