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Drake might be the biggest pop star on earth right now but he’s ultimately a student of hip-hop. Acts like Kanye West, Cam’ron, Jay-Z, and Lil Wayne have clearly been influential in his sounds, as he’s admitted in the past, as well as R&B artists like Aaliyah, Sade, and Usher. However, he’s a student of the rap game, first and foremost, and last night, he hit the ‘Gram to pay homage to a few artists that he might not credit as often as he should for influencing him.

“Spent my night listening to some of the greatest ever,” he wrote in the first of eight Instagram Story posts where he showed love to a few artists he’s worked with in the past and some that are on his bucket list of collaborators, apparently. Among them are Elzhi, Phonte, Dwele, Slum Village, MF Doom, The Roots, and Cody Chesnutt.

For those familiar with Drake’s ATF/October’s Very Own Blogspot days, the rapper has collaborated with several of these artists in his early career. Not only has Drake called Phonte one of his biggest influences but they also worked together on “Think Good Thoughts” alongside Elzhi. Dwele and Little Brothe also linked up with Drake on “Don’t You Have A Man.” He’s also sampled The Roots and Slum Village in some of his recent work as well. 

As for MF Doom, the rapper has previously paid homage to the masked MC in the past while sparking speculation of a collab in the works. Although that’s never been confirmed, Drake did rap over “Accordion” with Nickelus F back in the day.

Kanye West has never been shy to dete from the norm when it comes to his sneaker designs. Ever since his days with Nike, Kanye has been redefining what it means to create new silhouettes. With the Nike Air Yeezy 1 and 2, Kanye was able to create something new yet awfully familiar. Of course, both of these silhouettes came with immediate success which Ye was able to carry over to his partnership with Adidas. Back in 2015, Kanye made his Adidas debut with the Yeezy Boost 750 which became an instant hit amongst OG sneakerheads and hypebeasts alike. From there, Kanye would go on to give his take on the Roshe Run with the Yeezy Boost 350 V1. A few months later, the V2 came out in what would become a dominant three-year run that is still ongoing. 

In 2017, West was beginning to drop numerous colorways of the 350 V2 and fans were excited to see what his next silhouette would be. West ended up shocking fans by dropping a brand new model on his website for pre-order. This shoe just so happened to be the Adidas Yeezy Boost 700 “Wave Runner.” At first, fans were incredibly confused. As someone who spends a lot of time on sneakerhead Facebook groups, I know how polarizing this sneaker was to people. Various people claimed it looked like something their dad would wear to mow the lawn with. Others felt as though the design was akin to a bargain bin Walmart shoe. In hindsight, these reactions were quite overblown but at the time, they seemed pretty fair. The chunky midsole and wavy tooling on the upper were unlike anything we had ever seen before. Not to mention, the grey upper, teal details, and orange midsole highlights were seen as a little bit too ambitious. If you were to ask someone in August of 2017 what they thought about these, they would tell you they’re awful. Ask anyone now and they would say this might be the best Yeezy of all-time.

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Despite the initial criticism, the pre-sale sold out instantly and pairs were reselling for upwards of $1000 USD. Over the past few years, the price on the “Wave Runner” has come down significantly thanks to numerous restocks. The reason for these restocks is quite simple: people still go nuts for these. Not to mention, the shoe is responsible for ushering in the “dad shoe” trend. For those who don’t know, dad shoes are any type of sneaker that is chunky and bulky. It’s the type of shoe you would see your dad wear to the grocery store or even a marginally fancy restaurant. Perhaps the most infamous dad shoe is the Nike Air Monarch. Back in 2015, the Monarch was for dads and dads only. But once the Yeezy 700 “Wave Runner” came around, it became acceptable for people under the age of 40 to wear massive shoes. In fact, it led to the birth of various other chunky runners that are now considered staples of late 2010s sneaker culture.

2017 and 2018 were filled to the brim with various brands trying to capitalize on the chunky aesthetic. High fashion brands were especially guilty of this, particularly Balenciaga who rolled through with the Triple S. Much like the Yeezy 700, the Triple S has multi-material tooling on the upper as well as a bulky midsole. Sneakerheads still roll their eyes whenever they see these in the streets but there is no denying they are a product of the trend Kanye started. 

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But how did Kanye’s shoe start this trend to begin with? Well, it’s simple. When Kanye does something, other brands pay attention. No sneaker brand has been able to drum up as much hype over the last few years as Yeezy. When Kanye first went to Adidas, his shoes were limited and hard to come by. Resale prices were massive which forced sneakerheads to look elsewhere. Other brands paid attention to the hype around the 750 and 350 and tried to give their own takes on that design. When the 700 came around, the same thing happened. The “Wave Runner” was so limited that all of a sudden, there was a demand for chunky shoes. Eventually, awkward, dad-like shoes were seen almost everywhere. Outside of the sneakerhead community, general consumers began to take notice as these funny-looking runners increasingly started dominating store shelves.  

Some of the other big silhouettes that were spawned from this movement were the Puma Thunder Spectra, Gucci Appollo, Adidas Ozweego (2019), Adidas Yung-1, and even the Fila Disruptor, to name a few. Be honest? How many women have you seen wearing the all-white Fila Disruptor over the years? It’s a shoe that is almost as common as breathing. Even the Nike Monarch has seen a resurgence with high schoolers wearing the shoe as a means to fit in with the times. Now, you don’t even need to have a kid to look like a dad. All you need is some chunky runners and you’re good to go.

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All of the aforementioned silhouettes have seen a ton of success over the last few years. Because of this, sneaker brands continue to come through with chunkier shoes that tend to push the boundaries of what the general public considers to be acceptable footwear. Kanye himself has been trying to push the limits as well. His Yeezy 700 line continues to grow with the V2 being his chunkiest and most massive shoe yet. Thanks to the 700 V3, West is now trying to make futuristic dad shoes and as you can imagine, sneakerheads are eating it up.

It remains to be seen where this trend will go in the future. For now, it seems like chunky runners are here to stay. Meanwhile, the Yeezy 700 “Wave Runner” remains one of the best sneakers in Kanye’s Yeezy library. With a new decade upon us, we are certainly in for an interesting era. With this in mind, what kinds of shoes are you hoping for during the 2020s?

Til this day, Timbaland and Aaliyah are responsible for one of my favorite sounds in the history of mankind. The instrumental break during “Are You That Somebody” is one of, if not the best beat breakdown of all-time – followed closely thereafter by the one in Dr. Dre’s “Next Episode.” Timbaland and Aaliyah were lightning in a bottle. The rarest kind. Put sticky notes of their discography in a hat and pick one at random, they’re all a DJ’s cheat code – proven to get people on the dancefloor even if the most witless of disc jockeys is at the turntable’s helm. The era’s most influential producer and most influential R&B artist were a match made in heaven and along with Missy Elliot, they were innovators of modern R&B sound. All three possessed incredible creative frequency. Missy told Amazon Music in an interview: “I guess my mind is far out there. I don’t never really say I’m going to aim for something that is different, it’s just that’s the way I think.” With their far-out thinking, together, this trio helped usher R&B into the mainstream peeling back against tradition and delivering a treasure chest gigantic hits.   

Aaliyah & Missy Elliott at the 12th Annual Soul Train Music Awards, 1998 – Chris Walter/WireImage/Getty Images

Aaliyah’s story is a thing of pop culture folklore. In a short but remarkable existence, with the help of R. Kelly, Timbaland and Elliot, she created an unforgettable legacy. At the unripened age of 15-years old,  this phoenix scored the first top-10 hits of her career with the songs “Back & Forth” and “At Your Best (You Are Love)” from her debut album Age Aint Nothing but a Number, which was soon certified Platinum. Immediately the prodigy had an impact on the mainstream. At this time the norm was R&B groups like SWV along with Xscape. Aaliyah was the first teen solo act of the 90s to transcend. She precursors other acts to follow like Brandy and Monica. It’s unbelievable in hindsight that she didn’t gain substantial critical attention until just before her passing.  

Songs like “Are You That Somebody” and “One In A Million,” were true game-changers and defined an entire era of R&B. It was the sound ushered in by Timbaland, Aaliyah and Missy Elliot. A futuristic and innovative score with stylistic eccentricity, that was emulated by droves of producers and vocalists to come thereafter. The trio’s iconic springy baselines with electrifying synthesizers refined and reinvented the sound of 1990s urban music. Not only was the production before it’s time, so was Aaliyah’s voice. Artists for years after her death would try to duplicate her crisp mid-range delivery and delicate falsetto – not to mention the depth of soulfulness she occasionally tapped into. She went against the grain. Before she broke through R&B singers were all about power (i.e. Mariah Carey). Her subtlety and nuanced approach became popular and trendsetting. Look no further than Ciara for an example of how this peculiarity influenced a generation. 

As their resumes would suggest, both Missy and Timbaland have an uncanny ear for beautiful musical detion – neither is afraid of flirting with the boundary’s brink, pressing their heels right to the cliff’s edge. The duo with a brine history brought the best out of each other. Elliot spoke more on their relationship and her creative process later in the same Amazon Music interview, saying: “When I play something, he’ll most definitely be like ‘no, you should do it like this’ and that’s always been us. And he’ll play something and he’ll go through sounds and I’ll be like ‘oh that’s crazy’ or I’ll be like ‘that’s super wack.’ And vice versa. And you know I think we trust each other because we’ve been knowing each other since high school.”  

The singer’s star continued to ascend with the release of her third album, self-titled Aaliyah, which went certified double Platinum in the United States. These three albums are an emblem to her prestige and the impact of those works can still be felt today. Ty Dolla $ign told Billboard: “Aaliyah is one of my favorite artists, and One In A Million is one of my favorite albums ever. I can’t wait until there is another artist who is remotely close to the type of artist Aaliyah was, because I don’t think we’ve seen it yet.”

Canadian rapper/singer Drake said in an interview with Soul Culture, “Aaliyah has had probably the most impact on my career because when I made the choice to start singing … I needed someone to reference …  I just found comfort in all of Aaliyah’s music.” Drake used Aaliyah’s vocals on his single “Enough Said.” Her voice also appears on Chris Brown’s “Don’t Think They Know.” However, these posthumous collaborations came at the chagrin of Timbaland. The superproducer told the LA Times: “People always say, ‘I’m going to do a song with Aaliyah.’ It will never work,” he said. “Chris Brown got a record, it won’t work. Drake can go do a record with Aaliyah, it ain’t gonna work. ’Cause Aaliyah music only work with its soulmate, which is me.” Timbaland even admitted he fell in love with Aaliyah while they were working together. 

Aaliyah in NYC, 1995 – KMazur/WireImage/Getty Images

Timbaland has had a hand in aiding the careers of several prominent artists. He’s mentored the likes of Nelly Furtado and Tweet, gained credits on works for Beyonce, Justin Timberlake, and even Coldplay. But, arguably, nothing he’s done can quite compare to the groundbreaking records he created with Aaliyah. Along with her own insanely successful solo career, Missy found major success behind the scenes as well, working with Eve, Jennifer Hudson, Mary J. Blige, and Keisha Cole among many other artists she and her childhood friend co-produced together. 

We would love nothing more than to hear new Aaliyah records. But unlike in today’s musical ecosystem, Aaliyah was sparing with the release of music. In fact, she only recorded three albums in her lifetime. As a result of disputes between her estate and her former record label, Blackground Entertainment and Reservoir Media Management her final two albums are not available on streaming platforms which is an absolute shame. Her estate has considered the idea of repackaging her demos but there is yet to be any progress on that front.

Aaliyah’s legacy is defined by her originality. From the baggy clothes and oversized jerseys to the iconic crop tops to her choreography or vocals: she was always a step ahead. In a time where we maybe see a lack of bold imagination, it’s refreshing to reflect on her time with us and the impact it had on music. As a quote from her website reads: “I stay true to myself and my style, and I am always pushing myself to be aware of that and be original.”

Between her Instagram and Twitter activity, Chrissy Teigen is known for practically living on the Internet. Because of her extremely online presence, the former model-turned-TV-personality-turned-cookbook-author is well-versed in the ways of social media trolls, and can predict what they’re going to say about her posts before they say them. On this occasion, Chrissy got a step ahead of the curve when she posted a photo of herself posing among beautiful decor, wearing slippers, a towel wrapped around her head, and a robe that was slipping open a bit. Though the photo may appear to some as though she has been the victim of a wardrobe malfunction, Chrissy made sure to clarify the truth in the caption so that no misunderstandings would be had.

On the post, she wrote, “it’s not a nip. my nipples are unfortunately much lower.” Chrissy shared this hilarious personal detail knowing that her comments would be flooded with randoms claiming a nip slip had occurred otherwise. The caption had her followers laughing, and definitely succeeded in preventing unwanted declarations of a so-called nip slip. We may see Chrissy in the crowd at the upcoming Grammy Awards, cheering on her husband, John Legend, as he honours the late Prince with a tribute performance along with fellow artists Earth, Wind & Fire, Common, Usher, the Foo Fighters, H.E.R., Beck, Alicia Keys, Mavis Staples, St. Vincent, Coldplay’s Chris Martin, Juanes, Gary Clark Jr., and Susanna Hoffs.

Pop Smoke is currently one of the hottest new artists emerging out of New York right now. Helping usher in Brooklyn’s drill movement and bringing it to an international level, the rapper’s making strides and can very well be the next rapper from New York to have a major mainstream breakout. 

Like most newcomers, the self-proclamation of being the King Of New York has been thrown around but it seems that Pop’s declaration also came with smoke for another artist from the same borough. The rapper hit the ‘Gram with a teaser of a new song, rapping, “She love the way that I talk/ She know that Papi outside, she know I’m the King of New York.” 

“YALL OLD NIGGAS BETTER PACK IT UP?THIS AINT NO TRASHANOVA SHIT?NO SCARY L SHIT??‍♂️ YALL KNOW THE WOOS RUN THE CITY?YALL NIGGAS COULD NEVER BE ME,” he wrote on the post.

It’s unclear where this beef stems from or why Pop Smoke is taking aim at Casanova, if he is, but Pop wasn’t done with the clip. Taking to his IG story, he issued another message without dropping any names. “I see what a lot of you n***as is doin’, cuz. You think I don’t see it but I see you sucka n***as. Stop suckin’ dick, n***a. You heard?”

Peep both clips below. 

Two women were taken into custody on Wednesday on allegations that they attempted to fraud the Sandy Hook Promise Foundation. The organization was launched by family members who lost their loved ones during the tragic attack at Sandy Hook Elementary in December 2012. On that day, 20-year-old Adam Lanza entered the school and opened fire killing 26 people: 20 children and 6 adult staff members.

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The Sandy Hook Promise Foundation lists its mission as hoping “to  create a culture engaged in preventing shootings, violence, and other harmful acts in schools. Sandy Hook Promise is a moderate, above-the-politics organization that supports sensible program and policy solutions that address the “human side” of gun violence by preventing individuals from ever getting to the point of picking up a firearm to hurt themselves or others.”

According to ABC News, the foundation wanted to host a benefit concert in San Antonio, Texas, so the nonprofit contacted booking agents Nancy Jean and Carissa Scott of reportedly Canvas Media Group. The women stated that they were responsible for scheduling events for high-profile artists, so SHP agreed to use them to secure talent. 

Then, Jean and Scott penned contracts for the event: $500K for Justin Timberlake and $600K for Bruno Mars. With the latter also came a $300K down payment to secure the December 13, 2019 concert date. There were even talks of Drake, Flo Rida, Ed Sheeran, Usher, and Lady Gaga possibly being added to the bill, but what the foundation didn’t know was that the women weren’t in contact with any of the artists or their representatives. 

ABC News reports that as time drew closer for the concert to go down, investors were confused as to why none of the artists were listing the event on their social media pages. When they realized there was no publicity at all, they contacted authorities to make sure everything was legitimate. What the FBI found was that the women used half of the money to lease a Mercedes-Benz and made $1,200 worth of purchases at Saks Fifth Avenue.

Jean and Scott were arrested while they were making their way through the John F. Kennedy Airport on Wednesday. They were arrested on charges of fraud, but it’s unclear if other charges will be added at a later date..

The reddit board for The Sopranos is still going strong. If you didn’t know any better, you might assume that the show is still on air for all of the activity and debate. Certain debates never die— like the one about the final scene. Other debates fixate on the likability of characters or the ‘deservingness’ of certain deaths. These fictional characters are dissected as if they are historical figures and the effort that Sopranos scholars put into proving their correctness is often doctoral worthy.

A great number of the posts are simply admiration and appreciation. Watching the show to examine its craft is a very different exercise than watching it for enjoyment, but it’s an exercise that is duly rewarded. It was just a few weeks ago that someone pointed out how talented Michael Imperioli is for being able to do such a convincing job ‘acting badly’ as Christopher. I returned to the “Acting for Playwrights” scene and, sure enough, I was impressed anew at the incredible quality of the show. If you watch closely, you’ll always be rewarded.

Michael Imperioli and Drea De Matteo pose in ‘The Sopranos’ press image – Hulton Archive/Getty Images

It’s remarkable that twelve years after the finale aired audiences are still discussing the ins and outs of the series. This type of staying power in a world where shows come and go, hardly making a ripple, speaks to scale of the series’ achievement. The Sopranos wasn’t just a landmark in quality—it changed television’s stature in the media landscape. The way television pervades culture today is in large part due to what The Sopranos proved a TV series was capable of doing.

One of the most graspable changes in television culture is the vast amount of journalism produced on the subject. The Sopranos’ nationwide fandom proved that there existed the kind of interest and enthusiasm in a television series that could support what would eventually evolve into an entire industry of television journalists. The amount of TV coverage we’ve come to expect is a direct consequence of the Beatlemania-evel of obsession with The Sopranos: there is recap, opinion pieces, analysis, and even theory. The level of investment that audiences poured into a work of fiction was unprecedented and their consumption of journalistic coverage was greedy.

James Gandolfini shooting ‘The Sopranos’ on location, 2007 – Bobby Bank/WireImage/Getty Images

The same way that sports journalists specialize by following certain teams in-depth, culture journalists now watch television shows as part of their jobs. I was faced with an embarrassment of riches when I wanted to understand why Westworld was such a big deal (without watching it). There existed episode recap guides from virtually every entertainment hub. I had the luxury of picking the guide by the writer whose voice I liked most and then I got to enjoy the show in prose form until it bored me and I had the intrusive thought, “Not as good as The Sopranos.”

The Sopranos is an unfair bar, though. It struck a balance between commercial and high-brow that made it irresistible. On the commercial end there’s a steady diet of mob fare: murder, blackmail, violence, toxic masculinity. On the high-brow end, there’s the degradation of Tony’s integrity from questionable to unforgivable and complex moral questions every single character must grapple with. But under David Chase, even the commercial is not really commercial. After reading a number of Chase’s interviews, I don’t think it was out of a generosity of spirit or faith in audiences that guided him to create something heartier than your average mob story. He simply didn’t care if audiences didn’t get it or if execs thought it was too intellectualized.

HBO execs tried to talk David Chase out of having Tony murder someone in the season 1 episode “College.” Chase held his ground despite the huge fear that the episode would make Tony too ‘unlikeable’ and doom the series. “College” went on to become one of the most lauded episodes in the entire show. By not pandering to the audience, by not hewing blindly to tried and true formulas, the writers demonstrated that good storytelling trumps all else.   

It’s not just that The Sopranos has “something for everyone,” but that it converts you on the topics you may have believed you didn’t care about. Maybe you went into the series thinking that violence repelled you or that domestic squabbles were uninteresting. The series made you just as invested in Tony and Carmela’s marriage as in who’s talking to the FBI. You were invested in the status of Meadow’s soul. In Chrissy’s fate. It’s difficult to be indifferent to any of the characters because all of their problems are presented as equally important and rarely does anyone’s conflict feel like “B” story.

Jamie-Lynn Sigler and Edie Falco attend the ‘The Sopranos’ 20th Anniversary Panel Discussion – Mike Coppola/WireImage/Getty Images

The Sopranos has ushered in an era where television is such a force that is constitutes a pastime. Not only is it extremely normal to ask what shows someone watches, but is it a common practice to list shows amongst Interests in dating profiles. Think about how strange that is for a moment. Television shows have become part of our identities to such a degree that we include them in mini-biographies of ourselves. Alongside “fitness”, “trying new restaurants”, and “music”, you could easily find The Sopranos.

It’s a testament to the greatness of the show that people claim it as their favorite in an effort to showcase their tastes. Taste is something to be shown off and by declaring partiality to The Sopranos, it says something about one’s artistic inclinations. It speaks specifically to an affinity for a certain brand of dark humor and an appreciation of sophisticated storytelling. Shows with equal thoughtfulness are often considered alienating or “slow.” People criticize The Wire for being too indifferent to the natural attention span and effort that audiences are willing to put in to a new show.   

The Sopranos is definitely rewarding more quickly, but I believe the heart of its success can be summed up by something that a professor once explained to me. He said the difference between a commercial book and a literary book is that the commercial one gives the reader what she wants, whereas the literary one provides something that the reader did not realize she wanted. The Sopranos avoided falling into mob clichés and predictable plotlines by ignoring what focus groups might conclude and what audiences would claim to want. By disregarding whether or not a plot would ‘perform well’ in a viewership sense, writers could prioritize craft. What they created was something that surprised and captured an enormous audience and television writers have been striving to recreate the magic of The Sopranos ever since.  

Post-Goodfellas and The Godfather, the golden era of mafia stories seemed to be over. But The Sopranos reinvented the genre by modernizing and dimensionalizing it. The Sopranos fueled imaginations and demonstrated what television has the potential to be. It was challenging, provocative, moving, and unflaggingly entertaining.

Steven Van Zandt, James Gandolfini and Tony Sirico in ‘The Sopranos’ (Year 3 Still) – Hulton Archive/Getty Images

Every year we see a new artist break out. 2019 just so happened to be the breakout years of DaBaby and Megan Thee Stallion, who undoubtedly entered 2020 stronger than they did 2019. The year prior, Lil Baby and Gunna took the rap game by storm. However, this year is different — 2020 marks not only a new year but a new decade, and artists who emerge this year have the potential to define an entire era of music; no easy feat.

It’s hard to predict what trends might be set in this decade but presumably, TikTok will have a heavy hand in it considering its current influence in taking relatively unknown songs to the top of the charts. However, regional forces, paired with the power of tech, will still be thriving this year. An artist like Yung Baby Tate has been heavily buzzing in Atlanta and without a doubt will make a major mark on a national scale in the new year. With the rise of Brooklyn drill, specifically in the last few months, it’s safe to say that we’ll be hearing a lot more from artists like Fivio Foreign and Pop Smoke in the coming months.

As we enter a new year, we’ve made a list of artists that we’re genuinely excited to see grow and breakout in 2020.

Who are you excited for in 2020? Let us know in the comments.

Yung Baby Tate

Yung Baby Tate is a little bit of everything — she’s a singer, a rapper, producer, and overall creative force that’s bound to shift the culture. In the last five years since buzzing in the local Atlanta scene, she’s made national waves with the release of her 2019 album GIRLS and the deluxe version that followed months later. Ahead of its release, she was invited to Dreamville’s legendary Revenge Of The Dreamers III session, earning a placement on “Don’t Hit Me Right Now” alongside Bas, Cozz, Buddy and Guapdad 4000.

Entering 2020 with her first Grammy nomination, Yung Baby Tate has a promising year ahead of her. Paving her own lane as a rapper, producer, and singer, among other things, she’s readying to lead a new wave of ladies into the 2020s.

Sheff G

At a time when Brooklyn’s regional drill movement is beginning to reach national heights, Sheff G is finally beginning to get his rightful credit. Helping usher and define the Brooklyn drill sound in 2017 with “No Suburban,” he released his debut project, THE UNLUCCY LUCCY KID in 2019 and officially stampedhis name in the rich history of NYC’s hip-hop scene. Although it featured appearances were limited to Mozzy and Sleepy Hallow, Sheff G is slowly gearing up to bring his reality to the world through his music. It’s grim, it’s abrasive, but Sheff captures the raw reality of his neighborhood without compromising his roots in lyricism as a New York City native.

Lil Berete 

Atlanta defined rap this decade without a doubt but it would be incredibly unfair to downplay the contributions Toronto made as well. The Weeknd and Drake’s influence shifted hip-hop and R&B simultaneously while Tory Lanez was one of the most prolific songwriters of the decade. While these artists topped the charts, there’s a sea of raw talent bubbling in Toronto right now. Among them is Lil Berete who’s been making major strides outside of North America. Blending international sounds such as afrobeats, grime, and dancehall with Northern Trap, all while keeping his music personal and vulnerable, makes him an artist that encompasses a lot of aspects of Toronto– from the racial and economic disparity to cultural boundaries meshing together in one. 1 Way Out, his 2019 project, had him squaring off with artists from the UK and the States. His versatility is his strength but at 22-years-old, the Regent Park-bred rapper is surely becoming a voice for his own hood, and beyond.

Sleepy Hallow

Brooklyn Drill will  be the wave in 2020 so don’t be surprised about the amount of New York rappers on this list. Sleepy Hallow has been slowly rising the ranks alongside Sheff G. Only emerging about a year and some change ago, he’s gained a strong regional buzz within Brooklyn through tracks like “Panic Part 2” and his appearances on Sheff G’s The Unluccy Luccy Kid.

Formally introducing himself with DON’T SLEEP, Sleepy Hallow delivered a body of work that shows promise. The rawness in his music is vividly portrayed through his lyrics but at the same time, songs like “2 Fake” serve infectious hooks with grim undertones reflecting his environment. Alongside Sheff G, Sleepy Hallow is revving up for a big year ahead of himself.

Melii

Truthfully, it feels like Melii’s time should’ve arrived in 2019. The star potential has always been there, even as far back as her 2018 single, “Icey.” Although co-sign’s aren’t necessarily needed, artists like Meek Mill and Tory Lanez, the latter signed her to his label One Umbrella, saw early potential in her. With the year 2020 upon us, Melii’s already proven that she has the it factor to become a huge star in her own right. She recently announced that she’ll be taking a step back from music in 2020 but we’re only hoping she changes her mind. She has the looks, can rap, sing — in both English and Spanish, might I add — and has the ability to shapeshift from R&B singer to reggaeton artist and head back to her New York City roots as an MC. 

After releasing two projects in 2018, phAses and MOTIONS, Melii has undoubtedly proven to be a rare commodity in the music industry, especially as Latin urban music, hip-hop, and R&B continue to dictate and determine the sound of pop music.

Pop Smoke

As previously noted, Brooklyn Drill will be the biggest thing in hip-hop this year and Pop Smoke’s has a heavy hand in that. Needless to say, he will likely be the hottest thing in hip-hop in 2020, whether or not his career sustains — which it likely will. First getting a major co-sign by Pusha T, who’s manager, Steven Victor signed him to his label, Meet The Woo hit the streets at a perfect time when both Brooklyn Drill and UK Drill began moving past its notoriety into a mainstream light. “Welcome To The Party” officially ushered in a new era in East Coast hip-hop, especially in New York City and later received the official stamp of approval from Nicki Minaj and Skepta, both of whom remixed the track. 

Capping off 2019 with the release of his anticipated collab with Travis Scott, “GATTI,” Pop Smoke is currently working on his debut album which is set to drop this year. Although no release date’s been set yet, Pop Smoke’s on a journey to claim his stake in the rap game.

Rod Wave 

The lines between rapper and singer have been blurred in the past decade and Rod Wave walks a very thin line between the two. The St. Petersberg, Florida-bred artist bares his soul on every track, detailing pain as if it’s being inflicted on him and bellowing his sorrows as he wrestles his demons on wax. Through all of that, he became a beaming light to emerge from the South, honing elements of R&B, soul, and gospel over trap-infused production.

The release of PTSD and the Kevin Gates-executive produced Ghetto Gospel showcased what Rod Wave’s capable of doing. With elements of street and gospel fusing together, Rod Wave has proven that he’s a unique force.

Polo G

Drill has not died at all. While Brooklyn and London have co-opted the sound regionally, Chicago’s drill sound hasn’t phased out but evolved since its emergence with Chief Keef and Lil Durk. Polo G is one of the artists carrying the torch into the 2020s. Along with artists like Calboy and Lil Tjay, he’s ushering the new generation of rappers who are surely on their way to greatness. If you don’t believe me, look no further than his debut project, Die A Legend. Influences of G Herbo and Lil Durk can be heard throughout his music as details the pain and paranoia from growing up in a ruthless environment.

Polo G might be one project deep but we’d be foolish to think that he doesn’t have more in the arsenal. He’s an exceptional rapper with the ability to croon over Mustard production just as easily as he can freestyle on Funk Flex’s show.

Teejayx6

There are two things that are certain in 2020: Detroit’s having a musical renaissance and Scam Rap is officially on the rise. And the thing is, the rise in both coincide as is slowly becoming known as a hub for fraud. Among those leading this movement out the D is Teejayx6, the 19-year-old self-proclaimed scammer who’s delivering anthems and game on how to actually finesse on the Internet. In the span of a year, he gained prominence in Detroit as Scam Rap began to take off while dropping gems on the trade with sprinkles of humor throughout. “Swipe Lesson” is a prime example of this. Titled “Teejayx6 – Swipe Lesson (Official Music Video) *FREE MONEY & METHODS*” on YouTube, Teejayx6 doesn’t bother with a rhyme-scheme, instead, he provides the step-by-step process of scamming.

Teejayx6 might not end up being a chart-topping artist but he’s certainly paving his own lane, dropping gem on the trade of fraud like how Biggie did for the crack game. 

Sada Baby

Sada Baby surprisingly hasn’t blown yet but there’s something to be said about the fact that your favorite rapper probably has a few of his tracks on his playlist. Skuba Steve has already been dubbed one of the hottest artists in Detroit by a few people, including Danny Brown, but he also has music in the stash with Chris Brown and more. As he’s maintained a strong buzz in the past two years, and continued to flood the street with music, he has a cult following of sorts. 

Fresh off the release of his new project Brolik, Sada Baby kicked off 2020 on a solid note that seems like a strong indication of what he has in store this year.

Lil Tjay

Lil Tjay came into 2019 hot. Already racking up millions of clicks on Soundcloud, he emerged as one of the hottest newcomers in the game. A native of South Bronx, he’s a product of a sound that A Boogie Wit Da Hoodie helped spearhead regionally. His song “Brothers”  propelled his career into the limelight, as did his appearance on Polo G’s “Pop Out,” but his debut, True 2 Myself gave a glimpse at his promising future. He raps for the fellas, sings for the ladies and makes hits fitting for the radio. 2020 will usher in a new star in the hip-hop world. Although it’s too early to determine who it might be, Lil Tjay has a good shot at taking the throne.

Fivio Foreign

Another Brooklyn drill artist rising the ranks right now is Fivio Foreign. You may have seen the name pop up on your timeline a few times in the last few months. With the release of “Big Drip” making waves, his impact has already been seen. Axl, the producer behind “Big Drip,” explained to Complex that it was that song that apparently made Drake’s people reach out which resulted in the release of “War,” the song that many believed Drake bit Fivio’s flow on. Aside from potentially inspiring the biggest artist on the planet, he’s made major strides in recent times on his own accord. “Big Drip” received a remix with Tory Lanez (it’s since been removed from Soundcloud) and he’s worked with Rich The Kid on “Richer Than Ever.” As drill continues to dominate hip-hop nearly a decade after its introduction, Fivio Foreign is among the artists emerging from New York to keep an eye out for. 

Stunna 4 Vegas 

2019 was undoubtedly the year of DaBaby but he didn’t make strides across the world without Stunna 4 Vegas by his side. Signed to Billion Dollar Baby Ent., Stunna 4 Vegas has shadowed DaBaby during his reign in the music industry while releasing a steady output of quality music on his own. BIG 4x, Stunna’s Interscope debut, had him swapping bars alongside Lil Durk, Offset, Young Nudy, and more, even while he was only beginning to introduce himself to the world. 

Stunna 4 Vegas is certain for a big year ahead of him. Making appearances on Jimmy Fallon and booking slots at Rolling Loud, DaBaby’s fans are already familiar with Stunna 4 Vegas. Now, we wait for the rest of the world to catch on.

The last time Justin Bieber released a solo single or a studio album, Obama was still President, we all thought Jon Snow was dead, and Kobe Bryant was the star of the Los Angeles Laker (not LeBron James). Seems like ages ago, right? Needless to say, a lot has changed since then – one thing that hasn’t is the Biebs’ ability to serenade with the best of them. We’re lightyear’s away from the world that Bieber gave Purpose, his highly successful fourth project, yet out of the proverbial time capsule, he emerges ready to marvel fans once again with his vivacious vocals. 

Bieber attends the fight between KSI and Logan Paul at the Staples Center, November 2019 – Jayne Kamin-Oncea/Getty Images

Purpose amassed Bieber three no. 1 singles, propelling him in the most rarified of air. But that kind of altitude could rattle anyone – so albeit for a time, the starlet allowed the world of music to eclipse him. He vanished from the scene for a better part of the decade. Bieber’s hiatus is almost two years longer than Adele – who went missing for three and a half trips around the sun after the birth of her child. Upon returning, though, she would release her defining no. 1 single “Hello,” a gem from her recording-setting album 25. The project would go on to become the highest-selling debut of all-time.

Usher, Bieber’s mentor, took a hiatus of his own in 2001. This before releasing 8701, a legendary albumthat went on to sell almost 5 million copies in the United States alone and go 4-times platinum, Usher’s sabbatical spanned four years. So there is a playbook for Bieber to return and return with a vengeance. When addressing if he thought the time off would hurt his career, Usher told MTV, “I feel what’s meant for me will wait for me.”

So could the blue-eyed, heartthrob reengineer this type of success after a half-decade album drought?  

Since we’ve last seen Bieber, he’s gone through a very public breakup with Selena Gomez, beef with The Weeknd, canceled the final leg of his Purpose World Tour, and married Hailey Baldwin. He’s also tussled with his mental health and drug abuse. At length, he’s spoken about devotion to God and taking a stance against racism. Bieber has grown a great deal over the past half a decade, but before the song’s official release, many pondered how his sound would evolve. Furthermore, what would the now-married pop mogul have to say?

Bieber and his wife Hailey attend 2019 NHL Stanley Cup Playoffs between the Boston Bruins and the Toronto Maple Leafs – Omar Rawlings/Getty Images

In a December 24th Instagram video, Justin said, “As humans, we are imperfect. My past, my mistakes, all the things that I’ve been through, I believe that I’m right where I’m supposed to be and God has me right where he wants me. I feel like this is different than the previous albums just because of where I’m at in my life. I’m excited to perform it and to tour it. We all have different stories. I’m just excited to share mine.”

Bieber officially announced his new single “Yummy,” alongside the album’s trailerand hints of a tour to follow. If that wasn’t enough to sputter the hype vehicle, Justin released a trailer on New Year’s Eve announcing his 10-episode YouTube Originals documentary series.

This isn’t the teenage bubblegum version of Justin Bieber (not even close), and the miles traveled since his early success show resoundingly on “Yummy.” It’s a stark contrast to the Mickey-Mousery of older records like “One Time,” which he released in 2009 and was the antithesis of Bieber Mania.

“Your world is my world

And my fight is your fight

My breath is your breath

And your heart (is my heart)

You’re my one love

My one heart

My one life for sure

Let me tell you one time (girl I love, girl I love you)”

“Yummy” comparatively is a seductive and graphically descriptive sonnet to sexual innuendo. His delivery registers like a snake charmer’s hypnotizing command of sound, eventually making your shoulders bounce. The lyrics are pretty straightforward but few can bellow and belt on a number like the Beibs. There isn’t a whole lot of substance on the record but that’s not really what you sign up for pressing play on a Beiber track. He seems like he’s trying to fit his music into the box of current trends. Uninspiring but packaged to sell.

“Yeah, you got that yummy-yum

That yummy-yum, that yummy-yummy

Yeah, you got that yummy-yum

That yummy-yum, that yummy-yummy

Say the word, on my way

Yeah babe, yeah babe, yeah babe

Any night, any day

Say the word, on my way

Yeah babe, yeah babe, yeah babe

In the mornin’ or the late

Say the word, on my way”

The song is Produced by Kid Culture, Sasha Sirota, and frequent collaborator Jason “Poo Bear” Boyd. Other works produced by Poo Bear include 112’s “Peaches & Cream,” “Dance With Me,” Usher’s “Superstar,” Danity Kane’s “Sleep On It” and Mariah Carey‘s “The Distance.” The trio unite to engineer a sound that is four tablespoons airy chimes and bells, one cup reverberating baseline and a dash of high-hat sprinkled with a kick for flavor. Blended together and married to Beiber’s rich voice, the beat makes for a body-rocking, intoxicating delectable.   

“Yummy” is a flare gun, lighting up the sky but packing just enough flavorless punch to keep your attention. While it is pretty to look at, the song seems most effective in building hype for this long-awaited album. As Popcorn as “Yummy” appears, it has all the fixings of a commercial smash. Catchy, sexy, fun – the track is a satisfying appetizer for Beiber faithful who have likely grown with the singer and are ready for the accelerated explicitness of the lyrics. The instrumental sounds fluffy enough to grace a 10-year old’s, skating rink birthday party playlist with lyrics raunchy enough to be played in the strip club. In all, “Yummy,” loses its sweetness rather quickly.  Despite some moderate criticisms, the song tastes just good enough, and starved “beliebers” will gobble it up. 

Responding to a Forbesarticle, the Grammy award winner coined his new sound R&Beiber. 

The pop sensation has taken detours into country, EDM and even reggae with the likes of Billie Ellish and Ed Sheeran. But his roots will always be Pop and R&B. Since being discovered and mentored by Usher, who no doubt influenced his musical palette, style, and persona, the singer has flourished. Beiber once referred to himself and Usher as a “dynamic duo.” To denote this, days ago their collaboration “Somebody To Love” surpassed 100 million streams on Spotify. Usher’s influence can be heard in Beiber’s vocal delivery. The way he floats in and out of keys sometimes racing up to falsetto’s top floor before parachuting back down in an auspicious display of range and ocular command. Usher’s longterm vision for the singer has been in the works since the early 2010s. He said this about an adolescent Bieber even back then:

“I think he posses the confidence that you have to have as an artist. The talent that you [all] have yet to discover is what I notice more than anything. His ability to play guitar, play the drums, sing while playing the piano – these are all elements that speak to artistry. When you think of a long term story, you can’t just think about what you can do with a hit record, or what you can do with a great video – you have to think about an entire career.” 

Is this is the Justin Bieber Usher envisioned all those years ago? Is there still potential untapped or has the arguable King of R&B’s protege peaked only to now be on an inevitable and treacherously mediocre skid down the slope of success? Opposite what gravity feels like for the rest of us, a journey down the mountain is always harder than the climb for a fading star.  

The Hip-hop scene wrapped their arms around a young and budding Beiber as the 13-year-old initially traipsed from his rise to the pedestal of stardom, given his co-sign from Usher. Later, his 2013 album Journals had characteristics of R&B influence. An example of this comes on, “All That Matters” a swaggy and smooth single off the memento. As the singer has grown, he’s developed more and more of an edge; in and outside of the studio. In years past, Beiber has gotten features from the likes of Lil Wayne, Migos, and even Future who joined him on “What’s Hannin.” To boot, he’s appeared on a number Hip-Hop and R&B records himself – riding shotgun for tracks like Drake’s “One Dance” remix, DJ Khaled’s “I’m the One,” or the remix to “Foreign” from Trey Songz. The new album features Ty Dolla, Post Malone, and Kelani – so we’re sure the composition will exude an R&B, Hip-hop aroma. 

Bieber and Post Malone backstage at Coachella 2018 – Christopher Polk/Getty Images

Bieber’s new album and the tour will garner millions of “Beliebers” reciting his songs and consuming mountains of his content, inevitably. The project will probably produce massive commercial success. So far, “Yummy” is the album-catapulting single of the decade. I mean the decade is only four days old, but that counts for something, right? 

Upon its release, we deemed Griselda’s 50 Cent collaboration “City On The Map” to mark a major milestone in gangsta rap. A few days back, the trifecta of Westside Gunn, Benny The Butcher, and Conway hit the Shade 45 studios to field some questions, including a few about landing a feature from the Get Rich legend. Around the 16:40 mark, the host thanks Westside, Conway, and Benny for bringing “mixtape” 50 Cent back into the fold, busy man that he is and all.

Conway reveals that “City On The Map” was originally intended for his upcoming solo album. “I went to Detroit and I was sitting in the studio with Eminem and Paul,” he explains. “We were listening to it, just hype, you know? I was like I need 50 on that! Call 50! 50 got on that. We all thought it made sense for that to be on What Would Chinegun Do. It fit the rest of the album so perfect. That grimy, street, that feel. When we got the joint back and I heard it, I’m like yeaaah nah, 50 in his bag,” continues Conway. “Shout out to 50 for even doing that cause he ain’t have to do it. He got a whole bunch of other shit going on. I ain’t really hear him working with too many artists out there…That shit was big for us, just to have him getting on it and then bodying it.”

Westside Gunn issues a reminder, maintaining that “if you don’t bring your A-Game, you gon’ look real bad” on a Griselda record. “We did songs with a lot of legends,” he explains. “We bring the best out of everybody. If you not coming with it, if you on a song with Benny, you know how bad you going to sound? You don’t want them problems.” And let’s be honest — Westside hasn’t told a lie yet. 50 Cent’s verse was definitely a callback to simpler times, a reminder that he was once a murderous presence on the mic. 

As we recover from our New Year’s Eve celebrations, we’re left reflecting on the things and people that made 2019 so special. In addition to the welcoming of a new year, we’re also ringing in a fresh decade, beginning the 2020s and ushering in tons of exciting opportunities and possibilities. Knowing the history that Big Sean and Jhené Aiko share, it’s pretty obvious that they’ve each had a tremendous impact on the other’s life in the last ten years. The on-again-off-again couple is officially back on, leaving fans guessing for a couple of months, heightening rumors with the release of their collaborative “None Of Your Concern.” After New Year’s Eve, it’s pretty clear that they’re back together with The Blast reporting that Sean and Jhené are renewing their relationship.

The latest photo of the two musicians together shows them during their NYE party, rocking silky get-ups and acting goofy for the camera. Aiko shifts her mouth in a comical fashion and Sean semi-sticks out his tongue, embracing each other and serving once again as “relationship goals.” 

Neither Sean nor Jhene have confirmed that they’re officially back on. However, the couple has been notoriously secretive and unbothered throughout the year, choosing to let the gossipers do their jobs as they simply get on with their lives. Regardless of the nature of their bond, it’s just nice to see them on good terms.

There’s an inherent sense of intimidation that arises when a producer of Dr. Dre’s caliber sits behind the boards.  his reputation as a perfectionist is well documented. Known for honing in on everything from frequencies to cadential delivery, there’s nothing that eludes the Good Doctor’s storied ear. Not only is he a master in the art of arrangement, but he’s also one of the game’s most capable recording engineers. Drums hit harder. Haunting pianos sit comfortably in a mix. Space can be truly felt. 

Painstaking it may be for the underprepared, Dre’s borderline alchemical formula has worked wonders time and again. His name has been attached to countless hit singles, many of which stand as enduring classics. You’d be hard-pressed to find a hip-hop fan, casual or otherwise, who doesn’t hold at least one Dr. Dre production close to heart. And yet, despite ushering in several of the game’s biggest names — be it Snoop Dogg, Eminem, 50 Cent, or The Game– there’s a certain aura of elusiveness surrounding him. 

In reality, Dre has been prolific for over thirty years. Since first arriving on the scene in the late eighties, he has assembled a truly massive discography, working with no shortage of artists from the West Coast and a few notable East Coast emcees. With such a vast repertoire of tracks to his name, many of the more obscure cuts might remain under the radar to the younger fan. Now, on the first day of a brand new decade, it’s time to celebrate the lesser-known bangers. We’ve previously examined Dr. Dre’s most haunting beats. We’ve done his Death Row-era classics. It’s time for the deep dive. 

The following is in no particular order.

Kevin Winter/Getty Images

Hittman ft. Dr. Dre & Knoc-Turn’al – Bloww

When Dr. Dre first connected with Bronson rapper Hittman, the objective was to groom a rapper called “Lil Homie,” who was meant to act as the Doc’s sidekick on wax; Hitt confirmed as much when we spoke for our retrospective on 2001. The creative partnership proved fruitful beyond expectation, and Hitt ultimately landed on ten of the project’s tracks. Sadly, the dynamic ultimately faded, and Hittman’s anticipated Aftermath debut found itself shelved; the only officially released relics were a sample of “Last Dayz,” as seen in the “Forgot About Dre” video. Years later, Hitt would go on to release the project independently, with Dre handling four of the instrumentals. One of the highlights arrives courtesy of “Bloww,” a track that sounds like a holdover from the 2001 sessions. Patient basslines and somber pianos suggest the involvement of Elizondo and Storch, a spiritual successor to the elite 2001 duet “Big Egos.” 

LISTEN: Hittman ft. Dr. Dre & Knoc-Turn’al – Bloww

King T – Da’Kron

Though King T’s Thy Kingdom Come album ultimately fell victim to Dr. Dre’s fabled perfectionism, the 1998 album was eventually released in a staggered fashion. Laying seven of the project’s eighteen tracks, Dre’s fingerprints can be felt throughout, his musical instincts sitting somewhere between Dr. Dre Presents…Aftermath, The Firm, and 2001. An east-coast-inspired guitar lick pairs nicely with Dre’s crisp drum and bass, the perfect backdrop for the effortless T to administer flow on. In truth, it was hard to decide between “Da’Kron” and fellow album cut “Where’s T,” with the former gaining the edge through its subversion of Dre’s expected sound. Either way, it’s a shame the project was never given an official release, as a full-scale partnership between two West Coast legends would have been one for the books.

LISTEN: King T – Da’Kron

Royce Da 5’9″ – The Throne Is Mine

Airtight though his sound may be, there’s something refreshing about Dre on his underground tip. Evidently, one of his rawest cuts arrives courtesy of a young Royce Da 5’9″, who found himself invited to the 2001 recording sessions at Eminem’s behest. Though he ultimately secured a writing placement on “The Message,” one of Royce’s most interesting contributions to the cause was “The Throne Is Mine,” an unreleased song that found Dre exploring some unexpected sounds. “We got you surrounded, the Chronic 2000” raps Royce, over Dre’s deftly-plucked guitar arpeggio and ominous choirs. While the unmixed variant is all we’ve got, the low-fi vibe gives the track a welcome backpacker aesthetic, leaving us wondering his this one might have been worked into Dre’s sophomore classic.

LISTEN: Royce Da 5’9″ – The Throne Is Mine

Knoc-Turn’al – Str8 West Coast 

In the early millennium, Dre seemed ready and willing to set his sights on both Eminem and Knoc-Turn’al, two chief contributors to the 2001 recording sessions. Unfortunately, Knoc’s debut album Knoc’s Landing found itself plagued by piracy and shelved as a result; in response, the Long Beach rapper released an EP of the same name, which included a pair of Dr. Dre produced album leftovers (as well as a strange rock-inspired beat from a young Kanye West): “The Knoc” and “Str8 West Coast Remix.” And while the remix is badass in its own right, there’s something special about the Knoc-centric original, as he floats ghostlike over an elite Dre banger. Picking up where hard-hitting piano beats like “Ackrite” left off, Dre slowly introduces new instrumental elements into the fold; by the chorus hits, his signature ear for darkness is revealed through a subtle minor-key progression. 

LISTEN: Knoc-Turn’al – Str8 West Coast

Eve ft. Styles P – That’s What It Is

Though Eve would never release a full album on Aftermath, the Ruff Ryders first lady and the Doc laid down their fair share of excellent collaborations. And while Scorpion’s “Let Me Blow Ya Mind” is far from a deep cut, the album’s second Dre collaboration “That’s What It Is” marks an uncelebrated milestone in hip-hop history. Which is to say, one of two unions between The Lox, herein represented by Styles P, and Dr. Dre. Off the rip, “That’s What It Is” gains momentum through its no-nonsense opening bars, which finds Eve taking to Dre’s demented orchestra with head-nodding precision. Picking up where she left off is the unapologetically G’d up Styles, who opts for a drawn-out rhyme scheme lined with violent bars. Simple in a sense, yet effective, clinically mixed, and immediate in true Dre fashion.

LISTEN:Eve ft Styles P – That’s What It Is

George De Sota/Newsmakers/Getty Images

Warren G – Lookin’ At You

There’s no denying that Dr. Dre loves his smut. Aside from delivering hyper-sexualized solo material, Dre has always been a wingman to those within his circle. In 2001, Warren G dropped off The Return Of The Regulator, featuring a single beat from his stepbrother Dre. Naturally, “Lookin’ At You” was released as the lead single, driven by an instrumental that’s simultaneously dark and seductive at the same time. With an ever-so-menacing piano progression dominating the backdrop, Warren’s tale of courtship, seduction, and a sealed-deal is premium gentleman’s club material. Warren G cruises over the beat with confidence, spitting game in an understated fashion — especially compared to his bro’s more rambunctious approach to one-night-courtship. On that note…

LISTEN: Warren G – Lookin’ At You

Dr. Dre & DJ Quik – Put It On Me

Cut from the same cloth as the equally X-rated “Bad Intentions,” Dr. Dre’s first and only collaboration with DJ Quik arrived heavy on lyrical pornography. The musical equivalent to a late-night jaunt at a neon-drenched no-tell motel, “Put It On Me” once again found Dre laying down a dark piano-driven banger, enhanced by a melodic guitar arpeggio and slinking bassline. Speaking about the track’s creation, Knoc-Turn’al explained that he helped bring Dre and Quik together in the first place, revealing that Dre employed the songwriting responsibilities to him. “Dre was like don’t let this n***a rip me,” laughed Knoc. “Quik’s style is cold. It was a challenge for me to try and match his style. Try to match the same intensity and same cleverness that Quik has.” Luckily, everyone involved in the creation of “Put It On Me” delivered — it sounds exactly what a link-up between two West Coast legends should.

LISTEN: Dr. Dre & DJ Quik – Put It On Me

Raekwon ft. Lyfe Jennings – Catalina 

Is it fair to deem Raekwon’s masterpiece “Catalina,” drawn from 2009’s classic Only Built 4 Cuban Linx 2, a deep cut? In the sense that it often remains omitted from discourse surrounding Dre’s best work, it seems fair to highlight this cocaine-fuelled gem. For the first time since linking with The Firm in 1997, Dre found himself exploring motifs closer to Scarface than Boyz N The Hood, soundtracking full-blown mafioso rap in luxurious fashion. While previous classics like “Phone Tap” have long surpassed the Deep Cut status (many name it among Dre’s finest instrumentals), “Catalina” found Dre testing himself in an exciting fashion, lacing distinctive instrumentals for one of the best lyricists of all time in Raekwon. The end result is one of the most surprising beats in Dre’s career, a breath of fresh air, the equivalent to Tony Montana on a leather chair.

LISTEN: Raekwon – Catalina ft. “Lyff Jennings”

Christopher Polk/Getty Images

Mack 10 – Hate In Yo Eyes

Who would have guessed that a flip on the disco classic “Stayin’ Alive” would go so hard? That’s Dre’s vision at work, drawing inspiration from the most unexpected sources. Linking up with the Westside Connection OG Mack 10 for one of their rare collaborations (the other being Ras Kass’ “Ghetto Fabolous“), Dre laid the foundation with a twanging guitar loop, effective bass work, and eerie atmospheric transitions. Unsurprisingly, “Hate In Yo Eyes” served as the lead single for Bang Or Ball, because if you have a Dre beat, you release it to the public as quickly as possible. Arriving during an era in which Dre was in the midst of perfecting a new musical formula, this strange and hypnotizing instrumental marked a cool departure for the legendary producer. The Bee Gees would be proud.

LISTEN: Mack 10 – Hate In Yo Eyes

Busta Rhymes – Truck Volume

“Truck Volume” is the sonic equivalent to a haunted video game cartridge. Arriving in tandem with “Break Ya Neck” and the spooky “Holla,” Dre’s trilogy of beats for Busta Rhyme’s Genesis stand among his most intriguing work of the early millennium. There’s something medieval in essence about the eighth track on Busta’s low-key classic, a meticulous blend of synthesizers, organs, descending basslines. In other words, madness befitting of New York’s self-declared Goliath. More than anything, “Truck Volume” reveals the brilliance of Dre’s engineering; lesser hands might have fumbled such a layered and dynamic instrumental, yet the final result hits hard enough to earn its name. 

LISTEN: Busta Rhymes – Truck Volume

Scott Harrison/Getty Images

It's 2020! Last night, Post Malone performed at Dick Clark's New Year's Rockin' Eve extravaganza in New York City. The lineup for the event was eclectic, featuring performances from Sam Hunt, Paula Abdul, Ciara, Green Day, Dua Lipa, Megan Thee Stallion, Salt-N-Pepa, Sheryl Crow, Usher, the Jonas Brothers, and more. Post stood out though in his pink suit and cowboy boots as he gave the crowd spirited live renditions of "Congratulations" and "Circles."