OBK CHANNEL

Author: ONLY BLACK KID

  • He Can Do Both • Nephew Khalid Balances Club Hits Candid Confessions after the sun goes down

    He Can Do Both • Nephew Khalid Balances Club Hits Candid Confessions after the sun goes down

    Released on October 10, 2025, via RCA Records.

    In a world that demands conformity it takes a special kind of bravery to stand tall in your truth Nephew Khalid has done just that with his radiant fourth studio album after the sun goes down a 16-track declaration of self-acceptance exhaling years after holding his breath. This project isn’t just a collection of songs; it’s a luminous testament to his authenticity. 

    Through Khalid decision to openly embrace his identity, including his preference for dating boys😂, opposites attract demonboy he demonstrates remarkable strength and authenticity. Coming out is often described as a significant challenge, particularly when external pressures urge one to reveal their true self before feeling fully prepared. Yet, Khalid has navigated this moment with grace. This milestone transcends a single act of courage, it’s about, the ongoing journey. Khalid, like many, navigates authentic living in a challenging society. The true question isn’t “How to become a better man?” but “How to become one’s fullest self?”—a universal struggle. Khalid’s path reminds us that growth is personal, continuous, and profoundly human with his family’s enduring support.

    The album explores gay love with all its playful, messy, and romantic moments. Songs like in plain sight have danceable energy with lyrics that express being seen and feeling confident. The music and lyrical content create an experience for the dance floor or moments of reflection or cleaning if you not a dirty ass. 

    out of body co-produced by Darkchild is an exciting club track with b-side beats that make you want to hit the dancefloor. 

    The opener medicine sets a sultry tone with slinky basslines and whispered confessions: showcasing Khalid’s smooth vocals and layered harmonies that convey yearning and resilience.

    OBK

    The emotional depth of Khalid’s artistry shines in tracks such as please don’t call (333) a heart-wrenching ballad that captures the bittersweet struggle of setting boundaries after a bad-romance. Its delicate piano and Khalid’s quivering vocals deliver each plea with soul-baring honesty, lingering as a quiet ache in the listener’s heart. On the other hand rendezvous is a charming upbeat gem that radiates playful allure. Its lively rhythm and coy lyrics paint a vivid picture of stolen glances and late-night moments that spark a flutter of excitement.

    Merging soul-stirring vulnerability with vibrant charm, crafting a listening experience that captures the heart’s quiet pain and playful energy with striking clarity and depth his vocal versatility and lyrical precision shine, though the polished production occasionally overshadows his raw intimacy, balancing accessibility with authenticity.

    With after the sun goes down, Khalid delivers a bold, tender, and timely evolution of pop—one that embraces queerness not as subtext but as central truth. In a genre polished to perfection, his emotional honesty cuts through, even when slick production sometimes smooths over the rawest edges. The album doesn’t try to be a spectacle or make a political statement—it just exists, calmly and confidently, in its truth. That quiet normalcy is revolutionary in itself. It tells listeners, especially baguette  ones, that love, longing, and self-discovery deserve space in the mainstream without needing to be justified. Still, this album pulses with life, offering a deeply personal yet universally resonant journey of love, loss, and self-discovery. For its fearless storytelling, vocal finesse, and cultural significance, after the sun goes down scores [8.6].

    Blending infectious pop, ’80s-inspired grooves, and pulse-pounding dance beats, Khalid turns his personal story into songs about love, heartbreak, and liberation that grab you and don’t let go — a luminous milestone in Khalid’s career and a quietly groundbreaking moment in modern pop.

  • Ranking Top-7 Lines From Curren$y’s 8/30

    Ranking Top-7 Lines From Curren$y’s 8/30

    One time for the Aries. EASTSIDE!

    For a nigga signed to Cash Money I can not remember them days nor records and I feel like I been the biggest blood since Cash Money took over around 99-2000. 

    How does this nigga Curren$y have so much music out. JETLIFE!? Hell is that. Saw it on a couple jackets once in my life. Long story short: you can answer that for me. 

    While the bangers stick out it’s Curren$y airlines” schtick on this album that are hilarious and bring energy to the production.

    Here are seven of the best lines from Curren$y latest project. (Non-ranking)

    Rich Uncle Intro (song) #WHOLETHANG

    1. “Full-time job not to kill ’em, somebody else’ll get ’em

    I tried to help some niggas, but I’ma be selfish with it

    That’s more healthier, n***a, that’s self-care, my n***a

    Generational wealth”

    Song- Combination

    2. “Minimize the problems, maximize the money

    I hoped out my Impala, hit switches, makе it sit funny

    Leanin’ to the side, stylе wild drunk monkey
    Gorillas in the mist, and the YNs hungry

    They pull up and get some change and a whole lot more game from me”

    Song- Blog Air (feat. Wiz Khalifa)

    3. “I never conspired with liars, I had me a younger Mariah

    And she was just takin’ me higher, keepin’ my pocket and mind right

    She even told me keep it P, and she never wanted the limelight

    She told me she watchin’ TV, ’cause she know that’s where she’ll find Mike”

    Song- Kush Clouds (feat. Killer Miker)

    4. “It’s been parked up for a month, we can’t find the joints

    I’m finna fire up a joint as I score more points

    Stackin’ up these golden coins, Jet Life I’m enjoyin’

    Errybody can’t go, sucka niggas can’t join

    Song- Saratoga Races

    5. “You better go find a hustle. Rinse and repeat.”

    Song- Store Owners (feat. LES)

    6. Not talking to nobody just enjoying the feeling 

    I’m silent but I’m plotting on dividing a million 

    With my nigga on his 1’s[?] I think I know where to get it

    Song- Due Diligence

    7. “Ganja in a chalice, reclinin’ on fabrics

    Smokin’, anticipatin’ the next challenge

    They went with there’s, we got right back at ’em”

    Song- Vision Board

  • ALBUM REVIEW: MGK lost americana

    ALBUM REVIEW: MGK lost americana


    Well This Is Easy To Write

    M G K.

    Yo, what’s good? Welcome back to the page! It’s your boy OnlyBlackKid and today, we’re diving into something big— The Artist formerly known as Machine Gun Kelly brand-new album, lost americana, which dropped on August 8, 2025. I’ve been hyped to check this out, from Bob Dylan narrating the trailer to MGK’s whole genre-bending vibe.

    If you’re an MGK fan, a pop-punk lover, or just curious, stick around, hit that subscribe button, and let’s get into it! Oh, and drop a comment if you’ve already heard the album—what’s your take? Let’s go!”

    lost americana totes no guest features, which is fire and a first for him, and it’s super personal as think rehab, his breakup with Megan Fox, and all the chaos of 2024. His seventh album and IAM not looking for the bars out the intro.

    Hard to hear what he is saying in the chorus • Is that not what rock is. • OBK on lost americana’s ‘outlaw overture.’ 

    First up, ‘outlaw overture’ hits like a lightning bolt right out the gate. It starts with these synths that give off major ‘80s new-wave vibes, then it flips into this raw, widescreen rock anthem and MGK’s screaming about addiction and breaking free. The lyrics? Whew, heavy. He says, “I miss my drugs, they’ve been my friends since 21”— that hit me in the chest. It’s like he’s laying it all bare. The beat switch in the middle threw me off at first, but it’s bold. For a tad second I thought I had already reached a new track and MGK makes music for your workday. I’m feeling this as an opener —sets the tone for the chaos.

    More checks than Blanks on track by track hot or nah so that makes it Shai-Gild from the field and note none of your favorite players could stop heem 2024-2025 season.

    Still: Angry/Happy & full of vulgar. What has changed in MGK music other than his vocal presence. Not Much

    Forced pop; no way that is wat “vampire diaries.”

    What Lost Americana lacks in Macys fitting room it garners in Rainbow TEST. 

    Their / there RAP on the album and I will get to it. 

    1. ‘indigo’ full breakdown

    Mood – EMO                    

    Punches 20 percent vs 80 percent Wordplay

    Beat = 100 can hear every word

    Cool; Somber chaos to prove that alternative feel. That’s a sample #HelpABroOut

    2. ‘tell me whats up’ piviotal moment to tell somebody to LACE THE FUCK UP. It’s raw, and MGK’s flow is on point. It brings back his hip-hop roots, and it’s confessional—like he’s spitting his truth about his struggles

    The back half of the album—‘Can’t Stay Here,’ ‘Treading Water,’ and ‘Orpheus’—oh man, this is where it gets heavy. ‘Treading Water’ is MGK at his most honest, talking about his breakup with Fox and their daughter. Lines like ‘I broke this home, and just like my father, I’ll die alone’ had me shook. These tracks are like a gut punch, especially if you’ve follow his story. The acoustic vibes and raw emotion make this the strongest part of the album for me.

    SPOTLIGHT

    ‘Cliché,’ the lead single. [smirks] Okay, MGK knew what he was doing naming it that. It’s straight-up pop, like Backstreet Boys meets modern pop-country. It’s catchy, got that summer anthem feel. To accompany It’s fun, the music video with all the Route 66, muscle cars, and denim vibes screams Americana. But is it deep? Nah, it’s just a vibe. I can see it on the radio, though—already hit Billboard Hot 100

    Let’s get to ‘Miss Sunshine.’ Okay, this one’s got that southern-rock swagger, almost like AC/DC meets Sugar Ray [,]. It’s super nostalgic, lifting from ‘You Shook Me All Night Long’ in the chorus, which is bold. I was vibing, cruising with the windows down energy,. I get that—it’s like MGK’s trying to capture this carefree youth he never had.

    Conclusion

    What’s fascinating is how personal this album is. MGK’s talking about rehab, his public breakup, and chasing this idea of the American dream. The Bob Dylan cosign adds this wild layer of legitimacy—like, how did that even happen? But it fits, because MGK’s trying to reimagine what freedom and reinvention mean, just like Dylan did back in the day.

    It’s chaotic, it’s honest, and it’s got something for everyone

    U Know my motto if I can write a letter to the book I’m wit it. MGK is his age and whatever that means. If he does not have perfect line it is the next one or the one after. ‘Starman’ proves that.  

    Turn on notifications, and let’s keep the convo going. Until next time, keep vibing, keep dreaming, and I’ll catch y’all in the next post. 

    Deuces

    Honorable Mentions

    ‘don’t wait run fast’

  • OBK REACTS: Better Days Shows a Band Aging with Intention, Not Apology

    OBK REACTS: Better Days Shows a Band Aging with Intention, Not Apology

    Released on October 10, 2025, via Better Noise Music.

    Avril Lavigne comes and goes wthelly was that a feature or a sample Ryan Key makes you hit repeat to linger longer savoring the song as intended. Yellowcard, with their chests puffed out after years of silence, returns with their eleventh LP Better Days sounding more alive than ever. Don’t call it a comeback—but it kind of is. Get Top on the phone; this one deserves a push.

    Don’t say those days are over. Ryan Key, Sean Mackin, Josh Portman, and Ryan Mendez have something left to prove, delivering a record that bridges generations. It’s grown-up angst—matured but still kicking—hitting the emotional frequency that once lived on Windows Media Player visualizer.

    Time moves fast, and you hear those years in every corner of this record. Yellowcard, the band that soundtracked skate-park summers and late-night heartbreaks, has grown up without going quiet. Better Days blends the urgency of youth with the clarity of age. It’s melodic, emotional, and steeped in pop-punk DNA that refuses to fade, no matter how many trends pass.

    The album opens with Better Days, a title track that reclaims optimism like a muscle flexed anew. Sean Mackin’s violin slices through the guitars—his signature weapon—and Key’s voice carries the ache of experience without losing its lift. The chorus, built for open car windows and half-sung harmonies, lands like a benediction: “We’ve still got better days ahead.” It’s not nostalgia; it’s renewal.

    Then Take What You Want ignites, a perfect collision of past and present. The track bridges eras, blending the restless angst of 2004 with the sharp defiance of 2025.

    Avril Lavigne’s feature—not a sample—adds texture and tension to You Broke Me Too. Her voice weaves through Key’s like a challenge and a reminder, proof that pop-punk’s heart still beats, even as its sound matures. Their tones intertwine like static under calm, holding drama without reaching for it. Every lyric lands with restraint, turning heartbreak into focus rather than fallout.

    The chemistry sparks, and for a few minutes, Yellowcard sounds both brand-new and unmistakably themselves.

    You Broke Me Too

    For listeners who grew up blending Jay-Z with Linkin Park, Lil Wayne over rock riffs, or Paramore alongside K. Dot, Better Days feels like honest evolution—genre as conversation, not costume. Just when the mood settles, honestly i kicks the tempo back up. Its classic snare pop recalls Warped Tour heat and bruised sneakers, but with a twist. Key isn’t pretending to be the kid who sang about going missing in action; he’s the adult reflecting on what that meant. Lyrically, the song balances confrontation and acceptance—honestly, I’m fine feels like release, not denial. The band locks in with precision: Mackin’s threads warmth through the chaos, Mendez’s bites without overpowering, and Portman’s keeps the pulse steady. It’s Yellowcard at full awareness—older, sharper, but still wired to the same emotional voltage that made them essential. The track is a streamlined reset, showcasing the band’s technical focus.

    Bedroom Posters continues that discipline, shifting toward reflection without sentimentality. The production is clean and measured, prioritizing balance over intensity. Each instrument sits neatly in the mix, reflecting careful arrangement. Lyrically, the track captures time’s passage through concise, image-driven lines—old songs fading through the drywall and faces I once thought I’d be frame maturity as observation, not loss.

    The transition from Bedroom Posters to the album’s final stretch underscores Yellowcard’s focus on cohesion over spectacle. Better Days lands now because of its precision—not a return to what worked, but a refined evolution. Yellowcard isn’t chasing familiarity; they’re defining continuity, balancing what’s changed with what still connects.

    In an era where pop-punk’s resurgence often leans on past aesthetics, better days stands out by rejecting imitation. It’s not a revival; it’s maintenance. Yellowcard approaches the genre with awareness of its limits and confidence in its craft. [8.7]

    By its conclusion, Better Days confirms Yellowcard’s quiet command. Their cohesion remains intact, their sound more deliberate but no less defined. Instead of chasing relevance, they’ve built an argument for endurance—clear, disciplined, and fully realized on their own terms.

  • BIA’s Debut Album BIANCA: A Bold, Introspective Arrival [8.7]

    BIA’s Debut Album BIANCA: A Bold, Introspective Arrival [8.7]

    Released October 10, 2025, via BIA

    One thing is for certain BIA’s long-awaited debut album BIANCA unleashes the Massachusetts rapper’s most authentic self after a decade of boundary-pushing features and EPs. A debut album is an artist’s chance to pour their life’s experiences into a singular statement, and BIA delivers with a project that’s raw, introspective, and unapologetically her own.

    Let the internet tell it Lil Jon was only talking about black woman so how did Bianca Miquela Landrau become known professionally as BIA. Luck is finding a radio station today where it is not predominantly dominated by the female-gender artist. FAST FOWARD WITH ME. I will be the bad guy I know some Puerto-Rican blacks but shit they be saying they might just be Latin you let they great-grandma tell it. At 34-years-of-age I stopped asking woman they ethnicity because I mean that might be the next RICO: paranoia of growing up going to Puerto Rican festivals and an old Italian man telling me he ashamed to admit it but OBK might be Sicilian. 

    Her early work, including standout features with artists like J. Cole and Nicki Minaj, set the stage for this moment, though fans hoping for guest appearances on BIANCA may have to wait for a potential deluxe edition.

    Current album: A slew of what happened to the budget or is Unc behind on who he dealing with online. 

    “2 shots in and im thinkin about fuckin,” My type of girl. Sad Party Yung Nigga Classic You not even that freaky though.

    OBK

    BIANCA—trades surface-level bravado for raw vulnerability, elevated introspection, and unpredictable vibes, from the all while sidestepping low-frequency drama to craft a timeless, high-frequency statement of growth. BIA is crystal clear about her boundaries and energy—if you’re fake, keep moving. The beat on NWFA is minimalist and cold, letting her delivery cut through like a knife. It’s the perfect reminder: BIA doesn’t need to shout to dominate. Then comes AWAKE and this one’s a standout. It’s hypnotic and introspective, with a darker, almost trance-like quality. You feel BIA floating in her own lane, addressing paranoia, fame, and self-awareness, all while staying smooth as ever. This is BIA deep in her bag—calm, but never sleeping.

    Being BAD GUY might just be her best flex. She leans all the way into the villain role, unapologetically. This is the artist who doesn’t care for approval, who owns her ambition, and who has absolutely no interest in playing nice. The production slaps, the bars are savage, and the attitude is addictive. Over a delicate yet eerie beat PRAY FOR YOU is haunting. BIA offers verses that feel like quiet vengeance. It’s not angry; it’s composed and cold. She doesn’t curse you out—she lights a candle and keeps it moving. A beautiful balance of pain and power.

    Switching the vibe on SAD PARTY and DADE —melancholic, but still fly BIA taps into emotional exhaustion here. Both tracks feels like a neon-soaked night ride through South Beach. The energy is infectious, the beat flips are wild, and BIA’s flexes come with bilingual flair. It’s global and gritty at once (think CJ from San Andres Screensaver)!

    If you are looking for straight pressure WE ON GO II is straight pressure. This version feels like a sequel with more punch—more confidence, more hunger. The hook is menacing, the drums knock, and BIA rides the pocket like a pro. It’s the kind of track that makes you want to stunt on your ex and then run a few red lights (figuratively, of course).

    It’s giving quiet confidence and expensive taste BIANCA is cold, calculated, and completely in her zone in BIA’s debut. Luxury rap but make it introverted and icy every track feels experimental , bossed up, and unbothered. [8.7]

  • Benny the Butcher’s Money & Power Tour: A Grimy Hip-Hop Takeover Hits the Road Fall 2025

    Benny the Butcher’s Money & Power Tour: A Grimy Hip-Hop Takeover Hits the Road Fall 2025

    Get ready for an explosive night of raw lyricism and unrelenting energy! Buffalo’s own Benny the Butcher is set to storm stages across the East Coast and beyond with his Money & Power Tour, kicking off this week. Don’t miss your chance to witness Benny the Butcher live as he commands the stage with unmatched hustle and heart.

    Presented by BSF, it’s hitting mid-sized venues perfect for that sweaty, up-close vibe. Joining Benny are BSF’s OT The Real and Griselda producer Daringer. 

    Fresh off his Def Jam album Everybody Can’t Go and the May 2025 surprise EP Excelsior Benny’s delivering a live sermon on street wisdom and unyielding hustle.

    Tickets on sale now—grab yours before they’re gone!

  • OBK REACTS: Taylor Swift’s The Life of a Showgirl is A Glittering, Giddy Victory Lap Through Love and Limelight

    OBK REACTS: Taylor Swift’s The Life of a Showgirl is A Glittering, Giddy Victory Lap Through Love and Limelight

    In the whirlwind aftermath of her introspective album The Tortured Poets Department Taylor Swift returns with The Life of a Showgirl—her twelfth studio album and a dazzling pivot back to unapologetic pop euphoria. Released on October 3, 2025, this 12-track collection feels like a love letter to domestic bliss, wrapped in the sequins and spotlights of Swift’s enduring fascination with fame’s double-edged sword. Co-produced with longtime collaborators Max Martin and Shellback, the record swaps brooding poetry for infectious melodies and playful storytelling, channeling retro soft rock, ‘80s disco-pop flourishes, and even hints of trap and reggae into a harmonious haze of acoustic guitars, atmospheric synths, and multitracked vocals that soar into ad-libbed crescendos.

    Gwen Stefani is not the only White Nubian Queen who can pop out with the ska drums mid-career.

    The Life of a Showgirl: It’s Swift at her most relaxed and radiant, basking in the glow of her real-life romance with Travis Kelce while slyly shading exes, industry gatekeepers, and cultural critics along the way. The result? A record that’s equal parts whimsical escape and whip-smart commentary—lighthearted enough to soundtrack a spontaneous road trip, yet layered with the kind of incisive wit that reminds us why Swift remains pop’s sharpest scribe.

    At its core, The Life of a Showgirl is a celebration of settling into joy after chaos, with themes of loyalty, redemption, and the quiet thrill of a peaceful domestic partnership threading through straightforward love songs and reflective vignettes on past heartaches. Opener ‘The Fate of Ophelia’ sets a Shakespearean tone.

    What elevates The Life of a Showgirl from solid pop fare to something truly addictive is its standout tracks, each a gem that showcases Swift’s chameleon-like versatility. ‘Actually Romantic,’ the album’s seventh cut at a punchy 2:43, is a gleeful diss track masquerading as a flirtation, with Swift flipping the script on obsession (read: a cheeky nod to Charli XCX’s ‘Sympathy Is a Knife’) into something empowering and flirty. The track’s brevity is its strength, distilling pettiness into pure pop propulsion.

    Then there’s ‘Wi$h Li$t’ (stylized with that cheeky dollar sign), a 3:27 anthem of grounded ambition that trades champagne wishes for cozy realities. Over banjo-tinged riffs and a reggae-laced melody, Swift lists her true desires—a quiet home, loyal love—dismissing material excess. It’s the album’s emotional anchor, blending vulnerability with vintage Swift storytelling.

    Pardon the reach—pause; ‘Wood’ is the record’s boldest double entendre, using redwood imagery to knock on wood for good fortune while slyly celebrating her lover’s “It’s a dick on the phone.” With grunge-touched guitars and a playful trap beat drop, it’s raunchy yet romantic, Swift’s breathy delivery turning innuendo into anthemic glee.

    Swift positions herself among the ridiculed figures of pop history, interpolating industry beefs into a defiant groove of handclaps and horn stabs in ‘CANCELLED!’ It’s empowering without bitterness, the kind of track that could rally a stadium crowd, blending social commentary with dance-floor energy. 

    Skip to ‘Honey’ for the album’s thesis.

    If The Life of a Showgirl occasionally prioritizes polish over profundity—leaving some yearning for the raw edges of her folk eras—it’s hard to deny its contagious joy. The title track, a duet with Sabrina Carpenter, ties it all together as a resilient showgirl facing exploitation with wry wisdom and a spoken outro from Swift’s final Eras show. In a year that’s seen Swift dominate headlines, this album isn’t her most revolutionary, but it’s one of her most purely pleasurable—a glittering reminder that even icons need nights off to just fall in love. Rating: 8.6/10. Stream it, spin the orange glitter vinyl, and let the show go on.

  • Instruments jump out speakers from track one on Doja Cat fifth studio album ‘Vie’ [7/10]

    Instruments jump out speakers from track one on Doja Cat fifth studio album ‘Vie’ [7/10]

    Since we are talking about rap girlies and liner notes produced in part by Jack Antonoff when does producer find the time to create sitting on the Bleachers.

    “Dealing out the cards, baby, watch me play my hand.” Lyrics hitting on relationships like a game? Smart. The production is crisp, got that pop-rap vibe.

    Few hard beat drops with those trap elements mixed with her signature playfulness Doja Cat has blessed the atmosphere with another project and by design it’s nothing like her previous work. 

    One might appreciate the song “Paint the Town Red” and be willing to wait at her station if her music were shuffled to support her financially, alongside others who navigate multiple ventures, as that reflects how the music industry is promoted today.

    The genre Doja Cat wants to be in, hopefully not bluegrass, has not had a culture pull like the genre her last album has (Queen so special she might be only artist to release a rap album on DSP n it also not go in Hip-Hop). Coming-of-the-age record ‘Take Me Dancing (feat. SZA)’ the only record with a featured artist is Pop forcing. Who in Pop sings with as much funk as either artist on this record in the past few years. Shit, who another black pop artist because “they don’t just let one of do it” and even Khalid gay ass RNB. 

    Not as sharp as ‘Kiss Me More’ but that crossover energy is fresh. Their voices blend so well on ‘Take Me Dancing’ over the funk-pop beat. Doja’s taking risks, and it pays off. 

    Their voices blend perfectly, soulful pop perfection. Doja and SZA chemistry? Iconic. Big Time Poster. 10/10, no cap!

    Nothing says I am an old bitch like ‘Couples Therapy’. The song features a Black woman rapping over 808 beats, with a loop that may or may not be sampled.

    Gorgeous, if Steve Harvey surveyed 100 people, would it be a crime to disagree that three of the top five answers do not match the genre described? If someone knows those answers are incorrect in a subject they studied but still tried to present them as accurate, what might they attempt to misrepresent in a subject where the other person lacks knowledge?

    Everything sound like vibe music. Where are the excursions. 

    Yes ‘Stranger’ – I mean no – I don’t like dick and wow this is specific and we are early into the album. Doja’s humor shines. The whole thang cohesive but playful, not boxed in ‘Acts Of Service’ and ‘Make It Up’ depart from the retro a bit for more modern rap flair. 

    After the rap-heavy ‘Scarlet,’ this feels like her reclaiming that glossy pop magic from ‘Hot Pink’ and ‘Planet Her,’ but with a nostalgic twist inspired by Prince, Janet Jackson, and those mega-cheesy sax solos found in the middle of movies while display gave a scenic view of the landscape. 

    Everyone’s sold—miss the high-energy weirdness of old Doja—but this feels like her finding equilibrium as a rapper making pop.

    Halfway through, and Vie is cohesive but never boring—zappy synths, slapping bass, and sporadic bluesy chords keep it grooving: ‘Lipstain’ is a slow-burning, seductive hip-hop/R&B track designed to make hearts race and bodies sway. It’s the kind of song that feels like a private conversation between the artist and the listener, with a beat that’s equal parts sensual and commanding. The vibe is Destiny’s Child’s ‘Cater to You’ meets The Weeknd’s moody charisma, with a modern hip-hop edge. The lyrics are flirty, confident, and playful—celebrating desire, connection, and that magnetic pull of attraction. The title “Lipstain” evokes intimacy, leaving a mark, and lingering presence, like lipstick on a collar or a memory you can’t shake.

    The track is built for a live performance moment where the artist locks eyes with the crowd, slows the tempo, and creates a shared experience. Toward the end, she orchestrates a unified crowd gesture—hands raised in sync—for a photo-op that’s as much about capturing the moment as it is about flexing for the ‘Gram.

    It’s pop-heavy, ’80s-inspired, with love and life vibes. Themes of romance, desire, and unapologetic. If it ain’t dance and if it ain’t a sub-genre in pop that dominates the genre infrastructure we will take it at the Hip-Hop picnik.

  • Target Electronics to Bring Back Midnight Releases with Exclusive Taylor Swift Physical Album at Midnight. Find out how to get your copy inside Monroe County – NY

    Target Electronics to Bring Back Midnight Releases with Exclusive Taylor Swift Physical Album at Midnight. Find out how to get your copy inside Monroe County – NY

    Taylor Swift’s 12th album, “The Life of a Showgirl,” drops on Friday, Oct. 3, around the world.

    Still have a CD player? How about a first listen of Taylor Swift new album with a physical copy of the project. 

    According to a press release from Target Corporate, select stores will open their doors at midnight on October 3 to give Swifties the chance to be some of the first to hold the physical copies of the album. And in Monroe County, the Henrietta Target is that store!

    Officials said fans will have the chance to shop four exclusive products: a pressing of “The Life of a Showgirl” on a limited edition vinyl, as well as three exclusive CDs with posters included.

    Now for the logistics: Physical or digital tickets will be distributed in the electronics section of the the Target stores Thursday starting at 10 p.m. Officials said that will reserve guests’ product for purchase. Once a guest has their ticket, they can continue shopping in the store and return to the designated queuing location at 11:45 p.m. to make their purchase at midnight.

    Due to high demand, there will be a purchase limit of four per item, per guest.

    Henrietta Target is located at 2325 Marketplace Dr, Rochester, NY 14623

    via. News 8 wroc

  • Rob49’s “Let Me Fly” Tour: Soaring from the South to the Stars

    Rob49’s “Let Me Fly” Tour: Soaring from the South to the Stars

    Rob49’s Let Me Fly Tour kicks off October 28, 2025, at Revolution Live in Fort Lauderdale, igniting a 17-city sprint behind his latest project. The New Orleans rapper’s gritty anthems fuel stops in Orlando (Oct 30), Atlanta (Oct 31), D.C. (Nov 4), New York (Nov 5), Toronto (Nov 7), Chicago, Denver, L.A., and more. It wraps November 25 in Houston’s White Oak Music Hall. Tickets are moving fast—secure yours now for $40 this week only. 

    This isn’t just a show; it’s liftoff for his first solo-headlining run, the Let Me Fly Tour, a 17-city odyssey ripped from the pages of breakthrough album of the same name. Featuring heavy-hitters like Sexyy Red, Cardi B, and Lil Wayne, the project pulses with Crescent City swagger—tales of grinding for gold, dodging the grindstone, and claiming the skies.