Thank Goodness: Megan Thee Stallion Says She's Not Dating G-Eazy

Our favorite Hot Girl just shut down rumors that she's dating fellow rapper G-Eazy.

Photo by Sara Jaye Weiss/Shutterstock

The hip-hop world was up in arms yesterday when a compromising video of Megan Thee Stallion and G-Eazy sparked rumors that the unlikely pair were an item.

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The Best Songs on 2019’s Worst Albums

We combed through the saving grace moments of 2019's biggest disappointments.

2019 has been an odd year for music.

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"Revenge of the Dreamers III" Is a  Hip-Hop Experiment Done Right

This Dreamville Records mega-compilation showcases both amazing talent and the spirit of hip-hop.

343 elite hip-hop artists were invited to appear at Tree Sound Studios in Atlanta, Georgia for 10 days of nonstop music-making. 142 songs were recorded in that time, 257.65 GB of music.

This is what the Revenge of the Dreamers III sessions looked like: one-part chaos, two-parts competition, and a whole lot of creative fun—at least according to the project's coinciding documentary. During this 10-day marathon, there were 12 separate studio setups for artists and producers to wander in and out. Each recording space functioned as its own unique and constantly shifting world. With so many talented individuals roaming the halls and feeding off whatever energies pulled them in, everybody felt an unspoken pressure to step their game up, vying not only for artistic space in a packed recording session, but also inrying to write something dope enough to make the album's final cut. This pressure appeared to stoke, rather than stifle, creativity.

"It's a frenzy," Dreamville artist Omen said in the documentary, addressing the sessions' vibe of healthy competition. "First of all, you gotta find your room, your spot, where you're gonna set up—whether that's writing, making a beat—because it's so many people coming through, and them spots get snatched up…And it's studios all around here, but, I mean, within probably 30 minutes, they might be all taken."

Once the creative frenzy finally came to an end, 18 songs were chosen out of the 142 recorded to appear on the final cut of Revenge of the Dreamers III. The end result featured 34 artists and 27 producers. Of those 18 songs, not a single one flopped or felt like filler, but this should come as no surprise. When you start with such a massive mountain of music inspired by such a uniquely dynamic and collaborative process, success is almost inevitable.

In addition to Dreamville co-founder and veteran emcee, J. Cole, ROTD III also showcases the breadth of the label's eclectic and talented roster: J.I.D., Bas, Omen, Cozz, Lute, Ari Lennox, EARTHGANG, and in-house producer, Elite. Since the album is a Dreamville Records compilation, these artists are the glue that holds everything together, offering a sort of stylistic motif in a crowded list of features that would otherwise risk sounding chaotic and without direction.

ROTD III also features Reason (of Kendrick Lamar's Top Dawg Entertainment fame), Young Nudy, T.I., Ski Mask the Slump God, Smokepurpp, Smino, Ty Dolla $ign, Saba, and Vince Staples (to name a few). So, this album is star-studded as a summer blockbuster, but what really stands out about this impressive guest list are the creative opportunities born from putting all these artists in one building for days on end—we get collaborations and truly fun moments that, had this album been recorded more traditionally, may have never been possible.

One such standout moment comes in the form of J.I.D. teaming up with T.I. for one of only two duets on the record (the other comes in the form of J. Cole with Young Nudy). Their track, "Ladies, Ladies, Ladies" is a buoyant spin on the Jay-Z classic, "Girls, Girls, Girls," in which J.I.D. runs through a list of the diverse range of women he's been with and the unique issues each one presented him. Then T.I. takes the second verse, prefacing it by playfully nodding to how much longer he's been around: "Young n----, you don't know nothing 'bout no bitches. Listen…" The track is a collaboration that we never knew we needed, and the two emcees bridge this generational divide smoothly.

Another powerful collaboration comes in the form of Reason and Cozz at the end of "LamboTruck," as they plot to rob their respective label-heads. Reason throws the idea out, rhyming, "Cozz, look, I done been broke too long / n----, bills too long, can't hide that, n---- / Cole just pulled up in a Lamborghini truck / On the homies and God, we should rob that n----." After Cozz takes issue with the plan, citing his allegiance to Cole, Reason offers another solution to the problem: "Look, let's make a deal / While I go and rob Cole, you go rob Top / Cool," Cozz agrees. This back and forth is the rare collaborative fire that ROTD III opens itself up to in its unprecedented approach to making a mixtape.

At the heart of this album is something that is at the heart of hip-hop itself: an element of fun and mutually beneficial competition for the greater good. The recording sessions at Sound Tree functioned as a microcosm of what it's like to try and make it in rap—throwing hundreds of talented people together into a shared space, all of them vying for their chance to shine. In the end, everyone grows creatively by their desire to surpass the bar set by their peers and predecessors. The whole of the culture is pushed forward every time one artist takes a step toward greatness. And in mirroring this, ROTD III translates into one of the most organic, enjoyable, and authentic hip-hop albums of the decade.


Ryélle Grapples with Heartbreak in "Last Call" Music Video

The R&B singer struggles with love and lack of closure in her latest music video.

After the successful release of her 2018 single "Swim," R&B singer-songwriter Ryélle is back to share a cautionary tale of love and heartbreak in her latest music video for her song "Last Call."

The single, which is heavily inspired by Drake's "Marvin's Room," tells the story of a drunken lover trying to reach their significant other to no avail. "This song was actually written over three years ago, but the storyline is pretty timeless," said the singer. "Every girl can relate to this and the frustration of dealing with a guy who is just not good for them."

The video begins with a subtle fade in on Ryélle and her lover eating together at a long wooden table. Viewers then come to realize that this is an emotionally charged memory for the singer, as she begins to sing about her former love and how the tear stains in her clothes won't come out. Despite her best efforts to ease her pain with alcohol and quick dalliances, she still finds herself giving her ex a "last call." Ryélle's signature smooth and sultry vocals take an especially emotive turn to deliver lyrics like, "They say not to mix love and liquor, but I've had both."

"The video was easy to come up with since the song tells its own story," said Ryélle. "We shot for 16 hours straight, overnight at that! But not by choice. We got kicked out of our first location and spent hours looking for a new one. In the end, it worked out and I'm very pleased with how we told the story. I hope this song can serve as a strength to anyone in a similar situation."

The visuals display Ryélle's vulnerability as she grapples with the need for closure and her yearning to be closer to the object of her affection. The video concludes with an open-ended shot of the singer lying in bed with her ex before fading to black.

Check out Ryélle's latest music video "Last Call" below!


Justin Love Talks New Music and Gifts From God

Oscar nominated R&B singer shares stories of personal struggle and growth in new music video.

Singer-songwriter and producer Justin Love continues to combine the hard-hitting elements of trap and hip-hop with the smooth and vulnerable themes of R&B Soul.

Most recently, in his moody video for his single "Bad Mind." The Cliffside Park, New Jersey native has been praised by the likes of notable musicians and producers like Nicki Minaj, Alicia Keys, Jermaine Dupri and more. Along with Justin's quick rise to fame, he has excelled in co-writing for many of the world's top acts, including the 2016 smash hit "Focus" by H.E.R.

Love opened up to PopDust about his journey as a musician, his artistic vision, and how God had a hand in getting him together to work with H.E.R.:

What was the creative process like for the "Runaway" and "Bad Mind" music videos? Was there a specific story you wanted to tell with each of these visuals?

So as an artist, we like to really tap into our personal and emotional side. In "Runway," I really wanted to make a point that I was running away from all the negativity in my life and towards a better, happier place, whether that be getting away from toxic people or getting away from a toxic environment. I'm from New Jersey and about a year ago I moved to Los Angeles and "Runaway" pretty much sums that experience up. I really wanted to make a point in the visual that I was in a dark place and that I'm just moving on to bigger and better things.

What was it like to work with producer Shy Boogs on "Runaway?"

So Shy and I work together every so often and every time we work together we work very fast. We just kinda tap into whatever experience we're feeling. He just started making a beat, and as he was making the beat, it was kinda screaming the melody. It felt very true and I wanted to stay true to who I am personally and I wanted to give something to my fans that felt personal.

Was the creative process for "Bad Mind" different or similar to your experience with "Runaway?"

I feel like "Bad Mind" and "Runaway" were both pretty similar when it came to tapping into a more personal experience. As I made "Bad Mind" I was going through a very recent breakup and I truly felt that the girl was just in her "bad mind." She was doing things that she wouldn't normally do and it really inspired the whole song and the visual. In the video, you can see that she ends up talking to someone else and we get into a little fight and I feel like there was a lot more that I went through personally but I kept it simple and to the point as far as visuals go. I was just really excited to work with Ronald Reid! I had been dying to work with him and he was the one that directed the whole video. I was just so excited to see what he could add to the picture.

That's awesome! How did y'all meet each other?

He was actually working with a couple of people that I had worked with before, like Justina Valentine and IV.JAY. After looking at their visuals I was like, "Damn, we definitely have to work together." I did reach out to him via social media on Instagram and we just kept in touch ever since.

How does it feel to go from performing in malls in New Jersey and becoming a local celebrity, to making that big move to LA and taking on a much larger audience and scene?

So it was definitely a big change, but I love the challenge. The challenge of having to make it all over again is just a thrill. I get a thrill out of working. I work really hard. In the space where I was at, I didn't see much happening further than what I was already doing, so I felt like I had to make a name for myself elsewhere. That's where I'm at right now and where I've been at for a while. It's taking some time, but I'm getting a kick out of the ride itself.

What have been some of the struggles and successes that you've experienced while trying to make a name for yourself in a new environment?

Definitely meeting new people. When you move across the country, it's a new environment, so becoming accustomed to the new environment and the people and getting to know who your new circle is and what it can become and just getting comfortable. It's really hard to get comfortable when you just move somewhere else. But I work hard, I think my work ethic is undeniable. I do question some of the people I surround myself with sometimes. It's hard to trust people, especially since I've been in a bad deal before. I finally found a great team that I feel comfortable with. I love those guys. It's really just about finding your team and who you're gonna work with. Who's gonna help you keep your head on your shoulders. Us creatives, we go crazy if we don't feel like we're doing enough or we're working so hard but we don't see enough happening.

Could you shed some light on how your work ethic has paid off? I know you've been able to work with H.E.R on her single "Focus," can you tell me about the experience? How did that happen?

I'm gonna tell you this right now, it was God.

It was God??

I blame God for that. I wasn't in the right mental headspace at the time. I was so mentally stressed and I went to New York City for the day. I was talking to a homeless man and I continued walking and what not, and then I hear my name being called in the distance and someone was yelling, "Justin! Justin! Justin!" It was someone from H.E.R.'s management team that actually stopped me and told me that she was upstairs and recording. At that time she wasn't H.E.R., she was going by another name and the woman from her management told me "Oh she's upstairs. You should come up and check out some of her stuff." As I said, I wasn't even doing anything that day. I was just stressed as hell. I went upstairs and listened to her and she was just amazing so the next day we scheduled a session and we went into the session and wrote two or three records that day. I actually found a photo today as I was looking through my photos, I actually wrote the song on a piece of paper and I found the paper that I took a photo of. It was so amazing. We wrote two or three songs that day, "Focus" being one of the three and before I knew it the song was on the radio and—man. I had a good feeling about the song, but I never knew it would become what it became. Just working with H.E.R was amazing. She's definitely god-gifted.

Is there anybody else that you'd like to work with in the future?

Chris Brown, Justin Beiber, Miguel, Usher. I have a few more people just off the top of my head. Ty Dolla $ign, Jeremiah. Female artist wise I'd love to work with Ella Mai and Beyonce for sure! Cardi B would really cool too. I feel like we'd have really good chemistry.

Are there any last words you want to share about what you hope fans take away from the music videos? Is there anything you'd like to say about where you hope your career goes from here?

My final words. Here is some inspiration. Don't focus on any of the hate. If you're focused on your career path, then you need to focus on what you need to do next. You need to focus on your work and what you're doing. Don't change what you're doing for anyone. That's one. As far as where my career is heading, my career is heading to a more truthful place.

What do you mean by that?

I used to create just to create and I would say anything and create anything. Now I'm starting to understand my brand and understand where I want my career to go. It's going to go to a more genuine place within the next three to four months and I want to create with more intention.

Check out Justin Love's latest music video for "Bad Mind" below!


Rock/Hip-Hop Hybrid Oxymorrons Bring Stadium-Level Electricity to Rough Trade

The infectiously energetic bunch discuss sound waves, vulnerability, and stratospheric ambition from Rough Trade's green room.

Onstage and in person, Oxymorrons are uncontainable. Even just sitting and talking, they emit crackling energy that translates seamlessly to the Rough Trade stage.

Combining thunderous beats with electric guitars and virtuosic bass lines, layering emotive lyrics against infectious refrains, theirs is a stadium-ready brand of hip-hop-rock fusion that manages to sound totally unique.

Oxymorrons "See Stars" [ Offical Music Video]

The project of Queens-based brothers KI and Deee, who have been making music together almost their entire lives, Oxymorrons is a hybrid of genres, visions, and emotions, bound up into one super-charged entity. The band has been blending hard rock with hard hip-hop long before Kevin Abstract and his peers rose to the top of the charts. Oxymorrons' come-up has been a long one, but they're finally breaking through to the mainstream.

Popdust talked to Oxymorrons about the grind to the top, being simultaneously vulnerable and ambitious, and how in the end, we're all made of the same energy.

Congrats on all your recent successes. It seems like you guys have had a crazy upswing.

DEEE: It's been cooking. Between touring, new management, and the festivals we've booked right now, the upswing has been crazy. Everything we've worked for for a long time is culminating, so it's kind of like, "oh shit, let's ride the wave."

ADAM NOVEMBER: I got lucky and came for the good part.

What was the not-so-good part?

MATTY MAYZ: There were a lot of ups and downs.

KI: Empty rooms. Sometimes you gotta share a sandwich. A lot of sandwiches.

D: To be somewhat serious, it's a grind. We built this shit on our own. There was no one investing in us. It's been a push and pull, but it's all culminating now, so it's worth it. Before, it was like, what the fuck are we doing?

MM: The light at the end of the tunnel helps.

D: We've figured out our sound. Now, it's cool to blend genres and break rules, but we've always been doing that. We've been misunderstood for so long. The labels would tell us—you guys are great, but where are we going to put you? They wanted to put us in a box, but one of our rules is to be unapologetically ourselves. Now, sound is catching up and being more accepting to a black fucking rock band, to tell you the truth.

KI: We had to wait for our time. And it's beautiful.

D: I think it was the cosmos, and us working really hard for a long time. Labels told us we were too black for rock, and too rock for hip hop. We were dealing for that back and forth for so long that we thought no one was ever going to get it. But now people are getting it, and we're feeling good as a band, and we're gonna keep shooting for the stars.

Over the past few years, mixing genres has become so prevalent, so some of your early work is almost prophetic. What made you start blending rock and hip hop?

D: We grew up listening to all different types of music, and our rule was—if it feels good and sounds good, then it's good. Sonics are sonics; it's all just sound, just vibrations. You can put vibrations in a box and you can put a name on them, but if people feel it, they just feel it. The reason you call something rock is because someone classified it that way. But really, it's just sound.

KI: We grew up with so many different genres of music, so we were like, why settle for one? That's why we called the band Oxymorrons in the first place. It's about marrying different things together.

You've said before that you have a bunch of different influences.

D: I'm a huge fan of Nirvana, Rage Against the Machine, and Billy Joel. Queen is my favorite band, but then I'll turn around and listen to Kanye and Kid Cudi. It's across the board. Right now I'm listening to Cool Schoolchildren and before that, it was Bless the Fall and Lil Wayne's album.

KI: I listen to elevator music and Korean pop music; I listen to anything. Big Bang is my favorite Korean band. So we take all of that stuff and put it in. Music is music.

Do you [KI and Deee] feel like growing up in Queens influenced your music?

D: Subconsciously, it did. Queens is the most diverse borough. Growing up there and having foreign parents keeps your palate open. We never put ourselves in a box, though we easily could have. Where we grew up in south Queens, we were the only kids listening to rock; everybody else was listening to hip hop. There wasn't a name for what we were doing.

KI: Queens changes every four or five blocks. That's the beauty of it.

You can kind of hear that in your music's texture. So was there a moment you realized this band was going to work?

KI: It was always bigger than us. Touring just opened things up. We were able to connect with people in a really cool way.

D: When people told us they're inspired by us, we were like—if we can inspire ten people, we can inspire ten thousand.

MM: We didn't realize how wide the spectrum was for people who care about what we were doing.

D: We bring people together, people who would never be in the same room. You'll see a dude who just listens to straight hip hop, standing right next to a dude who listens to nothing but metal, and they're enjoying it together. It's kind of like, shit, we are the world.

Oxymorrons- Brunch (Official Music Video)

You've got some amazing support from people in the industry, too.

D: Sway [Calloway]'s been a supporter from damn near day one. Lupe [Fiasco] took us on his first tour; a lot of people connected the dots and helped us a lot along the way.

KI: Those people who came up and gave us a dollar—everyone who helped us, even a little—they're as much of celebrities as anyone who helped us in the industry.

D: Remember when we used to be in one hotel room? We toured the entire country in an SUV.

MM: Sixty-nine trips with me sitting Indian style.

KI: My legs…

Your music toes the line between vulnerability and these huge ambitions and energy. Was that an intentional contrast?

KI: That's just who we are. I want to be vulnerable and I want to be real; but at the same time, we're not gonna hold back on showing our light. We don't want our fans to hold back on showing their light; either. We're all doing this together. We're all on this globe together.

D: There's no reason to minimize yourself for someone else's comfort. Just because I'm shining doesn't mean you can't shine next to me. Even in a business this competitive, we're all in the same space; there doesn't have to be war. We just want to be authentically ourselves. We are vulnerable; we go through things.

KI: Everyone's trying to hide themselves by keeping it cool, but being yourself and showing that side is the cool.

Often they're viewed as mutually exclusive—toughness and emotional vulnerability.

AN: The balance between confidence and doubt is definitely something that all people deal with. We try not to hide that.

D: Let it out; it's all good. We have an open-door policy with each other. We tell each other about all our emotions no matter what. If someone's pissed off, we say it; if we love you, we say that too. We hug each other. It's weird to not be real. We're a family. We're manifesting one of the largest things you can ever try and manifest as a person—we're breathing life into a dream, this thing that didn't use to exist, that started as an arbitrary concept. Now we're all sitting here, talking about some shit that was created in a basement.

KI: Thank you for caring.

D: Sometimes even mid-show I'll just gaze into the crowd like, "Holy shit, why do you even like us, why are you all here?" It's so crazy. I'm actually self-conscious, whereas Deee's the one who's like, I'm fucking divine, I'm the greatest.

It's so powerful to sing out something that you wrote in a moment of vulnerability and hear it sung back in crowds.

D: And to have people say, hey I felt like that too.[That's] something I don't take for granted at all.

AN: In terms of the coolness factor between an audience and the artist—we need each other to survive. I don't know where that coolness comes from. I might be onstage, but we can only do this together. Only together can we relate and feel something.

So what's next?

D: We're finishing a project; I can't put out any dates, but in late June, there will be a lot more content. There are things I can't say, but there's a lot going on, and this is our year.

You seem to have a very loving communion together as a band that probably translates to the stage, and I think a lot of people will connect with that.

D: If you took us out of here and put us in a bar, it's the same. We act exactly the same no matter where you place us. It's easy; when I'm onstage, I do what I do in front of the mirror at home.

Anything you want to add?

D: Live long and prosper. We're all one energy. We might be living in this space, but it's absolutely all one energy.

KI: More shows coming up, more there.

Eden Arielle Gordon is a writer and musician from New York City. Follow her on Twitter @edenarielmusic.

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