Latest news with #BlackBritish
Yahoo
7 days ago
- Entertainment
- Yahoo
Drake Enlists Central Cee for ‘Which One' Single
Drake continues to etch out his comeback with his new song 'Which One' featuring Central Cee. 'All the girls that's here for the truth, come put two hands on the DJ booth,' raps Drake on the chorus, before swapping turns with Central Cee who delivers the lyrics: 'Junk in the trunk, can see it from front/Girl, your body is tea, it's pain, I'm sprung/Your backside weighin' you down, one ton/I got a chopstick for your wonton.' More from Rolling Stone Drake Honors Ozzy Osbourne at Birmingham Concert Jim Legxacy Delivers a Brilliant Snapshot of Black British Culture These Blog-Era Rap Stars Dropped Last Week. Only One Made the Hot 100 Drake premiered the new track during episode two of his Iceman livestream before releasing the song. He teased the livestream on Instagram, sharing a grid image that just said '9 PM' with the caption 'EASTERN STANDARD TIME.' His last single 'What Did I Miss?' was similarly dropped via livestream. On that one, he drove around Toronto in a van called The Iceman, leaving many fans to speculate that his next album will be titled Iceman. He had previewed another song called 'Supermax' during the stream as well. 'What Did I Mis?' debuted at Number Two on the Hot 100. It directly addressed the aftermath of his feud with Kendrick Lamar, including the success of Lamar's diss song 'Not Like Us.' Iceman would be Drake's first solo album since 2023's For All the Dogs. It follows up his collaborative album with PartyNextDoor titled Some Sexy Songs 4 U, which came out earlier this year. Drake is currently touring the UK and Europe through the end of the summer. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
Yahoo
24-07-2025
- Entertainment
- Yahoo
Dub Poet Legend Linton Kwesi Johnson Returns to Stage and Screen
The roots of hip-hop run deep, and among the deepest branches remains Linton Kwesi Johnson, the Jamaican-born, British-raised poet, writer, and performer often hailed as the father of dub poetry. On his groundbreaking dub records of the Seventies and Eighties, Johnson, talk-singing in Jamaican patois, channeled the racism he encountered growing up in England into searing takedowns of the system and the alienation felt by Black British youth. In the last few decades, Johnson has spent more time as a writer and activist, but this fall, he'll return to the stage for the first time in almost two decades, in conjunction with the restoration of a rarely seen documentary on his life. First released in 1979, Dread Beat an Blood, directed by Italian filmmaker Franco Rosso, followed Johnson into the recording studio and onto the streets of Brixton. For added context, his spoken-word performances were juxtaposed alongside footage of a clash between police and Caribbean youth at the 1976 Notting Hill Carnival. Although it was shown in the U.S. in the early Eighties, Dread Beat an Blood has rarely been seen in theaters since. But on Sept. 20, a restored print of the film will receive its North American premiere at the Brooklyn Academy of Music, after which Johnson will perform in what's called his first theater show in almost 20 years. More from Rolling Stone How Bay Swag Turned His Pain Into a Debut That's Both Fun and Vulnerable Jamaican Singer Lila Iké Announces Debut Album, Gets 'Romantic' With Masicka Lizzo on Her Surprise Rap Mixtape: 'I Feel Like a Brand-New Bitch' As a Jamaican immigrant in Britain in the Sixties and Seventies, Johnson dealt with the racial oppression around him by joining the Youth League of the British Black Panthers. During his days as a sociology student, he began writing poetry, eventually enlisting a drumming collective to accompany him. Johnson also took inspiration from DJs who spoke over reggae rhythms; the term 'dub poetry' started with him and helped pave the way for the art of hip-hop. Dread Beat an Blood took its title from a 1975 poem by Johnson and also an album he and reggae musician and producer Dennis Bovell made in 1979, credited at the time to Poet and the Roots. On that and subsequent albums like Forces of Victory, Bass Culture, and Making History, Johnson, who was already a published poet, established himself as an especially militant chronicler of the alienation of Black British youth. As he sang-talked in 'Sonny's Lettah (Anti-Sus Poem)' from Forces of Victory: 'Jim start to wriggle/The police start to giggle/Mama, make I tell you what dem do to Jim/Dem thump him in him belly, an' it turn to jelly.' As Johnson told the Guardian in 2020, 'I was trying to find a bridge between standard English and spoken Jamaican. A lot of poetry of the time sounded like Caribbeans trying to sound American, a bit like those Mick Jagger songs where he's trying to sing like he's from the deep South. For me, what was important was authenticity of voice. I didn't want to emulate anyone else. I wanted it to sound like me.' That reputation for incendiary politics impacted on Rosso's film. Initially funded by the British Arts council, Dread Beat an Blood ran into controversy as soon as it was finished: The film was considered so provocative that the BBC canceled a scheduled broadcast of it. Nonetheless, Johnson's music career briefly blossomed, as he opened for Public Image Ltd. and Ian Dury and the Blockheads. After briefly retiring from performing in the mid-Eighties, Johnson returned to making records in the early Nineties and has since continued his life as a noted writer and activist. His 2002 poetry anthology, Mi Revalueshanary Fren: Selected Poems, made him the only Black poet to be part of Penguin Books' Modern Classics series at the time. His most recent book, Time Come: Selected Prose, was published in 2023. Asked about the power of poetry to combat injustice in 2022, Johnson said, 'It is not a substitute for concrete political action and going on the picket line. I've been a political activist since my late teens, from the Black Panther Movement to the Black Parents Movement, the Race Today Collective, and the New Cross Massacre Action Committee. All our struggles have a cultural dimension, but it's not a substitute for taking to the streets when you need to make your voice heard.' Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
Refinery29
23-07-2025
- Sport
- Refinery29
You Can Celebrate Michelle Agyemang & Stand With Jess Carter Against Racism — The Lionesses Need Both
Even if you don't follow football, what happened during the Women's Euro 2025 tournament this week mattered. From the Lionesses being one moment away from retaining their European title, to a player having to take a step back on social media because of racial abuse — it was a stark contrast, with the joy of the game on one hand, and the ugliness some players face on the other. When England's Michelle Agyemang scored her second goal of the tournament, it felt even sweeter than the first. The star girl came off the bench in the dying moments against Italy on Tuesday night and provided another lifeline. It looked like England were on the brink of bowing out of the competition until the teenager's crucial goal saved their chances and propelled the team towards their third consecutive major tournament final. For fans following England, Michelle Agyemang's brilliance won't be forgotten anytime soon. The Lioness has been simply electric. She has had me standing on my sofa without realising it, elated, breathless, borderline hysterical. When the naysayers question if England is up to scratch, Agyemang comes on as a super sub and says, 'aight, bet?' Her presence changes the game entirely. Agyemang is only 19, but her impact is impossible to ignore. Three years ago, she was a ball girl, handing balls to players who are now her teammates. Fast forward to 2025; She's scoring on one of the biggest stages in international football. With three goals in just four senior England appearances, she's already making her mark. And it's not just the goals, it's how she plays: bold, fast, and fearless. She shifts the entire tone whenever she's on the pitch. As a Black British woman with Ghanaian roots like Agyemang, seeing her shine on this stage feels deeply personal. It means something to witness that blend of cultures not just represented, but embraced and central to the story of England's football future. Watching a young Black woman's excellence be acknowledged is especially significant, given that the women's game hasn't always been welcoming in the modern era. Players like Drew Spence and former Lioness Eniola Aluko have bravely spoken out against the discrimination that they had faced behind the scenes. Spence no longer plays for England, switching her international allegiance to Jamaica in 2021. And despite Agyemang's rise, there are still moments that remind us how much work remains. To some people's upset, from the semi-final stage of the tournament, England has chosen not to take the knee before their matches. This is a gesture started by NFL player Colin Kaepernick that became widespread in the sporting world in 2020 as a statement against racism. On Tuesday night, however, the substitutes stood in a line of solidarity with teammate Jess Carter, who has received racist abuse throughout the Euros. Manager Sarina Wiegman has said that taking the knee's impact is ' not as good as they think, ' and statements released earlier in the week suggest the squad feel they 'need to find another way to tackle racism.' ' Jess Carter announced she is taking a step back from social media due to racism — it's a stark reminder that representation and success on the pitch can't fully shield players from what they face off of it. ' These conversations come as Carter announced she is taking a step back from social media for the rest of the Euros, because of the racist abuse that's been hurled her way. It's a stark reminder that representation and success on the pitch can't fully shield players from what they face off of it. True progress doesn't just mean visibility, but protection, support and action. Police are now investigating the abuse. As the women's game grows, so too does the urgency of these conversations. This summer, when signing for Arsenal, Olivia Smith, who has Jamaican, Chilean and Peruvian heritage, became the most expensive signing in the history of women's football when she joined Arsenal. In doing so, she broke the record previously set by Naomi Girma's transfer to Chelsea, marking a new era of recognition and investment in the sport. It is a huge moment; not just for the game itself, but for what it represents. For a woman of colour to command that level of value on a global stage is significant. Yet, in the same breath, the racism that Carter has suffered shows there's still a long way to go. It was heartening to hear the crowd roar as she came on as a substitute in England's final moments against Italy. Sadly, this isn't an isolated incident. Black players have frequently spoken out about being on the receiving end of racist abuse. As Carter shared on Instagram, 'every fan is entitled to their opinion on performance or result,' but it's not okay to target someone's appearance or race. I agree. ' When Agyemang scored somehow it felt bigger than a goal. ' It's why Agyemang's moment feels so powerful. With all the noise happening off the pitch, she is showing up and showing out by taking her first major tournament in her stride and making it look easy. Agyemang's presence will no doubt inspire both young girls who look like her and those who don't to lace up those boots and start playing. If you're an Arsenal fan, you'll know that Agyemang has come through the academy ranks and plays for the club. For many of us, the Black players on Arsenal's men's team in the early 2000s weren't just athletes, but icons who ignited a new kind of fandom. They made people see football differently. As women's football grows, I believe Michelle Agyemang can do the same. She's provided moments of magic that feel like the beginning of something even bigger, with her name already being etched into fan culture. Supporters have chanted 'Sweet Agyemang' to the tune of 'Sweet Caroline' across Geneva. Rapper M1llionz gave her a shout-out in a freestyle rap, and Skepta shared her image on social media last night. She's not just making headlines, but building a legacy. When the Lionesses faced Sweden in the Euros quarter-finals last week, they were two goals down. The dream of retaining their European title was slipping away. Then a triple substitution changed everything. On came Chloe Kelly, Esme Morgan, and the woman of the moment, Michelle Agyemang. As soon as she touched the ball, the energy shifted. When she calmly slotted the ball into the back of the net, I didn't just cheer, I shrieked so loudly my mum thought I was in pain. Agyemang had scored, and somehow it felt bigger than a goal. And as England took on Italy in the semi-final, with the clock ticking, Agyemang saved England by scoring again when we needed it most. My face flushed hot. The stress that had been building in my body vanished for a fleeting moment. Even after she scored that vital equaliser, she was piling on the pressure. Her rise is one that has been written in the stars. When your name means 'redeemer' or 'saviour' in Twi, what else would you expect? She's fulfilling her calling. Michelle Agyemang's name is now carved in our memory, not just as a promising talent, but as someone who is standing on business. Speaking to ITV after the match, Chloe Kelly proudly praised her teammate, 'Big Mich at it again.' In the dying minutes, she's proven she thrives under pressure and can deliver on the biggest stage.
Scoop
09-07-2025
- Entertainment
- Scoop
Jim Legxacy Announces New Mixtape Black British Music
Press Release – The Label Generational talent Jim Legxacy announces the release of his long-awaited new mixtape, black british music (2025) on July 18th via XL Recordings.A rapper with intensity, a vocalist with passion and a producer who harnesses nostalgia to command the future, the project is poised to earn era-defining significance. Critical to UK music in 2025, Jim's prolific output forever tells an important story. Always ahead of the game, his songwriting holds a mirror up to the Black British experience in which himself and his peers are reflected. He stands proudly but humbly at the helm of a movement; a new generation of storytellers and pioneers carving a path out of the comfort of the underground, always pushing upwards. Creating space for complexity, sensitivity, and experimentation, black british music (2025) not only reshapes expectations of what UK music can sound like, but what it can stand for. The announcement succeeds his latest single ' stick ' which dropped alongside a video from Rohan Dil shot partly on a Blackberry, a warpspeed visual collage of Jim Legxacy's London through the lens of his coming of age. It was previewed on the since-mythologised livestream from Plaqueboymax which featured fellow underground heavyweights YT, Fimiguerrero and Len. He kicked off the mixtape with one of his most resonant tracks to date, ' father ', before ramping up the anticipation for black british music (2025) by doing his first ever video chat on Kids Take Over. 2024 saw Jim release ' nothings changed (!) ' – a heartfelt tribute to his sister's life and legacy before he played his first ever show at The Albany in Deptford to a sold out, mesmerised crowd. Later that year he released ' aggressive ' as the first real taster of the black british music (2025) sound, and his first release on XL Recordings. Music has always formed part of Jim's identity. His ever evolving, kaleidoscopic sound draws influence from all genres, distinctly RnB, soul, pop, grime, midwest emo, afro beats and alternative. Jim's artistic journey properly began in 2018, dropping multiple singles and two longer form projects (Dynasty Program: A Metrical Composition Inspired by the Nights Spent as The Raiider; and Citadel) which displayed his artistic growth, versatility, and vulnerability, all whilst battling homelessness. 2023 saw him release his latest mixtape homeless n*gga pop music to widespread critical acclaim. Jim has already garnered support and cosigns from fellow artists including Dave, Stormzy, Central Cee, Headie One, Skepta, Loski, Jack Harlow and recently Fred again...
Scoop
09-07-2025
- Entertainment
- Scoop
Jim Legxacy Announces New Mixtape Black British Music
Generational talent announces the release of his long-awaited new mixtape, black british music (2025) on July 18th via XL Recordings. A rapper with intensity, a vocalist with passion and a producer who harnesses nostalgia to command the future, the project is poised to earn era-defining significance. Critical to UK music in 2025, Jim's prolific output forever tells an important story. Always ahead of the game, his songwriting holds a mirror up to the Black British experience in which himself and his peers are reflected. He stands proudly but humbly at the helm of a movement; a new generation of storytellers and pioneers carving a path out of the comfort of the underground, always pushing upwards. Creating space for complexity, sensitivity, and experimentation, black british music (2025) not only reshapes expectations of what UK music can sound like, but what it can stand for. The announcement succeeds his latest single ' stick ' which dropped alongside a video from Rohan Dil shot partly on a Blackberry, a warpspeed visual collage of Jim Legxacy's London through the lens of his coming of age. It was previewed on the since-mythologised livestream from Plaqueboymax which featured fellow underground heavyweights YT, Fimiguerrero and Len. He kicked off the mixtape with one of his most resonant tracks to date, ' father ', before ramping up the anticipation for black british music (2025) by doing his first ever video chat on Kids Take Over. 2024 saw Jim release ' nothings changed (!) ' - a heartfelt tribute to his sister's life and legacy before he played his first ever show at The Albany in Deptford to a sold out, mesmerised crowd. Later that year he released ' aggressive ' as the first real taster of the black british music (2025) sound, and his first release on XL Recordings. Music has always formed part of Jim's identity. His ever evolving, kaleidoscopic sound draws influence from all genres, distinctly RnB, soul, pop, grime, midwest emo, afro beats and alternative. Jim's artistic journey properly began in 2018, dropping multiple singles and two longer form projects (Dynasty Program: A Metrical Composition Inspired by the Nights Spent as The Raiider; and Citadel) which displayed his artistic growth, versatility, and vulnerability, all whilst battling homelessness. 2023 saw him release his latest mixtape homeless n*gga pop music to widespread critical acclaim. Jim has already garnered support and cosigns from fellow artists including Dave, Stormzy, Central Cee, Headie One, Skepta, Loski, Jack Harlow and recently Fred again...
