Latest news with #TheNeptunes
Yahoo
18-07-2025
- Entertainment
- Yahoo
Clipse Dish On The Neptunes Breakup: 'Whenever We See Each Other, It's Always Still Love'
The Clipse and The Neptunes made magic together, but sadly, that can no longer happen. The Virginia rap duo recently shared their feelings on the production duo's breakup and the relationship between the two collectives. 'Absolutely miss Chad. As far as, you know, being on the album,' Malice said during their appearance on Popcast. 'But I'll see Chad in the airport, in the street, at Buffalo Wild Wings, you know, in VA. Whatever they got going on, just hope for the best for that […] Whenever we see each other, it's always still love. Always.' Pusha T chimed in, saying that despite Chad Hugo missing from the fold, the work continues. 'Everybody knows my favorite album is Hell Hath No Fury. Pharrell did that alone. That's it,' he stated. 'Chad's my guy. I love Chad. Pharrell's my guy, love Chad, too. We're brothers, we came up together. But, you know, when you say missing in the music, there is no missing in the music when it comes to the Clipse. And if it's just P, it don't matter—we find what we find.' The Hip-Hop world wept when they learned that Pharrell and Hugo were no longer on speaking terms due to a legal battle over ownership of The Neptunes' name and trademarks, as they initially had an agreement to split everything evenly. Skateboard P wished his former partner-in-crime all the best in an interview with The Hollywood Reporter. 'I'm very grateful for our time together,' he said. The legendary producer is handling Clipse's upcoming album, Let God Sort Em Out, all on his own, and so far they have shared the singles 'Ace Trumpets' and 'So Be It.' The latter song was incendiary, as Push targeted Travis Scott. He added more context to his diss in an interview with GQ, recalling how the Houston artist interrupted one of their recording sessions in Paris to play his 2023 album Utopia. Push went on to say that Scott withheld playing Drake's verse on 'Meltdown,' where he dissed both the Daytona artist and Pharrell. Listen to 'Meltdown' below. More from Clipse, Pharrell Preview Kendrick Lamar's Highly Anticipated "Chains & Whips" Verse Jim Jones Takes Jabs At The Clipse While Dismissing "Ace Trumpets" Clipse Unleash Sumptuous "So Be It" Music Video Dissing Travis Scott Solve the daily Crossword
Yahoo
15-07-2025
- Entertainment
- Yahoo
Clipse's ‘Let God Sort Em Out': All 13 Tracks Ranked
It may be hard to believe, but as Malice rapped on 'Trill,' 'It's me ma, you ain't dreaming.' After months of fashion shows, teasers, rumors, interviews and more, Clipse is really, truly, finally, back. The duo's new album Let God Sort Em Out is its first project since 2009's Til the Casket Drops, and it boasts plenty of coke-infused bars, subliminal digs, and a sleek array of beats courtesy of longtime artistic partner Pharrell to tie it all together. More from Billboard Watch Justin Bieber Have a 'Sweet Spot' Dance Party With Sexyy Red in New Video Kid Cudi Marries Longtime Partner Lola Abecassis Sartore: 'Next We Need This Baby' Here's Why Eminem Is Credited on Justin Bieber's 'SWAG' Album Let's back up: For the first half of the 2000s, Clipse was one of hip-hop's biggest disruptors. Drug-honed lyrical content had been a mainstay in rap for years, but Pusha T and Malice shook up that thematic snow globe from the jump. What followed were bars about coke, guns and seedy street tales that carried the refined elegance of Jean-Claude Killy skiing his way to Olympic gold. From 2002's 'Grindin'' to 2006's 'Mr. Me Too' and beyond, the pair used their run — aided by The Neptunes, who relentlessly battered away at them with their MPCs — to leave an indelible mark on hip-hop, before disbanding in 2010. So after more than a decade apart, how do two brothers reunite and take Clipse into the 2020s? They sprinkle in some rambunctious new talent, with guest verses from Stove God Cooks, Tyler, the Creator and Kendrick Lamar, but otherwise they keep it pushin' in more ways than one. With 13 new songs, and plenty of slick news bars to unpack, Billboard has dove in and ranked all the songs on Let God Sort 'Em Out. Check out our full ranking below. Hearing John Legend and the Voices of Fire soar over Pharrell's haunting keys is an exciting moment, especially because the listener knows even more grandiose moments are to come. Fans will also notice the brother's honoring their mother's memory after having apologized for their sinful mistakes on 2006's 'Momma I'm So Sorry.' This through line is exciting, and seeing Clipse tap into emotional catharsis is a fitting introduction to new, refined era for the group. But even better, grimier songs await. 'The Birds Don't Sing' just doesn't feel like a classic Clipse anthem because of its pop-leaning schematics, so it doesn't leave as much of a lasting impact as the album's other highlights. Similar to the album's intro, closer 'By The Grace of God' packs one last punch, and Pharrell's hook-game has never been stronger — but the grandiose nature of the album's final track doesn't leave as much residue as it should. For a track with a choir as potent as this, exploring themes of faith and 'empires' crumbling should leave a heavier impact. Instead it comes and goes almost like a gentle breeze. Truthfully, 'So Far Ahead' feels like 'By The Grace of God' part 1, which isn't necessarily a bad thing. Letting 'God take the wheel like a Tesla' is sound advice, after all. Yet with an album stuffed with so much variety, it's noticeable when two songs feel inextricably tied together. But it's nice to hear Malice elaborate on his pull towards faith-based music over these gospel-heavy backdrops. Not to mention, the bar 'I've been both Mason Bethas' deserves to live in hip-hop infamy forever. Even though 'EBITDA' was over in the blink of an eye, I found myself humming Push's hook long after it ended. But that's thing: This song is too catchy to be this short. Offering a playful take on financial jargon, 'EBITDA' would be ranked higher if Pharrell and Clipse traded just a few more bars for a few more minutes. Doesn't mean I won't run it back a hundred times though. 'Mike Tyson Blow to the Face' is an unreal song title. 'Took chains and touched chains like King Midas' is just one of the few unreal bars packed in said song, all of which culminates in a motivational chest-beating. 'MTBTTF' is a boisterous track filled with far more swagger than its 2:30 runtime allows it to show off, and it feels like it ends before it truly begins. It's a shame Clipse didn't let this masterful concept breathe for a just little bit longer. It wouldn't be a Clipse album without a barrage of bars reminding the opps while they're still on top. 'Finally got the courage but you still a whole b—h/ The rest of y'all on my six-year-ago s—t,' are just a few of the great braggadocious rhymes on here. When Nas comes in, it adds yet another layer of mafioso sophistication to the track — just would have been nice if he stuck around for more bars, but those bars sure are swanky. 'Single-handedly boosted rap to its truest place/ F—k speaking candidly, I alone did rejuvenate/ Hip-hop into its newest place.' 'Ace Trumpets' was a perfect choice for this album's lead single. The song seamlessly picks up right where Clipse left off, announcing the duo's return with a new sheen but the same old polished wordplay. There are so many bars to pick out and adore here ('Drugs killed my teen spirit/ Welcome to Nirvana' will undeniably be a crowd favorite during Clipse's next shows). As Pharrell's claustrophobic synths suck the air out of the room, its Clipse's flawless return to form that creates the goosebumps. OG Clipse fans will likely get misty-eyed once they hear 'Inglorious Bastards.' The song evokes the duo's immaculate early-2000s run, with DJ Clue popping in for some signature ad-libs, and Ab-Liva closing out the track with some scathing bars. 'Inglorious Bastards' feels like a homecoming, with Clipse using the track to dap up its day ones. After a promising teaser, It was admittedly a little disappointing that Stove God Cooks only appeared on the hook to 'FICO' — but this is one hell of a hook. As the brothers reflect on their tumultuous come-up, Stove God Cooks adds a shot of adrenaline to Clipse's motivational bars. 'You don't know what I know/You ain't see what I saw,' Cooks cries out, as if he's standing right in front of you. Altogether, it amounts to an inspiring track about grinding through the mud, and proves it's almost impossible to have too much Stove God on a track. Even though he's just on the hook, it feels like Clipse are fighting for their life amidst the God. Once The-Dream came in and started whispering I knew 'All Things Considered' was something special. While Pharrell's 808s threaten to shatter speakers, the brothers use the backdrop to instead offer up frank and unguarded verses about their subsequent struggles. Push speaks on his wife's miscarriage, with a quick jab at J-Prince, while Malice reminisces on the events that led to Clipse's demise 15 years ago. Meanwhile, Pharrell flexes his wealth and The-Dream coos his way through a verse about how 'Life or death are simple formalities.' It's a song that has a surprising amount of whiplash too it, like a great rollercoaster that leaves your joints sore but the rest of you aching to get back on. The incendiary Travis Scott bars sucked all the air out of the room when 'So Be It' dropped a few weeks ago, but this song is bursting at the seams with unbelievable bars. 'Your soul don't like your body, we helped you free it/ Then we wait for TMZ to leak it,' 'Wish upon the stars on my roof, they all scattered/ Ain't no more Neptunes, so P's Saturn,' 'She leanin' on Celine 'cause she ain't steppin' in Giuseppe.' Too many vibes to count, this song is high art. This whole song feels like one long exhale, as Push and Malice spit venom within a stream of consciousness flow, only to be disrupted by Tyler's fantastic wordplay. 'When you become the Devil or the tap dancing negro/I came to terms that I'ma probably outgrow my heroes,' he raps, perhaps referencing a mutual friend-turned-foe within the group. It's great having Tyler, The Creator slink back into his sly and mischievous Goblin bag. Still, Clipse fire off plenty of bars to remind Tyler they're the real kings of being diabolical. ' Ghostface with the wrist, bird falconaire/ Willy Falcon, trunk full of talcum here/ Shotgun wit' ya ex, feels like Malcolm's near,' Push growls before Malice struts in to remind hip-hop he was, 'the only one to walk away and really be free' after taking his religious path. But then the artist formerly known as No Malice then circles back moments later: 'I done sung along with rappers I never believed/Came back for the money, that's the Devil in me.' 'P.O.V.' felt like a perfect introduction to this new era of Clipse, one where Pusha T is no longer the only proud supervillain — Malice is just a little more pious about it. 'I don't f—k with the kumbaya s—t' is really the only moment where Clipse gets the wind sucked out of their sails. 'Chains & Whips' feels like a pass-the-torch moment in many respects. Sure, there's the mutual loathing of a certain Canadian crooner bubbling just beneath the surface, but K-Dot's animated delivery feels like when Doctor Doom and Magneto linked up. While the duo's diablerie across the record keep their guests from overshadowing their own menace, it feels like Push and Malice genuinely stepped out of the way for Kendrick. 'The things I've seen under my eyelids/ Kaleidoscope dreams, murder, and sirens/ Let's be clear, hip-hop died again,' Kendrick announces, almost like a religious diatribe. 'Chains & Whips' is a disorienting track in many ways, especially considering the song cost Clipse their deal with Def Jam. But most importantly: It just sounds really, really good. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Yahoo
10-06-2025
- Entertainment
- Yahoo
My sister took her life after online abuse at 21 – I will never be the same
If my sister Aimee and I were a Venn diagram, the internet was our intersecting centre. We grew up in Southampton and spent every summer in north Turkey, in the small coastal village Edincik, where our mum is from. While we shared the same interests – music, fashion and food – our tastes were different, and online was where they flourished. I always loved second-hand clothes, having practically been raised in charity shops. I grew up cutting out and sticking pages out of Elle magazine to my bedroom walls, and was obsessed with America's Next Top Model, meaning I could name designer brands more confidently than recalling my eight times tables. I was drawn to the early YouTube pioneers – Zoella, Glozell and Jenna Marbles – and I looked up to them for being fully themselves online, at an age where I felt unseen and misunderstood, like so many teenagers do. Aimee, on the other hand, was far more unique – she'd found out she was neurodivergent in her teens. She was way ahead in terms of her taste in music: as a 14-year-old, she was fixated by Pharrell Williams's bands N.E.R.D and The Neptunes, and her curious mind led her to discover the likes of Sade, Kelis, Stevie Wonder, Ice Cube, Tyler, The Creator and Kaytranada. As a teen, Aimee taught herself Japanese, and immersed herself in the food and culture of the country, becoming obsessed with sushi and artists such as Takashi Murakami, which led to her travelling to Japan solo when she was just 18. Sharing my love for thrifting, Aimee sourced rare, collectable Pharrell merchandise, saving up all of her money from part-time jobs to bid in international eBay wars against veteran collectors. She always won. Aimee was brave and bold, and unapologetic in her passions, despite not sharing them with others at school, which marked her as different at an age where being cool meant following the crowd. This was what drew her to social media. Having faced bullying at school, like many neurodivergent teens, Aimee was attracted to online communities that shared her interests. She discovered Grindin', a forum for Pharrell fans. We were glad that she had found a community where she finally felt accepted, and had a space where she could fully express herself and connect with others. Being Gen Z, part of the guinea-pig generation that grew up as children without smartphones but who then got them as teens, both my sister Aimee and I were avid users of social media from its early inception. We would spend hours as teens scrolling on Tumblr, photographing each other in our best outfits on holiday for Instagram, messaging friends on Snapchat. It wasn't the centre of our world, but it occupied a huge part of our adolescence: our online profiles were an extension of ourselves. But in the pandemic, this social media community soon became a double-edged sword. Aimee was at the tricky in-between stage of having finished college and not knowing her next step, and she retreated further online during lockdown. Being cut off from the things that she loved doing – going to art exhibitions, attending gigs and festivals, and eating out with her boyfriend – drastically impacted Aimee's mental health. Spending more and more time in her room, she became withdrawn and removed from us. She split from her boyfriend, stopped going out and was no longer interested in the treasured Pharrell-related belongings she had invested so many years collecting. When I'd try to connect with her, or spark a conversation, she seemed distant. This went on for a year. When she was at her most unwell, she was drawn into the dark side of the internet. In October 2022, the unimaginable happened. My parents were met with a knock on the door from two police officers informing us that Aimee had died. She had been found in a hotel room more than 60 miles from our home town, with a stranger from the United States. We later found out from police that Aimee had been on a partners thread, where members of this forum seek out others to end their lives with. The man who she was found with had been with Aimee for 11 days in the hotel room, and had told authorities he was 'working' during that time. All I can remember from the weeks that followed is a blur of words that seemed wrong being used in the same sentence as Aimee's name; words you only ever hear in crime drama series: investigation, incriminating evidence, assisted suicide, inquest, coroner, family liaison officer. It was clear to me that there was so much more beneath the surface to uncover, how none of the piecemeal bits of information the police told us about the circumstances surrounding Aimee's sudden death added up. We still have countless unanswered questions, questions detectives have failed to answer, and which the pending inquest may not even explore. As a family, we have learnt more about the circumstances of Aimee's death from journalists than we have from the police. Sadly, we only learnt what was happening in her online world after it was too late. Aimee was just 21 when we lost her. We found out after she died, that Aimee had been on a forum which actively encourages people to take their lives, instructing them and even providing the means for them to do so. This forum has taken at least 50 UK lives, including my sister. From looking at the forum myself, I can see just how easy it is to end up in a rabbit hole of despair, where vulnerable users are told their loved ones don't care about them. Essentially, Aimee was radicalised by a toxic network into taking a decision that she could never return from. These are known as 'Com networks', and the National Crime Agency has even set up a taskforce dedicated to investigating men who target vulnerable women and girls and pressure them into acts of self-harm. Being informed by police that Aimee died in a hotel room with a stranger who she met on this forum, and who flew from the US to witness her death, still haunts me. Knowing that Aimee's vulnerability was preyed on, and that others like her could fall victim to the same circumstances, is why, as a journalist and campaigner, I now channel my efforts into advocating for online safety and tech accountability. Since losing Aimee, I've spoken in the European parliament, met with the UK Tech Secretary with fellow bereaved families, protested outside Meta HQ, signed letters to the Prime Minister, all to advocate for better safeguards online. Speaking up about sibling grief and sudden loss is immensely hard and takes a toll, and sometimes I guiltily wish that this wasn't how I was spending my 20s. None of this will bring my sister back, but even if speaking up saves one life, then it is worth it. Until I lost my sister, I never knew the scale of risk that exists online, and the number of bereaved families who are fighting to tackle them. Being part of that fight, I now know that people who are vulnerable offline – children, women, people with mental health issues, neurodivergent people – are more vulnerable online, too. We urgently need a greater public awareness of the scale of harm already taking place, if we are to build a safer digital world for young people. Most children today will experience some type of online harm. What's vital is that they know they can communicate openly and honestly with you about their experiences. Make sure your children know that it is not their fault if something bad happens to them online, and encourage them to come to you or a teacher if something has upset or scared them on social media. The Online Safety Act is at a pivotal point in its enforcement right now. You can email your MP to demand that platforms of all sizes are subject to the fullest force of the Act. While I don't think a smartphone ban is the solution to online harm, it will ensure that children have to best chance to experience their childhood fully in the offline world. This is vital if they are to grow into confident, resilient and empowered young people. There is great strength in numbers – the more parents who support a delay in social media use, the better. R;pple is a secure and confidential free web extension tool that intercepts online searches for self-harm and suicide, diverting users away from content that puts them at risk. Created by Alice Hendy MBE, who lost her brother Josh to suicide, R;pple is a life-saving tool that proves technology can be designed with user wellbeing at the core. Logging Off: The Human Cost of Our Digital World by Adele Zeynep Walton is (Trapeze, £20) is available now. Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Korea Herald
23-05-2025
- Entertainment
- Korea Herald
British K-pop group Dear Alice returns with 'Sweet'
SM Entertainment's first-ever British boy group, Dear Alice, is back with a new track. On Friday, the group released its second single 'Sweet' across global music platforms. The song is an upbeat and charming pop track that perfectly suits the summer season. SM Entertainment described 'Sweet' as a sleek, up-tempo pop song inspired by early 2000s pop icons such as The Neptunes and Justin Timberlake. The track features funky percussion and guitar riffs, as well as hints of British culture hidden in lyrics that add a playful, localized touch. "Sweet" was crafted by an international team of hitmakers, including singer-songwriter and producer Jesse Saint John and producer Pink Slip. Dear Alice made a strong debut in February with its first single 'Ariana,' which quickly climbed to No. 2 on the UK Official Physical Singles Chart and No. 3 in Singles Sales, within just a week of release. The group was also spotlighted on BBC Radio 1's 'Future Pop' segment as a rising global artist. The group has also been gaining live experience as part of SM Town Live, sharing the stage with other SM artists. They have already performed in Seoul, Mexico City and Los Angeles, and are set to take the stage in London on June 28.
Daily Mail
11-05-2025
- Entertainment
- Daily Mail
People are only just realising Pharrell Williams has a VERY famous relative
Pharrell Williams has become one of the most influential producers in music. The singer, 52, has won 13 Grammy Awards over his career and he is also a two-time Oscar nominee. But fame clearly runs in the family as fans were shocked to discover Pharrell's famous cousin is none other than Timbaland, 53. The music producers are related through their grandmothers and both grew up in Virginia; Pharrell in Virginia Beach and Timbaland in Norfolk. The pair even worked together during their early years of trying to make it in the music industry. They were both members of the hip-hop group Surrouned By Idiots in the early 1990s, but they disbanded before maing any records. Pharrell then founded The Neptunes with Chad Hugo in 1992, producing hits like Wreckx-n-Effect's 'Rump Shaker' (1992) while still in high school. He gained fame by producing the likes of Nelly's 'Hot in Herre' (2002), Justin Timberlake's 'Like I Love You' (2002), and Britney Spears' 'I'm a Slave 4 U' (2001). Timbaland rose to prominence by producing the likes of Ginuwine's Bachelor (1996), Aaliyah's One in a Million (1996), and Missy Elliott's Supa Dupa Fly (1997). He also memorably produced Justin Timberlake's Cry Me A River in 2002. Fans have regularly taken to social media in recent months to express surprise at learning of the pair's family connection. Meanwhile, things have turned sour between Pharrell and Chad Hugo however as the pair are involved in a legal battle over the rights to The Neptunes name. Hugo, 50, said in court docs in April that Pharrell 'fraudulently' sought to gain total control of the band's name and trademarks, Billboard reported. Hugo's legal team said in docs filed at a federal tribunal that Pharrell sought to register trademarks for The Neptunes name without Hugo's involvement, in breach of a past professional pact they had made to divide everything down the middle. 'Throughout their over thirty year history, [Hugo] and Williams agreed to, and in fact, have divided all assets,' Hugo's lawyer Kenneth D. Freundlich said in legal docs reviewed by the outlet. Fans have regularly taken to social media in recent months to express surprise at learning of the pair's family connection Freundlich said that 'by ignoring and excluding [Hugo] from the any and all applications filed by applicant for the mark "The Neptunes," applicant has committed fraud in securing the trademarks and acted in bad faith.' Pharrell's rep told Billboard in a statement that the Happy artist was 'surprised by this' lawsuit, as he and his team 'have reached out on multiple occasions to share in the ownership and administration of the trademark and will continue to make that offer. 'The goal here was to make sure a third party doesn't get a hold of the trademark and to guarantee Chad and Pharrell share in ownership and administration.' The paperwork Pharrell filed suggested otherwise, Freundlich told Billboard in a response statement. 'If Pharrell's intent was to include Chad in the filing, he should have registered it in the name of their jointly owned company Neptunes, LLC and not in his own name,' Freundlich said. 'This was a land grab in a long simmering dispute that has yet to be resolved.' According to Hugo's legal team, on three occasions in 2022, Pharrell's company PW IP Holdings LLC attempted to trademark the name "The Neptunes" for purposes of streaming; music videos and ancillary content; and live shows, Billboard reported. Pharrell uses the company PW IP Holdings LLC for other business endeavors including his musical group N.E.R.D.; his hotel, The Goodtime Hotel: South Beach Miami Hotel; and other brands he's endorsed. Hugo's legal team told the court Pharrell 'knowingly and intentionally' filed the trio of applications without contacting Hugo, despite being 'fully aware' Hugo should have been named a partner on the papers. 'Nothing, either written or oral, provided Williams or [PW IP Holdings] with the unilateral authority to register the trademarks,' Hugo's attorneys told the court, noting that Pharrell and his team have 'repeatedly' been flagged about the issue. Pharrell has 'admitted' Hugo 'is equal co-owner of the trademarks' and vowed to involve him, Hugo's lawyer said.
