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An interview with Will about his new docuseries (with video): https://www.outsideonline.com/culture/books-media/will-smith-docuseries-pole-to-pole/

They're finally releasing this! January 13

Will released his new album Based On A New Story in March. It was meant to be the first part of a trilogy, but the second and third albums never came out. I think this is because the first album didn’t do as well as expected. I also believe the album didn’t connect with people for several reasons. First of all, it felt like he didn’t keep his core audience in mind. Will tried to sound modern, but it didn’t really work for either group. Older hip hop fans missed the classic Will Smith vibes. Younger listeners didn’t find it fresh or exciting enough. In the end, it sounded like he was trying too hard to stay relevant. Another problem was the production. There were no big names involved, and that surprised me. His long-time partner DJ Jazzy Jeff didn’t even handle the beats. He only appeared on the intro, and that was disappointing for people who love their chemistry. A third issue was the release strategy. Will dropped way too many singles before the album came out. On release day, only three or four songs were actually new. Most people had already heard the rest. So if you didn’t like the early singles, you probably didn’t feel any need to check out the full album. Some people were also surprised that Will started cussing in his songs. For years, he was known as a clean rapper who didn’t need swearing to make good music. Hearing him curse now felt strange and went against the image he built in the past. Another thing that didn’t help was the lack of a physical release. There was no CD or vinyl version, which made people feel like the album wasn’t treated as a serious project. And finally, the song “Pretty Girls” didn’t do him any favors. Many listeners thought it sounded silly and corny. Because of that, people didn’t have much hope for the rest of the music. Overall, the album had potential, but these choices hurt its chances. It’s a shame, because I was really excited to see Will return to music. Hopefully, he learns from this and still decides to release the rest of the trilogy one day.

Welcome back Cookie! Blast from the past.

‘Bel-Air’ Boss Breaks Down Bittersweet Series Finale, How Spoiler’s Appearance Almost Didn’t Happen & Honoring Janet Hubert https://deadline.com/2025/12/bel-air-interview-series-finale-will-smith-janet-hubert-1236642041/ Spoiler Alert!

Welcome back, Cookie! Long time no see. Hope everything is going well!

I see in the social media posts.

dang. I've been missing that long. ? Hope everyone is well. For some reason, everytime I searched for the forums,I went to jjfp.com and my heart dropped. But lo and behold! I've been searching with the wrong link. Hope everyone is well. and btw.... omg these emojis have missed me as much a sI've missed them, so im back.. Lol

New ‘Men In Black’ Film In Works From ‘Bad Boys For Life’ Scribe Chris Bremner https://deadline.com/2025/12/new-men-in-black-movie-bad-boys-for-life-writer-1236636023/

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Pre-orders for the physical copies are live. https://shop.massappeal.com/collections/cabin-in-the-sky-1?utm_source=substack&utm_medium=email

It's here!

I heard CD sales are going back down this. It's discouraging that albums like Based On A True Story haven't gotten a CD release. Earlier this year, I realized I misplaced Heavy D's last album, which was only released digitally and can no longer be bought. I still aggressively buy CDs. I year the younger generation has embrased them, but by buying used ones, which doens't help the industry.

Well said. I love the many facets of Hip-Hop. To say it has to be one way is silly.

That clip really shows how people box rap into one narrow image, ignoring the artists who helped build the culture. Will’s always been a real MC — some folks just confuse “hard” with “authentic.

I'm so greatful to still have most of my cd collection. (It's like a physical time capsole of your favorite music) I'm a gamer and an anime fan so i look at it like having physical media you love will always beat just strictly digital. Streaming is nice and convenient but give me something i can hold in my hands anyday.

The last type of collection was the Archive, a shrine-like version of the Cabinet that was kept pristine, in A-to-Z order, perhaps with additional separation of albums and singles by genre, rarity, region of release. My best friend had the beginnings of an Archive, stuffed with immaculate copies of Suede, Beck, every CD the Britpop band Mansun had ever released. I remember the day he added an obscure import copy of Ash’s 1995 single Kung Fu. This CD had come all the way to England from Japan. When we held it we did so in awe, by the farthest corners of the case, like teenaged auctioneers. Recently, I messaged him to ask what became of that treasured Ash disc. Oh (he said) he got rid of almost all of his singles years ago. They took up too much room. His import copy of Kung Fu was gone, maybe to someone else’s collection by now, maybe to someone’s bin. “I feel weirdly sad to think of you without a copy of Mansun’s Taxloss to hand,” I wrote. “I did keep my Mansun singles,” he wrote back. “Thank God.” The great shedding of CDs began, at least for me, around the turn of the millennium, when the world went online. I remember first seeing the music-sharing software Napster in action in early 2000. Using a dial-up connection, it took someone an hour to download Soul Bossa Nova (Original Mix) from the Austin Powers soundtrack. A year later, I visited a friend at a US college where the students had access to broadband. Using Napster, or one of the many equivalent pieces of file-sharing software that were proliferating at the time, tracks were downloadable in minutes. Whole albums by Gorillaz, Gabrielle, Ginuwine fell off the internet over the course of a day, like apples. Around 2004 I started consolidating my albums and my singles on a desktop computer, ripping the CDs I already owned to my hard drive and sending the contents from there to an MP3 player. It was probably because I was a Piler, never a Racker or a Shelfer, let alone an Archivist, that I found it so easy to leave CDs behind. The first four albums by Belle and Sebastian had been in heavy rotation for me for years, always in and out of the stereo. Once I’d digitised these albums (in the 2000s, the work of minutes), I hardly touched them again. In 2005 I bought a lozenge-like iPod Shuffle that was about the size and weight of a packet of chewing gum and had room for 20-odd albums. At home, the computer replaced the stereo as a music player. I had dozens of albums, secure on a hard drive, playable with a double-click. View image in fullscreen Adrian Utley and Beth Gibbons of Portishead. Photograph: Des Willie/Redferns Where did you end up, my Belle and Sebastian CDs? My Blur by Blur? My Grease and my Nows? Some of these CDs were so overhandled by the time of their abandonment, the printed lettering on top of the discs had rubbed away, the grooved inside of cases had chipped or gone, and the plastic faceplates were grazed and foggy. Did I give the Belle and Sebastians away? Did they end up in landfill, with my friend’s abandoned Ash and Suede singles? I know the Belle and Sebastians didn’t make it as far as my last bin bag, a gathering-together of CDs belonging to me and to my wife that we gave away when we moved flats in 2012. By this point we were both listening to music through a subscription streaming service – Spotify at first, then Apple’s equivalent. Even the invisible MP3s on my computer’s hard drive had started to feel fiddly and archaic, an unnecessary burden: so, of course, the last of the CDs had to go. I made the argument to my wife that we should do a clean sweep. I took all the discs we had to an Oxfam on Kentish Town Road. I remember handing the bag over dubiously, with no faith in the resale value of the contents. What a cool thing, I told myself, as I walked away unencumbered, to own no albums… yet somehow to own every album. What freedom! What choice! I don’t know how long it took for the regret to sink in. Three years? Five? I know that I miss my pile of CDs now. I miss the fussy, fusty process of deciding to put one on, a rummaging hand, a scour for the correct disc, the colours and the fonts and feel of the plastic circles, lightweight yet at the same time heavy with associative feeling. I miss having signposted reminders of songs or records I loved during specific eras in my life. Streaming’s better, on the whole. I’ve paid out so much money in monthly subscriptions by now I have to believe it’s better. My access to new or unheard music has expanded. My diet is more varied. But something lovely has gone. Pointless denying that. Grease: The Original Soundtrack from the Motion Picture is available to listen to on Apple Music, I see. So is a 2016 album of Grease tributes, including Boyz II Men singing Beauty School Dropout. My current subscription gives me access to about a dozen volumes of Now covering 2021 to 2024. The Beatles’ Red Album is on there, with an animated tweak to the cover that renders John, Paul, George and Ringo vanishing away into nothing. As I look at this graphic on my iPhone, propped on the desk beside me, it looks as if the band are repeatedly fading into the depths of the device, there to join the pixels, the compressed data, the algorithms, the nudging search results – innovations that enrich as well as complicate today’s curation and consumption of music. View image in fullscreen Photograph: Gordon Scammell/Alamy If it meant swapping what we have today for what we had then, I wouldn’t go back. I’m too greedy for the new stuff and too impatient to be fed with music when I want to be fed. That cover of Beauty School Dropout by Boyz II Men is decent, it turns out, and I never would have listened to it were it not for this opening up of a digitised music landscape, where one discovery leads to another then another, seamlessly, more or less infinitely. Piercing through the convenience of this, though, comes the regret about my old CDs. When my primary school-age children want to put on music in our home they have to find a phone, mine or their mother’s. They have to scroll or type on a screen, press play, then wait for the mysterious rearrangement of ones and zeros that will bring Taylor or Oasis or the first track of In the Heights out of a wireless speaker. It’s an impressive process. I still find myself wanting to whistle, amazed by how far music tech has come. But there’s an absence now, some loss of connection with the initial creators of these pieces of art, some loss of awareness, too, about the spots they occupy in time and space. For my children, attentive listeners though they are, Taylor might as well be a direct contemporary of Liam and Noel. All three of them might have grown up together in Lin-Manuel Miranda’s Manhattan, or Stormzy’s Croydon, or in a Kings Road boozer of the 1960s. Now that music is invisible, everywhere and nowhere, served up track by track in capsule form, there aren’t the same indicators about provenance, influence, chronology, originality. We don’t have a CD player in our home any more. There is one, never used, in our car. Perhaps I’ll stop in a charity shop the next time I pass one: buy a few CDs. Perhaps I’ll go down to the Oxfam on Kentish Town Road and see if I can buy back one or two of my CDs. If any of them are still there, I reckon I’d know them at once. The half-torn HMV label on Expecting to Fly by the Bluetones. A curved moon of acrylic missing from the corner of my Trainspotting case. I’d recognise them all, right away – old mates. Tom Lamont’s debut novel, Going Home, is out now. To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply Three musicians on their love of CDs View image in fullscreen Photograph: Dennis Morris Bashy: ‘Vinyl is great but it’s very much a luxury’ British actor and rapper There’s something about the tangible nature of CDs that really appeals to me. I released an album recently, and even though it was online and people were listening to it and talking about it, it only properly landed with me when I had the CD in my hand. That physical feeling gave me a sense of completion. There’s a video of me on my Instagram opening up the CD and taking in the artwork for the first time. It’s something I really care about. I was born in 1985 and grew up at the intersection of vinyl, cassettes and CDs. The first album I bought on CD was Kiss the Game Goodbye by Jadakiss and I ended up collecting hundreds and hundreds, which I stacked up in my room like a work of art. You could see someone’s musical taste through their CDs – mine included 50 Cent’s Get Rich or Die Trying, Jay-Z’s The Blueprint and The Miseducation of Lauryn Hill – whereas now it’s hidden away in your phone out of view. Vinyl is great but it was expensive then and it’s very much a luxury now. For young kids from working-class backgrounds, the CD was a way for us to spread our music in a cost-effective manner. So it was essential in the London grime and hip-hop scenes before social media. In 2008 I put out The Chupa-Chups Mixtape, which I pressed up on CD myself, attaching a Chupa-Chups lollipop to the front of each cover with Sellotape. I put it in barber shops and local clothes shops for people to buy and the lollipop helped it stand out visually. Then it started to take on a life of its own. People would tell their friends about it, or they’d burn up a copy to share around. Thanks to that mixtape, I ended up making the theme song for the film Adulthood. It helped me lay my foundations as an artist. Streaming has its advantages, but a lot of people are missing that physicality a CD gives you. The artwork and the liner notes and printed lyrics become an extension of the music. You can get a feeling of what the album is about, or who the artist is, before you’ve even pressed play. So I don’t think the CD format is dead or has ever died, it’s just been overlooked for a while because of the digital music revolution. I’m really glad to see it resurfacing. Interview by Killian Fox Bashy’s new album, Being Poor Is Expensive, is out now. The Chupa-Chups Mixtape can be streamed here. 1Xtra’s Album Launch Party with Bashy is on BBC iPlayer Kitty Liv: ‘CDs give you an insight into the journey of an album’ Singer-songwriter, member of Kitty, Daisy & Lewis) View image in fullscreen Photograph: Dean Chalkley I was born in the early 90s and CDs were the biggest thing when I was growing up. I used to get them for Christmas presents, and sometimes I’d go to Woolworths and choose one. I’d burn them a lot and make my own compilations. It was such a straightforward thing to do as a kid on the family computer. It would be a huge mix of anything I was listening to at the time, from Elvis’s greatest hits to Daniel Bedingfield, T Rex and then random stuff by Eminem, a combination of whatever was popular at the time with music I really loved. I remember going to my local cafe, Mario’s in Kentish Town, and if I made him a CD, he’d give me a free breakfast. I was probably about 10. Streaming platforms are good for discovering new music, but in terms of the listening experience, I think CDs are a great thing. Music has become quite disposable now, and with streaming, there is not that sense of urgency to listen to new music. If there’s a new song out, I might give it a listen later, whereas with CDs, it was like: “I’ll get the CD and I’ll put it on in the car and listen to the whole album.” Having the attention span to listen has been lost, certainly with the younger generation. I hope that will come back because when you make music, it’s great when someone else gets an insight into the journey that you’ve had making that record. Interview by Tess Reidy Kitty Liv’s debut solo album, Easy Tiger, is out now on Sunday Best Recordings, on digital, vinyl and – of course – CD Joe Mount: ‘Hidden tracks are just not hidden any more’ Lead singer/ guitarist, Metronomy View image in fullscreen Metronomy on stage at the 2009 Reading festival. Photograph: Simone Joyner/Getty Images We were a tape household and we weren’t in the first wave of people to buy a CD player, but eventually, one Christmas, my sister ended up getting a ghettoblaster with a disc player. I just remember then having to try to build a collection and feeling a bit begrudging that I already had loads of stuff on tape. The quickest route to getting a CD collection was buying magazines that had cover-mount CDs on them, and so a lot of my earliest ones were from Q magazine or Select. One, which I still have, was called Be There Now. It had Radiohead, Wire, Bentley Rhythm Ace, Talking Heads and Talk Talk. That was ’97. In the Britpop days, there were always inventive ways of making you buy more music. I remember having a Pulp CD and it had three slots for discs, but you had to go and buy individual singles to build up this collection. I never really splurged a load of money on them and I soon veered more into vinyl. A lot of the CDs I owned I still have and they’re at my parents’ house. There’s the Aaliyah record, the one with a picture of her and the red cover. I’ve also got the Queens of the Stone Age’s Songs for the Deaf and In Search of... by NERD. I think music streaming is not too bad, but I do slightly lament the fact that hidden tracks are just not hidden any more. It was a glory age of actually concealing things on discs. The first time I remember hearing a hidden track was on the Lemonheads’ Come On Feel the Lemonheads, which has a hidden reprise at the very end. The other thing I miss about the format is the printed artwork. I think that’s a really nice thing and people got quite creative with the different types of CD cases that they made. In terms of durability, however, CDs have never been good. When my wife and I left the first flat we shared together, she had an enormous CD collection, and I was trying to organise it all and every case I opened there was no CD in it. They were in a DJ folder, completely scratched. I very passive aggressively put all the empty CD cases in a box and she wouldn’t let me throw them away, so I had to label it “empty CD cases”. We’ve still got that! These days, you can go into charity shops and find decent albums on CD for 50p. I like doing that ahead of car journeys and enjoying the fact that you don’t need to care about them too much. You know they’ve already had their first usage and it’s like an act of recycling, like having the last crack of the scratched CD branded luggage swing tags. TR The ability to truly focus on an album seems to be fading, especially among younger listeners. I hope that changes, because when artists create music, it’s rewarding to know that listeners are engaging with the full story and journey behind the record.

I understand what DMX is trying to say, but i disagree with him in practice. Yes, his style and Will's style are polar opposites, but one isn't more hip hop than the other. a very similar thing is happening right now with Country music. All of a sudden, because Beyonce made a country album that was successful, they want to split the genre into categories to keep the "real" country artists happy, and that's ignorant and disrespectful IMO. Will Smith's success helped pave the way for Hip Hop to be recognized and respected enough for DMX to even have had a career doing it.

It's discouraging to hear an opinion like that, but it is what it is. The crazy thing is, DMX isn't even a huge Hip-Hop music fan. He is a total R&B fan. In interviews and videos, he's discussed this. You can seem him at concerts getting lost in the music when R&B legends are performing live. I bet if Will and DMX spent any significant time together, he wouldn't be talking like that. Maybe he's just not that aware of Will's music outside of the hits. To say his music isn't rap is to essentially say KId's music isn't rap. Their styles aren't drastically different. In fact, Kid N' Play's first two albums are more polished than JJ+FP's first two albums.

https://according2hiphop.com/de-la-soul-announces-10th-studio-album-cabin-in-the-sky-releases-new-visualizer-for-the-package/?fbclid=IwY2xjawN6_lFleHRuA2FlbQIxMABicmlkETFHZzJYV20yNk5VZGV0bEV5c3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHpSBcBSs8y83ZnWZR0iHadhGNkd_L2EduY0UDC0Fe4OcjnD_JnsODFKGZDLs_aem_wgZji5XKxK2WBhbxxXcw4Q De La Soul Announces 10th Studio Album Cabin In The Sky; Releases New Visualizer for “The Package” By Michael Dothard Image Source: Getty Images Videos by According2HipHop Hip-Hop legends De La Soul are back with their 10th studio album, Cabin In The Sky, set to drop November 21st via Mass Appeal. The upcoming project promises to be a celebration of the group’s enduring creativity, featuring production from heavyweights DJ Premier, Super Dave, and Pete Rock, and standout appearances from Killer Mike, Yukimi from Little Dragon, Common, Nas, and Black Thought. The album’s artwork is crafted by acclaimed visual artist Hebru Brantley, known for his vibrant, comic-inspired aesthetic, perfectly complementing De La Soul’s iconic style and the album’s anticipated cinematic feel In addition to the album announcement, De La Soul have released a visualizer for their new single “The Package”, produced by Pete Rock. The track blends Pete Rock’s signature soulful beats with De La Soul’s sharp lyricism, offering a nostalgic yet forward-thinking taste of what fans can expect from Cabin In The Sky. With Cabin In The Sky, De La Soul continues to push creative boundaries while staying true to the innovative spirit that has made them Hip-Hop trailblazers for over three decades. The combination of legendary producers, high-profile features, and striking visual art ensures this release will be one of the standout Hip-Hop albums of the year.

That’s awesome — I’ve never seen that one before! JJFP always brought such great energy to those early ’90s events.