Big Sean Is OK With A Relationship Ending In New Song With Jhene Aiko

Big Sean is clearing his consciousness through his new music. By getting out everything that’s been pent up over the course of his brief break, he says he’s making the best music of his life. His latest song, “Single Again,” is the latest taste of his new reality, as he speaks about his past relationships and being better off by himself. Interestingly, it features his ex-flame, Jhene Aiko. Ty Dolla $ign also makes an appearance.

“Single Again” isn’t a triumphant celebration of breaking up like Trina’s 2007 song of the same name. Instead, it turns the lens inward, seeking ways to grow from the experience. “Blaming you is just so easy / But maybe the problem’s me,” he raps on the chorus, later saying “Maybe I should spend this time on me.” It’s a markedly different experience than his 2014 breakup anthem, “I Don’t Fuck With You” that featured E-40. This go around, you can hear him in the mirror, frantically searching for why he keeps ending up like this. “Maybe ’cause my mama never worked it out with my dad / Maybe because she had insecurities and she had them bad / Maybe ’cause single parent love was all I ever had,” he spits, wounded. Jhene Aiko comes in and offers warm supporting vocals that seem to suggest that, if the song’s about their previous relationship, she understands the situation. Later, Ty Dolla $ign also adds touching flourishes to the somewhat somber and mellow tune. Everything’s going to be okay for Big Sean.

Big Sean also released “Overtime” earlier this week. The song covers Sean’s break and the fact that he “broke” mentally, having to rebuild his psyche with professional help before setting foot in the studio again. Now that he’s back with two gigantic releases, it looks like his break has done him wonders.

Listen to “Single Again” up above.

Lizzo Twerks, Missy Elliott Lives In A Car, And Dancers Float In Impossible ‘Tempo’ Video

In the thick of summer, Lizzo and Missy Elliott‘s “Tempo” continues to crank the heat up, providing a terrific twerk anthem that sends the body into to sexy, shaking spasms. In the new song’s equally sizzling new video, Lizzo takes centerstage, biting her lip and shining her radiant smile — all before Missy shows up, too.

The celebratory, sexual scenery of the new “Tempo” video also comes with enough dancing to make you fall victim to needing that tempo, just like Lizzo and Missy do. There are also cars driving on fireball-filled rims and floating dancers, but more on that later.

“Tempo” takes place under a starless night sky, where the only light comes from a nearby building — Lizzo’s Breakfast and Burgers — and the glow of Lizzo’s pristine skin. She wears a cowboy hat and is supported by a cast of backup dancers as she throws that thang to and fro, making the case for twerking to be renamed “Lizzoing.” She’s the main attraction, but the surrounding scene is just as wild.

People bounce off of car hoods, frozen in mid-air like Final Fantasy‘s Stopga spell has just been cast. No one is visibly disturbed by the seemingly impossible scene of cars riding around with flaming rims, either. And then, in perhaps the craziest moment of the clip, Missy arises from inside the hood of a car for her lively verse without so much as a scratch. It’s an immensely chaotic video with an undeniably scorching energy perfect for summer.

“Tempo” comes from Lizzo’s recently released studio album Cuz I Love You that dropped in April. The LP also features the title track and her lively single “Juice.” In June, she appeared in the video for “Blame It on Your Love” with Charli XCX.

Watch the hot and heavy video for “Tempo” — which also hits mvtU and MTV Live today — up above.

Rick Ross And Drake Speak The Language Of Luxury On ‘Gold Roses’

Rick Ross and Drake are the last bidders, and winners, of expensive paintings at auctions. They fill up their gas tanks without so much as glancing at the price on the pump. If they’re dying of thirst in the middle of the desert, they’ll find Fiji water — because regular water won’t do. They aren’t just rich; they’re wealthy. And their new collaboration, “Gold Roses,” is pinky-up, drinking-strawberry-Fanta-out-of-a-champagne glass rap that doesn’t let you forget it. Both rappers bring their A-game over a slow-moving beat that’s at odds with this summer’s fast pace. They want you to slow it down for a second and revel in the moment. Time is money.

“Gold Roses” is soulful and elegant. It’s what Bruce Wayne listens to in the Batmobile while zooming through red lights. Drake waltzes in front of Ross for an opening verse about financial freedom for himself and those around him, and talks about what he’s personally on. He’s already in 2020, preparing to build schools and feed the homeless. Rick Ross, the Pharoah of the Flex, then comes in and cracks his knuckles, determined to outdo Drake’s braggadocio. He succeeds with just one line: “Chanel in the mail, FedEx from Pharrell.” Among other things, he was nominated for a Grammy (but never won), he gives his partner glass slippers (which have to be awfully uncomfortable), and he can fly you out to the Cannes Film Festival and fill you up with lobsters and prawns. When you can brag about buying seafood, that’s when you know you’re in a different tax bracket.

“Gold Roses” will appear on Ross’s forthcoming album Port of Miami 2 that’s set to drop on August 9. The LP will also feature the previously released “Act A Fool” and “Big Tyme” with Swizz Beatz.

Listen to Rick Ross and Drake’s special brand of luxury talk in “Gold Roses” up above.

Tyler, The Creator Wants To Free A$AP Rocky Himself In New Freestyle

Tyler, the Creator really has a way with words. Just listen to “Earfquake” and his adorable pleading that manages to get a single tear falling from your eye. He dropped by Funkmaster Flex’s show to deliver a whimsical 7-minute storm of words in a freestyle that was random, wild, and socially aware thanks to a brief shoutout to A$AP Rocky, currently detained in Sweden on assault charges. Tyler spent a lot of time in deep thought as he searched for new word combinations to pull out of his head’s tangled mess. What came out resulted in one of Flex’s most memorable freestyles so far.

Tyler starts off the freestyle supporting Rocky with the line “I might just fly to Sweden to free him,” before getting into what he would do if he could switch places with him. From there, Tyler puts his head in his hands, his eyes darting to and fro as he looks through his memory bank. He raps about seducing Flex, much to the DJ’s amusement, and then gets into the fact that his GOLF clothing store made a few million dollars this week (most likely an exaggeration, but we’ll buy it). He then talks about his past controversial ways, saying “They bringing up my past, but I don’t hide it/Goblin out now bitch buy it.” He ends in a flurry of hilarious word choices that leave both emcee and DJ in fits of laughter.

Next month, Tyler is heading out on tour in support of his recently released album, IGORHe’s bringing along Jaden Smith, Blood Orange, and GoldLink. He recently released his own ice cream that mixed peppermint and spearmint flavors. Yuck.

Watch Tyler spit a crazy 7-minute verse for Flex up above.

Scooter Braun And Scott Borchetta Talk Big Machine’s Future After Controversial Sale

It’s been several weeks since Taylor Swift took direct aim at music manager Scooter Braun and the CEO of her former record label, Scott Borchetta, in a heartbreaking note on Tumblr. It was a nearly immediate response to the news that Braun’s company, Ithaca Holdings, had purchased her former label Big Machine Label Group for a whopping $300 million, thus giving ownership of Swift’s master recordings from her first six albums to Braun, whom she wrote had subjected her to “incessant, manipulative bullying.” It was also news that left the future of Big Machine in doubt. But in a new exclusive interview with Billboard released on Thursday (July 25), Braun and his new business partner Borchetta discussed the future of Big Machine and their goals to build “an ecosystem that allows artists to go after their dreams.”

Although Braun didn’t address his feud with Swift directly, he did mention the pop star briefly while discussing how his friendship with Borchetta first developed. It all started in 2009, when Swift invited Braun’s client, Justin Bieber, to open up for her on her Fearless tour. “Our stories were similar,” Braun told Billboard. “Everyone at Big Machine — Taylor was kind, Scott was kind — everyone was kind to me and Justin when we were doing that show, and you don’t forget those things. I never forgot that, and we started a friendship.” And even though the two businessmen spoke about possibly merging years ago, the time just didn’t feel right — that is, until now. “I never felt like it was exactly the right time or the right fit,” Borchetta explained.

According to Borchetta, how to approach the next era of Big Machine weighed heavy on his mind. “I promised myself, and our artists and executives, it was going to be one of two things: Either I’m out — and I had no desire to be out — or I’m going to find an opportunity that is truly additive, that can give us more arms and legs and levers than we have now.” To him, teaming up with Braun meant he chose the latter, and for Braun, purchasing Big Machine was basically a no-brainer. “Scott runs an incredible company, and we’re trying to build an artist-first environment and — in a climate with a lot of players — get the leverage we need to help our creators go after their dreams,” he explained. “By combining what Scott had with what we had, we feel like we’re in a unique position to fight the good fight.”

Moving forward, though, both Borchetta and Braun don’t want people to think that Big Machine underwent any major changes fundamentally. And while the sale may have made it seem like the label was going corporate, Borchetta insists that’s actually not the case at all. “We have very specific agreements coming into this: Big Machine Label Group will continue to operate exactly as it has been. I’ve been fiercely independent — I choose to be fiercely independent — and Scooter is the same way. This is going to be a bigger company, but it’s not going to be a corporation; there are things we can do on a dime,” he said.

(Rick Diamond/Getty Images for ACM)

So what about all the artists signed to Big Machine — Taylor included — whose masters were included in that sale? Well, according to Braun, their intentions are nothing but pure. “These companies are built on people making sacrifices for their families, and we value that,” Scooter said. “If Scott sold the company to someone else, then they would have done what usually happens, which is you take the catalogs, you strip it all down, people get laid off — and that’s not right, those people put us in this position.” Instead, Braun said no that no one would get laid off in the process.

Braun and Borchetta also said that their artists are thrilled about these changes. Why? Because, according to them, it will help streamline the business side of things. “The artists that we’ve talked to — they say they love it because there’s such an upside to being able to talk with one ‘artist team’ instead of feeling like there’s a wall between artist, label and management,” Borchetta said. And despite Taylor’s comments, Borchetta couldn’t speak more highly of Braun. “When I told everybody at our staff meeting … I said, ‘Please welcome my new partner, Scooter Braun,’ and you would have thought The Rolling Stones just walked in. They gave a standing ovation that went on for what felt like several minutes. He and I looked at each other like, ‘This is right.'”

Read the entire new cover story over at Billboard.

Travis Scott Is A Flame-Inducing Tooth Fairy In ‘Wake Up’ Video

We sleep every day, and for eight hours (for those lucky enough to get that long) our consciousnesses are separated from these earthly bags of flesh. Being that we’re immersed in the realm of dreams, our bodies can’t move and we don’t know what happens to them while we’re lounging. So what actually happens to our bodies while we sleep? Travis Scott‘s new video for “Wake Up” finds him navigating through a house of sleeping people, watching them in peace. Jonah Hill directs the weird video that only gets creepier as it goes on, in true Scott fashion.

In “Wake Up” – from Scott’s 2018 album Astroworld – for some inexplicable reason, everyone at Scott’s mansion is fast asleep. They lay on the floor with their mouths open. Drool crawls down their cheeks to the floor, all the while, Scott looks around, flabbergasted. He strolls through the house and finds dozens of people after what looks like some kind of party. Since no one can see him, he breaks out an odd superpower; he can fly while people are sleep. We never said he was human. Scott’s more like a fairy, on the hunt for teeth under a pillow. He floats around the house and keeps watch over everyone, looking around at belongings and generally just waiting for people to wake up. Sounds simple, right? Of course it isn’t. Water droplets float in the air around Scott and for some reason, the house itself catches fire. There’s also an explosion in the distant background in a forest that never arises again. The world is literally ending around these snoozing somebodies and Scott is content with being a fairy-like creature, shedding droplets. Neat stuff.

Jonah Hill recently directed the video for Vampire Weekend‘s “Sunflower.” Additionally, he also directed Danny Brown‘s “Ain’t It Funny.”

Travis Scott is set to perform at Lil Wayne‘s WeezyAna Fest in September and also at Rolling Loud NYC in October. He recently collaborated with Ed Sheeran for “Antisocial” and appeared in the wild video that feels like 12 mini-movies in one.

Watch Travis Scott be creepy around sleeping people in “Wake Up” up above.

Lizzo Reveals She Almost Quit Music After Releasing ‘Truth Hurts’ In 2017

Lizzo may be on top of her game right now, but in the new issue of People, she described her come-up as “a long road.” Despite what might have appeared like a sudden rise to fame, the rapper’s actually been working on her craft for a painstaking 10 years. And after releasing “Truth Hurts” in 2017 — a song that’s currently sitting pretty at No. 6 on the Billboard Hot 100 — she almost put down her microphone (and flute) for good.

“The day I released ‘Truth Hurts’ was probably one of the darkest days I’ve had ever in my career,” she told the magazine. “I remember thinking, ‘If I quit music now, nobody would notice. This is my best song ever, and nobody cares. I was like, ‘Fuck it, I’m done.’ And a lot of people rallied; my producer, my publicist and my family, they were like, ‘Just keep going because this is the darkest before the dawn.'”

Turns out, they were right. After feeling like nobody was interested in the self-love anthem, the song experienced a sort of resurgence almost two years later when it was featured in the popular Netflix rom-com Something Great. “Who would have thunk?” Lizzo said. “What a moment in a movie can do for an artist is crazy. I had everything else: the hard work, the good music, touring — but then there’s that extra-special magic that nobody really knows what it is that can really change your life.”

Now, the attention that Lizzo’s been getting for the empowering track only proves what we’ve already known to be true — that real success doesn’t just happen overnight. However, if you believe in yourself and what you’re doing, you’ll eventually get there. Despite its 2017 release, it was recently confirmed that “Truth Hurts” will be eligible for Grammys — further evidence of her hard work and patience. “Now the song that made me want to quit is the song that everyone’s falling in love with me for, which is such a testament to journeys: Your darkest day turns into your brightest triumph,” she explained.

Still, Lizzo is very open with her fans about the fact that depression is an ongoing struggle, explaining that it’s something she’s constantly working on. “Reaching out to people when you’re depressed is really hard,” she told People. “I would shut myself away from friends and family. So I’ve been working on communicating with the people who love me.” Back in June, the rapper took to Instagram to say that she feels ‘hopeless’ and like there’s ‘nothing anyone can do about it.’

Fortunately, one of the singer’s best coping mechanisms has become daily affirmations, and they’ve been instrumental in her journey to self-love. “I look in the mirror and say, ‘I love you. You’re beautiful. You can do anything,’ she said. “Tell yourself that on your happy days so that you have the strength to tell yourself that on your darker days.”

A$AP Rocky Has Been Charged With Assault In Sweden

After being detained for three weeks, A$AP Rocky has officially been charged with assault in Sweden after an altercation that occurred in Stockholm in June, the AP reports. Rocky, along with two other individuals, is “suspected of assault causing actual bodily harm, having come to the conclusion that the events in question constitute a crime and despite claims of self-defense and provocation,” as revealed by Swedish prosecutor Daniel Suneson in a statement. Rocky will remain in custody until the trial, which the Stockholm District Court plans to announce sometime next week.

Rocky was detained on July 2 while authorities investigated an altercation involving Rocky, two of his associates, and two men that, according to Rocky, had been harassing them. Rocky posted footage of confrontations on social media and later, video of an incident surfaced.

In the videos, two men appear to be upset at Rocky and his crew over a pair of headphones. They then follow the rapper around while repeatedly being asked to go away. Prosecutor Suneson also acknowledged the videos in his statement: “It is worth noting that I have had access to a greater amount of material than that which has previously been available on the internet. In addition to video material, the injured party’s statements have been supported by witness statements.”

Rocky’s arrest and subsequent hold — a Swedish judge deemed the rapper a flight risk – has brought about a large amount of public attention, with President Trump even tweeting that he’d do what he can to get Rocky home (at the request of Kanye West and Kim Kardashian West). Artists like Tyler, the Creator, Schoolboy Q, and Lil Yachty have claimed that they will never go back to Sweden. G-Eazy, who was arrested in Sweden last May on assault and drug charges, spoke out in support of Rocky. “This is the sad truth … The difference between me and Rocky’s treatment in Sweden brings to mind two concepts that disgustingly go hand in hand: white privilege and systemic racism,” he tweeted.

If convicted, TMZ reports that Rocky could face a maximum of two years in prison. His defense attorney, Slobodan Jovicic, said that Rocky “feels that he acted in self-defense, he is claiming that he is innocent, and in that perspective, he, of course, is very sad.”

(G)I-dle Are ‘Standing Out’ With Their Self-Produced Sound And Defining It On Their Own Terms

By Taylor Glasby

Before the recent release of their fourth single — the lyrically sagacious, ’90s hip-hop-soaked “Uh-Oh” — the six members of the multinational K-pop group (G)I-DLE felt the prickly onslaught of nerves. Not that this was new; according to Beijing-born vocalist Yuqi, 19, they get nervous before every drop of new material. Their way through it is by communicating with each other. A lot. Not just before a comeback but “almost every day if we have time,” says Thai vocalist Minnie, in English. “Maybe not all six of us every day, maybe just two or three, but we’ll always talk.”

“We often encourage each other before a stage,” Yuqi elaborates, also in English, her long, diamante earrings repeatedly catching the light. “We’ll have a pep talk.” She’s an animated speaker, hands fluidly mapping out the rhythm of her words. The group’s leader, rapper and songwriter, Soyeon, 20, and Minnie, 21, also share this habit, and the latter’s thin metal bangles collide as she talks, filling this beige, windowless room deep inside Madison Square Garden with tiny, bright spirals of noise.

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Members Shuhua, Yuqi, Soyeon, Soojin, Miyeon, and Minnie at KCON New York on July 7, 2019

This isn’t their first trip to New York City — they made a fleeting stop last summer for a 3-song showcase — but as they step confidently onto the stage at KCON to the noisy adoration of thousands, it’s easy to see how far they’ve come in just a year since their debut. Each of (G)I-DLE has their own ultra-distinctive presence: Minnie is almost Amazonian, all lithe strength and power; Soojin, 21, oozes a sexy playfulness; Miyeon, 22, is coolly composed; Taiwanese Shuhua’s, 19, etherealness is punctuated by cheeky, knowing glances; Yuqi has a feisty, fighting spirit; and Soyeon’s compelling energy (which saw her effortlessly take down opponents on the 2016 season of Korean hip-hop survival show, Unpretty Rapstar) ignites every move and word.

Their KCON performance consists of “Uh-Oh,” “LATATA,” “HANN,” and “Senorita,” all of which have been penned by Soyeon (alongside some legendary Korean producers, including Big Sancho). She’s written for other idols (CLC, JBJ, SHINee’s Key) and penned four of the five tracks on (G)I-DLE’s second EP, I Am, with Minnie composing its final track, “Blow Your Mind.”

Although Soyeon had been given songwriting classes while she was a trainee, she never intended to be the group’s primary songwriter. “At first, I really didn’t know I’d be writing these songs,” she recalls. “But our debut was getting delayed because we didn’t have a song. So that’s when I thought, I should write our song, and started writing a title track.”

“Because I was a rapper, I’d only written lyrics and verses,” she continues. “I started putting on the beats and melody, then I took a MIDI class and stuff.” Although she appears to have been undaunted by the task at hand, it doesn’t lessen the enormity of the situation — that the reception to, and even the fate of, her group lay in her hands. “I always have pressure,” she concedes with a small laugh and smile, but her arms fold protectively over her body, “because it’s not a solo song — it’s for the team.”

The members are her muses. “She always says my voice inspires her,” says Minnie, who was the main influence for “LATATA.” “I think she knows my voice better than me! She knows how to put it in a way that sounds good. She’s like…” She pauses. A mind reader? Minnie laughs. “Yeah, a mind reader.”

“I usually have lots of conversations with Soyeon,” says Miyeon softly. Soyeon says, smiling at her: “For some songs, I write with inspiration coming only from Miyeon. I get it in various aspects but mostly from the powerful, emotional parts of her.”

Shuhua believes it’s her image and her vibe that helps spark Soyeon’s creativity, but for Yuqi, it’s the other way around; she doesn’t think she inspires their leader as much as Soyeon inspires her. “I prefer to just believe in her. She’s done everything so fast so, from my point of view, whatever parts she gives me, I try to do my best with. I think that trust works for me.”

“She’s been seeing me since trainee period, so she knows what fits me the best, and she writes me that part,” says Soojin, glancing over at her bandmate, who nods. “Soojin has a really cute voice,” Soyeon says, “so I sometimes make her do cute songs. But I also know she expresses sexy well, so I try to give her parts like that, too.”

KCON USA

Their label, CUBE Entertainment, recently gave them their own studio and the girls can be found ducking in to check on progress. “Soyeon lets us listen to a sample or maybe the hook and asks us if it’s OK, then she’ll continue writing,” says Minnie. But Soyeon isn’t one to sit around writing fragments of songs and tucking them away onto hard drives that gather dust on a shelf. “I’ve written so many raps,” Soyeon points out, “but for the team, I write songs for an album. I don’t really have made songs [lying around]. I’m more like, once I write it, I publish it.”

The songs are steeped in their very essence — a girl’s complex, internal house of mirrors that is constantly being broken, assessed, understood, and remade, where one style or sound is never enough to reflect who they really are. And so (G)I-DLE are the enticing tropical beats and coy fingersnaps of “LATATA” and the ominous, warning whistled hook of “HANN.” They’re also the pensive harmonies and slow throb of bass on the R&B-infused ballad “Put It Straight,” the whimsical words painted over the house music of “What’s In Your House,” and even the tango of “Senorita.” Their lyrics push back, they beckon. They can be bored nonchalance or sharpening desire.

Soyeon sees their self-produced sound as a “perk,” since “knowing our members better than any [external] songwriter means we know what we can do best.” There are a number of prominent female idol songwriters (such as Miryo, LE, Sunmi), although they’re primarily from an older generation of idols. Unsurprisingly, they’re not often talked about with the same reverence, or even in the same breath, as male idol writers such as Zico or G-Dragon.

Ask (G)I-DLE if they feel like their status as a female, self-producing group is pushing forward or laying new ground for their generation and they exchange unsure looks, then laugh at each other’s expressions. “I guess… not really,” says Minnie slowly. “The strength of our group is that we make our own songs and we put our opinions into the concepts and everything, but we just want to do something that suits us. We want to show who we are as best we can, and how we can perform.”

Getty Images

Although Soyeon mentioned in a 2018 interview that she was keen for (G)I-DLE not “to be like other idol groups in Korea,” she takes a moment now to elaborate and say that “rather than being different from other groups in a certain way, we’d like to have our own color. Like, [someone saying] ‘Oh, this song must be (G)I-DLE.’ It’s not being different, it’s about standing out,” she says seriously.

However much they downplay their role, (G)I-DLE are already a significant addition to the pop landscape. Soyeon’s shy, slightly embarrassed smile indicates she’s still coming to terms with that line of thought, admitting that winning over a dozen awards in their first year stunned her. “We used to say our first goal was ‘the best rookie award’ and when we actually got it, it was unbelievable,” she says. Minnie adds: “We didn’t really know until we received the rookie awards. That’s when we realized, oh, maybe we can do something. But even now we’re still just trying harder [as a group].”

Their impressive start (118 million views for “LATATA,” 64 million for its follow-up “HANN”) is no small burden on the group who are expected to not only maintain their success but continue growing. “The president of CUBE always says, ‘If you stop now, there’s no spotlight later,'” says Soojin. It honestly sounds terrifying. They laugh, even as they nod in agreement.

But Yuqi knows there’s a middle ground to be struck and she wants to have fun in the process. “Of course, every time we’re successful, then the next time everybody will have even more expectations for us — like, what will their next color be, what will their style be? Instead of getting pressured, we can enjoy it, we just do what we want to do. We show who and what (G)I-DLE is — that’s the only goal for us.”

BTS’s RM And Lil Nas X Head Out To The ‘Seoul Town Road’ In New Remix

The rooster crows when the sun stretches its first beams of the day across the sky and the farm awakens. There’s a list of tasks to handle around the ranch. The cows need to be milked. The fertilizer needs to be spread; those persimmons won’t grow themselves. Homis must be applied to the weeds. And the horses must be taken to Seoul, by way of the road that stretches through Old Town. BTS‘s RM dreams of a lifestyle this simple and clean, letting the smell of fresh scrambled eggs and sharp cheddar cheese hug his nose while looking out of the window at green pastures. He’s teamed up with Lil Nas X for “Seoul Town Road,” a new remix of “Old Town Road,” which gives him the space to turn his head to the stars while his head rests in his hand, contemplating a lifestyle defined by simplicity. And homis.

From the moment the familiar “Old Town Road” melody plays, the mood is set. RM belts out a new chorus, promising to bring his steed to the Seoul Town Road. Lil Nas X’s familiar verse takes us to the ranch where his matte black hat and boots build the scene. It’s not until RM steps in that the scene switches to bold new territory, where the BTS member builds his own farmstead where he grows veggies and rides horses. “I got the homis in my bag/ Have you heard of that?/ Homis made of steel, from Korea, they the best,” he sings, referencing the Korean gardening tool that helps dig, weed, and mound. He raps about snagging corn off of the stalk and we can envision the farm duty in slightly warm weather, under a clear sky. It’s going to rain later. RM’s going to finish it up and head inside for a nap.

In June, BTS released a free-to-play game BTS World for iOS and Android. Next month, Bring The Soul: The Movie will be heading to theaters for limited screenings that’ll showcase new concert footage in addition to “intimate discussions.”

Listen to RM and Lil Nas X daydream about a country lifestyle on “Seoul Town Road” up above.