Photos: Chris Saucedo/Getty Images for SXSW; Robert Okine/Getty Images; Scott Dudelson/Getty Images for Coachella; Paul Zimmerman/Getty Images; Rodin Eckenroth/Getty Images
5 Artists Showing The Future Of AAPI Representation In Rap: Audrey Nuna, TiaCorine & More
A growing number of Asian American and Pacific Islander artists are exploring how hip-hop can help them meaningfully express their multiculturalism — and they're being embraced for doing so.
At that point, some firsts for the community turned out to be false starts: In the ‘90s, Mountain Brothers was the first Asian American rap group to sign to a major label, but left just two years later. In the early aughts, MC Jin lost critical career momentum he gained from his impressive winning streak on "106 & Park’s" Freestyle Fridays, when Ruff Ryders delayed his debut album release by more than a year. As Miley Cyrus sparked a national conversation about cultural appropriation in hip-hop, Bad Rap’s subjects faced questions regarding whether they’re just as guilty as Cyrus, or whether their music was helping break the “model minority” stereotype.
Since then, hip-hop, a Black music tradition, has spawned countless global scenes, bringing contemporary rap across the Pacific and beyond. Rap taking hold in Asia can still seem contentious, whether dissecting K-pop's use of the genre or revisiting the viral songs that landed Awkwafina in Bad Rap. But, there is also a growing number of artists who are figuring out how hip-hop can help them meaningfully express and explore their multiculturalism — and are being embraced by the music industry for doing so.
In 2013, Kanye West’s jarring Yeezus changed Audrey Nuna’s music tastes for good, encouraging her to check out hip-hop artists like A Tribe Called Quest and MF DOOM. From there, she "started making what I wanted to hear," as she told Pigeons and Planes.
Nuna prefers to call herself a singer, to better reflect the stylistic versatility throughout her 2021 debut a liquid breakfast. Still, the "Robitussin flow" in "Comic Sans" is undeniable — to where Jack Harlow responded to her cold email and hopped on the song’s remix.
The making of a liquid breakfast made Nuna realize that she never has to search far to find inspiration. On "Blossom," Nuna’s grandmother laughs as she tells her about how, while fleeing the Korean War, she woke up from a nap on the migrant trail to find that her travel group — including her family — accidentally left her behind.
In the future, Nuna hopes to feature more Korean instrumentation as she channels her current influence, Radiohead. As Nuna told W, "We’re sitting here, living, because our grandparents were able to survive."
"She fell in love with the lifestyle of a pop star," pH-1 raps in "Yuppie Ting," the third track off his 2021 album But For Now Leave Me Alone. As he boasts of the Louis Vuitton he wears and the Michelin star meals he eats, pH-1 alternates between rapping in Korean and English with impressive precision, his flow skating over BlackDoe’s garage-inspired production.
Behind the scenes, pH-1 has felt more torn between the Korean and Western music industries than his music lets on. Even Jay Park, who has followed pH-1 since he moved to Korean and competed on rap talent show "Show Me the Money," once told him to write more in Korean. But for pH-1, to write exclusively in Korean would be to deny his Stateside upbringing in Long Island and Boston, and how he, like so many Korean Americans, naturally alternate between Korean and English in conversation.
"If I want to ‘financially succeed’ in Korea, I would have to make a song that’s very Korean-style. But that’s not me," pH-1 said to fellow artist Eric Nam in 2019. Instead, the more glittering spots of But For Now Leave Me Alone showcase pH-1 to be the experienced globetrotter he is.
In Bad Rap, Rekstizzy films a music video where, at a cookout, he squeezes picnic condiments not onto hot dogs, but the backsides of dancing Black women — for a song called "God Bless America." In his larger quest to become the "Korean rapper" he dreamed of in elementary school, he figured that outrageously offensive visuals were a must." "Whatever we do, people are gonna talk shit about us ‘cause we’re Asian," he says in the documentary.
Straddling the Asian and American aspects of one’s identity can seem impossible. But now, years after Bad Rap and after guest appearances in Adventure Time and Beef, Rekstizzy seems to have figured out an ideal balance. Mostly, he doesn’t seem nearly as pressed over proving that he’s American.
His own pop culture references, crude as they may be ("May cop a lewd body pillow on Etsy"), speak volumes. His music’s debaucherous nature recalls a wide swath of U.S. regional rap styles, from the Bay Area ("요리 (Yori)"), to the Midwest ("Mal Do An Dweh") and Atlanta ("Hentai"). As for his attempts to rap entire verses in Korean for the first time, apparently the jokes write themselves. As he and Bad Rap co-star Dumbfoundead realized while recording "Mal Do An Dweh," their takes on Korean slang sound hopelessly out of date, because as the latter realized, "We communicate in Korean more with our parents than our friends who speak in Korean."
Spence Lee is the child of a first-generation Chinese American and a Vietnamese refugee. But for much of his earlier material, his ethnic origins were hard to discern on record alone.
Spence Lee’s previous moniker, Shotta Spence, honored the "Dirty Jersey" that raised him — more specifically, the Caribbean supporters he gained before he relocated to New York, modeled for Yeezy, and gained producer Mike WiLL Made It as a mentor. That influence also appears all over his last full-length, 2019’s 1012; on songs like "Bounce," his cadence is equally inspired by reggae and trap.
Spence still shouts out how he came up with "shottas" and "rastas" on the autobiographical single, 2022’s "On God," one of his first under a new moniker bearing his family name. But that fact makes up just one chapter in his larger journey to capturing both the attention of Mike WiLL and 88rising, who jointly released the single. Mike WiLL explained to Joysauce how he and 88rising founder Sean Miyashiro saw "how Spence could be the bridge for many cultures, being from Jersey \[and\] into fashion, understanding his history, having principles and morals."
But Spence perhaps puts his new direction best in "On God," when he raps, "I do all this s— for my mom."
TiaCorine (whose father is Black and Japanese, and whose mother is part of the Shoshone Nation) ends her 2022 breakout album, I Can’t Wait with a breakup anthem dedicated to the poor music exec who counted her out. In "You’re Fired," she raps to keep from crying and sounding completely helpless: "You never listen to my songs, I’m always doing something wrong."
Today, her sly single "FreakyT" has 21 million Spotify streams and a Latto remix, it’s impossible to imagine how the situation in "You’re Fired" must have played out in real life.
TiaCorine’s music is Southern rap by way of Hatsune Miku — and it makes perfect sense, in an age where streaming has turned both hip-hop and anime (two of her biggest influences) into Stateside juggernauts. Her music captures the zeitgeist, though it also comes from an authentic place: While her father played formative ‘80s and ‘90s hip-hop in his Range Rover, her mother blared pop-rock instead. "That goes into my music — of me, just being free. Me just being confident in myself," TiaCorine told Preme magazine. Thanks to that confidence, mainstream success not only seems possible, but inevitable.
Photos: Martin Philbey/WireImage, Michael Loccisano/Getty Images for Coachella, Rodin Eckenroth/Getty Images, Marcus Ingram/Getty Images, Kayla Oaddams/Getty Images, Scott Dudelson/Getty Images
14 New Female Hip-Hop Artists To Know In 2023: Lil Simz, Ice Spice, Babyxsosa & More
Women are pioneering the future of hip-hop, and their styles have never been more pronounced. In celebration of the 50th anniversary of hip-hop, listen to 14 rising female artists that you should keep an eye on in 2023 and beyond.
Hip-hop has long been a male-dominated space, despite the success and indisputable influence of female generational talents. From the jump, women have overcome gatekeepers and expectations, beginning with MC Sha-Rock, then via Salt-N-Pepa, Lauryn Hill, Missy Elliot, and more recently with Gangsta Boo, Nicki Minaj, City Girls and Noname have overcome gatekeepers and expectations. Contemporary acts such as GloRilla are continuing their efforts and reaching a demographic that had never been excessively marketed to in hip-hop: women who want to hear rap music from women.
Rap is slowly becoming a more inclusive space — with an audience that’s finally willing to carve out a space for diversity and sex-positivity for all genders — and open to a myriad of subgenres, with female rappers leading the pack. In 2021 did Cardi B became the first female rapper to acquire a diamond-certified single. Any club in America that doesn’t play Meg Thee Stallion should be considered a rarity. Ice Spice is the first female drill rapper to break into mainstream culture.
The stage has been set for a new generation of artists, largely thanks to the genderless, wide reach of social media platforms. Today, misconceptions which hide the grit of Gangsta Boo, the explicit sensuality of Lil’ Kim, and the lyrical and political expertise of Noname are beginning to dissolve. The glass ceiling has broken, giving into an exponential increase in the number of female artists: ramblers, trash talkers, storytellers and sexually-charged drill rappers.
Women are pioneering the future of hip-hop, and their styles have never been more pronounced. GRAMMY.com offers a list of 14 rising female artists that you should keep an eye on in 2023 and beyond.
Odds are, you’ve heard "Pound Town." If you haven’t, lie low for the next few minutes as the St. Louis rapper spares no detail from her sexual exploits.
Much like Lil’ Kim, Sexyy Red is not only sex-positive, but infamous: "My coochie pink, my booty hole brown, I just left Pound Town," she declares. Sexyy Red also encourages empowerment, uplifting women’s self-worth. On "Hellcat SRTs," she proclaims to her fellow compatriots: "Bad bitches, we like fast cars. We like n—s that sell drugs with fast cars."
In all seriousness, Sexyy Red is audacious, confident, and the next hottest rapper to come out of St. Louis. Keep your eyes peeled and listen to Hood Hottest Princess from earlier this year whenever you need to hype yourself up.
Ex-SURF GANG member Babyxsosa was one of the first viral rappers to breakout on TikTok during the pandemic, but her story goes much further than the bright tones and oddly-sporadic drums of "Everywhereigo." Her dainty, autotuned voice and lush soundscapes make her the Internet’s iteration of a soul singer. She’s warm and intimate, using simple lyrics in order to croon through feelings of desire and despair.
At heart, however, Babyxsosa is underground hip-hop’s Billie Eillish crossed with PinkPantheress. Beats mutate to the sound of her voice. Where her singles of the past four years have ranged from cacophonous, leady synthesizers to elevator music dapped with 808s, her recent EP, Bling Bling, is demonstrative of eery, melodic versatility, laying muted-verses to club beats, using range of different experimental digicore instrumentals to challenge herself as both a vocalist and songwriter.
Hook can’t be likened to any one sound in hip-hop. Some of her beats beep like 8-bit minigames, others are made of single oscillating synthesizer chords; generally, her production has a heartbeat that fades in and out and loops, giving each song its own life, and agitation thereafter.
The Riverside, California-raised rapper seethes in her verses, rambling out of frustration and joy and disappointment and confusion and anger and disgust and sadness and every emotion in-between. Still, Hook and her avant-garde approach to rap is erratic and hilarious and lyrically distinct in every way.
Armani Caesar is the first and only female rapper on Griselda Records, which has featured Boldy James, Mach-Hommy, Westside Gunn, Conway the Machine, Benny the Butcher and more. Like the latter three, Armani Caesar hails from Buffalo, N.Y. delivering gritty, tooth-and-nail stories of the streets, but with a bit more rhythm than a dusty ’45 record.
She incorporates pop rhythms and seeks more towards the disco-era and modern technology for a cadence that’s just a hair shy more uptempo than soul. Armani Caeser’s rhythm is infectious, but her lyrics are venomous. Look at the cover art to her single, "Diana," cover art, she’s Lil’ Kim had she hustled in Buffalo.
Though Little Simz is not necessarily a rising artist, her success has been exponential since the release of 2021’s Sometimes I Might Be Introvert. The UK grime-turned-amorphous rapper of equal parts technically flawless and lyrically awe-inspiring. Over garden party-esque orchestral swells she can deliver a poem penned to her own empowerment, but she can also rap a 16-bar verse with a live band almost breathlessly.
She’s punchy and energetic, sentimental and adamantly altruistic. A fire burns in Little Simz, and the spark is fanned with each beat of the drum.
Where hip-hop has begun to transition towards two extremes — heavy metal on one side and drumless beats on the other — Amaarae presents a hidden alternative. The Ghanaian vocalist ushers in a new conception of hip-hop, bringing an Afro pop influence that's reminiscent of Doja Cat’s debut album, Hot Pink.
Amaarae produces her own work, blending traditional Ghanaian instrumentation and polyrhythms with a digitally-created drum circle. As the music claps into double time, Amaarae’s voice speeds up and down, wavering between rapping and singing. She does it all, and after the viral success of "SAD GIRLZ LUV MONEY" and its remix with Kali Uchis, Amaarae dropped a new EP in July, Fountain Baby, scoring the scorching heat of the summer.
Creating an electronic collage of house, club, drum n bass, afro beats, and live drum breaks, Tkay Maidza exceeds the term "multi hyphenate." Whether she’s collaborating with JPEGMAFIA or Flume, Tkay creates dystopian worlds in her soundscapes, cut with screeching basslines and glitching snares. Her music is neo-R&B as she deems fit, soulfully calling on Kari Faux for over articulation on "Don’t Call Again;" it’s rage rap on the industrial track, "Grasshopper;" it’s even a derivative of EDM in her latest single, coyly titled, "Silent Assassin."
Flo Milli is the young, happy-go-lucky artist within this new crop of talent. Her voice is an alto and her lyrics are just conceited enough to radiate excellence while delivering some of hip-hop’s most clever remixes for Gen Z listeners.
Whether she’s rapping to Ethereal’s beat on Playboi Carti’s "Beef" or to Too $hort’s "Blow the Whistle," Flo's enfranchising rhymes drive confidence and sexual prowess into her listeners. On "Roaring 20s," she playfully takes on the role of Daisy from The Great Gatsby, fascinated by ragtime-inspired production and men who would give up anything to spend a few minutes with her. That’s the magic of Flo Milli: she’s animated, fluidly jumping to whatever style and aesthetic she deems worthy of her exhibition.
In her many lives, CLIP has graduated from NYU, had a flourishing career in journalism, and ended up in Los Angeles amongst the next generation of Soundcloud artists. Her music is a melting pot of these cultures and influences. On her recent PERCEPTION EP, she includes drum n bass-inspired beats on songs like "Happy;" her breakout single, "SAD B!TCH," border on cloud rap with their ethereal mixing; her recent single, "sunset blvd" incorporates the croons of emo rap. CLIP has already become a rising star without releasing a single full-length project.
Her voice is soft and melodic like Babyxsosa and her production matches the mild psychedelia of Hook’s use of filter. CLIP incorporates the downtempo eeriness of Houston chopped-and -screw tapes, drowning out her own braggadocio through internet-coded soundscapes.
Hailing from Winston-Salem, North Carolina, TiaCorine has the swagger of a Gangsta Boo, coloring her lyrics with braggadocio and slick, staccato phrasing. Her instrumentation is wavy and pompous, featuring warped 808s and the glossy sparkle of xylophones and high-pitched synths.
TiaCorine stands out for the way she meshes her Southern cadence with disjointed, bubblegum beats, drum machine hi-hats and Jersey club-style kicks. She’s erratic yet sweet; she’s cutesy like pluggNB yet arrogant like JT and Yung Miami.
Compared to Hook or CLIP or Babyxsosa, Vayda would be their prodigal child of the forthcoming generation of digital media consumers, aiming for an even more stimulating derivative of industrial hip-hop: hyperrap. Vayda creates starkly genreless hip-hop, jumping from Jersey club to sample-based beats to trap hi-hats for short, digestible tracks typically landing at under 90 seconds. Her music is uptempo and comes in waves of focused attention, etched with sporadic bass drum kicks similar to Evilgiane’s in SURF GANG and Cash Cobain’s hyper focused, sample drill 808 patterns.
Vayda isn’t concerned with regionalism and having a sound attributable to any one place. Her beats sparkle and shimmer, they dash like bodies towards the DJ at a club, and Vayda is at the forefront, leading the new school.
Akin to the Southern, tongue-twisting legend Young Thug, Doechii’s vocal inflections twist and contort, wringing out sonically and lyrically emotive verses. For the Tampa-born artist's stuffy intonation squirms in your ear on tracks such as "Stressed," and genuinely evoke the emotion.
Alongside labelmates Isaiah Rashad and SZA at TDE, Doechii stretches her syllables for zig-zagging hooks against everything from double-time drums on "Crazy" to dancehall on "Persuasive."
Bktherula is hip-hop’s response to grunge and punk rock. Her aesthetic varies from neon colored braids to skull tees, each in a slightly different shade of black. The Atlanta rapper references punk's yearning screams and whispers in her own groaned melodies on songs such as "Tweakin’ Together" and "FOREVER, PT. 2 (JEZEBEL)."
On tracks such as "TAN," however, that Bktherula’s music matches the aggression of punk, using warbling synthesizers and arcade-sounding, drive-heavy snare. Bktherula flexes, showcasing not only technique but preemptively taunting anyone with the audacity to diss her.
Last but certainly not least is America’s most talked about drill rapper since Pop Smoke (RIP). Arriving from the Bronx, Ice Spice became popular after coining the term "munch," referring to selfless, sexually-pleasing men. Her sex appeal, her gospel of female empowerment and her creative free-spirit enabled by SpongeBob SquarePants samples and Zedd flips, puts Ice Spice as the queen of virality in 2023.
How is she wielding her superstardom? With now-refined drill beats, melodic collaborations with UK-sensation PinkPantheress, and working with some of the most influential women in hip-hop from New York — including her idol-turned-peer, Nicki Minaj.
Photo: Michito Goto
Global Spin: Japanese Rock Band MAN WITH A MISSION Tear Up The Stage With An Electric Performance Of "Fly Again"
The half-man, half-wolf Japanese metal band MAN WITH A MISSION throw down on stage in this live performance of "Fly Again," a track from their 2011 self-titled album.
Japanese rockers MAN WITH A MISSION don't reveal their aesthetic in dribs and drabs; within mere seconds, you know what they're all about. And that's getting hyped — in the wolfiest of ways.*
Donning their signature canine headgear, the heavy Japanese collective gets throngs of disciples turnt up as they absolutely lay into a rendition of "Fly Again." The feeling is so new/ Believe in what you do," goes one verse. "Don't you ever be afraid in losing/ That's the clue." A wolf's creed indeed!
In this episode of Global Spin, raise a glass to AAPI month with this hair-raising live performance by a group at the vanguard of Japanese heaviness. And if you'd like to join the thrilled masses in this video, MAN WITH A MISSION are in the midst of a North American tour.
Enjoy MAN WITH A MISSION's electrifying performance of "Fly Again" above, and check back to GRAMMY.com for more episodes of Global Spin.
pHOTOS: RYAN LIMAFP via Getty Images,David Talukdar/NurPhoto via Getty Images, Prabhas Roy/Hindustan Times via Getty Images, Satish Bate/Hindustan Times via Getty Images, SUJIT JAISWALAFP via Getty Images
5 Bollywood Stars To Discover: Shreya Ghoshal, Badshah & Others
A new generation of Bollywood singers and composers are bringing a fresh approach to the music, embedding their creations with influences from hip-hop and electronica, and fusing Indian folk and classical traditions with the pop mainstream.
For many decades, the lush soundscapes of Indian film music were dominated by a select group of singing legends: from Lata Mangeshkar and Asha Bhosle to Hemant Kumar, Mukesh and Mohammed Rafi. A change of the guard was inevitable, and it began during the last years of the 20th century.
As the film industry in India became more globalized and diversified, and reality shows opened up doors for young performers, it was only natural that talented playback singers — the actual performers recording vocals that are later mimed by the actors — would appear in all corners of the vast country.
The Bollywood standards that captivated the imagination of millions from the ‘50s to the ‘90s are still timeless. But a new generation of singers and composers are bringing a fresh approach to the music known as filmi — embedding their creations with influences from hip-hop and electronica, and fusing Indian folk and classical traditions with the pop mainstream.
Here are five young stars of Bollywood music who are ready to be discovered by the rest of the world.
One listen to “Kesariya,” the lilting ballad from the 2022 fantasy blockbuster Brahmāstra: Part One – Shiva is enough to understand why 36-year-old singer and composer Arijit Singh has been the most streamed Indian artist on Spotify for the past three consecutive years. Singh’s velvety inflections demonstrate the influence of mainstream pop, while remaining faithful to the film masters that he grew up listening to — particularly golden era maestro Kishore Kumar.
Born in West Bengal, Singh was raised in a musical family. Everybody sang around him in childhood, and he was also exposed to both Western and Bengali classical music. Singh has been criticized for lending his voice to too many Bollywood productions, but a prolific output has defined playback singers since the very beginning of India’s movie industry. His association with composer Pritam is already legendary. This year, the team delivered an instant classic: the atmospheric “O Bedardeya,” from the romantic comedy Tu Jhoothi Main Makkaar.
This 34-year-old vocalist from the northern city of Rishikesh (also where the Beatles studied meditation with the Maharishi in 1967) wasn’t alone on her path to Bollywood stardom. Neha is the youngest sister of playback singers Tony and Sonu Kakkar, and the entire family initially moved to Delhi in order to further their musical careers. At 16, Neha was a contestant in the second season of the reality show "Indian Idol," but was eliminated early — she would return to the show as judge, and gain notoriety for her empathetic reactions to the performances of aspiring stars.
In 2014, she collaborated with famed music director Amir Trivedi on the rambunctious “London Thumkada,” which accompanies an unforgettable wedding scene in the award-winning film Queen, about a young woman’s path to personal freedom. Since then, the self-taught Kakkar has recorded a number of soulful duets for Bollywood productions. In 2020, the groovy “Dil Ko Karaar Aaya” became one of her biggest hits.
It makes sense that the integration of hip-hop into the Indian music mainstream would generate some controversy, and the wild success of rapper and film producer Banshah has polarized critics.
Born in Delhi, Badshah studied civil engineering before turning into music full time. In 2020, his smash duet “Genda Phool” (Marigold Flower) with playback singer Payal Dev was met with hostility by the Indian press because it openly lifted lines from a classic Bengali folk tune. Badshah’s musical ambition, knack for bouncy beats and clever rhymes has transcended his critics. He continues to enrich filmi music with rap and novel ideas: Check out the darkly hued, sinuous melodic lines of “Bad Boy,” which he contributed to Saaho, the second highest grossing Bollywood film of 2019.
Growing up in Panipat, a city north of Delhi, Asees Kaur obsessively studied cassette tapes of Gurbani — the compositions of Sikh Gurus. It is not surprising that the 34-year-old playback singer’s best Bollywood moments are infused with a subtle spiritual vibe, a benign tranquility.
Her first big hit was “Bolna,” a duet from the 2016 family drama Kapoor & Sons. She recorded her vocals separately, and was pleasantly surprised to find out that the finished product also involved the voice of Anijit Singh. Kaur’s popularity skyrocketed in 2021 with “Raaraan Lambiyan,” the moving opening track to the Shershaah soundtrack — a stirring war biopic.
At 39, Shreya Ghoshal is already a legend among contemporary playback singers — her prodigious output and notorious versatility providing a link to the golden era of Indian cinema. Tonally, Ghoshal also evokes the spell of singing icon Lata Mangeshkar, one of her greatest influences.
Classically trained in Hindustani music, Ghoshal was a teenager when she won the reality show "Sa Re Ga Ma," attracting the attention of the film industry. Her auspicious debut as playback singer happened on the 2002 romantic drama Devdas, one of the quintessential Indian films of the past three decades. Mimed by actress Aishwarya Rai, the song “Silsila Ye Chahat Ka” made for a spectacular dancing sequence with lavish wardrobe and sets. Ghoshal's honeyed soprano has served her well, with a gallery of hits that includes recent tracks such as the gorgeous “Pal,” a duet with Arijit Singh from the 2018 film Jalebi.
Photo: Courtesy of Henry Lau
Press Play: Henry Lau Shows Off His Musical Prowess With A Dynamic Performance Of "MOONLIGHT"
Genre-bending singer Henry Lau uses a loop station to perform his single "MOONLIGHT," incorporating the violin, cello and both electric and acoustic guitar.
With his single "MOONLIGHT," Henry Lau refuses to be burdened by his past relationships. Now, he's turning a new leaf, dancing carefree under the night sky, regardless of the negative emotions he might feel.
"I'm waking up in a daze, get it out of my face/ The sun is shining on every move that I make," the singer reveals in the second verse. "So, let's get to forgetting everything that went wrong/ Everybody here, we been crying too long/ We can dance about it to our favorite song."
In this episode of Press Play, Lau performs "MOONLIGHT" from a mansion rooftop during sunset. He constructs the entire song using a loop station, playing a violin, cello and electric and acoustic guitars — one of his signature performance techniques that prompted his nickname, "one-man band."
Lau released "MOONLIGHT" in January — marking his first single in two years — via Monster Entertainment, the label he founded alongside his brother Clinton. He released another single, "Real Love Still Exists," two months later; the track features Malaysian R&B singer Yuna.
Watch the video above to watch Henry Lau's impressive loop station performance of "MOONLIGHT," and check back to GRAMMY.com for more new episodes of Press Play.