While tweeting about an interview last March, Nicki Minaj seemed to confess that she has ADHD, or Attention Deficit Hyperactivity Disorder.

"I have a difficult time getting out what I have to say," the rapper wrote. "Honestly, I think it’s one of the many embarrassing signs of ADHD," she added. "Not diagnosing, just thinking out loud. You’re asked 1 question & go off on a tangent about 5 diff things b4 you answer the 1st question."

Minaj’s tweet, to 25 million followers, can be seen as yet another dot in ADHD’s long and winding history in hip-hop — the four letters forming a kind of through line in the music over the years. Yet until recently ADHD, and other mental health struggles, were considered too shameful to talk about.

Americans' mental health struggles have become more pressing since the pandemic. There are signs, however, that the nation, music industry and artists are responding, including the recent launch of a nationwide 9-8-8 crisis line, a Hip-Hop & Mental Health panel at the GRAMMY Museum, and a new mental health partnership between LL Cool J and Michelle Williams of Destiny’s Child.

Despite lists of rap songs that address mental health, the popularity of the genre and the prevalence of ADHD, little media attention has been paid to hip-hop and ADHD. While estimates vary and good data can be years old, the best numbers suggest that 6.1 million children (about 9.4 percent) plus 10.5 million adults (about 4.4 percent) have ADHD in the United States alone.

Hip-hop stars who have reckoned with ADHD — whether creatively, IRL or both — are legion. This includes the first rapper to win a GRAMMY, Will Smith,  and a beloved track on Kendrick Lamar’s debut album. "I suffer from ADHD," Tyler, the Creator spits on "Odd Toddlers." "I should win a f— award for being me." Will.i.am of Black Eyed Peas, describes his tunes as the "most ADHD songs ever."

The rapper and mogul Diddy opened up about struggling to focus in a 2018 Instagram video: "Sometimes my brain can go in different directions," hesaid. "I may have to sit here and read this book five times." Singer Tyrese Gibson responded, "Champ that’s called ADD or ADHD most creatives have it bad….. Me too! Lol."

Chance the Rapper is said to have had Attention Deficit Disorder (now considered the "inattentive" subtype of ADHD). Russell Simmons’ All Def Digital launched a short-lived ad agency called ADHD. A now-deleted 2018 interview links Young Thug to the diagnosis, while Wale named his major label debut album Attention Deficit and Kodak Black raps that "they say I’m ADHD."

Lesser-known stars whose work has touched on the diagnosis include Houston’s Sad Frosty, whose 2018 breakout single was "ADHD Freestyle," Boston’s Michael Christmas, and British punk rapper slowthai, who has a 2021 track called "ADHD."

While some public admissions of ADHD are controversial, others seek to turn lemons into lemonade. Brit rapper Loyle Carner has made it a focus, founding an "ADHD Cookery School" called "Chilli con Carner."

ADHD has been overdiagnosed in the past, and its potentially risky, stimulant-heavy medications overprescribed. Yet Black Americans have been historically underdiagnosed and therapeutic supports undermined by racial bias. (This is likely even more true of Black girls and women, some studies and articles suggest.) Like Minaj, some Black female artists are now opening up about their experiences with ADHD — one of several conditions including dyslexia and autism sometimes referred to as "neurodivergent."

Doja Cat recently revealed struggles with ADHD in a Rolling Stone story, which led her to drop out of high school amidst "a period of artistic awakening" when she found her longtime producer, Yeti Beats. Solange Knowles has been diagnosed with ADHD twice. The first time, she told Black Doctor, she "didn’t believe" it, thinking "ADHD was just something they invented to make you pay for medicine."

While struggles with trauma and "so much trouble on my mind" — to quote LL Cool J — have been on tape all along for countless rappers, Black artists have not been given the same latitude as white ones like Eminem.

Joyner Lucas titled his 2020 debut album and a song on it, "ADHD." "I feel like I’m dying inside / Why do I seem crazy? / Someone save me / You can’t blame me / It’s my ADHD," Lucas sings on "ADHD With Revenge Intro." In the video, he wears a Bob Dylan T-shirt — Dylan, who famously wrote the lines "like a rolling stone / no direction home," is reputed to have had ADHD-like behaviors. It’s filled with images of white people pushing prescription medications that Lucas refuses — until the end, when he takes a pill and goes to sleep.

On the album, Lucas pays tribute to Will Smith, while on "ISIS" he partners with Logic, whose 2017 song about suicide "1-800-273-8255" (the National Suicide Prevention Lifeline number, now 988) made a splash. Lucas tells GRAMMY.com he’s used music to flip the script on ADHD.

"All my life, I’ve been an underdog and underestimated because of my ADHD," Lucas writes. "Instead of the condition being a weakness, I made ADHD into my strength and channeled my creativity into music. ADHD helps breed creativity and it’s allowed me to tap into my talent to create every song and visual."

Lucas is not alone in claiming ADHD as a creative strength. Will.i.am (William Adams) told ADDitude Magazine that while he often feels like he can’t stop or slow down, "those traits work well for me when I’m in the studio."

Stephan Pennington, a critical musicologist at Tufts University, sees such moments as part of a sea change in ADHD, which he posits is evolving from a condition to an identity: "It becomes not that you did it despite it; it becomes this is who you are."

"There’s a lane for it now," agrees San Francisco State University Africana Studies professor Dave "Davey D" Cook. The industry, Davey D adds, has been "forced to accommodate." The rise of social media and other platforms for artist-fan engagement, coupled with the growth of online communities of people who identify as having ADHD, makes this possible.

There’s no solid proof of a link between ADHD and creativity, though some studies — and a mountain of fantastic music — suggest one. Author Lara Honos-Webb writes that one way of conceptualizing kids with ADHD is as "orchid children," "fragile, delicate and over-excitable creatures" who can "grow into startling, colorful successes" under the right conditions, but lacking those, can be "easily crushed."

Salif Mahamane, a psychology professor who has ADHD, describes it in a TEDx talk as "like popping popcorn: one kernel goes off, and then they all take off. … Parts of having ADHD in this world really, really suck," he says, then adds slyly, "but I quickly get distracted from them."

"If it’s a superpower, [ADHD] is a pretty sucky superpower," Pennington tells GRAMMY.com. He lists hyperfocus, burnout, inconsistency, time blindness, executive dysfunction, not finishing projects. "The thing is, if you have a condition you can’t change, it is quite natural to turn that into something positive," he adds.

It’s something musical artists have been doing forever.

Hip-hop and mental health have different languages and histories, but they’ve often overlapped in our contentious, multiracial, musical nation.

Rappers have been talking about "getting their mentals right" since "day one," Davey D says. "Pick an artist and you’ll probably see it being addressed." Back when Grandmaster Flash and the Furious Five’s 1982 hit "The Message" — its legendary chorus a warning: "Don’t push me / ‘Cause I’m close to the edge/ I’m tryin’ not to lose my head" — was released, rap was not even considered "music" by some. But emceeing, Davey D says, "is a form of healing, for many people. Let me get this cypher, and let me express whatever angst and anger that I have."

ADHD has had its own long, strange trip in psychiatry. Its roots.) go back to Scotland in 1798, when it was called "hyperkinetic disease." Hyperkinetic was still the term when it was added to the American Psychiatric Association’s manual in 1968; in 1980, it was renamed "Attention Deficit Disorder," but in 1987, ADD became the "inattentive" subtype of ADHD. In 1994, ADHD was redefined to have three subtypes, inattentive, hyperactive-impulsive and combined, which were redefined in 2013 as "presentations."

While Americans have begun speaking more openly about mental health, the music industry has been changing, too. For decades, it pushed "that gangsta s— … that Black anger," denying rappers multi-dimensional personas and emotional breadth, Davey D says. If a star came for an interview and the host "wanted to broach something a little deeper … somebody would step in and be like, 'Let’s keep it moving.'"

Now, we are seeing more of what Davey D calls "real conversation" about the music. It’s as if the blinders are coming off and artists know "they’re probably going to have to have a more in-depth dialogue, and to a certain degree, that is now part of the job and part of their brand."

As always, the music both reflects and pushes broader changes. So the rise in rappers spitting about or disclosing ADHD is also "about claiming this identity," Pennington says. "It’s like, 'Hey, we’re not bad kids who are stupid or lazy. Actually, we have ADHD.'"

Pitfalls and complications remain, both for individuals who have ADHD and in hip-hop’s treatment of the subject. Among them is hip-hop’s forever love affair with getting faded, and the self-medication which often pops up in the music along with ADHD. In his 2011 classic "A.D.H.D." Kendrick Lamar raps in a raspy, lower-pitched voice about "eight doobies to the face," "twelve bottles," "two pills and a half" and "sippin’ cough syrup like it’s water."

"F— that," Lamar drawls, over Sounwave’s hypnotic suboceanic groove. "Got a high tolerance when your age don’t exist." Other artists hit similar notes describing self-medication.

"Here go your prescription," a typically bombastic Wale flows in "Prescription" on his debut album Attention Deficit. "I put Adderall in y'alls / Riddle them with Ritalin." Slowthai’s 2021 song "ADHD" is darker, more somber: "Mind complexity be the death of me," he raps. "Smoke weed only way I fall asleep / Same routine, drink 'til I can’t speak."

Artists like Lucas and Logic, who are courageous enough to make art that is overtly about taboo topics like ADHD and suicide, may face the challenge of being "forever" associated with the subjects. "More importantly," Davey D says, "will fans allow a particular artist to move off of a particular angle?"

Racism also continues to rear its ugly head in a country in which the power of metaphor, Pennington explains, has long been denied to Black musicians. Blues pioneer Robert Johnson, for example, was said to have literally sold his soul to the Devil, rather than have simply employed a metaphor. It would follow, then, that a flow about ADHD does not equate to a diagnosis.

Yet "Black people are [still] being arrested and put in prison because of rap lyrics," Pennington notes, something the Washington Post finds is increasing. In May, Young Thug and Gunna were arrested in Atlanta; a grand jury indictment includes lyrics as evidence. "They rapped around having robbed someone, so then they get arrested, and that [song] is the 'evidence,' it’s a 'confession,'" Pennington says, speaking generally, not about that specific case. By contrast, lyrics from country music's murder ballads are not similiarly seen as fair game in legal settings.

All these changes, for better and for worse, bring us to Ye a.k.a. Kanye West’s very public struggles with mental health. "I give [Ye] more credit in terms of bringing this conversation to the forefront than anybody else," Davey D notes, noting that Ye has always been "very emotive."

Many interpreted Ye’s self-titled 2018 album as an admission to having bipolar disorder which, the National Alliance on Mental Illness notes, can co-occur with ADHD. Ye’s music has long referenced mental health; on that album, he raps "S— could get menacin’, frightenin’, find help… / That’s my bipolar s— / That’s my superpower…." Ye’s claimed his art is his therapy, inspiring Trevor Noah to respond "I do understand that art can be therapy … but I also understand that therapy can be therapy." Recent reports suggest Ye may now be getting professional help, but what may be most salient about the saga is that it’s played out so publicly.

"Mental health now is much more of a mainstream conversation … because people who were sequestered to just one type of emotion have been able to express themselves in a variety of ways," Davey D says. "You just can’t put anybody in a box any more."

Ye’s supporters include Lucas, who in April dropped a song titled "Ye Not Crazy." When he raps "How do you spell crazy? G-E-N-I-U-S," Lucas joins an unproven, yet distinguished tradition linking insanity and creative brilliance that stretches back to van Gogh and Beethoven.

"I’m proud to use my platform to uplift those with ADHD and show how we can overcome the odds to become innovators," Lucas says.

15 Songs That Directly Address Mental Health, From The Beatles To Ariana Grande To 'Encanto'

Nicki Minaj is making some serious moves right now. Within the same week, the 10-time GRAMMY nominee released her first single of the year, "Red Ruby Da Sleeze," and announced that she has started her own record label — which has already signed several artists, including Rico Danna, a rapper from her hometown neighborhood of South Jamaica in Queens.

This multi-hyphenate star is clearly stepping on the gas for 2023. But as her Barbz know, Minaj has been hustling for more than 15 years, and it's still paying off: Just last year, the rapper landed her third No. 1 on the Billboard Hot 100 with "Super Freaky Girl" — her first unaccompanied chart-topper. 

As the latest Nicki chapter begins, get familiar with the essential songs in her discography that brought her to this point. Starting with the standout track from her very first mixtape, GRAMMY.com presents a roadmap to understanding the music of Nicki Minaj.

"Can't Stop, Won't Stop" (2007)

Minaj collaborated with Lil Wayne — an early mentor — on her first mixtape, Playtime Is Over. It's the first hint of the musical chemistry between the two, as they trade rhymes over the instrumental of "Can't Stop, Won't Stop" by Young Gunz.

"Now, it's not hard to find me/ Top behind me/ You be Harry Potter, and I'll be Hermione," Minaj rapped to Tunechi on the track, foreshadowing how big they'd become together in the years to come.

"Itty Bitty Piggy" (2009)

The breakout song from her third mixtape Beam Me Up Scotty, Minaj declares that she's "the baddest in the game" on "Itty Bitty Piggy."

"It's me — I win, you lose!" she taunts on the track. Elsewhere, Minaj also shows off her confidence by offering to sign her fans' boobs and inviting other female rappers to pick her fruit out and to be her personal shoppers.

"Up Out My Face (Remix)" (2010)

Mariah Carey recruited Minaj for this sassy duet that serves as an early warning shot that she was ready for her pop music close-up. She distinguishes herself by rapping about cheaters and scrubs in American and English accents.

"My Chick Bad" (2010)

Minaj's sports and horror icon-laden verse on Ludacris' "My Chick Bad" shows how she was morphing into an outsized pop culture character of her own.

"Running down the court, I'm dunkin' on 'em, Lisa Leslie," she rapped, namechecking a WNBA star. On the track, she also compares herself to Friday the 13th movie killer Jason Vorhees and Freddy Kreuger from Nightmare on Elm Street.

"Moment 4 Life" (2010)

"Moment 4 Life," which features a guest verse from Drake, is the song that catapulted her from the early fame of appearing on songs from other artists to becoming recognized as a solo artist in her own right. The sixth collaboration between the two friends is also the most acclaimed of their work together, as the song was nominated for Best Rap Performance at the 54th GRAMMYs.

"In this very moment, I'm king," she proclaimed on the song.

"Roman's Revenge" (2010)

A week after dropping jaws with her guest verse as her alter ego "Roman Zolanski" on Kanye West's "Monster" (which also features Jay-Z, Rick Ross and Bon Iver), Minaj released her own full-length song called "Roman's Revenge." It's an electric duet featuring Eminem that finds her spitting lyrical fire like "a dungeon dragon."

"Super Bass" (2011)

Minaj's first solo top five hit — landing at No. 3 on the Billboard Hot 100 — solidified her pop star status with its catchy, sung chorus. The endearingly bouncy love song has earned a rare Diamond certification for sales of more than 10 million in the U.S. — her only single to achieve the feat to date.

"Starships" (2012)

Though Minaj had flirted with EDM-style tracks alongside David Guetta in 2011, her own club track "Starships" has the most soaring energy. Produced by RedOne, the song showcases Minaj's versatility with singing and rapping for an international audience.

"Anaconda" (2014)

A playful interpolation of Sir Mix-A-Lot's 1992 booty-popping hit "Baby Got Back," "Anaconda" is one of many examples of Minaj's sampling prowess. On the fun, uptempo track, she celebrates the pleasures of "missing no meals" and shouts out bodies that have extra to grab. The cheeky tune nabbed Minaj her first GRAMMY nomination for Best Rap Song in 2015.

"Bang Bang" (2014)

An infectious hit that earned Minaj her sole nomination for Best Pop Duo/Group Performance, "Bang Bang" positioned Minaj as a pop star alongside Jessie J and Ariana Grande. As she raps on the song, she brings "Nicki full throttle" with her verse, with dextrous rhyming as well as vocals that keep up with the powerful pipes of her collaborators.

"Truffle Butter" (2015)

Arguably the highlight of Minaj's collaborations with Drake and Lil Wayne, "Truffle Butter" finds the three rappers flowing over a slowed-down and pleasingly off-kilter dance beat, which was sampled from Maya Jane Coles' 2011 house music stunner, "What They Say." "Truffle Butter" earned Minaj one of her three GRAMMY nominations in 2016, and her second for Best Rap Performance.

"Chun-Li" (2018)

In this boom-bap-style track, Minaj takes on the role of Chun-Li, the woman in the Street Fighter video game series, spitting her verses over a horn riff that propels the listener into an action adventure. Though the character is not an antagonistic player in the game, Minaj crafts Chun-Li as a villain, spitting, "They need rappers like me/ So they can get on their f—ing keyboards and make me/ The bad guy, Chun-Li."

"Tusa" (2019)

Recognizing Minaj's global appeal, Colombian reggaeton artist Karol G reached out to collaborate on "Tusa." The bilingual song brought some significant firsts for Minaj: it was No. 1 on the Hot Latin Songs chart in the United States, topped pop charts all over South America and was nominated for both Record Of The Year and Song Of The Year at the Latin GRAMMYs in 2020.

"In her verse, she says: 'It's me and Karol G, and we let the rats talk.' I died, I revived, I died and revived again until I understood Nicki Minaj had said my name in her verse," Karol G excitedly told Billboard.

"Do We Have a Problem" (2022)

Minaj's versatility as an MC shines on her recent collaboration with Lil Baby, which is accompanied by a mini movie where she plays a sexy and fearsome double agent. Her lyrical fierceness is distinct from her pop songs, and is a welcome return to her earliest approach to rapping — with her voice taking multiple tempo twists and turns along the way.

"Red Ruby Da Sleeze" (2023)

Minaj's Trinidadian roots shine through as she weaves patois into her rhymes on "Red Ruby Da Sleeze." The beat and vocals are sampled from Lumidee's song "Never Leave You (Uh Oh)," As her first release of 2023, "Red Ruby Da Sleeze" helps Minaj make a strong statement that she's still at the top of her game — and has the staying power of a true queen.

15 Must-Hear New Albums Out This Month: Boygenius, Kali Uchis, Lana Del Rey, Miley Cyrus & More

Get your queue ready. From folk and outlaw country music, to classic rhythm and blues and hip-hop, there is a robust slate of music documentaries dropping in 2023 that will satisfy any music lover.

For alt-rock fans, the Failure documentary explores the evolution and impact of the influential rock band known for their experimental sound. If hard-hitting country is more your speed, Johnny Cash: The Redemption of an American Icon and "They Called Us Outlaws" offer a no-holds-barred look at the artists who drove the vibrant sound of the genre.

Hip-hop fans can enjoy a deep dive into Nicki Minaj's journey to rap superstardom in her six-part docuseries. Or, take a behind-the-scenes look at the hip-hop group Little Brother and the challenges they faced while striving to become world-famous emcees.

Below, check out this guide to 10 can't-miss music documentaries coming your way in 2023.

Hallelujah: Leonard Cohen, A Journey, A Song

Featuring appearances from Bob Dylan, Brandi Carlile, the late Jeff Buckley and more, this documentary examines the life and times of prolific singer-songwriter Leonard Cohen through the lens of his famous song, "Hallelujah."

Despite its current status as one of the most notable tracks in music history, "Hallelujah" — which was featured on Cohen’s 1984 album, Various Positions — was not an instant hit. It wouldn’t receive global recognition until nearly a decade later, with the release of Buckley's now-ubiquitous cover. While the world may have been slow to embrace the song, Cohen says Dylan immediately saw its greatness.

"It took a long time. I think the song came out in '83 or '84, and then the only person who seemed to recognize the song was Dylan," Cohen said in a 2009 interview with Q TV. "He was doing it in concert. Nobody else recognized the song until quite a long time later… almost 10 years later."

Directed by Daniel Geller and Dayna Goldfine, Hallelujah dives deep into the song’s themes, exploring how artists covering the track have interpreted its meaning. The doc also features exclusive concert footage, performances, and interviews with Cohen's former collaborators.

After a brief theatrical release, Hallelujah: Leonard Cohen, a Journey, a Song is available on DVD and various streaming platforms.

Failure

As Nirvana, Pearl Jam and Soundgarden helped grunge and alt-rock break into the mainstream in the ‘90s, a trio from Los Angeles was also making noise. Failure began to capture attention with the release of their beloved 1994 sophomore album, Magnified. (Nine Inch Nails’ Trent Reznor, Tool’s Maynard Keenan and Stone Temple Pilots' Dean DeLeo are among the group’s most notable fans).

Dropping in 2023, this official documentary offers an in-depth look at the band’s formation, evolution, label issues, impact and influence — with testimonials from Keenan, DeLeo, Paramore lead singer Hayley Williams, Keenan, Motley Crue’s Tommy Lee, Mastodon’s Troy Sanders, and actor/musician Jason Schwartzman.

In the doc, Sanders opens up about what the band meant to both him and his band: "The art that Failure has made is very authentic to me," he says. "In a world of rock ‘n’ roll, I wouldn’t be where I am right now if it weren’t for bands like Failure. I feel my band Mastodon has kind of followed the footsteps that they’ve laid before us." Adds Williams, "I never really heard anything like that. It changed how I thought about music. And it kind of made me — more than ever — want to be in a band."

Johnny Cash: The Redemption Of An American Icon

With appearances from Marty Stuart, Wynonna Judd, Alice Cooper, Tim McGraw, and Sheryl Crow, Johnny Cash: The Redemption of an American Icon focuses on the spiritual and emotional challenges that the country legend faced at the height of his career. This in-depth documentary also includes never-been-heard recordings of Cash as he discussed his darker moments, learning how to navigate fame, reckoning with past failures and recommitting to his Christian faith.

"He was darkness and light living in the same body. And one fought against the other," sister Joanne Cash Yates recounts in the trailer. But, adds Crow, "He faced himself. He faced his temptations. He faced his worldliness and came out wanting to be right with God."

If you missed the documentary’s limited December 2022 release, check it out in January 2023 when it drops on various streaming platforms.

Thriller 40

On the heels of the iconic album's 40th anniversary, GRAMMY-winning documentarian, music historian and author Nelson George announced that he’s hard at work on an official documentary about the making of the King of Pop’s legendary 1982 opus and groundbreaking short film.

"The release of 'Thriller' redefined Michael Jackson, taking him from teen star to adult superstar, who composed memorable songs, sang beautifully and reached the highest level of on-stage performance," George said in a statement. "The album, and the short films they inspired, created a new template for marrying music and image. It’s been a privilege to explore this extraordinary album and revisit its magic."

Featuring exclusive footage and candid interviews, the 2023 documentary will also focus on Jackson’s skyrocketing career at the time of the album’s release and its impact on the world and popular culture.  

"They Called Us Outlaws: Cosmic Cowboys, Honky Tonk Heroes And the Rise of Renegade Troubadours"

Written and directed by Eric Geadelman, "They Called Us Outlaws" is a six-part film that explores the early 1970s origins of the country subgenre and the artists who made it famous: Waylon Jennings, Willie Nelson, Kris Kristofferson and David Allan Coe.

At the time, Jennings and Nelson were upset with the Nashville music scene and its creative limitations. After cutting ties and leaving town to find a better way forward, the two musicians eventually reunited in Texas, where they built a rabid following by playing their own brand of country, on their own terms. That music would become known as "Outlaw Country"— a label that wasn't particularly embraced by many of the genre's artists. 

This 12-hour film series examines the unique circumstances that led to the birth of the sound, as well as the artists' relationship with the "outlaw" label and how it influenced the way they were received. The documentary also features appearances and performances from a stacked lineup of country greats, including Nelson and Kristofferson, Emmylou Harris, Church, Miranda Lambert, as well as singer-songwriters Tyler Childers and Charley Crockett and Guy Clark.

"Nicki: A Six-Part Documentary Series"

To celebrate the 10th anniversary of her debut studio album Pink Friday, GRAMMY-nominated rapper Nicki Minaj announced plans to release a biographical documentary in November 2020 — to the delight of Barbs everywhere. Yet there was no news about the film until July 2022, when Minaj surprised fans by posting a teaser from the project on her Instagram, along with an explanation for the delay:

"Coming out SOONER THANK YOU THINK. I took some time to perfect this very intimate, delicate, electrifying, inspiring body of work," Minaj wrote. "As I decide on a home for this 

project, I can’t help but reflect on what I’m including in this doc. Some things are so personal, it’s scary. It’s like NOTHING you’ve seen before & I need it to be handled with care. Love you so much. Thank you for the continued support."

Executive produced by Minaj, "Nicki" will focus on her personal and professional life, and the challenges of working in a male-dominated music genre. The docuseries was initially set to drop on HBO MAX, but Minaj and Bron, the film’s producers, decided to look elsewhere to find the right home for the docuseries.

May The Lord Watch: The Little Brother Story

In March 2022, fans of Little Brother were treated to a surprise when Phonte released the first trailer for an official documentary about the influential hip-hop group on his Instagram page. "Been working on this one for 5 years and calling it an 'emotional journey' is a big understatement," he wrote in the caption.

Slated for release in 2023, the documentary will include live performances, a behind-the-scenes look at the trio's production process, interviews with Phonte, Big Pooh and producer 9th Wonder, as well as appearances from Questlove, Drake, and Doja Cat, who discuss the group's influence and impact.

Dionne Warwick: Don't Make Me Over

From awards and hit records, to activism and philanthropy, this deep dive into GRAMMY-winning singer Dionne Warwick's life and work is a heartwarming celebration of the icon's astonishing six-decade-long career. The documentary follows Warwick's path to barrier-breaking greatness, touching on her gospel roots and her fateful audition to be a backup singer for Burt Bacharach in the early 1960s — the starting point of her rise to superstardom.

The doc also explores the singer's activism and advocacy for the Black and LGBTQ+ communities, philanthropic work—she's raised millions for AIDS research—and the impact her music had on listeners from all walks of life in the racially divided '60s. 

Dionne Warwick: Don't Make Me Over — which premiered on CNN on New Year’s Day — features appearances from Gladys Knight, Quincy Jones, Bacharach, Elton John, Berry Gordy, Snoop Dogg, Bill Clinton, Alicia Keys, Smokey Robinson, and others.

Biography: Ol’ Dirty Bastard

There have been several unofficial documentaries about the late rapper Ol' Dirty Bastard (born Russell Jones), but 2023 will see the release of "Biography: Ol’ Dirty Bastard," the first-ever film authorized by his estate. Set to be released on A&E Networks, the doc will feature interviews with the Wu-Tang Clan rapper's peers, family, and wife, Icelene Jones — who allowed filmmakers Sam and Jason Pollard to use never-been-seen footage for the two-hour documentary.

“I am thrilled to tell the full story of my husband. With this documentary, the world will learn about the son, the husband, the father, and the artist,” Jones wrote in a statement.

ODB's life was previously dramatized for RZA and Alex Tse's Hulu series, "Wu-Tang: An American Saga," which centers on the group's formative years. And on the film side, RZA has been developing a biopic about the late rapper's life since 2018.

Eno

When setting out to develop a documentary about a musician who has defied convention throughout his five-decade career, director Gary Hustwit knew the standard doc format was out of the question. To capture the distinctive, non-conforming essence of Brian Eno — an original member of Roxy Music and inventor of ambient music and the Microsoft Windows 95 startup sound — Hustwit is utilizing "groundbreaking generative technology" to allow viewers to choose their own ending and plans to release the documentary on multiple platforms. 

The film, which drops in 2023, will also explore areas close to Eno's heart, including creativity, sustainability, and social equality, and offer viewers a glimpse into his personal archive of unreleased music and concert footage.   

A College Of Musical Knowledge: 15 Musical Groups That Act As Hubs For Emerging Talent

In 2022, rap seemed to be slowly evolving into something new. It was a year when long-gestating regional and cultural trends reached a new fever pitch. Savvy listeners seemed more focused on the emerging voices who were breathing fresh life into the form, even though established stars continued to earn critical and commercial acclaim.

This trajectory resulted in the sense that the past year has been one of transition, and that 2023 will be an even better season where the genre's freshmen are poised to take over. Only time will tell, but while you wait for the first fire releases of the next year, revisit six rap trends from 2022 that spawned from multiple generations of artists.

Jersey Club Goes Beyond The Garden State

Every few years, the rap community rediscovers the pleasures of flowing over electronic beats. In 2022, the sound of the moment was Jersey club, a hybrid of house and bass music that fueled scene leaders such as Bandmanrill (who released his debut album Club Godfather), DJ/producer Uniiqu3, and Unicorn 151 aka Killa Kherk Cobain. Meanwhile, a parallel wave developed in Philadelphia with tracks like 2Rare’s "Cupid" and Zahsosaa, D Sturdy and DJ Crazy’s "Shake Dhat."

Jersey club inspired mainstream artists as well. Drake pulled from the sound on his dance-music opus Honestly, Nevermind, and collaborated with 2Rare on the hit single "Sticky." It also fueled club-ready remixes like Coi Leray’s "Players (DJ Smallz 732’s Jersey Club Remix)."

Women Unite For Posse Raps

Anyone who fondly remembers women-only ciphers such as Brandy’s "I Wanna Be Down (Remix)" and Bahamadia’s "Three the Hard Way" will delight at how the format is making a comeback.

For "Super Freaky Girl (Queen Mix)", Nicki Minaj gathered an all-roster that included JT from City Girls, BIA, Katie Got Bandz, Maliibu Miitch, and Akbar V. On "Shabooya," producer Hitkidd gave mic time to Memphis rappers Gloss Up, K-Carbon, Slimeroni, and Aleza. Meanwhile, ShantiiP collaborated with Kash Doll, Rubi Rose, and Dream Doll on her "Abow (Remix)." The nascent trend demonstrates how women have begun working collectively again — with or without the boys’ help.

Rap's Nepo Babies Come Of Age

It’s not unusual for children of famous rappers to follow their parents into the business. Past years have seen the emergence of scions such as Droop-E (son of E-40), Lil Tracy (son of Ishmael Butler of Digable Planets), Cory Gunz (son of Peter Gunz), and Jaden Smith (son of Will Smith). But 2022 may be the first year where a second-generation rapper arguably exceeded her father’s mainstream appeal.

Coi Leray scored a Billboard top 40 hit ("Blick Blick" with Nicki Minaj) — a feat her estranged father Benzino never managed — while releasing her debut album, Trendsetter. King Combs hit number one on Billboard’s Mainstream R&B Hip-Hop Airplay chart, surpassing famed father Sean "Diddy" Combs' latest single "Gotta Move On" in the process.

Back To The Old School 

When Mount Westmore’s Snoop, Cube, 40, $hort hit the Billboard top 200 albums chart in early December, it was yet another sign that golden-era artists are issuing quality albums, albeit on a smaller scale than their career peaks.

Still, in an era when rap fans are all too aware of how middle-aged hip-hoppers seem especially prone to the ravages of time — rest in peace to DJ Kayslay, Coolio, and Don Newkirk — it was heartening to see musicians in their 50s continue to hone their craft. Examples include Chill Rob G of "The Power" fame, who dropped Empires Crumble on Chuck D’s SpitSLAM label; KRS-One’s IMAMCRU12, Diamond D’s The Rearview, Daddy-O of Stetsasonic’s First Team, Frukwan of Stetsasonic and Gravediggaz’s Nightmare in B-Minor, and Tragedy Khadafi’s Immortal Titans Vol. 2.  Meanwhile, Dr. Dre prefaced his triumphant showcase at Super Bowl LVI with his EP-length soundtrack for "Grand Theft Auto: The Contract."

As the genre moves into its fifth decade and beyond, here’s hoping its pioneers continue to evolve along with it — without dying before they grow old.

Here Come The Big Steppers

"Big steppers" is an old-school phrase that means exactly what it says: someone whose sheer presence leaves an impact. In recent years, the phrase has percolated through rap songs by Youngboy Never Broke Again, Young M.A ("Big Steppa"), Roddy Ricch ("Big Stepper"), and Stunnaman02 & Quakebeatz ("Big Steppin’").

The term seemed to peak in usage in 2022, thanks to Kendrick Lamar, who used the phrase multiple times — including on "Worldwide Steppers." The track is both literal through the sound of tap dancers, and metaphorical in the sense of Lamar navigating the earth through the prism of his career. Meanwhile, deep album cuts like Rome Streetz’ "Big Steppa" and Yo Gotti’s CMG Crew ("Steppers") put a vintage spin on boasts of being the big men on rap’s campus.

DJ Drama Connects With Everybody…Again

In 2022, DJ Drama was a one-man wave, reconnecting rap with its dirty South roots. The Philadelphia-raised, Atlanta-based DJ was one of the biggest names during the height of the mixtape boom in the mid-to-late aughts, hosting dozens of projects a year with soon-to-be famous acts like Young Jeezy (2004’s Trap or Die) as well as established stars such as Lil Wayne (the Dedication series) and Pharrell Williams (2006’s In My Mind: The Prequel) through his Gangsta Grillz and Aphilliates imprints.

While DJ Drama hasn’t disappeared in the years since, 2022 may be the first to find Drama approaching the productivity of his most successful era. He helmed a critically acclaimed mixtape with Baton Rouge’s Youngboy Never Broke Again (Ma’ I Got a Family), helped promote rising stars like Oakland’s Symba (Results Take Time) and Detroit’s Icewear Vezzo (Paint the City), worked with New York rap star Dave East (Book of David), and scored a chart-topper with the Dreamville crew’s D-Day: A Gangsta Grillz Mixtape. He even reunited with Jeezy for Snofall, a throwback to the latter’s trap glory years. Working with artists from different regions and generations, Drama proved he still has plenty of genre-wide impact.

2022 Year In Review: 7 Trends That Defined R&B

If there's one word to describe this year in pop, it would be "unpredictable." Take fan favorites Beyoncé and Rihanna for starters: as fans began pondering when they'd hear new music again, both superstars made significant returns to their solo artistries, further elevating their statuses as elite pop divas.

Pop's unexpected nature is what makes it so beloved, especially in 2022 as artists showcased just how far their versatility can stretch. TikTok showed off its influence once again, with songs like Nicki Minaj's "Super Freaky Girl" birthing endless viral dance challenges. There was plenty of dancing outside of TikTok as well, as artists like Drake, The Weeknd and Beyoncé had everyone grooving under the disco ball. 

From pop stars unleashing their naughty sides to singles that transported us back to the '2000s and beyond, there were several major moments in pop music this year. Dive into eight of the genre's most dominant trends below.

Y2K Pop Divas Made Comebacks

Throughout 2022, the influence of late '90s and early '00s culture was reflected on fashion runways, TikTok and even a multitude of television reboots. So it was only natural that it also seeped into the music realm, with some of the era's biggest pop stars having a refreshing revival.

More than two decades after the release of her debut Spanish-language album Mi Reflejo, Christina Aguilera returned to her Latina roots (Aguilera's estranged father is an Ecuador native). The long wait was worth it, with the star sounding more confident than ever before as she celebrated her rich heritage. After starting this new era with the female empowerment anthem "Pa Mis Muchachas" (alongside fellow Latina artists Becky G, Nicki Nicole and Nathy Peluso), Aguilera continued to flex her versatility and vulnerability with songs like the impassioned Mexican ranchera "La Reina" and the somber "No Es Que Te Extrañe" that found the artist healing her childhood trauma.

Y2K pop sweetheart Mandy Moore, who returned after an 11-year music hiatus with 2020's Silver Landings, kept the momentum going with her seventh album In Real Life. The folk-inspired record showcased Moore's strength as a songwriter and new motherhood.

But arguably the most unexpected return came from Britney Spears. Following the official termination of her conservatorship last November, the pop star freed herself from a decade of restrictions. Spears found her way back to the studio for the first time since the release of 2016's Glory album, and joined fellow pop legend — and longtime supporter — Elton John for "Hold Me Closer." The song draws elements from John's classics like 1971's "Tiny Dancer," 1976's "Don't Go Breaking My Heart" and 1992's "The One," but adds a modern twist with shimmering dance melodies. "Hold Me Closer" debuted at No. 6 on the Billboard Hot 100, proving that Spears can still score a hit with ease.

R&B Artists Danced Under The Disco Ball

Pop has seen a disco revival seeping in over the last few years (even including the return of ABBA!), but what made this year so different is witnessing more R&B-leaning artists putting a fun spin on dance music as a whole.

Leading the charge was Beyoncé, who ignited a full-on dance party with her latest album (and first since 2016's Lemonade). After trying her hand at Afrobeats with 2019's soundtrack album, The Lion King: The Gift, Queen Bey transformed into Queen of the Dance Floor with 16 hip-shaking tunes whose influence call back to Studio 54 and Black ballroom heydays. The album is not only a tribute to her late Uncle Johnny (who she credits for introducing her to house music), but Black queer culture as a whole.

Nearly two years after 2020's After Hours, The Weeknd aptly kept the club open until sunrise with his fifth album, Dawn FM. Jam-packed with '80s elements from new wave to synth-pop, the record is an energetic joyride kookily narrated by comedian Jim Carrey.

While he's widely known as a rap superstar, Drake channels his R&B crooning alter-ego from time to time. His seventh album, Honestly, Nevermind, arrived as a surprise in June — and he was clearly ready to kick off summer with a party. The album found the artist at the center of the dance floor as he explored house music with bouncy songs like "Sticky" and "Massive." The experimentation paid off: the album became Drake's 11th Billboard 200 chart-topper.

Throwback Samples Were Inescapable

While sampling is more of a historical music staple than a trend, this year many artists had fun traveling back to the '70s, '90s and early '00s to add nostalgic doses into their hits. Beyoncé evoked the spirit of Donna Summer on "Summer Renaissance," which pulls from the disco queen's 1977 jam, "I Feel Love." Elsewhere, Charli XCX lifted the Stonebridge Mix of Robin S.'s 1992 "Show Me Love" for her own dance floor hit, "Used To Know Me," while NYC-based EDM duo Sofi Tukker sampled Suzanne Vega's "Tom's Diner" for their infectious tune "Summer In New York."

Throwbacks were perhaps most predominant within mainstream rap hits. Tyga's "Sunshine," a collaboration with Jhené Aiko and the late Pop Smoke, samples Lil Flip's 2004 hit of the same name, while Jack Harlow used Fergie's 2006 No. 1 smash "Glamorous" to create his own hit. Rap newcomers Armani White and Central Cee also traveled to the early '00s, with the former's N.O.R.E. sample heard throughout his debut single, "Billie Eilish" and the latter using Eve and Gwen Stefani's "Let Me Blow Ya Mind" for "Doja."

Nicki Minaj and Yung Gravy took us back to the '80s, as Minaj flipped Rick James' 1981 single "Super Freak" into "Super Freaky Girl, and Yung Gravy's viral "Betty (Get Money)" was based on Rick Astley's 1987 hit "Never Gonna Give You Up."

Artists Tapped Into Their Edgy Sides

Pop music can surely be wholesome, so it's always fun when artists try their hands at edgier sounds. Sam Smith has long proven they can do more than a heartfelt ballad, and their TikTok anthem with Slut Pop star Kim Petras found the pair at their naughtiest.

Dove Cameron shed her Disney Channel beginnings with February's "Boyfriend" single, which celebrated her queer identity with dark, spine-tingling production. She raised the intensity levels with August's "Breakfast," which flipped gender politics on its head.

Maggie Lindemann also traded pure pop for pop-punk for her debut album, ​​Suckerpunch. Continuing the Gen Z angst that rattled 2021, Lindemann unapologetically rebels against the music she was previously associated with thanks to singles like the nostalgic "Cages" and the incredibly flirtatious "She Knows It."

Even Taylor Swift got in on the fun. The singer, who previously showcased her edgy side with 2017's reputation, further leaned into that style with her hazy tenth album, Midnights. A complete left turn from 2020's folk-inspired LPs, folklore and evermore, Midnights captured the restlessness, revenge fantasies, self-criticism, and curiosity that come with what she detailed as "13 sleepless nights scattered throughout my life."

Black Pop Divas Made Long-Awaited Returns

After Rihanna and Beyoncé officiated their pop icon statuses with 2015's Anti and 2016's Lemonade, respectively, the two opted to take mini hiatuses from solo music. Beyoncé steadily remained in the music sphere, hopping on several collaborations including a remix of Megan Thee Stallion's 2021 hit "Savage." The song scored GRAMMY Awards for Best Rap Song and Best Rap Performance, the latter of which helped crown Beyoncé as the artist with the most wins in GRAMMY history with 28. (She followed up the achievement by recording "Be Alive" for the King Richard soundtrack, which earned Oscar and Golden Globe nominations for Best Original Song.)

But Beyoncé focused the spotlight back on herself with her seventh studio album. The July release was a pop culture phenomenon, weaving itself into casual conversations, memes, TikTok dance challenges and more. The album is a celebration of not only Beyoncé's career, but Black influence on dance music as a whole.

Rihanna was more quiet following Anti — only appearing on a few collaborations here and there, including Calvin Harris' "This Is What You Came For," DJ Khaled's "Wild Thoughts" with Bryson Tiller and Kendrick Lamar's GRAMMY-winning "Loyalty" — to focus on building her Fenty beauty and lingerie empire. But fans never stopped craving new music from the star herself, and their prayers were finally answered in September in major fashion: The superstar announced in September that she'll headline the Super Bowl LVII halftime show, which will mark her first live showing in over five years.

Rihanna quickly kept the excitement going with two appearances on October's Black Panther: Wakanda Forever soundtrack, "Lift Me Up" and "Born Again" — her first solo music in more than six years.

Rap's TikTok Takeover Was Still In Effect

Rap was one of the biggest genres on TikTok last year, and the trend remained strong in 2022. The dominance was seen through dance challenges and viral memes, with Lil Uzi Vert's infectious Jersey club smash "I Just Wanna Rock" creating an explosive wave that culminated in a dance-heavy music video.

Drake and 21 Savage's "Rich Flex," a highlight from their collaboration album, Her Loss, was transformed into a silly tongue-in-cheek meme. Brooklyn rap newcomer Lola Brooke had TikTokers  feeling confident as ever as they used "Don't Play With It" to soundtrack their selfie videos. Even Lil Wayne and Soulja Boy's nostalgic jams had a resurgence, with 2008's "Lollipop" and 2018's "Pretty Boy Swag" spawning their own TikTok trends.

Ed Sheeran Was Pop's Big Brother

Despite being one of the biggest pop stars in the world, Ed Sheeran has maintained the humble spirit that made him so beloved. The British singer/songwriter has always shown a love for collaboration, even releasing a guest-filled project in 2019. But in 2022, Sheeran put collaborations into overdrive.

Sheeran kicked things off by teaming up with his old pal Taylor Swift on a duet version of his = track, "The Joker and the Queen." In March, he dropped not one but two singles with Colombian star J Balvin, "Sigue" and "Forever My Love," where Sheeran traded his guitar for a reggaeton bassline.

The singer then traveled across genres — and the globe — pairing with Jamaican dancehall singer Ishawna (who previously sampled 2017's "Shape of You" on her single "Equal Rights") for "Brace It" and guesting on Nigerian hitmaker Burna Boy's love song "For My Hand." Not forgetting his own roots, Sheeran also showcased his admiration for local British hip-hop with appearances on Manchester rapper Aitch's "My G" and rap collective D-Block Europe's "Lonely Lovers."

Bands Proved Rock & Roll Is Here To Stay

"Rock 'n' roll is dead" has been an ongoing debate ever since hip-hop became the industry's most dominant genre in 2017. Even so, rock acts continued to spotlight the historic genre this year, and helped it endure in arguably the biggest way it has in years.

After a five-year hiatus, Paramore thrilled fans with the announcement of their sixth album, This Is Why. Set for a February 2023 release, the new album era kicked off with the funky eponymous lead single in September.

Rock mainstays Red Hot Chili Peppers satiated genre diehards by dropping two albums within six months in 2022: April's Unlimited Love and October's Return of the Dream Canteen.

On the more alternative side, Arctic Monkeys re-emerged with a vintage focus for October's The Car, which drew from baroque pop, funk, early '70s rock and classic film scores. And after a brief pandemic-induced postponement following 2020's Notes on a Conditional Form, The 1975 returned with their fifth album, Being Funny in a Foreign Language. Singles like "Part of the Band," "Happiness" and "I'm in Love with You" found the band in a lighthearted, '80s dance-pop-inspired spirit.

After a year filled with viral moments and comebacks, there's no doubt that artists will continue to keep pop unpredictable in 2023.

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