With the October 2024 release of *CHROMAKOPIA*, Tyler, The Creator seemed to explain that his three-year gap between albums had at least something to do with him trying to reconcile celebrity visibility with his personal life. After the pleas for privacy on some of that 2024 album’s most memorable tracks—not least acerbic single “Noid”—his pugilistic 1980s rapper cosplay on the cover of the subsequent semi-surprise release *DON’T TAP THE GLASS* appears a continuation of that sentiment. The contents of this significantly shorter follow-up to the critically acclaimed, commercially successful full-length are quite intentionally a big step away from the array of revelations, rebukes, and storytelling that defined *CHROMAKOPIA*. Judging by the opening robotic commands of “Big Poe,” Tyler is dead set against baring his soul for his fans again, explicitly prioritizing danceability over “that deep shit” as the tenet behind *DON’T TAP THE GLASS*. Then, as with fictionalized alter egos like Wolf Haley and IGOR, he assumes the song title’s identity as his latest character, embodying this hedonist with a stream of winking profanity over a bed of N.E.R.D-esque synth-rock. Later, the sub-bass-blasted “Stop Playing with Me” operates in a similar thematic and sonic space, inherently threatening yet undeniably catchy. In a way, *DON’T TAP THE GLASS* spiritually calls back to The Notorious B.I.G.’s unapologetically reclaimed “Party and Bullshit” ethos, with music that resembles the funk and dance styles that the late Mr. Smalls would no doubt have vibed to during the 1980s and early 1990s. From the squelchy electro of “Sugar on My Tongue” through the retro R&B boogie of “Ring Ring Ring” and “Sucka Free,” the genre callbacks offer comforting grooves for Tyler to melt into. His oft-caustic voice transforms into an ephemeral texture on “Don’t You Worry Baby,” a seductive bit of bass and breaks nudged along by his quiet commands. Yet, even at the times when he seems conspicuously absent from the festivities, as on “I’ll Take Care of You,” it’s really because he’s cultivated a jam he can admire from somewhere above the dance floor. Call *DON’T TAP THE GLASS* escapism if you must, but it sure feels hella good in this club.
Few pairings in modern hip-hop history have had the impact of Freddie Gibbs and The Alchemist. More than just another timely rapper-producer duo project, 2020’s *Alfredo* differed in tone from the former’s critically acclaimed collabs with Madlib and the latter’s work with Action Bronson, Boldy James, and Earl Sweatshirt. However, capturing the unique magic of a confirmed classic a second time around has challenged many in this genre, as so many middling sequels show. In this case, though, both artists rise to the proverbial occasion with cinematic flair, changing the thematic crime scenery from mafioso to yakuza along the way. Simply titled *Alfredo 2*, their recorded reunion draws from a corresponding short film released ahead of the album drop, the narrative playing up their perceived distance only to bring them back together in dramatic fashion. Even without that context, these 14 songs showcase what makes their partnership so dynamic. Gibbs is downright gripping from the get-go, riding the gleaming groove of “1995” with cocksure bars likening him and his cohort to *Lethal Weapon* heroes Riggs and Murtaugh. That attitude persists on the defiant “Skinny Suge II” and the profane “Lemon Pepper Steppers,” both backed by airy, jazz-inflected production. His way with words remains poetically brash, vividly detailing his point of view on cuts like “Gas Station Sushi” and “Mar-a-Lago.” Yet as good as these verses would sound even over some pretty basic boom-bap, Alchemist’s instrumentals elevate the proceedings without fail. His ability to cultivate and maintain a vibe is all but unparalelled, putting listeners at ease with the hazy comforts of “I Still Love H.E.R.” and “Jean Claude.” Elsewhere, he exercises an extraordinary restraint with the soul of “Shangri La,” never letting the samples overpower the MC.
There was a time when Dreamville’s talented artist roster seemed destined to remain perpetually in J. Cole’s formidable shadow. Yet those who followed the Atlanta-raised JID from his mixtape days and the Spillage Village *Bears Like This* era had to know he couldn’t be contained for long. Some three years after his ambitious and acclaimed *The Forever Story*—and just over a month since the guest-laden *GDLU (Preluxe)* EP—his fourth solo album obviously comes with heightened fan expectations. Borrowing its title from his late grandmother’s clever turn of phrase, *God Does Like Ugly* finds the technically proficient MC up for the existential challenge. The unmistakable sound of Westside Gunn’s assertive bellows introduce the tremulous “YouUgly,” in which JID assails sales-obsessed fandoms while puffing out his chest and stacking his checks. Immediately afterwards, he’s officially back in his storytelling bag for “Glory,” an uproarious gospel variant with heavyweight production by Beatnick Dee and Lex Luger. Those narrative gifts of his persist on tracks like “Of Blue” and the dark yet peppy “Sk8,” building upon the solid foundation of tales told in his catalog thus far. Elsewhere, he’s detailing a Machiavellian come-up plot on the motivational “WRK” and defeating self-doubt with gratitude on the uplifting closer “For Keeps.” Of course, JID’s guest list is stacked, with masterful rappers like Vince Staples and virtuosos like Thundercat in the mix. Yet even amid a Clipse posse cut like “Community” and momentous duets like “No Boo,” the consistently bold *God Does Like Ugly* stays undeniably his own.
There’s aging like fine wine, and then there’s Raekwon. The Wu-Tang Clan legend’s solo debut, *Only Built 4 Cuban Linx…*, is rightfully revered as one of the greatest rap albums of all time, a benchmark release for the mafioso rap that so many other MCs would attempt to emulate in the decades that followed. But aside from that, his albums from the late 2000s forward unlocked a sharper curatorial ear and are largely more consistent than his works that preceded them. Early Wu-Tang music had an indispensable feeling, and the rapper known as The Chef has found ways to recreate it without allowing it to feel stale. *The Emperor’s New Clothes* finds Raekwon delivering more of the lucid street raps that make him great: crystal clear portraiture of characters down to the details of their clothing or the amount of money in their pockets, fluid storytelling, and popping shit while depicting a life of luxury. He’s strongest here while flexing his skills alongside other elite MCs: He highlights multiple Wu-Tang Clan members, a change from his previous album *The Wild*. Along with strong verses by Inspectah Deck and Method Man, longtime comrade Ghostface Killah has three features, with their chemistry at its best on the luxurious album closer, “Mac & Lobster.” Raekwon and Nas (whose label, Mass Appeal, houses the release) both shine on “The Omerta,” and he welcomes coke-rap torchbearers Westside Gunn, Benny the Butcher, and Conway the Machine on “Wild Corsicans.” Rae also takes time for a couple moments of introspection. On “1 Life,” he employs a lush J.U.S.T.I.C.E. League soundbed while reflecting on his own experiences and offering a young’n advice about how to navigate a lack of integrity in the streets and the music industry: “This culture made me a man.”
Since his debut mixtape, 2012’s *10 Day*, launched 18-year-old Chancelor Bennett to indie stardom, fans have watched the Chicago native grow up in real time—from stoner on high school suspension to precocious hometown hero to God-fearing family man. “I lived an adulthood at a really young age,” Chance, now 32, tells Apple Music’s Zane Lowe. “I was touring and traveling and supporting multiple family members, businesses, friends, everything. I’m damn near a child star, you know what I’m saying?” Marking the journey were three studio mixtapes now deemed classics and an official debut album, 2019’s *The Big Day*, on which Lil Chano from 79th stepped with purpose into the roles of husband, father, and adult. The Chance who opens his sophomore album by declaring, “Surprise! It’s the boy who lived,” is not the same man from six years prior; since then, there was the acrimonious split from his longtime manager in 2020, then the 2024 announcement that he and his wife were separating after five years of marriage. On *STAR LINE* (named after Marcus Garvey’s Black Star Line, an oceanic shipping line in the Back-to-Africa movement), he faces reality head-on, addressing not just his own struggles but those of the world with his trademark wit, poignance, and double-take-worthy wordplay. “Politically, internationally, the world is going through it,” he tells Lowe. “And we’re really getting to see the elasticity and the bandwidth of moral fiber. Everything is getting stretched to its limits.” Though Chance draws inspiration from recent travels to Ghana and Jamaica, *STAR LINE* is grounded in his hometown of Chicago, from whose culture he draws lines to Black culture across the diaspora. Here, the juke drums on “Speed of Light” co-mingle with the Rastafarian roots of “Tree,” the futurist dancehall of “Burn Ya Block,” and the Afrobeats rhythms of “Space & Time.” He shares the spotlight with Chicagoans past and present—from ’90s heroes Do or Die to up-and-comers like BabyChiefDoIt—and slips in slick interpolations of local anthems both beloved and esoteric. (Real heads will catch the reference to BBU’s “Chi Don’t Dance” on the Jamila Woods duet “No More Old Men.”) And on the soulful “Back to the Go,” Chance shakes off a series of stumbles, packs his bags, and heads back home: “Been around the board/Now I’m back to the Go.”
With an album title like *The Last Wun*, speculation is bound to fly about Gunna’s future with—or without—his longtime label home YSL Records. Perpetuating his penchant for portraiture, the Cubist cover art conspicuously obscures his face even more so than on 2024’s *One of Wun* and further adds to the mysteriousness of these proceedings. Still, considering the repeated successes he’s enjoyed over the past decade, both solo and with hitmakers like Drake and Lil Baby, this sprawling set makes for an impressive send-off, one indicative of his commitment to quality. Victory laps don’t always yield the best results, but *The Last Wun* stands apart, staying consistently interesting throughout its more than two dozen songs. “pushin P” fans don’t have to wait long for new meme-ready moments like “let that sink in” and “just say dat,” though later cuts like the defiant “cfwm” and “him all along” are well worth sticking around for. His moneyed, jet-setting lifestyle matches a perpetual grindset mentality, evident on “showed em” and “on me.” Still, he remains a hedonist at heart, feeling faded yet tenacious on “again” and similarly invested in his pleasure on “gp.” Repeat Gunna collaborator Offset once again proves a worthy foil on “at my purest,” while Nechie adds some much-appreciated plug talk on “i can’t feel my face.” But as Gunna clearly looks towards the next stages of his career, his international tastes begin to intentionally solidify through some of his other feature choices. No fewer than three Nigerian stars make appearances here, with Burna Boy’s silky-smooth one on the explicitly salacious “wgft” contrasting with Wizkid’s romantic contribution to the subtler “forever be mine” and Asake’s more melodic placement on the luxe “satisfaction.”
The New Orleans-born cousins (Ruby da Cherry and Scrim) have little in the way of crossover hits or mainstream press. But since emerging on SoundCloud in 2014 with their depressive, Memphis-inspired blend of horrorcore, witch house, and emo rap, the duo’s nihilism has proved surprisingly potent—their Grey Day Tour was the third-highest-grossing rap tour of 2024. On their fifth album, *THY KINGDOM COME* (a modest catalog, until you count the additional nine mixtapes and 30-plus EPs they’ve released in just over a decade), $uicideboy$ mostly stick to their bread and butter: themes of addiction and abjection, morose yet baroque titles, and the rap game’s bleakest flexes. (“Smokin’ on shit that smell like body rot,” they chant on BONES collab “Now and at the Hour of Our Death.”) But occasionally, a bit of levity creeps in, be it a jubilant sample of a NOLA bounce classic (Big Freedia’s “Gin in My System”) on “Napoleon” or the ’80s-R&B gloss on the otherwise grim “Full of Grace (I Refuse to Tend My Own Grave).”
For Benny the Butcher, feeding the streets is more than just a business strategy. As the Buffalo rapper builds his Black Soprano Family brand, he concurrently makes clear his determined aspirations towards earning a spot in the top-five-dead-or-alive vanguard of elite MCs. With the release of *Summertime Butch 2*, a sequel to his well-received 2024 project, he adds another audio document to the growing dossier comprising his craft. After letting Griselda comrade Westside Gunn get a few Flygod bars off on “Jasmine’s,” he proceeds to lay into the current state of rap music, lambasting the lyrical laziness and pop aspirations of a mercifully unnamed cluster of subpar artists. On “Told You So,” he deflects criticism from those who overvalue mainstream chart placements while cruising down his personalized path to hip-hop greatness. Later, he reaffirms both his dope-boy bona fides and his underground classics on “77 Club,” demonstrating a linkage with the past criminality that now thematically fuels his creativity. Guests like Bruiser Wolf and OT The Real operate at a high level alongside a never-complacent Benny on the Daringer-produced “Hood on Fire” and Nickel Plated’s “Gold Plated Leica,” respectively. Other collabs like the booming “In the Wall” with Bun B and “Why Would I” with G Herbo take him out of his well-established trap-house comfort zone, yet he adapts his knowledgeably streetwise flows with sweat-free dexterity over those beats. Naturally, he shows love for his BSF insiders, making space for Elcamino and Duckman on the cinematic “Pandoras.”
An undeniable East Atlanta fave, Young Nudy amassed a memorable assortment of charting hits in the first half of the 2020s, including a noteworthy few alongside his cousin 21 Savage. After reuniting with Pi’erre Bourne for 2024’s victory lap *Sli’merre 2*, he’s back with his longtime producer Coupe (known for “Peaches & Eggplants”) and beatmaking familiar Kid Hazel for the vibrant, ecstatic *PARADISE*. His mellifluous drawl and explicit lyrics coupled with surreally melodic instrumentals yield some of the most crowd-pleasing tracks of his career to date. From the irreverent strip club bounce of “BTA” to the smooth talk of “CHAINS ON” and “SUPER SLIME,” he’s in rare form as a trap libertine. Elsewhere, he shouts out Zone 6 on the more ominous “MOP STICK,” embraces baller status on “SNAKE,” and vibes with Latto on “WHAT’S HAPPENIN’.” Naturally, 21 Savage makes an appearance alongside Coupe on “ICED TEA,” but it’s the fresh Project Pat hook that takes the already elevated single to even higher heights.
Long before KAYTRANADA was headlining festivals and winning Grammys, he was a child obsessed with JAY-Z’s 2003 record *The Black Album* and its companion documentary *Fade to Black*. Watching prolific producers like Pharrell Williams, Just Blaze, Kanye West, and Rick Rubin build beats from scratch, he went from fan to student, poring over album credits and eventually teaching himself to make beats by reverse-engineering J Dilla tracks. By the early 2010s, the Haitian Canadian producer had fused his love of hip-hop with a growing fascination for house music, emerging from the underground with viral edits of Janet Jackson and Teedra Moses songs, all driven by his signature drum swing. Following in the footsteps of his early heroes, KAYTRANADA became a master collaborator: His first three studio albums featured voices from PinkPantheress and Tinashe to Kali Uchis and even Williams himself. On *AIN’T NO DAMN WAY!*, KAYTRANADA lets his production do all the talking. Stripped back to hypnotic loops, slick rhythms, and far-flung samples, the album is for total dance immersion—the kind that makes time slip away in the club. The chunky retro beat of “SPACE INVADER,” paired with a refrain from Latrelle’s Neptunes-produced “My Life” (“Gotta get away sometimes”), sets an escapist tone. Stutters and glitches ripple through tracks like “CHAMPIONSHIP,” “TARGET JOINT,” and “GOODBYE BITCH!” as if you’re catching him mid-DJ set. His blending of styles and eras transforms the ’80s Afro-boogie of Steve Monite’s “Things Fall Apart” into contemplative poolside house, while rapper Cappadonna’s 1998 song “Black Boy” becomes a resilient disco jaunt. Even the soulfully reassuring croons of “DON’T WORRY BABE / I GOT U BABE” serve as a Trojan horse for a slow-burning banger. The party carries on until the TLC-sampling closer “DO IT (AGAIN!),” both a playful last call and an invitation to run it back all over again.
Last year, the Baton Rouge rapper’s relative silence spoke volumes. After a staggeringly prolific run in the previous years (one album and six mixtapes in 2022, two albums and two mixtapes in 2023), YoungBoy released just one record in 2024. Days before the intended release of his seventh album, *I Just Got a Lot on My Shoulders*, he was arrested on a number of charges, and he spent much of that year in a Utah county jail before receiving a 27-month prison sentence after accepting a plea deal in a federal gun case that had been ongoing for years. It was the latest in a seemingly endless series of setbacks for the rapper, whose “Legal issues” section on Wikipedia is nearly as long as the one for “Career.” YoungBoy’s 2025 has so far been much brighter, beginning with his release on probation in April after years of house arrest. Then, on May 28, he was granted a presidential pardon, ending the lengthy legal battle that had hampered his career for half a decade. This explains the newfound swell of patriotism at play in the title of his eighth studio album, *MASA* (short for *Make America Slime Again*), as well as in the triumphant “XXX,” which opens with “The Star-Spangled Banner” wailed on electric guitar before YB crows: “The police watching, but they ain’t gonna stop me!” The album’s 30 tracks are brighter than its world-weary predecessor, veering between bouncy Louisiana street rap (“Diesel”) and power ballads (“Cold World”). But he finds room here and there for a bit of introspection regarding his recent years: “Never knew how hard it’d get/Never knew it’d come to this,” he singsongs on “Where I Been” before concluding: “After all, I’m amazed that I conquered it.”
Throughout his career, the rapid-spitting rapper BabyTron has married his love of hip-hop with his devotion to the NBA. There was *Sleeve Nash* in 2020, the original *Luka Troncic* in 2021, and on 2023’s *MegaTron 2* he had a song called “90’s Bulls.” The second edition of the *Luka Troncic* series kicks off with “Luka Magic,” a cut that nods to the Los Angeles Laker and his point-guard predecessor, Magic Johnson. Tron isn’t focused only on superstars, though: On that song in particular, he mentions veteran role player Kyle Kuzma. “77” pays tribute to Luka Doncic’s number and features a joyous throwback beat that plays with Detroit’s early techno roots. Focus too much on hooping, though, and you’ll miss the real star of *Luka Troncic 2*: BabyTron himself.
Roy Woods’ 2015 debut EP is a time capsule of an era when OVO Sound’s moody aesthetic was permeating pop culture like a late-night fog, and the words “(feat. Drake)” were a fail-safe cheat code to stardom. Woods was still in his teens when he signed to OVO and cut *Exis*, and though the EP establishes the trap&B stylistic template and thematic girl-trouble terrain Woods would refer to throughout his career, his performances here exude a raw, hungry spirit that would eventually give way to a more intensely introspective tone on later releases. When his echo-drenched vocals start poking through the woozy production of the opener, “Innocence,” it’s like an impatient kid trying to bust his way out of the womb, while “Unleashed” sees him ducking and weaving around a slow-stalking trap beat with pugilistic fervor. But the record’s breakthrough single, “Drama,” is an eternal emblem of Peak OVO, with Woods’ yearning, uncannily Weeknd-esque lead vocal giving way to a butter-smooth guest feature from Drizzy himself, before their two voices intertwine on the song’s earworm hook. In the years following *Exis*’ release, Woods distanced himself from the project, claiming it represented a snapshot of a teenage phase he had little desire to revisit. But this 10th-anniversary edition sees him coming to terms with his past by adding a trio of tracks from his SoundCloud archive, including “Done with You,” his plaintive rendition of Kodak Black’s 2014 single “SKRT.”
Named for the fearsome, loyal-to-the-end enforcer from Mario Puzo’s mafia epic *The Godfather*, the *Luca Brasi* saga has become nothing short of an institution for Kevin Gates. Though 2013’s *The Luca Brasi Story* certainly wasn’t his debut, it nonetheless brought the Baton Rouge rapper into the spotlight, where he’s remained ever since. Some seven years passed between the third and fourth installments, a time period in which the very same style of melodic, personal street rap he helped pioneer proliferated via a new generation of hip-hop artists. Of course, he kept busy that whole time with a rigorous and steady run of releases in the 2020s, making the arrival of *Luca Brasi 4* both momentous and of the moment in ways some other vet’s sequels are not. Frequently imitated by others, Gates’ signature style from the “2 Phones” and “I Don’t Get Tired” era remains undisputedly his own on tracks like “Bread Straight” and “Hard for Pt 2.” All about his business, he makes his position known to those who want in the game on “Stir the Pot,” his mid-song flow flip a more-than-modest flex. His defensively caustic wit comes through on “Stutter,” and he softens up for the thuggishly romantic pair “I Love This Bitch” and “Satellites 2.” Yet he still bears scars befitting a pain-rap progenitor on “Factory Reset” and “Disappoint Me,” the latter with rising rapper Hurricane Wisdom in tow. Other guests include fellow Louisiana native YoungBoy Never Broke Again, who brings his trademark charms to “I Am,” and Atlanta upstart YKNIECE, who eagerly matches Gates’ potent profanity on “BBO (Simon Says).”
Casual music fans will know Rich Brian thanks to his breakthrough 2016 hip-hop smash “Dat $tick,” but boxing the Indonesian singer in betrays his technical rapping ability and adventurousness as a songwriter. The 88rising artist has stayed quiet since releasing *Brightside* in 2022, but his 2025 LP, *WHERE IS MY HEAD?*, more than makes up for the long gap between releases. The existentially driven, diaristic album is far and away his most ambitious to date, blending elements of rap, pop, R&B, and soul into a stirring whole that tries to answer a simple question: Who, exactly, is Rich Brian? He captures moments of heartbreak and desperation, like on “Little Ray of Light” where he perceptively notes how his lover lost her smile at the end of their relationship. The album’s brightest moment, though, is “Timezones,” a six-and-a-half-minute epic tribute chronicling his rise from aspiring rapper to globe-trotting superstar. It pays homage to the friends he’s made on the internet, with Brian in awe of how music continually brings people together, regardless of geographical differences or language barriers.
LiAngelo Ball never quite made it to the NBA like his brothers LaMelo and Lonzo. But, like any good entrepreneur, he built his own alternative in the form of his 2025 debut album, *League of My Own*. GELO doesn’t need a hoop to ball out, as he made abundantly clear on his world-beating debut single, “Tweaker.” The song was a hit among NBA players and rap devotees alike, even earning him a deal with Def Jam. On *League of My Own*, the top prospect cashes in on all the hype, proving that professional basketball was just a detour to his real calling: rap superstar. The only featured spot on the entire 13-song project comes from GloRilla on “Can You Please,” which finds GELO interpolating the gritty rap culture from Glo’s hometown of Memphis and turning it into his own intoxicating club anthem. Elsewhere, it’s GELO’s stage, and he leans into his superhero origin story. Take “Shook Da Game,” where he outlines how he damn near took over the entire basketball world without having to step on the court.
In a fun bit of irony, Joyner Lucas spent the lead-up to the release of his 2025 LP, *ADHD 2*, with his attention elsewhere. After Skepta called out Lucas on his July single “Friendly Fire,” the Massachusetts-born spitter took a pause and addressed Skepta’s diss in a scathing retort entitled “NOBODY CARES.” While it’s unrelated in spirit and theme to the rapper’s third LP, Joyner knows the rules of rap: If you get dissed, you diss back. On “NOBODY CARES,” his lyricism, flows, and rhyme schemes are superlative, which he showcases throughout *ADHD 2* as well. Take “One of Them,” which features skittering synths and stomping drums. Lucas promises 2025 is the year he’s “gotta make shit bloody.” Elsewhere, he turns contemplative, like on the blackbear-assisted “Anxiety Wins” and the pre-release single “White Noise.”
For his fifth solo album, *Unlearning Vol. 2*, Evidence enlists a handful of underground-friendly West Coast MCs, including Larry June (“Future Memories”), Odd Future alum Domo Genesis (“Favorite Injury”), and late-aughts blog-rap darling Blu (“Stay Alive”). Famed producer and sometime Step Brothers counterpart The Alchemist is here on “Rain Every Season.” The guests share a kinship with Ev in creative theory, if not in actual practice. “I’m just a minimalist who’s still massive,” he raps on “Top Seeded,” casually distilling their respective impacts. Evidence may have the resume of a hip-hop legend, but he wouldn’t likely have you call him one. After his work with acts like Dilated Peoples and The Alchemist, production for Beastie Boys, LINKIN PARK, and Kanye West (to name but a few), and four well-received solo albums, he continues to create and release music on his own terms. *Unlearning Vol. 2*, then, manages to boost both his pedigree and mystique. “Graffiti writer, never dreamed of being famous,” he reflects on “Different Phases.” “The goal was that they never knew the face, not being nameless.”
When the Vancouver native broke through with her debut mixtape, 2015’s *World Vision* (released on Awful Records, the era’s coolest DIY rap label), she cheekily referred to her sex-positive style as “fetish rap.” A decade later, the half-Tamil, half-Swedish rapper introduces her third album with a question: “I’ve rapped about my pussy/And I’ve rapped about my ex/But what would you do if I gave you me/And just talked about Genesis?” (Her birth name, after all, is Genesis Yasmine Mohanraj.) Here, she trades the bawdy provocation of her early work for earthy, mystic sensuality, steeped in ancient myths and her Tamil heritage. She also trades her snappy bars for dreamy spoken-word poetry, ruminating on her inner child, past lives, and twin flames over moody guitar loops (“Genesis”) and wistful electronica (“Homebound”).
