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The Evolution Of SheGod: All Things Work Together For Lady Luck

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Lady Luck

Source: handout / Lady Luck

In the pulsating heart of Hip-Hop where lyricism reigns supreme and storytelling is an art form, few voices resonate with the raw, unapologetic power of Lady Luck.

A lyrical force, she strides through the music scene like a queen. From the battleground to the underground and the mainstream; her rhymes cut through the noise with razor-sharp precision. As we sit down with this fearless lyricist, we unravel the layers of her journey and delve into the mind of Lady Luck, where every word is a testament to her unwavering spirit and unmatched talent.

Lady Luck’s evolution in music is a testament to her resilience and growth as an artist. From the fierce and now legendary battles between herself and Remy Ma, where she honed her skills and made her mark, to the more reflective and positive messaging we hear in her latest single, “Praise”, her journey has been transformative. The tragic loss of her mother served as a catalyst, prompting Lady Luck to channel her pain into her music, using her platform to spread messages of hope, empowerment and self-discovery. This shift in focus showcases her versatility as an artist and highlights her ability to turn personal tragedy into a beacon of light for others.

Hip-Hop Wired: We know you are a vet in the game, but to kick things off let’s talk about your female Rap influences. Who are the top five that influenced you to pick up the mic?

Lady Luck: Oh wow, I’m a little biased because I feel like my top five should be everyone’s top five [laughs], but I would say it’s Queen Latifah, MC Lyte, Da Brat, loved Da Brat, and Nikki D. Of course, Nikki D, we can’t forget her, but can I get some honorable mentions? Because I want to add Lady of Rage, Roxanne Shante and Antionette. I mean I have some honorable mentions for all of the girls who poured into me, pause. [laughs]

I understand because when it comes down to influences, narrowing it down to just five can be hard because there are so many great artists.

Like The Sequence, for instance. They were the first female Rap group signed by my aunt, Sylvia [Robinson], and Angie Stone is in the group, only then she was known as Angie B. She was also my godmother at that time.



As a battle rapper whose previous ongoing battle against Remy Ma is now considered infamous, how do you feel about the hate female rappers receive for verbally sparring like their male counterparts?

It’s like that all the time, but that is rooted in gender inequality. No different than when a woman speaks up for herself, she’s considered “bitchy,” but you learn that it’s part of it. I personally appreciate everything the girls are doing and shaking up s–t. I appreciate Nicki and Megan and Drake versus everybody, I almost want to get in on it. [laughs]

Being a veteran MC who has learned to navigate and flow with the current music, how do you feel about the current state of culture and the wave of new artists collaborating with vets as a way to pay homage to those they were inspired by?

I think it’s dope and the first time we have seen something like this in the industry at this rate. Like shout out to Coi Leray for teaming up with Busta [Rhymes]; the fact he is still on fire is dope. I love it. I love that the lines are blurred with the internet because I believe it’s a gift and a curse. Yeah, anyone can drop an album, but anyone can drop an album so it’s the power that’s there too. Look at Hit-Boy, his father came home from jail and started dropping that old-school heat–people enjoyed it.

One thing I love about you as an artist is that you always highlight the artists that you are listening to and shine a light on those you feel need to be seen. Who are some new artists you are checking for and would like to collaborate with?

I’m really bad with names because I smoke so much weed. [laughs] So when this question comes up I always remember someone I should have mentioned later, but Lola Brooke for sure. A lot of artists I hear on Sirius Mixtape Radio because it’s my go-to. Steff-G, she’s definitely on my radar. It’s just so many dope people out there right now, shout out to anybody who’s not giving up.

Speaking of not giving up, over the years you have made a few interesting transitions as an artist. We have seen you go from gutter and gritty, to sexy, to empowering and now seemingly an elevated conscious state. I know you attribute that to the recent passing of your mother–but you have a very masterful way of channeling life into your art.

I just been through hell man; I don’t look like what I’ve been through. It’s funny, I was telling my wife the same thing, that I may look like I am strong and not going to break down, but there are moments I want to break down. But know I can’t. I honestly feel like there’s more to life than what “they” are telling us like we are a lot more special and advanced than we are led to believe. So I have been looking for truth honestly–that’s how I got cool with Forbidden Knowlege and did projects with him because I want to know more. I don’t want to just be in the matrix promoting violence and on a lower frequency anymore. There’s so much more and I want to find out.



I saw that you recently posted your recipe for plant-based General Tso chick’n, is veganism a part of the new journey?

Yeah, we were trying something different with cooking up mushrooms. We are actually about to start a podcast about cooking up mushrooms in different ways. I’m not a vegan yet, but I am working on getting away from eating chicken and meat so much because I love mushrooms, and it’s much cleaner.

With so many things going on, is there anything else we should be on the lookout for?

I am in New Jersey working on a street renaming for my mother. We are in the early stages, so be on the lookout for more details about Donna Lee’s Way coming soon. Also, we got my shades lines, Sundai Wear, and we got our new artist, DollyB, going crazy and my new album, The Human Experience. I am working with a bunch of great artists and dope producers so be sure to check that out.

Ye Deactivates X Account After Announcing Yeezy Adult Content

Ye (the artist formerly known as Kanye West) has deleted his X account seemingly after receiving a wave of backlash for announcing a new adult content website.

On Wednesday (April 24), the rapper tweeted a six second video with the phrase “Yeezy Porn Is Cumming,” directing viewers to “go to yeezy.com.” According to TMZ, Ye is planning to build an adult content studio under his Yeezy brand, and is in contact with Stormy Daniels’ ex-husband Mike Moz to discuss leading the project.

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Billboard has reached out to Ye’s reps for more information.

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Following the announcement, the Vultures artist received an onslaught of criticism from fans, who urged him to “return to Christ” following his Jesus Is King era. Ye has since deactivated his account, though its not immediately clear if he deleted the account himself or if the platform banned him.

West has expressed varying opinions on porn throughout the years. In 2018, after telling Jimmy Kimmel that he “still looks at PornHub,” the platform offered the star a lifetime of free premium membership on their site. He later admitted to a “full-on pornography addiction” that “destroyed my family.”

In November 2022, Ye revealed that he will be taking a “fast” from speaking, alcohol, sex and porn. “I’m not talking to nooobody for a month,” he captioned a post that reads, “I’m taking a 30 day cleanse, a verbal fast. No alcohol, no adult films, no intercourse.” 

See below for fan reactions to the Yeezy Porn announcement.

Audacy Lays Off 2% of Workforce

Audacy has reduced its workforce by 2%, according to a company spokesperson. Affected employees included a Boston sports reporter who was laid off the day before today’s NFL Draft, a Chicago afternoon news anchor and roughly 98 other employees, according to reports. 

“It’s like, ‘How many layoffs can they go through before there’s nobody left?’” says an employee, requesting anonymity to avoid any severance-package conflicts, who was informed by a manager that their position had been “eliminated” on a Zoom call Wednesday (April 24).

An Audacy spokesperson said in a statement that the “difficult but necessary decisions” will “best position our company for long-term growth.” The broadcast giant filed for Chapter 11 bankruptcy restructuring in January.

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Broadcast companies have struggled in recent years, with their share of music listening plunging from 24% in the fourth quarter of 2016 to 13% late last year, according to MusicWatch, a market research company focusing on entertainment. Listeners are shifting away from old-school radio stations towards on-demand streaming, and Nielsen Media Research shows listenership has dropped from 89% of adult Americans in 2019 to 82% in 2022. Responding to these trends, major labels have been reducing their radio-promotions staffs throughout 2024.

Still, the Audacy spokesperson says: “We are on track to emerge as a stronger and healthier company, well positioned for a bright future as a differentiated, scaled industry leader with the industry’s strongest balance sheet.” The company, which owns 220 radio stations in 47 markets, is trying to steer out of bankruptcy and reduce its $1.9 billion in debt by 80%, to $350 million, pending FCC approval.

“It’s just unfortunate, the way everything shook out, with the company going up for bankruptcy and so many different turnovers,” says the laid-off employee. “It lowered morale a lot. Luckily, the people I worked for were great and supported each other through the ups and downs.”

Blondie Earned Their First No. 1 on the Hot 100 With ‘Heart of Glass’ in 1979 | Chart Rewind

On today’s episode of Billboard‘s Chart Rewind, we look back at Blondie hitting their first of four No. 1s on the Hot 100 with their hit “Heart of Glass” in 1979.

Narrator:
Blondie hit the top of the Billboard Hot 100 this week in 1979. “Heart of Glass” was the group’s first No. 1 hit on the chart. Co-written by lead singer Debbie Harry, the song brought in a new and exciting disco sound for the group. It was the first of four No. 1 hits. They later hit No. 1 again with “Call Me” in 1980, “The Tide Is High” in 1981 and “Rapture,” also in 1981.

Although the group continued to see success on the charts, it was “Heart of Glass” that led the way.

A Conversation Around ‘Three Chords and the Actual Truth’ | Black Music Action Coalition With Billboard

Billboard‘s Editorial Director of R&B and Hip-Hop, Gail Mitchell, and Billboard‘s Executive Editor, West Coast & Nashville, Melinda Newman, Doctor of Musicology Jada Watson and singer-songwriter Ink discuss the intersectionality of the Black history of country music.

Ink:
Coming from a powerful voice like Beyoncé, she just took us all back to our roots.

Prophet:
We have with us the Editorial Director of R&B and Hip-Hop for Billboard, Ms. Gail Mitchell. Please give her a round of applause! I’m sorry y’all gotta make more noise for Gail than that. Don’t do that! And we have from Nashville, also with Billboard, covering all things country, please put your hands together for Ms. Melinda Newman, y’all!

And coming to the stage: Jada Watson is an assistant professor of digital humanities in the School of Information Studies at the University of Iowa. Principal investigator of the SongData project, Jada’s research centers on historical racial and gender equality in country music via David Grenner studies. She is a subject-matter expert in this — what we gonna learn from her tonight and today is serious information. So please put your hands together for who we like to call Dala Jada, Dr. Jada Watson, y’all! Please put your hands together.

This next artist, singer-songwriter I met probably about a decade ago in Atlanta, and she was wearing her cowboy hat then. And she’s been fighting and pushing this narrative and pushing for country music to be part of our story like everything else. And I’m so happy with the success that she has — not only has she written and wrote on many of your favorite artists, she also participated in the new Beyoncé project, she also wrote on this new Beyoncé project, and she also have her own single out with The Chainsmokers — it’s over 8 million streams. So please put your hands together for the one and only Ink, y’all.

Watch the full video above!

These Old-School Remixes of Drake’s Latest Diss Tracks Are Better Than the Originals

Sometimes, having some extra time on your hands can be a good thing. The Motown Papi YouTube channel is the perfect example of that. As fans await for Kendrick Lamar to respond to the multiple diss tracks Drake has released over the past few weeks, the person behind this account has taken it upon themselves to give us a little more entertainment.

Right now, the only uploads are the four remixes of Drake songs done in the style of Motown’s heyday.

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The first video uploaded was the take on the rapper’s recent “Push Ups” diss record, followed by “In My Feelings,” “Taylor Made” and finally “Rich Flex.” Each Motown Papi remix features what sounds like live session players and a singer who sounds like a mix between Al Green and Steve Harvey.

The standouts are “Push Ups” and “Taylor Made,” though. The former has been making the rounds on Twitter Thursday (April 25), and features what we believe to be an A.I. approximation of a ’60s Motown singer belting his heart out, complete with backup singers. The vocalist sounds like he could be playing the Apollo, sweating like James Brown as women in the crowd faint at the sound of his voice. Drake should’ve sang “Metro, shout yo’ h— a– up, make some drums, n—a” instead of rapping it, because this version somehow sounds way more disrespectful. And the part where the backup singers swoop in as he sings “Drop and give me 50, drop and give me 50/N—as really got me out here talkin’ like I’m 50″ is incredible.” It’s like they came down from heaven to deliver those lines.

The “Taylor Made” remix is smoother, slower and sounds like something you could throw on while you slow dance with your main joint. It starts off with the singer talking to Kendrick like a scorned lover, singing, “The first one really only took me an hour or two/ The next one is really about to bring out the coward in you.” The rest of the track continues in the same aggrieved tone, but really comes home when the backup singers kick in.

Honestly, these songs are beautiful — and the only way A.I. should be utilized in this space.

Selena Gomez Kicks It Courtside in Designer Boots: Here’s Where to Get Them on Sale

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Selena Gomez showed off her shoe game while kicking it courtside at the New York Knicks game on Monday (April 22). Gomez went for a chic look in snakeskin leather boots and a burgundy leather trench as she snuggled up to boyfriend Benny Blanco during the NBA Playoffs game.

The Rare Beauty founder wore the Tall Rae Boots from Anine Bing, which retail for $700 — but they’re currently on sale for $490 at Revolve. And they’re selling fast, with only select sizes still in stock.  

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Anine Bing Tall Rae Boots

$490

$700

30% off

The Tall Rae Boot features a crocp-embossed patent leather upper and leather sole with a pointed toe and kitten heel. If you miss the chance to grab them from Revolve, the boots are also available at AnineBing.com and retailers such as ssense and Farfetch (use code NCFF to save 15% off).

Gomez has been in the Big Apple filming the upcoming fourth season of Only Murders in the Building. Hulu renewed the crime series for its fourth season in October, and while Gomez recently admitted to being “homesick” on the East Coast, she took to Instagram in March to thank her Only Murders in the Building co-stars Steve Martin and Martin Short “For truly being the most kind, gentle, warm and powerful influences in my life,” she wrote. “You have shown me a level of class, intellect and humor that doesn’t seem to be easy to find anymore. You guys are truly best friends to me forever. #thebear (inside joke).”

Meryl Streep is expected to return for the upcoming season, which will welcome Zach Galifianakis and other guest stars. Season four of Only Murders in the Building is scheduled to premiere sometime this year, possibly in the summer, as have previous seasons of the series.

‘RuPaul’s Drag Race’ Finalist Plane Jane Would Like to Remind You That Drag Should Be ‘Fun and Dumb’

Regardless of where she placed, there’s no question that Plane Jane left an impact on season 16 of RuPaul’s Drag Race.

As one of the two most winning queens of the season, Plane entered the finale (which aired Friday, Apr. 19) with plenty of well-earned confidence. She showed off her performance skills with a solo number titled “Bodysuit” (featuring pop singer and TikTok star Chrissy Chlapecka on vocals), making fun of the judges’ critique on her fashion choices. But only two queens could advance to the final lip sync, and the Boston drag star’s time on the show came to an end.

Plane’s run on the show was certainly impressive — she nabbed a whopping four challenge wins, including in the iconic Snatch Game, and earned constant praise from the judges panel for her sharp wit and killer performer’s instinct. But the queen also earned a reputation — both among her competitors and the fans — for her catty behavior. Whether it was in the work room, during Untucked or even on the main stage, the queen reveled in taking almost every opportunity to throw shade and read her competitors for filth.

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Below, Plane Jane catches up with Billboard after the finale to talk about fans calling her “self-produced,” the viral meme of her comforting her cast mate, and why she’s proud of showing every part of herself on the show — or as she puts it, “the good, the bad, the gorgeous, the ugly and the nasty.”

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The season is officially over, and you made it to the top three! How are you feeling after watching the finale?

It was a very exhausting, physically straining and draining weekend. But I actually feel really great. I’m so happy for my sister Nymphia for winning the crown, it was so well-deserved. She undeniably won … even if she didn’t do “the best” throughout the competition, she definitely brought it home during the finale. Her performances were absolutely fantastic, so I couldn’t be happier for her. 

That being said, I’m happy for myself as well. I did a great job throughout the entire season, and I think I had a pretty good showing through the finale as well! There can only be one winner, so, all I can say is I did my absolute best, and I’m very proud of myself. 

Your song “Bodysuit” was so different from the other top three numbers — it felt a little like hyperpop, and it had that Plane Jane blend of “fierce drag performance meets something that is at least a little bit stupid.” 

Yes, exactly! Personally, it is my favorite song of the top three solo numbers. Not going to lie, I have been listening to “Bodysuit” all weekend. But yes, why take ourselves so seriously? Drag is supposed to be fun and dumb!

Every year we crown a winner, and we crown a Miss Congeniality, but I genuinely think there should be an award for the queen who brought us the best TV of the season, which you would have handily won. What was it like to watch yourself back as you created these heightened, dramatic moments on the show?

Well, it’s interesting because it feels like two completely different realities, living through those moments and watching them back. Honestly, there were some parts of the season where I would watch it and go, “Oh, God, I fully forgot that I said that, whoa girl.” And then there were moments that I thought would be so much more dramatic and intense, and they came across as tame! It was definitely interesting, I found myself cringing at some of the stuff I said and laughing at everything else. 



Part of that process means contending with what fans had to say about your performance as well. Fans had a lot to say, both good and bad — what did you make of their reactions to you?

Throughout the season, there were a gaggle of people online who were accusing me of being very self-produced, very calculated — I actually think it was pretty much the opposite. I was quite unhinged! If there was any element of self-production to what I was doing on the show, it was just me reminding myself to not hold anything back. Like, “this is your moment, and it’s time for you to show the world everything that you are.” I wanted to be unapologetic and unhinged, and I think that is what makes for great reality television at the end of the day. So, to those people, I would say that I acted the way that I did because that’s who the f–k I am, and I’m a star! That’s what got me ahead, babe. 

As the season went on, fans also watched you get vulnerable with the other queens and the audience, which in some cases required you to disengage the more cutting parts of your persona. What helped you get to that place while filming?

Being on reality television for the first time, for anybody, is a learning curve. I came into the competition being very hyper aware of my environment, and I realized quickly that I was being a little too intense with the shade and the reading. So, like I said, I had the thought about wanting to show all of the parts of myself, and that there was much more to me than just being a shady, c–ty, bitchy drag queen. I mean, there was a lot of negativity that I was … I don’t know, I guess “spewing,” if you will? So when I realized it was getting a little out of hand, I just had to remind myself that I was supposed to be having fun, and so were the other girls. That’s what got me to reel it in a little bit. 

That vulnerability also gave us one of the most out-of-control memes of the season with “Mama, kudos for saying that, for spilling.” What has that been like, to watch this heartfelt moment between you and Q get spun out into a meme?

Apparently, I have a very unique way of showing vulnerability! [laughs] I think it’s so funny. What’s weird is it did show this culturally relevant thing about how a lot of gay people speak nowadays. We’ve developed such a particular lingo within our community, to that point where, even when we’re comforting each other, it’s so wildly different than how the boring straights do it. It’s special! 

Looking back, you had a lot of big standout moments throughout the season — is there one in particular that stands out as the Plane Jane moment on Drag Race?

It is hard to pinpoint one moment, because all of those memories are special. But honestly, I would say the moment where I thought, “Oh, she’s taking it,” was definitely Snatch Game. It was a situation where, as we were in it, I knew that both Sapphira and I were killing it up there. Like, we were both doing so well that I genuinely didn’t know which one of us would take the win. So, when Ru said my name, that gave me such a huge boost of self-confidence. It’s such an iconic challenge to win, so it really felt like I was leaving my mark on the show with that performance.



Even Jelena Karleuša herself reposted the clip and said that she loved your impression of her. 

That was so awesome. I feel like the winners of Snatch Game end up getting immortalized in the universe and lore of Drag Race, and it was such an honor to portray somebody who I am truly such a big fan of. To see her living for it and to know that it would be a huge part of Drag Race history was so cool. 

As you’ve been watching the show, are there any particular songs you’ve found yourself listening to a lot?

I don’t want to say this is “old school,” because we don’t want to offend the oldies out there, but I’ve been re-listening to the Pussycat Dolls’ PCD album a lot lately. I mean, that album was genuine pop perfection. “Don’t Cha,” “Beep,” “Buttons,” it’s just hits. It feels like such a sexy, early-to-mid 2000s pop class. 

With Drag Race over, what can fans expect to see next from Plane Jane?

More tomfoolery, buffoonery and shenanigans. I’m somebody who wants to do it all, as you saw on the show — I’m a jack of all trades. And I’m actually kind of happy now that the season’s over, because it means that I can move on to do literally whatever I want from here. 

Mickey Guyton & Prophet’s One-on-One Conversation | Black Music Action Coalition With Billboard

Country music star Mickey Guyton sat down with BMAC CEO and president Prophet for a one-on-one conversation at Black Music Action Coalition, in partnership with Billboard presents Act II: A Conversation Around “Three Chords and the Actual Truth.”

Mickey Guyton:
When this was starting, I remember going up to my record label and I said, “I’ve learned to be comfortable being in a room full of people that don’t look like me. And now it’s your turn to learn to be comfortable in a room of people that don’t look like you.”

Prophet:
Come on, sis! Come on, sis!

Four-time Grammy nominee. The 2022 TIME breakthrough artist of the year. Recently released her female anthem “Woman,” honoring women all around the world, was the ode to women empowerment. Make some noise for that too!

With “Remember Her Name,” Mickey made history as the first Black artist to earn a Grammy nomination for best country album. The title track “Remember Her Name also landed Mickey with Grammy nominations for best country song, best country solo performance. This followed Mickey’s groundbreaking Grammy nominations as the first-ever Black female solo artist to earn a nod in the country category for “Black Like Me.”

“Black Like Me” was named one of the top 10 songs of all genres, in 2020 by the NPR, Billboard and Associated Press. She also co-hosted the 56th Academy Country Music Awards on CBS along with Keith Urban, and she was named CMT’s 2021 breakthrough artist of the year. Her music has been featured on the covers of Billboard, profiled in The New Yorker, The New York Times, Rolling Stone. Over the last year, she had been featured in American Songwriter, BBC News, CBS, Sherri, Sesame Street, HITS, Essence, People. All kind of s–t. Make some noise for the superstar herself, Miss Mickey Guyton.

Watch the full video above!

Carin León Announces Boca Chueca Tour 2024: See the Dates

Mexican music star Carin León will hit the road with his Boca Chueca Tour 2024, which is set to kick off Sept. 27 in Reading, Pa.

Promoted by AEG Presents in partnership with CMN, the trek will hit major cities across North America and Europe, including one night at the Madison Square Garden in New York City, two nights at the United Center in Chicago and his debut performance at BMO Stadium in Los Angeles. Following the North American leg, the Sonora-born artist will head to Europe, with confirmed dates in Madrid, London, Amsterdam and Paris.

“Embarking on this tour is an exhilarating opportunity to share my new music with fans throughout North America and Europe alike,” the “Primera Cita” singer said in a statement. “Taking my songs and the vibrant essence of Música Mexicana to a global stage is truly an honor.”

Since launching his solo career in 2018, León has established himself as one of Mexican music’s most versatile and eclectic artists today. His country-tinged, soulful regional Mexican sound has also played a big role in globalizing música mexicana.

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The Boca Chueca tour announcement comes on the heels of León’s debut at Coachella, where he gave a riveting performance that included surprise guests such as Mau y Ricky and Molotov. He’s set to make his debut at Stagecoach Festival on Friday, April 26. He’ll also be the opening act for The Rolling Stones show in Glendale, Calif., on May 7 at State Farm Stadium.

For more information on the tour and the complete list of dates, click here.