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30 Jan 2024

Ice Spice “Think U The Sh*t (Fart),” Wiz Khalifa “Soak City Freestyle” & More | Daily Visuals 1.30.24

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Even with only an EP to her name Ice Spice is arguably one of the biggest female rappers in the game today. And the baddy from the Bronx is out to keep her name hot out on these streets for 2024 and luckily for her, she knows how to do just that.

Taking her talents to South Beach for her latest visuals to “Think U The Sh*t (Fart),” Ice Spice and her crew turn up in the 305 where they hit the beach, twerk at the bodegas and Icey flaunts stacks of cash that no doubt came from Jordan Poole’s bank account. Yeah, we’re not letting that one go, bro.

Elsewhere Wiz Khalifa doesn’t seem to mind getting high on his own supply and in his clip for “Soak City Freestyle,” the mix martial artist practicing rapper indulges in some Khalifa Kush while rolling around the city before finding himself in his hotel suite, smoking up some more of his product. We hope that man gets his lungs checked out at least once a year. Just sayin.’

Check out the rest of today’s drops including work from Dej Loaf, Dthang Gz, and more.

ICE SPICE – “THINK U THE SH*T (FART)”



WIZ KHALIFA – “SOAK CITY FREESTYLE”



DEJ LOAF – “HOME”



SHENSEEA FT. MASICKAY & DJ GENIUS – “HIT & RUN”



DTHANG GZ – “HARD KNOCK LIFE/LAST DAY IN”


https://youtube.com/watch?v=3Ue01eOELN4&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

ZEDDY WILL – “CHA CHA”



ALBEE AL – “ALBEE FOR PRESIDENT”



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Photo: Getty

30 Jan 2024

“Uncle” Charlie Wilson Gets Star On Hollywood Walk of Fame

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Charlie Wilson Honored With Star On Hollywood Walk Of Fame

Charlie Wilson received his star on the Hollywood Walk of Fame, with collaborators like Snoop Dogg attending the ceremony honoring him.

For Charlie Wilson, the road to being an R&B legend has been a long and eventful one. Another milestone in that journey occurred on Monday (January 29) as he was honored with a star on the Hollywood Walk of Fame. The 71-year-old lead singer of The Gap Band reminisced over a moment in his past when he first arrived in Los Angeles while addressing the crowd at the ceremony. 

“But I was walking in front of Grauman’s Chinese Theatre, and I was trying to put my hands in the hands on the sidewalk. I was like, ‘Wow, what if I can get this one day?’, Wilson said. “Some woman walking by said, ‘That’s not impossible.’ I said, ‘But I’m talking about me.’ She said, ‘Yeah, and I’m telling you it’s not impossible. It might be improbable, but not impossible.’ And now, here it is — so many years later, and I’m getting that star on Hollywood Boulevard.”

Snoop Dogg, a frequent collaborator of Wilson’s, praised the singer for being a vault of knowledge for him. “That’s the treasure to me. because when we get in this industry, we don’t really have people who we can count on, who we can go to. We get so far in this industry that you lose contact,” said the rapper. “So, to have somebody like you to stay in my life and to be there for me and my family means the world to me, Charlie.”

Charlie Wilson underwent the highs of fame and the lows – after the success of The Gap Band, he struggled with addiction and homelessness for most of the 1990s. That decade, however, would see him revitalized through being featured on numerous tracks by Hip-Hop artists and a solo career. He’d earn 13 Grammy Award nominations, a BET Lifetime Achievement Award, and a Soul Train Icon award. Wilson also successfully overcame prostate cancer in 2008 and is now a Prostate Cancer Foundation spokesperson. 

“I’m still here to be able to tell my story and be able to dance and sing and have a good time on the stage,” said Wilson. “All the things I’ve ever prayed for, they all came to pass. I really sort of am Superman — I’m faster than all of the speeding bullets that came after me.”

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Photo: Getty

30 Jan 2024

WMG Outlines Plans to Minimize Company’s Environmental Impact in New Report

In Warner Music Group‘s sprawling 2023 ESG report, released Tuesday (Jan. 30), the label outlined plans and goals for its workforce, artists and environmental impact.

“We are determined to transform our business and spur industry change to mitigate the effects of the climate crisis,” the report states in an expansive section on sustainability practices. “This includes measuring and understanding WMG’s environmental footprint, setting science-based targets to reduce emissions…and leveraging our scale, experience and partnerships to foster cross-industry cooperation to minimize the environmental impacts of making and distributing music.”

For the company, these changes start with the company’s brick-and-mortar spaces, with the goal that “WMG will source 100% renewable energy for our operations” by 2030.

The plan is to first implement this initiative in WMG’s global offices and workspaces before rolling it out to WMG-owned and operated facilities. The company also plans to decarbonize its workplaces through 100% renewable energy-based power by 2030.

The report cites WMG joining with Sony Music Entertainment and Universal Music Group in 2023 to establish the Music Industry Climate Collective. The first initiative of this working group has been supporting the development and implementation of sector-specific guidelines for calculating Scope 3 GHG emissions within the recorded music industry. “Scope 3” refers to indirect emissions that occur in the value chain, such as those from product manufacturing, distribution and licensing.

The company also noted a previously announced partnership with MIT, Live Nation, Coldplay and Hope Solutions to understand and mitigate the environmental impact of the live events.

The company cites a goal of increasing public transportation utilization by 20% at Warner Music live events. This effort has already resulted in a partnership between Warner Music Finland Live and Helsinki City Public Transportation, which has provided fans with free public transportation included in their concert tickets.

With its environmental impact data independently reviewed and assured by a third-party auditor for the first time in 2023, WMG reports that in the past year, it has made “significant strides” in its Scope 1 and 2 data collection, analysis and methodology. (Scope 1 and 2 refers to emissions that are owned or controlled by the company and indirect emissions that result from activities of the company.)

“Despite our return to office,” the report says, its efforts “have led to an overall decrease in our reported Scope 1 and 2 greenhouse gas emissions for 2023.”

The report also cites successful employee-driven initiatives, including its U.K. Wrights Lane office eliminating single-use plastic and switching to reusable cutlery and serveware. The WMG office in France has eliminated paper cups and improved waste management to increase recycling.

Regarding sustainable products and merchandise, the company outlines “an industry-first method” of creating vinyl albums using PVC alternatives. Says the report: “We are delivering these changes in partnership with our artists and songwriters, many of whom are increasingly looking for ways to share music with their fans in a sustainable way.”

Read the full report here.

30 Jan 2024

Hit-Boy Reacts to Grammy Nod, Talks Working With Nas & J. Lo & More | Billboard News

Hit-Boy reacts to his Grammy nomination, talks about self-releasing music, what sets him apart from other producers, and working with artists such as Nas and Jennifer Lopez. His father, Big Hit, joins in on the conversation and talks about navigating the music industry after spending 12 years in prison, what his life was like while serving his sentence and what their relationship is like now that he is out.

Big Hit:
Guess I’m to blame, busting that superstar DNA. Big Hit came. Hit-Boy came. Hit-Boy came, C III came. The best is yet to come.

Hit-Boy:
Yo, yo. It’s Hit-Boy.

Big Hit:
It’s Big Hit.

Hit-Boy & Big Hit:
You’re watching Billboard News.

Tetris Kelly:
Hey, it’s Tetris with Billboard News, and I have the honor of being with a man that has so many hits, it’s his name. Hit-Boy, man. What’s up? How’s it going?

Hit-Boy:
I’m good, man.

Tetris Kelly:
Let’s talk about this Grammy nomination. Your 11th nomination — producer of the year non-classical. Does it hit any different on your 11th time?

Hit-Boy:
Oh, man. It’s crazy because I didn’t expect to … I mean I don’t have no expectations when it comes to, like, awards and stuff like that. But just even being in the nominations, it just hit me this year just because this whole year, I’ve been kind of focusing on things that I can control, which was my own projects, working with my dad, put out a project with Musiq Soulchild, so everything that you know was under me being nominated was mostly stuff that, you know, I really put my heart and soul into, so it did hit different.

Tetris Kelly:
And then, I mean, you’ve worked on so many projects this year like you said. How do you feel you stack up when you’re like looking at “I’m going up against Jack Antonoff, you know, my homie from Georgia, Metro Boomin,” like, what do you feel sets you apart as a producer?

Watch the full video above!

30 Jan 2024

Hit-Boy Talks 2024 Grammy Nomination, How Nas Empowers Him to ‘Be the Best Producer’ & More

After producing for Beyoncé, Jay-Z, Kanye West, Travis Scott and more for over a decade, Hit-Boy has solidified his stance as one of the best rap producers in the game.

The three-time Grammy winner is up for producer of the year, non-classical this year, and it’s the second time he’s been nominated in the category. “I didn’t have no label budget. Everything is funded by me, music by me, engineered by me, studio time by me, like literally coming out of my pocket. I feel like I already won for real,” he told Billboard News‘ Tetris Kelly. “I don’t have no big powerful manager like the rest of the producers. I’m thuggin’ this sh– by myself with a couple of my homies.”

But Hit-Boy isn’t always solo in the studio. In the last three years, Hit-Boy has executive produced six albums for Nas, with three King’s Disease and three Magic albums. Nas won his first-ever Grammy in 2021 in the best rap album category with the first King’s Disease installation.

“Nas empowers me to be the best producer I can and allows me to grow through my production process. When he comes [to] lay two, three verses and a hook, and [he’s] like, ‘Yo, do what you do.’ I’m doing breakdowns, I’m adding additional keys, I’m doing things to just keep the production interesting. And when he comes back to the studio, he like, ‘Yo! I didn’t expect this. My mind is blown. What made you think to put this sound and it matches what I’m saying?’” he says. “We got mutual, super respect. He allows me to be me and grow through this, and I allow him to be him. He’s one of the greatest, period. I just try to keep my ear open, my eyes open. That’s how you got 80 songs in three years — you got to leave ego out the room.”

The 36-year-old producer hitmaker (real name Chauncey Alexander Hollis Jr.) recently worked with another superstar, Jennifer Lopez, on her first single of the year, “Can’t Get Enough.” The song, which Latto recently hopped on for the remix, arrives ahead of J.Lo’s ninth studio album This Is Me… Now, due Feb. 16 via Nuyorican Productions and BMG. And it’s not the first time Hit-Boy has ever worked with her: His first official beat placement was on Lopez’s “Forever” from her 2007 album Brave.

But the most special collaborator he’s ever worked with is his father Big Hit, who recently finished serving nine years of a 12 year-sentence after being found guilty and convicted of a hit-and-run in L.A. resulting in great bodily injury in 2014. After being released from prison, Big Hit went straight to the studio and started getting back to work. The father-son duo released Surf or Down, Vol. 2 just in time for Father’s Day last year. Then Hit-Boy executive produced his father’s highly anticipated debut album The Truth Is In My Eyes, which was released on December 16, 2023, exclusively on Big Hit’s Bandcamp. Two weeks later, at the top of this year, Hit-Boy, Big Hit and The Game joined forces on the 9-track project Paisley Dreams.

“It’s a dream come true…. Sitting and just laying in the bunker in the cell, surrounded by all the concrete and all the noise, all the bullsh–, trying to block it out, I just told myself, ‘One day, I’mma be in the mansion. I’ll focus on the vision.’ And I stayed focused,” said Big Hit. And that focus doesn’t go unnoticed by his own son. “[I’m] getting to know different parts of myself through him and seeing his work ethic. Since I was a teenager, people be like, ‘All you do is work. You locked in all the time.’ I got that hustle in my blood, you know what I mean? Seeing him record 300 songs in seven months, I’m trying to keep up with him now!” Hit-Boy added.

Watch Hit-Boy’s full Billboard News interview above.

30 Jan 2024

Fall Out Boy’s Patrick Stump Makes New Music for Mattel & Netflix ‘Hot Wheels’ Kids’ Series: Watch the Trailer

Following the success of Barbie, a new Mattel toy is coming to the screen.

Mattel Television Studios announced Tuesday (Jan. 30) that its new animated children’s series Hot Wheels Let’s Race, inspired by the popular toy cars, will arrive on Netflix in March.

The show will feature a theme song by Fall Out Boy‘s Patrick Stump, who composed, recorded and produced the track for Hot Wheels Let’s Race in addition to leading the composition of the score, underscore and music cues for all episodes. The show will follow racers Coop, Spark, Mac, Brights, Axle and Sidecar as they attend a high-energy racing camp.

“I spent a lot of my childhood in my grandpa’s garage handing him tools while he worked on cars and I daydreamed about music,” Stump said in a press statement. “But Hot Wheels was my way of connecting to his love of cars. That’s why I was so excited to get the opportunity to work on Hot Wheels Let’s Race with Mattel Television Studios. The word I’m always using to describe my music for this series is ‘pulse.’ There’s a tempo and a rhythm that permeates the series as soon as the tires hit that iconic orange track. It’s a real joy to get to be a part of that and I can’t wait for another generation of kids to see Hot Wheels Let’s Race on Netflix this year.” 

Patrick Stump

Patrick Stump

Elliott Ingham

Rob David, the show’s executive producer as well as vice president of content creative at Mattel Television Studios, added, “Between the show’s characters, propulsive cars, and pulse-pounding music, we want to make audiences feel like they’re literally gripping the wheel for an unforgettable ride with Hot Wheels Let’s Race. Patrick is a one-of-a-kind musical talent, and generous collaborator. We are so lucky to have him as part of the Let’s Race family.” 

Season 1 of Hot Wheels Let’s Race will be available March 4 on Netflix. Check out the trailer, which previews Stump’s theme song, below:

30 Jan 2024

Eladio Carrión’s ‘Sol María’ Is Top Debut on Top Latin & Latin Rhythm Albums Charts

Eladio Carrión shines bright with the highest debut of the week on Billboard’s Top Latin Albums and Latin Rhythm Albums charts, as Sol María, his sixth studio set, launches at No. 6 and No. 3, respectively, on the Feb. 3-dated rankings.

Sol María, a tribute to his mother, starts with 18,000 equivalent album units earned in the U.S. in the week ending Jan. 25, according to Luminate. The 17-track set blends trap, Afrobeats, reggae and ’90s pop, all genres that resonate with his mother. The set was originally set for a Dec. 23 release, but finally dropped Jan. 19, the first day of the chart’s tracking week.

Of Sol María’s 18,000-unit sum, 17,000 stem from streaming activity, which equals to 23.6 million official on-demand U.S. clicks of the album’s songs in its opening week. Album sales comprise 1,000 units, while a negligible amount of activity derived from track-equivalent units.

On Top Latin Albums, one unit equals to one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.

With Sol María’s No. 6 entrance on Top Latin Albums, the new father of twins Carrión captures his fifth top 10, out of seven visits, on the Top Latin Albums tally and bests his album debut Sauce Boyz’s No. 8 debut and peak in 2020. Three other sets have peaked in the list’s upper region: Sauce Boyz 2 at No. 2 (2021), SEN2 KBRN, Vol. 2 at No. 4 (2022), and 3MEN2 KBRN at No. 3 (2023).

Beyond its top 10 debut on Top Latin Albums, Sol María gifts Carrión his fourth entry on the overall Billboard 200 chart, at No. 37. Plus, with Sol María, the Puerto Rican-American rapper notches his sixth top 10 on Latin Rhythm Albums, as it bows at No. 3 – matching the debut and peak of his last entry, 3MEN2 KBRN in April 2023.

As Sol María arrives, three of its tracks launch on the Hot Latin Songs chart –which blends streaming data, sales, and airplay– led by “Hey Lil Mama,” with Rauw Alejandro, at No. 36. The song is mostly powered by streaming activity, with 2.52 million clicks in its first week.

“TQMQA” follows at No. 39 1.7 million streams, and make progress in the radio realm. It rallies 41-31 on Latin Airplay with 4 million audience impressions (up 20%).

Meanwhile, the last of the album’s three debuting cuts on Hot Latin Songs, “Bendecido,” opens at No. 49, largely from its 2.1 million streams logged in the tracking week.

Carrión’s fresh chart achievements arrive on the heels of his first Latin Grammy win for “Coco Channel,” his Bad Bunny collab named best rap/hip-hop song at the awards in November.

30 Jan 2024

Taylor Swift, Drake, BTS Music May Leave TikTok This Week as UMG Licensing Negotiations Collapse

Universal Music Group (UMG) says it will pull its entire music catalog from TikTok when its contract with the service expires on Wednesday (Jan. 31), accusing the platform of “trying to build a music-based business, without paying fair value for the music,” according to an open letter released Tuesday (Jan. 30).

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In the letter, addressed to UMG artists and songwriters, the company states that it’s particularly concerned about the rates that TikTok is offering to pay for its catalog. Other points of contention include the amount of content on TikTok that infringes its artists’ and songwriters’ works without providing “meaningful solutions” to help them combat it, the level of hate and harassment on the platform and TikTok’s stances on artificial intelligence (AI).

According to UMG, during the negotiations, the ByteDance-owned social giant “demanded a contractual right which would allow [AI] content to massively dilute the royalty pool for human artists,” which UMG states is “nothing short of sponsoring artist replacement by AI.”

If UMG pulls its catalog, it would affect all music distributed and administered by its recorded-music division as well as Universal Music Publishing Group.

The last deal UMG struck with TikTok to license both its recorded music and publishing was announced on Feb. 8, 2021. In July, WMG inked a multi-year licensing deal with TikTok that allows the company to use WMG’s music on its app as well as CapCut and its new “social streaming platform” TikTok Music, which is currently available in Brazil, Indonesia, Australia, Singapore, and Mexico. At the time the deal was announced, WMG CEO/chairman Robert Kyncl and TikTok’s chief executive Shou Chew said the agreement would benefit artists.

This is not the first time the music business has had issues with TikTok. In 2019, when the platform was just getting started, the National Music Publishers’ Association (NMPA) called on Congress to investigate TikTok for potential copyright theft. It was also reported around that time that TikTok was operating on expired deal extensions that were grandfathered in from when it acquired Musical.ly in late 2017. In March 2020, Billboard reported that all three majors had struck short-term licensing deals with TikTok.

Read the full open letter below.

Our core mission is simple: to help our artists and songwriters attain their greatest creative and commercial potential. To achieve these goals, our teams employ their expertise and passion to strike deals with partners all around the world, partners who take seriously their responsibilities to fairly compensate our artists and songwriters and treat the user experience with respect

One of those partners is TikTok, an increasingly influential platform with powerful technology and a massive worldwide user base. As with many other platforms with whom we partner, TikTok’s success as one of the world’s largest social platforms has been built in large part on the music created by our artists and songwriters. Its senior executives proudly state publicly that “music is at the heart of the TikTok experience” and our analysis confirms that the majority of content on TikTok contains music, more than any other major social platform.

The terms of our relationship with TikTok are set by contract, which expires January 31, 2024. In our contract renewal discussions, we have been pressing them on three critical issues—appropriate compensation for our artists and songwriters, protecting human artists from the harmful effects of AI, and online safety for TikTok’s users.

We have been working to address these and related issues with our other platform partners. For example, our Artist-Centric initiative is designed to update streaming’s remuneration model and better reward artists for the value they deliver to platforms. In the months since its inception, we’re proud that this initiative has been received so positively and taken up by a range of partners, including the largest music platform in the world. We’ve also moved aggressively to embrace the promise of AI while fighting to ensure artists’ rights and interests are protected now and far into the future. In addition, we’ve engaged a number of our platform partners to try to drive positive change for their users and by extension, our artists, by addressing online safety issues, and we are recognized as the industry leader in focusing on music’s broader impact on health and wellness.

With respect to the issue of artist and songwriter compensation, TikTok proposed paying our artists and songwriters at a rate that is a fraction of the rate that similarly situated major social platforms pay. Today, as an indication of how little TikTok compensates artists and songwriters, despite its massive and growing user base, rapidly rising advertising revenue and increasing reliance on music-based content, TikTok accounts for only about 1% of our total revenue.

Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.

On AI, TikTok is allowing the platform to be flooded with AI-generated recordings—as well as developing tools to enable, promote and encourage AI music creation on the platform itself – and then demanding a contractual right which would allow this content to massively dilute the royalty pool for human artists, in a move that is nothing short of sponsoring artist replacement by AI.

Further, TikTok makes little effort to deal with the vast amounts of content on its platform that infringe our artists’ music and it has offered no meaningful solutions to the rising tide of content adjacency issues, let alone the tidal wave of hate speech, bigotry, bullying and harassment on the platform. The only means available to seek the removal of infringing or problematic content (such as pornographic deepfakes of artists) is through the monumentally cumbersome and inefficient process which equates to the digital equivalent of “Whack-a-Mole.”

But when we proposed that TikTok takes similar steps as our other platform partners to try to address these issues, it responded first with indifference, and then with intimidation.

As our negotiations continued, TikTok attempted to bully us into accepting a deal worth less than the previous deal, far less than fair market value and not reflective of their exponential growth. How did it try to intimidate us? By selectively removing the music of certain of our developing artists, while keeping on the platform our audience-driving global stars.

TikTok’s tactics are obvious: use its platform power to hurt vulnerable artists and try to intimidate us into conceding to a bad deal that undervalues music and shortchanges artists and songwriters as well as their fans.

We will never do that.

We will always fight for our artists and songwriters and stand up for the creative and commercial value of music.

We recognize the challenges that TikTok’s actions will cause, and do not underestimate what this will mean to our artists and their fans who, unfortunately, will be among those subjected to the near-term consequences of TikTok’s unwillingness to strike anything close to a market-rate deal and meaningfully address its obligations as a social platform. But we have an overriding responsibility to our artists to fight for a new agreement under which they are appropriately compensated for their work, on a platform that respects human creativity, in an environment that is safe for all, and effectively moderated.

We honor our responsibilities with the utmost seriousness. Intimidation and threats will never cause us to shirk those responsibilities.

30 Jan 2024

Brian Wilson Mourns Death of Wife Melinda: ‘She Was My Savior’

Melinda Ledbetter Wilson, wife of Beach Boys star Brian Wilson has died. She was 77 years old.

Wilson took to Instagram on Tuesday (Jan. 30) to announce the devastating news, alongside two photos of his wife. “My heart is broken. Melinda, my beloved wife of 28 years, passed away this morning,” he wrote, without indicating the cause of death. “Our five children and I are just in tears. We are lost. Melinda was more than my wife. She was my savior. She gave me the emotional security I needed to have a career. She encouraged me to make the music that was closest to my heart. She was my anchor. She was everything for us. Please say a prayer for her.”

The caption also featured a joint statement from the couple’s five children — Dakota Rose, Daria Rose, Delanie Rose, Dylan and Dash. “It is with a heavy heart that we let everyone know that our mom, Melinda Kay Ledbetter Wilson passed away peacefully this morning at home,” they wrote. “She was a force of nature and one of the strongest women you could come by. She was not only a model, our father’s savior, and a mother, she was a woman empowered by her spirit with a mission to better everyone she touched. We will miss her but cherish everything she has taught us. How to take care of the person next to you with out expecting anything in return, how to find beauty in the darkest of places, and how to live life as your truest self with honesty and pride.”

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See the post here.

Brian and Melinda first met in 1986, when she sold him a Cadillac. They dated for three years, but rekindled their relationship in 1992 and tied the knot in 1995.

30 Jan 2024

Britney Spears Apologies to Justin Timberlake, New Megan Thee Stallion Album & More | Billboard News

Megan Thee Stallion is making sure we have a Hot Girl Summer with the announcement of her upcoming album and tour. Britney Spears took to social media to apologize for some of the things she wrote about Justin Timberlake in her memoir ‘The Woman in Me.’ Justin Timberlake has revealed that more *NYSNC music is on the way. We attended the premiere of the upcoming film ‘The Greatest Night in Pop’ and got to interview a few of the film’s cast and crew. And more!

Tetris Kelly
Megan makes some major announcements amidst her Nicki feud. Britney praises Justin while he gives *NSYNC fans hope. I talked to the Grammy-nominated Hit-Boy and Lionel Richie and Sheila E. take us down memory lane. Welcome back to Billboard News, I’m Tetris Kelly. It’s Tuesday, January 30th, and if you thought we were done talking about Megan and Nicki, well you thought wrong because they keep making news.

Megan Thee Stallion
I’m trying to keep the hotties happy, they fussin’ at me right now. They like, “where’s the music?”

Tetris Kelly
Megan Thee Stallion hit Good Morning America to bring all sorts of good news and avoided any of the controversy surrounding Nicki Minaj’s reaction to her song “Hiss.” Can you believe just a few short years ago, Megan Thee Stallion and Nicki Minaj were collaborators on “Hot Girl Summer”? And though their recent beef is dominating the news cycle. Meg is keeping her head up and returning to Hot Girl Summer.

Megan Thee Stallion
Oh, we’re having the tour this year. The Hot Girl Summer Tour is going to be 2024 summertime, I feel like I’ve never been able to be outside doing my own thing. During the summer like since like 2019.

Tetris Kelly
The rapper gave a full interview on ‘Good Morning America’ promoting multiple projects like her ‘Mean Girls’ track and Planet Fitness collab, but did she discuss Nicki’s diss track “Big Foot?” No, she but promised her new album is coming.

Megan Thee Stallion
This is gonna be the first time that I drop an album on time for the summer. I do want to give the hotties the Megan Thee Stallion experience.

Tetris Kelly
It’s going to be a busy summer for Thee Stallion. For more on the story hit Billboard.com

Watch the full video above!