genre hiphop
Page: 35
So, who invented “rage” rap? Trippie Redd has an idea.
“The inventors of the rage sound is me, [XXXtentacion], Carti and Uzi,” he said in an Instagram Stories video posted April 27. “We paved the way. We popularized it. I’m not gonna let you old a– n—s say you invented something that you ain’t invent. N—s need to take they pills, man. You n—s be psychotic, like, out of they f—king mind. Your old a– ain’t invent sh—t.”
“That’s exactly why I ain’t pull up on his old a– ‘cause he always just wanna put a n—a beneath him and s—t. You ain’t really for black people. You ain’t really for your people, n—a. You be using n—as and you lost right now.”
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Trippie then added a message for younger artists to be careful who they chose to collaborate with.
Trending on Billboard
“Artists coming up — keep a hold of y’all craft, man,” the Ohio rapper warned. “Don’t give y’all s—t out to these old n—as ’cause they just wanna get around you, find out your sound, use you, and then dump you, n—a. They won’t f—k with you ever again. All these n—as cutthroat.”
And while he didn’t mention any names, Trippie may be referring to Ye’s April 26 comments during an interview with Sneako, claiming that he invented the style with his 2013 album Yeezus, and more specifically with the song “Blood on the Leaves.”
“I invented ‘rage,’ bro. ‘Blood on the Leaves,’ Ye claimed. “I invented this whole ‘rage’ sound … Yeezus is that energy. ‘N—as in Paris’ is the first time n—as was moshin’. We got Black people moshin’, that was some white boy s—t.”
Some fans on social media have credited Kid Cudi as the rapper to introduce that specific sound and point to his Man on the Moon series of albums and the fact that he often referred to himself as “Mr. Rager.”
Yung Miami is clapping back at speculation she’s in pursuit of NFL draftee Shedeur Sanders. On Sunday (April 27), the former City Girls rapper responded to someone on X who implied she was “making it sooo obvious” that she romantically wants Sanders. “Y’all b—hes don’t know what ‘supporting your ppl’ look like!!!!” she wrote in […]
SZA crowns both the latest Billboard 200 albums chart and the Billboard Hot 100 songs chart dated May 3. While it’s customary for star acts to lead both lists simultaneously, SZA does so differently than the way that the feat is usually achieved.
As previously reported, SZA’s album SOS rebounds for a 13th week at No. 1 on the Billboard 200. Concurrently, Kendrick Lamar and SZA’s “Luther,” from Lamar’s album GNX – not SOS – logs a milestone 10th week at No. 1 on the Hot 100.
Since the beginning of the 2020s, only three acts have led the charts simultaneously but with a Hot 100-topping song not from the album at No. 1 on the Billboard 200. The two prior to SZA: GNX headed up the Billboard 200 as Lamar’s stand-alone single “Not Like Us” led the Hot 100 for a week in February and Taylor Swift’s 1989 (Taylor’s Version) was No. 1 on the Billboard 200 as the then-four-year-old “Cruel Summer” ruled the Hot 100 for a week in November 2023.
Comparatively, in a hefty 50 weeks this decade, and continuing coordination common since the ‘60s, acts have doubled up atop the Billboard 200 and Hot 100 with albums and songs from those sets. Most recently, Lamar did so twice via GNX: the LP was No. 1 on the Billboard 200 as “Luther” (March 15) and “Squabble Up” (Dec. 7, 2024) topped the Hot 100. Leading the way since 2020, Morgan Wallen’s One Thing at a Time and its smash “Last Night” spent 11 weeks atop the Billboard 200 and Hot 100 side-by-side. (The set and song reigned for 19 and 16 total weeks, respectively.)
Prior to SZA, Lamar and Swift earning such commands, no act had scored such a divergent double-up since August 1997, when Diddy (then Puff Daddy) was No. 1 on the Billboard 200 with No Way Out (with The Family) while being featured with Mase on The Notorious B.I.G.’s Hot 100 leader “Mo Money Mo Problems.” Among artists in lead roles, none had earned the honor before SZA, Lamar and Swift since 1975, when, for two weeks that January, Elton John’s Greatest Hits led the Billboard 200 as his cover of The Beatles’ “Lucy in the Sky With Diamonds,” not on the collection, topped the Hot 100.
The recent relative uptick in the feat suggests that songs’ success can be less tied to album campaigns than in the past. In the case of the acts above, the reign of “Luther” aligns with the recent reissue of SOS; “Not Like Us” was re-diss-covered after Lamar performed it at the Super Bowl LIX halftime show and it won five Grammy Awards, all within an eight-day span in early February; and “Cruel Summer” was revived from Swift’s 2019 album Lover, partly from fan fervor as she performed it early in the run of her The Eras Tour.
Meanwhile, in a digital era, artists can more easily release single tracks than before, while the likes of TikTok and media synchs can more randomly spark popularity for songs not on albums that acts are simultaneously promoting.
Further tying Lamar and SZA together, GNX is No. 2 on the Billboard 200, while the stars kicked off their co-headlining Grand National Tour April 19.
When Wiz Khalifa‘s seminal mixtape Kush and Orange Juice dropped in 2009, the Pittsburgh staple brought a new sound and lifestyle that forever shifted the hip-hop landscape.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“The mode I was in — tapped in with the fans, being on the road, buying Jordans, wearing Chucks, wearing camo shorts every day,” recalls Khalifa a decade-and-a-half later to Billboard. “[I] was literally smoking Kush and drinking orange juice, [and] putting the world onto a whole lifestyle that we were living.”
Earlier this month, Khalifa kept the Kush and Orange Juice legacy alive when he released the sequel to his magnum opus. He enlisted familiar faces such as Taylor Gang affiliates Ty Dolla $ign, Juicy J and Chevy Woods while linking up with new characters including LaRussell, Don Toliver and Larry June, making this 23-track ride memorable. The album’s standout tracks, such as the swagger-filled “Pimps n Hustlers” and the Curren$y-featured “Jet Taylor,” showcase the same gusto that made Kush and Orange Juice a classic.
“I wasn’t nervous at all,” Khalifa confidently states when facing the arduous task of following up his 2009 classic. “It was something that I felt I could challenge myself to do. And I would also know if it was it or wasn’t it. There were a couple of times during the process where I would get to maybe I’m done, maybe I figured it out, and I did, but the fans would always let me know what direction to shift it. When I finally got to the end of it, I was 100% confident. So, it wasn’t scary. It was fun trying to figure it out.”
Wiz Khalifa, the spry MC who emerged as the cornerstone of stoner rap in the early 2010s, has transcended past being a caliber MC from the Blog Era. He has become a Billboard Hot 100 contender, courtesy of his rap bona fides. His journey from songs such as “Black & Yellow,” “We Dem Boyz” and “Work Hard, Play Hard” to the melancholic anthem “See You Again” placed him in the venerable territory, hitting Diamond status and accruing 12 weeks at No. 1 on the Hot 100, is a testament to his evolution. This growth, from his stoner rap roots to becoming a Hot 100 contender, is something that his fans can take pride in. Despite these milestones, Khalifa’s love for hip-hop runs deep in his blood, as proven by his latest freestyles over J. Cole’s “Clouds” and Kendrick Lamar’s “Squabble Up.”
“I did it strategically,” says Khalifa, revealing a key aspect of his creative process. “I started working on the album and removed myself from social media for a bit. It was about four months, and I didn’t scroll or digest anything. It was on purpose because I had to find myself and figure out what I was going to do regardless of what was going on around me.”
Watch Khalifa’s full Billboard News In Conversation interview above, during which he spoke about his love for Snoop Dogg, linking up with J. Cole and more.
Wiz Khalifa just dropped Kush & Orange Juice 2 on April 18, and the rapper shares why he chose to make a follow-up album to the original Kush & Orange Juice. He discusses performing at Coachella, working with J. Cole and Gunna, what fans can expect from his tour, his thoughts on being compared to Snoop Dogg, not realizing Blacc Hollywood went No. 1, his role in the legalization of marijuana in New York and more!
What do you think of Kush & Orange Juice 2? Let us know in the comments below!
Carl Lamarre:Yo, yo. What’s going on y’all? I am Billboard deputy director of R&B/hip-hop, Mr. Carl Lamarre. Today for Billboard In Conversation, we got the man, the myth, the legend — Mr. Kush & OJ, Wiz Khalifa.
Wiz Khalifa:What’s up, brother?
Khalifa, man, you know, we’re gonna talk everything from the new album, Kush & OJ, the world tour, if you still got that gym regimen going, still f–king up them weights.
Mhm.
Say less we might my do a bet, a little weight competition.
Push ups. Do functional push-ups.
I would say you lost me to functional push-ups. I don’t know what the s–t is. What’s a functional push-up?
It’s like a three way, like you do scap, you do scap half, and then you do scap full.
You see you throwing words out there I never heard of before, bro.
Like, we gonna stick to this.
It’s some ROTP s–t you hit me with right there, but no real talk. Man, congratulations. This is the 15th anniversary of Kush & Orange Juice, man. Tell me some of your fondest memories making that classic.
Really just like the mode that I was in, like tapped in with the fans being on the road, buying Jordans, wearing chucks, wearing camo shorts every day, literally, like smoking kush and drinking orange juice and just, you know, putting the world onto a whole lifestyle that we were living.
Keep watching for more!
Cardi B has never been one to pull punches when it comes to her love life. And on Sunday (April 27) the “Bongos” rapper took to Twitter Spaces to lay it all out about the new man she said is rocking her world. While Cardi did not name names, she did give the gentleman props […]
Northern Irish hip-hop trio Kneecap have shared a new statement following mounting criticism over resurfaced footage of alleged on-stage comments.
On Monday (Apr. 28), London’s Metropolitan Police confirmed that a clip of the group allegedly calling for the death of British MPs (members of parliament) is being assessed by anti-terror police in the U.K.
Filmed at a London gig in November 2023, it appears to show one member of the band saying: “The only good Tory is a dead Tory. Kill your local MP.” At the time, the Conservative Party – also known as the Tories – were in government with a large majority.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
It followed the news that last week that a video of the band expressing support for Hamas and Hezbollah – both of which are ascribed terror group status by the U.K. government – was also being assessed by the Met. Under anti-terror laws in the country, it is an offence under the Terrorism Act 2000 to “invite support for a proscribed organisation.”
Trending on Billboard
On Sunday, (Apr. 27), a Metropolitan Police spokesman said: “We were made aware of a video on 22 April, believed to be from an event in November 2024, and it has been referred to the counter-terrorism internet referral unit for assessment and to determine whether any further police investigation may be required. We have also been made aware of another video believed to be from an event in November 2023.” The group are yet to be charged with any offence.
In response, Labour MP for Hemel Hempstead David Taylor and Scotland’s First Minister John Swinney have made public calls for the removal of Kneecap from several summer festival performances, including Glastonbury and TRNSMT in Glasgow.
Now, Kneecap – made up of rappers Liam Óg Ó Hannaidh and Naoise Ó Cairealláin and beat-maker JJ Ó Dochartaigh – have responded with a statement posted to their Instagram page, addressing their alleged support of Hamas, Hezbollah, and promoting violence against British MPs.
“Let us be unequivocal: we do not, and have never, supported Hamas or Hezbollah. We condemn all attacks on civilians, always. It is never okay,” it read. “We know this more than anyone, given our nation’s history. We also reject any suggestion that we would seek to incite violence against any MP or individual. Ever. An extract of footage, deliberately taken out of all context, is now being exploited and weaponised, as if it were a call to action.”
The trio continued, in part: “We also reject any suggestion that we would seek to incite violence against any MP or individual. Ever. An extract of footage, deliberately taken out of all context, is now being exploited and weaponised, as if it were a call to action.”
Elsewhere in the post, Kneecap went on to apologise to the families of Labour MP Jo Cox and Conservative MP Sir David Amess, who recently condemned the band of “inciting violence.” Both MPs were murdered in 2016 and 2021 respectively.“To the Amess and Cox families, we send our heartfelt apologies, we never intended to cause you hurt,” Kneecap said.
Doubling down on their stance, they concluded: “Kneecap’s message has always been – and remains – one of love, inclusion, and hope. This is why our music resonates across generations, countries, classes and cultures and has brought hundreds of thousands of people to our gigs. No smear campaign will change that.” Read the full statement below.
The new statement comes in the wake of the fall-out following the band’s sets at Coachella earlier this month. During their performance, Kneecap displayed a message stating, “Israel is committing genocide against the Palestinian people. It is being enabled by the U.S. government who arm and fund Israel despite their war crimes. F–k Israel; free Palestine.”
On Friday (Apr. 25), meanwhile, it emerged that the group had split with their U.S. booking agent, IAG, and there have been calls for the group’s U.S. work visas to be revoked. Kneecap are currently scheduled to perform a headline tour in North America this October.
KNEECAP STATEMENT: They want you to believe words are more harmful than genocide.Establishment figures, desperate to silence us, have combed through hundreds of hours of footage and interviews, extracting a handful of words from months or years ago to manufacture moral… pic.twitter.com/qZht5532Zf— KNEECAP (@KNEECAPCEOL) April 28, 2025
Lizzo celebrated her 37th birthday on Sunday, and at one point during her party, she was overcome with emotion to the point that it brought the flute-playing singer to tears. The Detroit native took a moment to reflect on her party, and she said time stood still as she took in seeing her family members […]
Doechii’s 2023 breakout hit “What It Is (Block Boy)” was originally intended to land on Normani‘s debut album according to songwriter Bianca “Blush” Atterberry.
Atterberry explained over the weekend in a TikTok video how she was commissioned by RCA Records to write tracks for Normani and what led to “What It Is” eventually landing with Doechii.
Explore
See latest videos, charts and news
See latest videos, charts and news
“This record ‘What It Is’ was intended for Normani. Me, J White [Did It], Verse Simmons and Fresh locked in. Label set it up — they wanted records for Normani,” she said. “We all got together in the studio. We were locked in for like three days and we got about six songs and ‘What It Is’ was one of them.”
Trending on Billboard
Once the song was finished, Atterberry knew they had a hit on their hands. “We immediately knew,” she stated of the track’s potential. “We were like, ‘This is a smash. This is one of them ones.’ You just be knowing.”
They played it for RCA Records and Normani, but she didn’t think “it was something that fit her vision” at the time. “Which is normal. It happens all the time,” she added. “Sometimes that’s just how this works… It’s not odd. It’s very normal.”
After holding onto the track for a couple of years and disregarding a few other artists who attempted to cut the record, Doechii entered the fold. “We heard it and absolutely loved it. We were like, ‘She’s out of here. She’s a star.’ Always been a star.”
Atterberry made sure to defend Normani’s decision to pass on the track. “We uplift over here,” Blush concluded.
“What It Is (Block Boy)” arrived in March 2023 with a version featuring an assist from Kodak Black. The J White Did It and Brian Kennedy-produced track served as the TDE rapper’s first Billboard Hot 100 entry, which hit the top 40 and peaked at No. 29.
Normani’s much-delayed debut album, Dopamine, was released in June 2024 and landed at No. 91 on the Billboard 200.
Watch the full oral history of “What It Is” from Blush’s perspective below.
There’s an air of anticipation in the lobby on Mercer Labs. Executives swirl around in controlled chaos — taking phone calls, sending texts, giving instructions to the staff. The art and technology museum in Manhattan’s bustling Financial District is about to welcome Alicia Keys, Busta Rhymes and a handful of other celebrated artists to preview a brand new exhibit titled Maestros and the Machines.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
They are also prepping for the arrival of the museum’s founder, Roy Nachum, as well as iconic producer Timbaland. As everyone stands by the door, an employee is reminded to offer Timbo a drink when he walks in, which he does nonchalantly alongside his fiancée. Timbaland merely asks for a water; Nachum enters just as casually a few moments later, and the two of them embrace like old friends.
Trending on Billboard
Maestros and The Machines — which opened to the general public on Friday (Apr. 25), and was created in collaboration with Looking Glass, Som Vivo, Bang & Olfusen and Monom — is an exhibit that seeks to disrupt our preconceived notions around what can and can’t be considered art. In one installation, attendees sit around a dimly lit table and are given a handful of Crayola crayons to color in a childlike sketch of a dinosaur, which is then placed on a digital scanner. In an instant, the dinosaur comes alive as a 360-degree projection, then wanders around a digitized forest, interacting with wildlife and taking on a newfound charm in the process.
“Imperfection is perfection,” Timbaland tells Billboard at the museum. Nachum tapped Timbo to handle the exhibit’s sound design — partially out of fandom for the producer, but also because of their shared views on art in the age of A.I. The exhibit’s expansive three floors focus heavily on re-imagining classical works from Da Vinci, Hokusai, Mozart and others, meshing them with 4D soundscapes and other kaleidoscopic technology tools via A.I. to push the piece’s mortal boundaries.
To add in this immersive experience and soundtrack the kaleidoscopic murals, Timbaland curated a lush collection of operatic voices, classical music and, of course, beats. In one foggy, cerulean lit room, we all lie on our backs and listen as distorted reworkings of Mozart’s most famous works swell and fade around us. The sounds twist and turn, suggesting that time itself doesn’t bind art to one historical period, and even the most iconic pieces of art can be re-molded.
“You want the mistake, it’s the organic, it’s the life,” says Nachum. He picks up a half-empty bottle of Coke and holds it precariously in his hand. “To me, this is the most boring thing I’ve ever saw in my life. Why? It’s continued. But if I do this” — he crinkles the plastic bottle in his hands, denting and deforming it — “now it’s much more interesting. I look at the light, I ask, ‘Why is it that shape?’ It takes me to the look.”
Jason Lowrie/BFA.com
Jason Lowrie/BFA.com
Other highlights of the exhibit include a fully functional ball pit, a robot-manned zen garden and a large cello being played by mechanical arms. Timbaland and Nachum often stand off to the side, speaking in emphatic but hushed whispers about new ideas that are coming to them in that moment.
“It kills me when people say, ‘Ah that’s A.I.!’ Timbaland says. “People are so mindf—ked. You been using A.I. since digital came out. That was a form of A.I., but you just had to do it by hand. Now, I’m doing it by thought. It’s all about who you are individually. I can give everybody the same tools, but nobody’s gonna sound like me. The iPhone camera is so good, but not everybody can shoot a music video on iPhone.”
“Using technology doesn’t have to be cold and sterile,” Nachum adds. “To find the organic moment, the humanness, through technology, it’s the hardest thing to do.”
Timbaland has been a staunch advocate for A.I. and technology use in music, and also a longtime fan of Nachum’s. While the pair long followed each other’s work, they both felt the time to collaborate wasn’t quite right until now. A.I. technology hadn’t quite gotten to a place where they felt able they could properly executive their vision.
“Technology allowed people to collaborate,” Timbaland says. “I’m in music, he’s in art. He knows how to make music come to life, but we couldn’t do that before because one would be faster than the other.”
Note Marcado, Alica Keys, Timbaland and Roy Nachum
Shareif Zayid
While technology plays a big role in Maestros and the Machines, other aspects are surprisingly simplistic. Volumetric lighting bounces off of halls of mirrors; another space is covered in dozens of fake flowers. Its stimulation to the senses in and of itself makes Maestros feel like timeless art. There will always be a childlike wonder that comes from watching LED lights sparkle and bounce around you, and Maestros aims to capture that moment, even if at times it overwhelms the senses.
“The technology of today is perfect for what this is,” Timbaland says. “What used to take me three months only takes me two days. In the beginning, it was like a toy. It was like going to a toy store. You gotta go through gluttony, because you can’t believe that it’s here.”
“How much candy can you eat?” Nachum chimes in. “It’s exactly like the first time I touched oil paints. You take the brush and you assume that if you put paint and go one line from here to here, it’s gonna look consistent. But it’s not, it’s gonna dry, it’s gonna be dark. It takes time to learn the new machine. It’s a tool.”
We get word that Alicia Keys is waiting in the lobby to say hi to Tim and Nachum, who will give a full run through of the exhibit for the first time. Before he leaves, Timbaland offers a piece of advice.
“Don’t be scared of it,” he says. “There’s no need to be.”
Tickets for Maestros and the Machines are available at the Mercer Labs website here.