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There will never be enough time or space to recognize all the unsung heroes and trailblazers in the music industry that deserve to be acknowledged. But as Black History Month winds down, one pioneer stands out: Regina Jones, former co-owner and editor-in-chief of the groundbreaking music and entertainment publication, SOUL Newspaper.
Predating Rolling Stone and Creem, Los Angeles-based SOUL became a cultural force as the first-of-its-kind newspaper chronicling Black music and entertainment from the mid-1960s through the early 1980s. That period saw the publication expand its reach and impact from local to nationwide and then international as it covered icons-in-the-making such as Quincy Jones, Richard Pryor, Aretha Franklin, James Brown, Diana Ross, Gladys Knight and Stevie Wonder. SOUL and Jones’ intertwined journeys unfold in the new documentary, Who in the Hell Is Regina Jones?
As Jones notes in the documentary, SOUL was inspired by the flames that erupted during the Watts Riots in August 1965. She was 21, a mother of five and married to aspiring news reporter and radio DJ Ken Jones — later to become L.A. television’s first Black weeknight news anchor in L.A. She was also working as an LAPD dispatcher on the second shift when she took the first distress call about the riots on Aug. 11, after which she alerted her husband, who filed on-the-street radio reports during the six-day tumult.
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“As we watched the riots happening and saw our neighborhood burning,” Jones tells Billboard, “Ken said, ‘Something needs to be done for our people.’ That’s when he came up with the idea to start a newspaper primarily about Black music and entertainment. He was the visionary; I was the nuts-and-bolts implementer. That’s how SOUL was born.”
Less than a year later, the first 15-cent, eight-page weekly was published. Dated April 14, 1966, the cover featured James Brown and Mick Jagger alongside the headline, “White Artists Selling Negro ‘Soul.’” The first run sold 10,000 copies. By 1967, the newspaper had expanded to 16 pages published twice a month.
“It was hard work,” Jones recalls with a laugh about putting the issues together on their dining room table “with my five kids around me” before moving the operation into an office. At that point she had quit her LAPD job and was wearing several hats: handling the phone as the receptionist, hustling advertising and negotiating with distributors before adding editor-in-chief stripes after husband Ken clinched the television anchor gig.
Regina Jones
Courtesy of SOUL Newspaper
Among the innovative business strategies that Regina employed at SOUL was partnering with R&B radio stations around the country — such as KGFJ in L.A., WOL in Washington, D.C. and WWRL in New York — to publish branded editions with charts and advertisements provided by these local Black stations and DJs. At one point, SOUL’s reach was certified at 125,000 copies. And its key international markets included England and Japan.
SOUL’s pivotal role in raising visibility and awareness of Black music and artists was a crucial and influential turning point. But there were other uphill battles as well that Jones fought. Like when Donna Summer was the cover subject. Her team was going to give SOUL an image taken by a Caucasian photographer. “And I said, ‘No,’” remembers Jones. “’If you want her to be in SOUL, my photographers have to do the shoot.’” Summer’s team finally acquiesced. And instead of the 40-60 minutes originally slotted for the shoot, Summer gave the photographer four hours.
“I had to do things like that, call people out,” adds Jones. “I was a very militant young Black woman, so I immediately had to start hiring people of color.” With her self-described “foot on your butt” management style, she nurtured a staff of future stars in their own right. Among the names Jones proudly reels off are noted photographers Bruce Talamon and Howard Bingham, ex-SOUL editor/Pulitzer Prize-winning writer Leonard Pitts and journalists/writers Steve Ivory, Mike Terry and Connie Johnson.
By the early ‘80s, as the documentary relates, SOUL had gone monthly owing to the economic climate draining the ad pool plus burgeoning competition from other mainstream publications starting to tap into the Black music scene. And after 20-some years, Jones and husband Ken were divorcing. SOUL’s final issue was published May/June 1982. Donated to UCLA and Indiana University in 2010, the SOUL archives were digitized by Jones’ grandson Matt Jones and made available online in 2023.
Regina Jones with Dick Griffey and Desmond Tutu
Courtesy of SOLAR Records
But Jones wasn’t finished yet. She tells Billboard that she was “brought back to life” a year later when Black label executive Dick Griffey of SOLAR Records recruited her as his VP of publicity. At the time, the label’s roster included Shalamar, the Whispers, Lakeside, Midnight Star, The Deele and Klymaxx. While there, Jones also handled publicity for Jesse Jackson when Dick Griffey Productions signed on as West Coast manager for Jackson’s 1984 presidential run. Jones shares that it was she and OLAR promotion executive Darryl Stewart who orchestrated Jackson’s host gig on Saturday Night Live — the very first presidential candidate to do so.
Three years later, Jones launched her own PR firm. Among Regina Jones & Associates’ clients were Geffen and Capitol Records, the Black Women’s Forum and actress Cicely Tyson. A major client for 13 years was the NAACP Image Awards. Jones then joined the staff of Crystal Stairs, a well-known childcare development agency on the West Coast.
All of which is chronicled in Who In the Hell is Regina Jones?, which has been shown at the New Orleans Film Festival and Pan African Film Festival. “I wish I could tell you that I woke up one day and decided I wanted to be in the music business, a publisher, a publicist or fundraiser,” reflects Jones. “My life has been a lot of surprise gifts and blessings.”
After dropping her Bruises EP and gifting the world three cross-genre collaborations with H.E.R. (“He Loves Us Both”), Joey Bada$$ (“Fry Plantain”) and Mahalia (“Pressure Points”), Lila Iké has finally unleashed her first solo single of 2025.
Titled “Too Late to Lie,” the new track finds Iké crooning of a bleak conclusion to a romance that, at some point, promised forever. “I know my life will never be the same/ You made your choice and I will not complain/ Don’t raise your voice/ Please don’t speak my name/ Just say goodbye/ It’s too late to lie,” she coos at the song’s onset over Winta James’ plaintive, live instrumentation. “Too Late to Lie” — which arrived accompanied by a Remi Laudat-helmed music video — is set to appear on Iké’s forthcoming debut studio album, which will be released through Wurl Iké Records and In.Digg.Nation Collective under exclusive license to Ineffable Records.
2025 will also be a major touring year for Iké. In late March, she will play five shows in music halls across Japan, and from April 8 to 10, she will play her first headlining shows in the U.K. with her full Wurl Band, including stops in London, Bristol, and Manchester.
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Released on the last day of Reggae Month in Jamaica — and just one day before Women’s History Month in the U.S. — “Too Late to Lie” celebrates both the essence of reggae music and Iké’s femme-forward approach to songwriting. “[The new single] highlights the importance of protecting one’s space and energy, and being vigilant about where you invest your time and trust,” she said in a press release.
In celebration of Reggae Month, Lila Iké has shared a playlist of her all-time favorite reggae songs exclusively with Billboard, alongside bits of commentary for each track. Check out the playlist below and stream “Too Late to Lie” now.
Lila Iké’s 10 Favorite Reggae Songs
1. Garnet Silk, “Hello Mama Africa“
“Garnet Silk is my favorite reggae artist of all time. This song has connected with me ever since I was young because it was my mother’s favorite song.” — LILA IKÉ
2. Bob Marley feat. Lauryn Hill, “Turn Your Lights Down Low”“Bob Marley’s contribution to reggae music will never not be recognized, but this song was how I discovered Lauryn Hill, and discovering her music changed my life. Her ability to sing and rap effortlessly blew me away.” — L.I.
3. Dennis Brown, “Lips of Wine“
“I love the production of this song, the guitar, and the organs. I love how Dennis sounds so young and innocent, but successfully belts one of the most beautiful love songs I’ve ever heard. I also love the harmonies.” — L.I.
4. Stephen Marley & Capleton, “Break Us Apart“
“Stephen is one of my favorite producers of all time; the mix of this song is insane!” — L.I.
5. Damian “Jr. Gong” Marley, “Old War Chant“
“Damian Marley’s Mr. Marley is my favorite project from him. I love this particular song due to how militant he sounded at such a young age!” — L.I.
6. Protoje, “Come My Way“
“This was the first song I actually heard Protoje sing on, and it made me a Protoje fan immediately. I loved the topic of the song and how vulnerable he was. I began to really pay attention to his writing after this.” — L.I.
7. Chronixx, “Rain Music“
“This song was the first song I heard from Chronixx! It’s a beautiful song, amazing music and very nostalgic.” — L.I.
8. Samory I, “Is It Because I’m Black“
“This song gets me emotional every time I hear it. Samory I’s voice is one of a kind. I think his delivery on this song is one of the best covers of all time in reggae music.” — L.I.
9. Jesse Royal – “Feel Your Pain”“Jesse Royal’s music has always had that effect where every time he makes music specifically for women, it immediately makes you feel appreciated and safe. This song was exceptionally written and produced.” — L.I.
10. Ini Kamoze, “Wings With Me“
“The drums in this song are insane — especially the dub effect on the drum roll! I was immediately drawn the first time I heard it. I absolutely love how unique Ini Kamozi’s sound is. The thing about this song that captures me the most is how abstract the writing is! [Laughs]. I still don’t completely understand what exactly is being ‘wings with me.’” — L.I.
As the progeny of Ernie Isley — a key songwriter and multi-instrumentalist of The Isley Brothers, perhaps the most prolific soul group of all time — Alex Isley knows a thing or two about sensuality and intimacy. With her self-penned, Camper-produced new single “Hands,” the two-time Grammy-nominated R&B singer seeks to enter a new era marked by fresh sonics, fearlessly self-assured narratives — and a new home at Free Lunch Records.
As announced earlier this month (Feb. 19), Warner Records entered a strategic partnership with veteran hip-hop/R&B executive Tim Hinshaw, expanding his Free Lunch Agency creative and tour company into a record label. With Isley and Syd — the Grammy-nominated R&B songwriter of The Internet fame – as the first signees, Warner artists will be able to access and leverage Free Lunch’s creative, touring and sync services. “I talked to a few labels, but with Warner, it was [about] the synergy and the timing,” Isley says. “I’m a firm believer in God’s timing. In talking with [Free Lunch Records general manager] Ericka Coulter and getting to know her and the Warner team, everything aligned.”
On Friday (Feb. 28), Isley unleashed the first taste of her forthcoming new era: “Hands.” Written “almost exactly a year ago,” “Hands” finds Isley building on the tender sensuality of tracks like last year’s Terrace Martin-assisted “2 Step in the Living Room,” infusing Camper’s earthy, bass-driven soundscape with a tasteful vocal performance showcasing her buttery falsetto and effortless melisma.
“I wasn’t necessarily expecting to start and finish a record that night with Camper, but that’s just how it happened,” Isley tells Billboard with a slight chuckle. “I wanted to create something moody and leaned more into my sensual side.”
Mood sensuality is also the guiding light for the “Hands” music video. Directed by City James and starring One of Them Days breakout star Patrick Cage II, the “Hands” music video casts Isley as an alluring vixen, expertly building up unmistakably carnal tension without feeling excessive or unnatural. To color her version of sensuality, Isley called upon her synesthesia – a condition that allows her to correlate colors with certain keys or chords. “This particular song evokes warm oranges, gold, and yellow tones,” explains Isley of her “Hands” mood board. “It’s also a bit moodier, almost like sunset tones. I wanted to paint with that color palette as much as possible.”
“Hands” previews Isley’s forthcoming album, one that Coulter calls “a true story you gotta read from start to finish. In addition to Camper, Isley also tapped Grammy-winning DJ and producer Kaytranada, longtime collaborator Jack Dine and producer Oh Gosh Leotus, who helped capture the sonic essence of Los Angeles. Though she was born in New Jersey, Isley has lived in L.A. for the vast majority of her life, and she hopes her new music is reflective of the unwavering community and togetherness the City of Angels displayed in the wake of January’s devastating fires.
“I’m not sure if I was aware of how resilient the city is because we’ve never seen anything like these fires,” remarks Isley. “Being able to see and feel that in January was heavy but also very inspiring. It made me want to be even more intentional with my music and how I share it. It just means that much more to me to be able to share the music at this time.”
Stream “Hands” below.
Ray J regrets his infamous rant aimed at Fabolous from 2011 when he called into The Breakfast Club and threatened the Brooklyn rapper after Fab made fun of Ray J playing his song “One Wish” on the piano for Floyd Mayweather on an episode of HBO Sports docuseries 24/7. Explore See latest videos, charts and […]
PARTYNEXTDOOR has walked back his Tory Lanez diss.
PND previewed a snippet on his Instagram Live of a song on Wednesday (Feb. 26), where he’s throwing shot at fellow Toronto artist Tory Lanez. “I’m not y’all n—as friend. What are you talkin’ about bro? Stop saying my name,” he could be heard saying before playing the track.
“F—k what Tory Lanez say, he knows the B, I’m runnin’ it,” Party says in his signature flow. “I did everything he did he’s just a running man … drama man … I’m the daddy let me slap you OK.”
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He later sings about Tory sounding like him and seems to refer to his guilty verdict in the Megan Thee Stallion case: “You said I sound like Young Thug, you know you sound like me,” he says. “Life is short, the lawyer’s cheap/ The people that love me, they love me/ Would’ve been back in the streets by Monday.”
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However, a few hours later, Party admitted that recording and teasing the song was a mistake. “I was told about what you said without hearing your video for myself,” he wrote in his Instagram Story. “You didn’t say anything that I wouldn’t say myself, now that I seen it I was wrong. City is stronger together.”
The video he’s referring to is the one that was posted to Tory Lanez’s Instagram on Feb. 19, where the currently incarcerated artist mentioned in a phone call from behind bars that Party, Drake, and The Weeknd‘s latest efforts have inspired him to record an album this year. “PARTYNEXTDOOR showed his best work of 2025, Drake showed his best work of 2025,” Lanez said. “The Weeknd showed his best work of 2025, now it’s time for me to come out.”
Many fans were confused by Party’s shots because Drake has shown support for Lanez a few times, most recently calling for his freedom during a Christmas giveaway on a stream with Adin Ross.
Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor Roberta Flack, who died on Feb. 24 at age 88, by looking at the singer’s last of three No. 1 hits as a recording artist: the lilting paean to romance, “Feel Like Makin’ Love.” (In case you missed it, here’s a look at her first No. 1, “The First Time Ever I Saw Your Face” and at her second No. 1, “Killing Me Softly With His Song.”
The year was 1974. President Richard Nixon had resigned and Gerald Ford stepped up to fill the vacancy. Muhammad Ali and George Foreman punched their way through the Rumble in the Jungle in Zaire. Stephen King published his debut novel Carrie, while the year also witnessed the birth of future Academy Award winner Leonardo DiCaprio. And alongside various musical moments such as David Bowie launching his Diamond Dogs tour and Dolly Parton releasing the Jolene album, Roberta Flack set a record as the first female solo artist to reign at No. 1 on the Hot 100 within three consecutive years, 1972-1974, with “Feel Like Makin’ Love.”
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Flack first donned the Hot 100 crown with breakthrough hit “The First Time Ever I Saw Your Face,” featured on her now platinum-certified 1969 debut album for Atlantic, First Take, and in the 1971 Clint Eastwood film Play Misty for Me. Coming off the top five pop and R&B chart success of the iconic duets album Roberta Flack & Donny Hathaway, Flack captured the singles throne once again in 1973 with her career-cementing ballad “Killing Me Softly With His Song” from her multiplatinum, similarly titled fourth solo album, Killing Me Softly. Then in 1974 Flack completed the No. 1 trifecta with “Feel Like Makin’ Love,” the first single from the same-titled fifth solo album released a year later.
As has been the case with various songs-turned-classics over the years, “Feel Like Makin’ Love” stemmed from a casual comment that immediately sparked the writer’s imagination. In this instance, veteran singer-songwriter Eugene McDaniels (best known for his 1961 top five Hot 100 hit “A Hundred Pounds of Clay,” as well as the jazz standard “Compared to What”) had invited his assistant Morgan Ames to join him and his family for a mini-vacation at his in-laws’ cabin in Lake Arrowhead, Calif. But after only one day, Ames decided to leave. As relayed in 1993’s The Billboard Book of Number One Rhythm & Blues Hits, when McDaniels asked why she was departing, Ames told him, “Gotta get back to town. I feel like makin’ love.” To which McDaniels replied, “’See ya!’ And [I] wrote the song. It took me 25 minutes.”
McDaniels and Flack had already collaborated before he brought “Feel” to her attention. She’d covered her mentor Les McCann’s aforementioned McDaniels-penned protest classic “Compared to What” on First Take as well as other McDaniels compositions such as “Reverend Lee” from second album Chapter Two. After McDaniels called her about “Feel,” Flack flew to Los Angeles and rode with him to Lake Arrowhead, where they worked on the song for a few days. Then Flack met up with McDaniels a couple of weeks later at Bell Sound Studios in New York. Hired for the three-hour recording session were noted musicians Bob James (piano), Idris Muhammad (drums), Gary King (bass) and Richie Resnicoff and Hugh McCracken (guitars).
Atlantic’s Joel Dorn, who had produced Flack’s earlier albums, did a remix of “Feel” before the single’s actual release. However, according to The Billboard Book, Flack rejected it. Instead, under the pseudonym Rubina Flake, she created another mix. It’s this version — also marking Flack’s debut as a producer — that was ultimately released.
Right from its opening strains, “Feel Like Makin’ Love” immediately captures the euphoria of being romanced and loved. The track’s mellow, cha-cha vibe subtly underscores the give-and-take inherent in that interplay, while Flack’s ethereal yet measured vocals indelibly outline the simple little moments that can relight Cupid’s flame. As with the song’s second verse, which begins: “When you talk to me/ When you’re moanin’ sweet and low …” then followed by the infectious, sing-along chorus: “That’s the time/ I feel like makin’ love to you/ That’s the time/ I feel like makin’ dreams come true.” Looking back, it’s also interesting to note that “Feel Like Makin’ Love” was released a year after Marvin Gaye’s similarly seductive (and also Hot 100-topping) “Let’s Get It On” signaled a societal shift, as it upended long-held taboos about blatant references to sex in music.
“Feel Like Makin’ Love” replaced John Denver’s “Annie’s Song” atop the Hot 100 on the chart dated August 10, 1974, before being pushed out the next week by Paper Lace’s “The Night Chicago Died.” addition to topping the Hot 100, “Feel Like Makin’ Love” spent five weeks and two weeks at No. 1, respectively, on Billboard’s R&B and Adult Contemporary charts. Nominated for three Grammy Awards — record of the year, song of the year and best female pop vocal performance — the song has since would go on to be covered by a who’s who of R&B and jazz artists over the decades, including D’Angelo, George Benson, Johnny Mathis and Gladys Knight & the Pips. (It also preceded Bad Company’s identically titled power ballad “Feel Like Makin’ Love,” which would become a Hot 100 top 10 hit and signature song for the classic rockers the following year.)
Hot 100
Billboard
“Feel” doubled as the title track of Flack’s fifth studio album. Released in 1975, the self-produced nine-track project also featured the Stevie Wonder-penned “I Can See the Sun in Late December.” And while the album reached No. 6 on Billboard’s Top R&B/Hip-Hop Albums chart and No. 11 on Top Jazz Albums, it peaked at only No. 24 on the Billboard 200. Also of note: by the year of the album’s release, the only other women who had achieved three No. 1s on the Hot 100 were Cher, Connie Francis and Helen Reddy. But their No. 1s were not in consecutive years.
Flack went on to release another seminal album, 1977’s Blue Lights in the Basement. The set included the Grammy-nominated crossover hit “The Closer I Get to You” with Hathaway. That was followed three years later by her ninth studio album, Roberta Flack featuring Donny Hathaway. Originally intended as a second duets album by the pair, the project only features the posthumous vocals of Hathaway, who had died a year earlier.
By the mid-‘80s, however, Flack’s chart prominence was waning. Her last studio release was a Beatles cover album, 2012’s Let It Be Roberta. And while she had begun touring again in 2008, a stroke in early 2016 ended her performing career. Six years later, a spokesperson confirmed the singer had been diagnosed with amyotrophic lateral sclerosis (ALS). She died peacefully at 88 on Feb. 24, with no official cause of death disclosed.
Over the course of her innovative, multi-genre career, Flack scored a total of 18 Hot 100 hits and landed four albums in the top 10 on the Billboard 200 album charts, as well as more than two dozen charting hits on the Hot R&B/Hip-Hop Songs chart. A four-time Grammy winner, she received the lifetime achievement awards from the Recording Academy in 2020 and the Jazz Foundation of America in 2018. Her additional accolades include a star on the Hollywood Walk of Fame. Flack also never forgot her early beginnings as a teacher: She established the Roberta Flack Foundation in 2010 to help young people fulfill their dreams through education/mentorship and wrote the 2023 children’s book, The Green Piano: How Little Me Found Music.
Usher is set to deliver the keynote address at Emory University’s 180th commencement this spring when the R&B legend takes the podium at the graduation on May 12. During the ceremony, Usher will also receive an honorary doctor of humane letters degree from Emory University. “I have spent my life following my spark — my […]
SZA and Kendrick Lamar are the ultimate musical duo, notching yet another hit collaboration with “30 for 30.”
The track arrived with the release of SZA’s SOS deluxe (dubbed SOS Deluxe: Lana on digital and streaming platforms) on Dec. 20. The song debuted atop Billboard’s Hot R&B Songs chart, marking SZA’s seventh leader on the tally.
Below, find the lyrics to SZA and Kendrick Lamar’s “30 for 30.”
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I used to think about immature thingsYou know, likeDo you love me? Do you want me?Are you gon’ call me like you said you would?Is this really your real phone number?
Some of y’all gon’ get washed (washed)Some of y’all just gon’ pop shitSome of y’all just gon’ talk (talk)But none of y’all ain’t really got shitSome of y’all just look lostI get this type of feeling you ain’t accustomed toI swear I’d be at peace if it weren’t for you (yeah, yeah)Only want your love if it’s solidBut if it’s fuck me, then fuck you (huh)And that’s the way I like itThat’s the way I like itAnd that’s the way I like itAin’t huggin’ or smilin’ for none of these bitchesThat’s the way I like itI’m wipin’ ’em down in front of they niggaThat’s the way I like itI’m thirty for thirty, I’m thirty for thirtyI’m thirty for thirty, I’m thirty for thirty, I’m-
ChatShould I fold that bitch, no yoga mat?ChatShould I dead that nigga? Don’t hit me backChatShould’ve ran down on you, no questions askedChat, chat, they chattin’, they chat
When the sun go down, everything make me feel lonely, yeahHad a lil’ side thing, but right now, he’s just the homieTryna feel good inside, he never wanna hold mePipe me up, you get me hyped, you my favorite coach, come press the lineFucking stress off, that’s my only viceI take it off when he tell me if I’m feelin’ fineI run it up, risk it all like I’m rolling diceTakin’ it all, it’s my second lifeThat’s me (that’s me)Passed out in a nigga backseat (backseat)Crashed out on a black-sand beach (uh)Already know my bodyAlready know that’s meBitch shit, then you might get minkedMink, mink, minkOnly want the love if it’s solid
Some of y’all gon’ get washed (washed)Some of y’all just gon’ pop shitSome of y’all just gon’ talk (talk)But none of y’all ain’t really got shitSome of y’all just look lostI get this type of feeling you ain’t accustomed toI swear I’d be at peace if it weren’t for you (yeah, yeah)Only want your love if it’s solidBut if it’s fuck me, then fuck you (huh)And that’s the way I like it
Everything been otay (otay)They salute me so damn much, every time I show up, nigga about-faceEverything no cut, I fuck y’all up, I’m really gon’ trip ’bout bae (mm-mm)Blow the ’87 guts, why they waitin’ on us? Tell ’em I was on PCHYou fuckin’ with niggas that’s thinkin’ they cuter than you, ohSay you on your cycle, but he on his period too, ohThe tables been turnin’ so much, I was thinkin’ it’s foosballThe tenderness of ’em, mistakin’ ’em for some wagyu, ohWalk, talk, like Kenny, like bossLike Solana, I promise, more buzz, it’s a waspIt’s a crater or a spaceship, shut the fuck up, get lostNo favors, I’ll wager whatever you worth, I ballSomethin’ about a conservative, regular girl that still can beat a bitch assThorough as fuck, don’t need your bitch assPsychic as fuck, can read your bitch assZodiac sign, it must be a Gemini moon ’cause, shit, we about to go halfMistakenly, nobody been in they bag, but how many bodies done been in her bed?
Some of y’all gon’ get washed (washed)Some of y’all just gon’ pop shitSome of y’all just gon’ talk (talk)But none of y’all ain’t really got shitSome of y’all just look lost (yeah)I get this type of feeling you ain’t accustomed toI swear I’d be at peace if it weren’t for you (yeah, yeah)Only want your love if it’s solidBut if it’s fuck me, then fuck you (huh)And that’s the way I like itThat’s the way I like itThat’s the way I like itAin’t huggin’ or smilin’ for none of these bitchesThat’s the way I like itI’m wipin’ ’em down in front of they niggaThat’s the way I like itI’m thirty for thirty, I’m thirty for thirtyI’m thirty for thirty, I’m thirty for thirty, I’m-
ChatShould I fold that bitch, no yoga mat?ChatShould I dead that nigga, no strings attached?ChatShould’ve ran down on you, no questions askedChat, they chattin’, they chattin’, they chat
ChatDo I let him bump his gums or get him whacked?ChatDo I take his head off and wear it for fashion?ChatDo I do my stuff and take it to the max?Chat, they chattin’, they chattin’, they chat
Lyrics licensed & provided by LyricFind
WRITERSSolana Imani Rowe, Anthony Jermaine White, Kendrick Lamar DuckworthPUBLISHERSLyrics © Sony/ATV Music Publishing LLC
Drake has officially tied the record of having 14 No. 1 albums on the Billboard 200 with his latest album with PARTYNEXTDOOR on ‘$ome $exy $ongs 4 U.’ Keep watching to see how the three have achieved this feat, and who has the most No. 1s on the Billboard 200! Who do you think will […]
It’s been 17 years since Akon dropped his Freedom single “Right Now (Na Na Na),” and this week, the song’s music video surpassed one billion views on YouTube. The accomplishment marks the Senegalese American artist’s fourth clip to reach this milestone as a lead, featured artist or collaborator, after “Play Hard,” “Smack That” and “Lonely.” […]