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Dua is mourning Duo. Language learning app Duolingo announced the devastating news on Tuesday (Feb. 11) that its mascot, the green bird known as the Duolingo Owl, has died. “Authorities are currently investigating his cause of death and we are cooperating fully. Tbh, he probably died waiting for you to do your lesson, but what […]

Zach Bryan is upping the ante on his touring career with a super-sized concert this fall. On Sept. 27, the country superstar will play the inaugural concert at the University of Michigan’s recently-built Michigan Stadium, which is now the largest stadium in the United States. Bryan will be joined on the bill by John Mayer, […]

BE:FIRST’s “Spacecraft” debuts at No. 1 on this week’s Billboard Japan Hot 100, dated Feb. 12.
The sixth single by the seven-member boy band dropped Feb. 5 and launched with 104,639 CDs to hit No. 1 for the metric. The track also dominates downloads (26,475 units), radio airplay, and video views to top the Japan Hot 100 with a big lead on the runner-up. This is the ninth No. 1 single by the group, including “Hush-Hush,” its collaborative track with ATEEZ.

Mrs. GREEN APPLE’s “Lilac” rises a notch to No. 2 this week. Although overall points are down, the track continues to show strength in several metrics including streaming (No. 1 for 23 weeks total) and karaoke (No. 1 for 5 weeks in a row). Dropping 2-3 is “Darling” by the three-man band, which currently boasts 18 singles charting on the Japan Hot 100 with five in the top 10 this week.

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Kenshi Yonezu’s “Plazma” rises 5-4. Streams for the Mobile Suit Gundam GQuuuuuuX -Beginning- theme song is at 88% and video views at 86% compared to the week before, and the single comes in at No. 2 for downloads, No. 4 for streaming, No. 32 for radio, and No. 8 for video.

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Rosé & Bruno Mars’ “APT.” rises 3 slots to No. 5. After more than 3 months since its release, the global hit is currently at No. 9 for downloads (3,233 weekly units), No. 3 for streaming, No. 23 for radio, No. 9 for video, and No. 23 for karaoke.

In other chart moves, Lady Gaga & Bruno Mars’ “Die With a Smile” returns to the Japan Hot 100 for the first time in about five months at No. 83, after winning the Grammy for best pop duo/group performance at the ceremony on Feb. 2. 

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Feb. 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

Billboard’s electronically-monitored Radio Songs chart dates back to the Dec. 8, 1990, print issue.

“Billboard this week introduces the Top 40 Radio Monitor, a new airplay-only chart that provides actual monitored airplay data on top 40/pop stations,” announced a story on page 4 that week. “The chart uses a new technology [that] tracks airplay of songs 24 hours a day, seven days a week, in markets where monitors have been installed. The monitors identify each song played by an encoded audio ‘fingerprint.’ Top 40 is the second format in which this information will be made available to our readers; the [Country Airplay] chart has used the methodology since the Jan. 20 issue.

“The Top 40 Radio Monitor chart is compiled by counting the number of times each record is played on each monitored station,” the story further explained. “Each play is multiplied by the number of listeners at that exact time, using [Nielsen Audio] data.”

Starting with the Nov. 30, 1991-dated Billboard Hot 100, the Top 40 Radio Monitor took over as the multimetric Billboard Hot 100’s radio measurement component (replacing stations’ self-reported ranked lists, which had reflected airplay popularity dating to the Hot 100’s Aug. 4, 1958, start). Since renamed Radio Songs, the chart started with a panel of 109 pop stations – in 1998, it expanded to all formats and currently sports more than 1,100 reporters, as monitored by Mediabase with data provided to Billboard by Luminate. A selection of stations remain reporting three-and-a-half decades after the chart began, including WHTZ (Z100) New York and KIIS Los Angeles.

Mariah Carey ruled Radio Songs in the ‘90s with eight of her 11 career No. 1s during the decade. She logged the list’s first leader, “Love Takes Time.”

Who has the most Radio Songs No. 1s over the first quarter of the 21st century? As Billboard celebrates the top-performing artists, albums and songs of the first 25 years of the century since 2000, browse below, the acts with the most No. 1s on the Radio Songs chart in that span.

Plus, check out Top Artists of the 21st Century, Top Billboard 200 Albums of the 21st Century and Billboard’s Top Hot 100 Songs of the 21st Century charts, as well as all coverage of Billboard’s 21st Century charts here.

Billboard’s Top Artists, Top Billboard 200 Albums and Top Hot 100 Songs of the 21st Century recaps reflect performance on weekly charts dated Jan. 1, 2000, through Dec. 28, 2024. The Top Artists category ranks the best-performing acts in that span based on activity on the Billboard 200 and Billboard Hot 100. (Titles released prior to mid-1999 are excluded, although such entries that appeared on the Billboard 200 or Hot 100 in that span contribute to the calculation of the Top Artists chart.)

13, Rihanna

“The revolution ‘bout to be televised, you picked the right time but the wrong guy,” proclaimed Kendrick Lamar atop the hood of a black GNX at the onset of his Super Bowl LIX halftime show performance on Sunday night (Feb. 9).
Lamar’s referencing (and revising) of Gil-Scott Heron’s landmark 1971 recording “The Revolution Will Not Be Televised” and his misgivings at being propped up as a leader in this century’s fight for justice cast his halftime performance squarely in the “I am not your savior” light of 2022’s Grammy-winning Mr. Morale & the Big Steppers. But his performance also tested the limits of how much we should praise and applaud subtly subversive imagery during an increasingly fascistic period that calls for more drastic measures, let alone bigger and bolder statements. His rousing, technically impressive performance also raised the question of how much revolution Kendrick could possibly hope to represent, spark, or speak for while being platformed on a stage meant first and foremost to serve the pre-existing establishment.

Three short years after performing cuts from his first two major label studio albums at the Dr. Dre-curated 2022 Super Bowl halftime show, Lamar was named the first solo rapper to ever headline the show. Entering the Superdome as rap’s undisputed king following last year’s explosive and historic battle with Drake, Lamar also boasted five of the 30 biggest songs in America on that week’s Hot 100. His GNX album remained parked in the uppermost reaches of the Billboard 200, and his forthcoming SZA-assisted Grand National joint tour will take him to stadiums across North America (and now the U.K. and Europe) for the very first time. And, of course, there’s also the matter of the prior Sunday’s Grammys (Feb. 2), which found Lamar sweeping all five categories he was nominated in for “Not Like Us,” including record and song of the year – his first General Field wins, and just the second time a hip-hop song has triumphed in either category.

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With 13,000 voting members of the Record Academy crowning a vicious diss track the best-written and produced song of the year, Lamar entered new territory for a rapper. With the self-deconstructing Mr. Morale in his rearview and the Super Bowl on the horizon, Lamar would bring his career-long battle between his politics, his celebrity and his personhood to his biggest stage yet – the final boss level of the video game that would unfold throughout his performance, if you’re willing to extend him that much credit.

In the first 30 seconds of his set, Lamar established his “great American game” metaphor in several different ways. As the camera captured a wide shot of the audience light displays in the stadium, the field lit up in the square-triangle-X-circle button combo of a standard PlayStation controller. The visual helped him move from set to set intentionally – only the two SZA collaborations are performed on the button stages – while also driving home the fact that we’re all getting played by America, some of us in multiple ways at the same time.

But no matter how big e-sports and video games get, this is the Super Bowl — and we’re on a football field, a setting that has an unsettling yet unmistakable connection to the slave plantation. “The power relationship that had been established on the plantation has not changed,” journalist William C. Rhoden writes of professional sports in his illuminating book Forty Million Dollar Slaves: The Rise, Fall, and Redemption of the Black Athlete. “Even if the circumstances around it have.” In a 2018 episode of The Shop, LeBron James called NFL team owners “old white men” who have a “slave mentality” towards players. Three years later, in his 2021 Colin in Black and White Netflix series, former San Francisco 49ers quarterback Colin Kaepernick likened the NFL draft to slavery. From the slave plantation to mass incarceration, one of America’s favorite pastimes – or games, if you will – is figuring out how to exploit and control Black labor. Later in Kendrick’s show, the set morphed into a prison yard, again underscoring that history.

Here’s the thing: nearly a decade after Ava DuVernay’s prison-industrial complex-explaining 13th documentary and half a decade after summer 2020 protests following the murder of George Floyd seemed to signal a cultural tipping point, the imagery of scores of Black male dancers forming an American flag – albeit one split down the middle, with Kendrick as something of a neoliberal aisle-crossing Moses figure in the center – feels more tired and trite than poignant. If that’s too harsh a reading, perhaps you could say that Lamar is levying his braggadocio against both the NFL and America. He’s telling these institutions to “be humble,” while explicitly centering the Black men who provide them their strength, notoriety and wealth.

If the great American game has always been the ruthless exploitation of Black people, then the great Black American game is finding ways to continue to exist and thrive in America despite all the contradictions that brings. This is the tension that complicates Lamar’s halftime performance and, ultimately, makes it one of the most compelling ones in the tradition’s history. Can subversive images of Black Americana and calls for “revolution” hold any water when they’re broadcast on the country’s most commercialized and capitalistic stage?

In a nod to the Uncle Sam character of 2015’s To Pimp a Butterfly and the Dolomedes character in Spike Lee’s Chi-Raq (2015), Lamar tapped America’s favorite Black uncle to narrate the show. Oscar-nominated acting legend Samuel L. Jackson – dressed as Uncle Sam, the centuries-old personification of America — played a nervous elder preoccupied with the false promise of respectability politics, serving as narrator and helping the set transition between its two modes: GNX-induced myopia and classic crowd-pleasers like “Humble” and “DNA.” Together, Lamar and Jackson blended Uncle Sam with Uncle Tom, a term originating from Harriet Beecher Stowe’s 1852 novel Uncle Tom’s Cabin that refers to Black Americans who willingly betray their community in favor of bowing to white Americans.

But before Lamar and Jackson extrapolate that discography tension for a larger commentary on being Black in America, Lamar momentarily sidesteps the game metaphor in the set design, opting to begin rapping an extended snippet of an unreleased GNX track.

Once Lamar descended from the car’s hood to begin “Squabble Up” — his most recent GNX Hot 100 chart-topper – he finally introduced the meatiest part of his “great American game” metaphor, navigating life while being Black in America. For Lamar, after spending most of his catalog exploring that tension in the context of his childhood and personal life, the Super Bowl was a chance to play with those contradictions in the context of his position as one of the preeminent artists and performers of our time. Guided and deterred by Uncle Sam Jackson’s pleas for hits like “Humble” and more palatable fare like “All the Stars,” Lamar’s setlist wove through his most universal anthems and chilly L.A.-heralding GNX deep cuts like “Peekaboo,” which featured some of the most impressive camerawork of the night. The theatrical approach was a fresh one for the Super Bowl halftime show — and a choice that saved the set from crumbling under the weight of its own subtlety.

After all, Uncle Sam Jackson dangled the point in front of 133.5 million viewers when he said: “Too loud! Too reckless! Too ghetto! Mr. Lamar, do you really know how to play the game? Then tighten up!”

By the time he got to “Man at the Garden,” Lamar’s backup dancers were dressed in red, white or blue monochromatic fits to assist his attempts at subverting the iconography of the American flag. During “Garden,” the group of men that surround Lamar don light wash jeans, white sweats, and no beanies – letting their afros, locs, and beaded braids shine alongside their golden grills. This is Black Americana through Lamar’s lens and it’s the most beautiful part of the show; the brotherhood and joy in this scene feel almost antithetical to how the world has been socialized to perceive Black male features and fashion. It’s not necessarily revolutionary, but it would be petty to not acknowledge the power of seeing this image of Black American men on a field that makes money off the battering of their bodies as a slew of white owners hold near-total control of the capital they generate.

Then again, what’s the value of this image if it’s being broadcast during an NFL-sanctioned performance? If the institution that’s allegedly being critiqued is willfully allowing that “critique” to air around the world, doesn’t it mean that they’re in on it? Or that they’ve deemed the critique too harmless of a threat to waste resources trying to thwart? The answer is clearly, “Yes” – as evidenced by the performer who was promptly tackled and detained by security after flashing the Flags of Palestine and Sudan during the performance; he’s now banned from NFL events and venues for life.

Of course, the song on everyone’s mind – including Lamar’s since he pulled two fake-outs set to the track – was “Not Like Us.” Uncle Sam Jackson tried his best to keep things “nice and calm” as “America wants,” but Lamar went for the jugular – because that’s what America really wants. This is the same country that elected a president (who was in attendance Sunday night) with chillingly fascistic tendencies, and the ones that turned “Not Like Us” into a billion-streaming multi-week chart-topper. He’s the first solo rapper to headline the Super Bowl halftime show and he kicked things off rapping unreleased music – clearly, Kendrick was not interested in following the usual headliner rules. And, yes, “Not Like Us” is his biggest pop hit, but it achieved that status while being a mid-battle diss track; K.Dot already reconfigured the pop game with the song’s success. So let the diss track ring.

And with a seismic medley of “Not Like Us” and “TV Off” — which featured a classic hip-hop moment in star producer Mustard’s surprise appearance – Lamar closed his show and declared “game over.” “It’s a cultural divide, Imma get it on the floor/ 40 acres and a mule, this is bigger than the music/ Yeah, they tried to rig the game, but you can’t fake influence,” Kendrick spat before finally launching into Drake-obliterating diss.

If this was just about the music, he would’ve played more hits. If this was just about Drake, he would’ve at least alluded to “Like That.” This was about seizing this historic moment to make as much of a statement as he could within the parameters set by the NFL, Apple Music, and the myriad networks airing the show. 160 years ago, Union General William Sherman proclaimed that plots of land no larger than 40 acres would be allotted to freed families. That promise was eventually reversed by President Andrew Johnson following the Civil War, and almost all of the reallocated land was returned to its pre-war white owners during Reconstruction. That shot to the heart of Black economic power and independence still rings today, and it’s a theme Kendrick explored heavily on Butterfly, hence the reappearance of that album’s Uncle Sam character.

When Lamar raps about the game being rigged and faking influence, he’s talking about shady music industry tactics, the very concept of the American dream, and, of course, Drake himself. And it’s that context – a Black American man who’s one of hip-hop’s most dedicated practitioners knocking out the Canadian actor-turned-rapper who helped change the face of hip-hop for better and for worse – that made the Super Bowl performance of “Not Like Us” such an astounding watch. Kendrick spent the past year telling us that he wanted to “watch the party die” because he feels hip-hop is under siege by people who aren’t part of the culture. On Sunday night, he was itching to get it back in blood on the Super Bowl stage.

After ripping through “TV Off,” Lamar flashed a s–t-eating grin and mimed clicking the power button on a TV remote. Immediately, the camera angle switches back to a wide shot of the stadium with the phrase “game over” written in lights. Kendrick told us he deserved it all, and he won it all. The Super Bowl halftime show game as we’ve come to know it is over, the Drake beef is over, the literal performance is over and the game of respectability politics that have hounded Black Americans for centuries are, in theory, now over.

But does it really work like that? Do any of these messages or images – like the “stars” of the American flag turning into brainwashed troops — really land when they’re being mounted during an event that consciously traded real action and change for the platitudes of musical and artistic representation? Don’t these images also lose their bite when they’re all rolled into a performance that is first and foremost an extended promotional spot for GNX (physical copies of the November release started shipping this weekend), SZA’s extended version of SOS: LANA (released hours before the halftime show) and their co-headlining Grand National Tour?

Maybe this all works if the “revolution” being televised is a Black capitalist rally. We’re aware Kendrick isn’t our savior, but if he’s going to televise self-proclaimed “revolutions,” are we in the wrong for expecting something more? And maybe that’s why he told us to “turn this TV off”; he made it clear from the onset that he was “the wrong guy” for this “revolution.” Lamar himself will not lead us to liberation – and he may never explicitly say anything or create any art that even gestures towards the harsh physical realities of that – but the images and covert messages in his performances (and his own pervasive commercial success) will hopefully spark something inside his younger viewers to begin their own self-liberation journeys in search for a brighter and more just future.

But doesn’t that sound like something we’ve been saying for too long? It’s definitely reminiscent of the conversation around Beyoncé’s 2016 Black Panther-nodding halftime performance. We can applaud Lamar for taking the risk to say anything at all within this moment of his peak commercial dominance, but we also don’t have to act as if it was genuinely revolutionary – because it simply can’t be in its present context. And that’s the conundrum Lamar had to maneuver as a Black performer in a historically white space on Sunday night.

Kendrick Lamar’s exploration of the great American game helped further expose the paradoxes of his own stardom and artistic ethos, but it also allowed him to revolutionize and remodel what can be done at a Super Bowl halftime show – even if none of it will actually set us free or give way to real, material change. He broke, rewrote and played by the rules all at the same time. And that’s the truest Black American game of all, finding a way to exist and thrive in a tsunami of contradictions.

Kendrick Lamar and Marvel have collaborated in the past on ventures, such as the Compton native curating the Black Panther soundtrack in 2018. And now, the two parties are set to reunite for Captain America: Brave New World, which hits theaters across the U.S. on Friday (Feb. 14). Captain America star Anthony Mackie, who plays […]

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 

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This week: The Super Bowl pours further gas on Kendrick Lamar’s still-blazing flames on streaming, while a Lady Gaga one-off gets emotionally resurrected and a Latto single gets a huge bump from a new remix with a big-name guest.

TV Off, Headphones On: Kendrick Lamar’s Daily Streams More Than Double Post-Super Bowl

Prior to the Super Bowl, Kendrick Lamar was already one of the biggest artists in the world, with five songs in the top 40 of last week’s Billboard Hot 100. Yet his explosive halftime performance at Super Bowl LIX on Sunday (Feb. 9) was a rising tide that lifted all of his respective boats on streaming services, from the superstar rapper’s latest album to his signature hits to his co-star at the Caesars Superdome in New Orleans.

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On the day after the Super Bowl (Feb. 10), Lamar’s streaming catalog earned 70.9 million official on-demand U.S. streams — a 153% increase from the previous Monday’s total (27.5 million on Feb. 3), according to initial reports provided by Luminate. “Not Like Us,” the Drake diss heard ‘round the world and the centerpiece of the halftime show, experienced an even greater percentage uptick: the former No. 1 hit rose a whopping 222% in daily streams, to 10.4 million on Monday.

Major spikes occurred for halftime highlights “Squabble Up” (up 159% in daily streams compared to the previous Monday), “Luther” (up 150%), “TV Off” (up 139%) and “Peekaboo” (up 186%). All of those songs are featured on Lamar’s most recent album, GNX, which earned a 141% total increase in daily streams across its dozen tracks, notching 31 million plays on Monday. Meanwhile, some of the older hits that Lamar revived for the halftime show scored even bigger bumps: “Humble” was up 242%, “DNA” was up 207% and “All the Stars” was up 295%, as fans returned to some of Lamar’s biggest hits from the previous decade.

And SZA, who joined Lamar on two songs during the showcase, saw her own streams soar thanks to her first Super Bowl halftime appearance. Last Monday, her catalog earned 19.1 million streams; a week later, that number reached 30.3 million streams, a 58% increase on the day after the big game. – JASON LIPSHUTZ

Lady Gaga Gets a ‘Hold’ on the iTunes Chart After Emotional Pre-Super Bowl Performance

Few would consider “Hold My Hand,” Lady Gaga’s 2022 soundtrack single from Top Gun: Maverick, to be a signature song of hers: The song charted respectably, reaching No. 49 on the Billboard Hot 100, but had little commercial staying power and is unlikely at this point to ever appear on a full Lady Gaga album. But it clearly has a time and a place – and that time and place may have proven to be at the Super Bowl LIX pre-show on Sunday night (Feb. 10), where she performed the piano ballad on Bourbon Street in New Orelans, as part of a tribute to the victims of numerous tragedies that struck American soul in the past year, namely the New Year’s Day attack on New Orleans that left 14 dead. 

After NFL legends Tom Brady, Michael Strahan and Terry Bradshaw helped introduce the tribute and the performance, the tribute cut to Gaga at her piano, playing a stripped-down rendition of the Top Gun love theme that accentuated the song’s message of support and perseverance. It clearly resonated with the global audience watching: The song was up 149% in official on-demand U.S. streams over Feb. 9-10 (the day of and day after the Super Bowl) compared to the same two-day period a week before, according to initial reports provided by Luminate, and it was up to nearly 6,000 in digital sales – topping the real-time iTunes chart on Sunday night – up thousands of percent from the negligible amount it moved the prior equivalent period. 

It probably won’t be the song most Little Monsters continue streaming in the lead-up to next month’s Mayhem release, but it might have some endurance in Gaga’s catalog after all. – ANDREW UNTERBERGER

Latto Eyes Yet Another ‘Sugar Honey Iced Tea’ Hit with Some Help from Playboi Carti 

Between Grammy-nominated tracks like “Big Mama” and radio-conquering cuts like “Brokey,” Latto’s Sugar Honey Iced Tea album has been cranking out hits for several months now. Big Mama has shown no signs of slowing down in 2025, tapping Playboi Carti to boost the next single from her chart-topping third studio album. 

Late last month (Jan. 27), Latto announced that she enlisted Carti for a new version of “Blick Sum.” The high-energy trap banger had been a fan-favorite since Sugar Honey Iced Tea dropped last summer (Aug. 9), but the Carti version lifted the single to new heights. In the week preceding Carti’s take on the song (Jan. 17-23), “Blick Sum” earned over 584,000 official on-demand U.S. streams, according to Luminate. The following week – which includes a shortened tracking week for the Carti version since it dropped on Jan. 28 – that number exploded by a staggering 541% to over 3.74 million official on-demand U.S. streams (all versions combined). In its first full tracking week including the new version (Jan. 31-Feb. 5), “Blick Sum” collected over 5.34 million official on-demand streams. Over the past two weeks, streams for “Blick Sum” have been up 815%. 

The new version of “Blick Sum” isn’t technically a remix; it’s actually an earlier version of the song that leaked months ago. Latto ultimately settled on the solo version for her album, but the Carti version remained in circulation, further building anticipation for its eventual release. One TikTok sound containing Carti’s leaked verse collected over 45,000 posts since last October; there was even a quasi-viral dance choreographed to the sound.  

Should “Blick Sum” continue its streaming ascent, the Carti-assisted track would become the sixth track from Sugar Honey Iced Tea to do so, the most of any of Latto’s studio albums. – KYLE DENIS

Cyndi Lauper was listed among the 2025 Rock & Roll Hall of Fame nominees on Wednesday morning (Feb. 12), and the “Girls Just Wanna Have Fun” superstar shared her gratitude for the honor amid her global Farewell Tour.

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“It was amazing news to wake up to after last night’s show at the O2 in London,” she wrote in a statement to Billboard. “The audience showed me so much love, like all the audiences have all along this, my Farewell Tour.”

Lauper continued, “I am so grateful to my fans for my career. From the start, I’ve just wanted to make music that means something to people, that lifts them up and makes them feel seen. This honor, should I get in, is as much for them as it is for me. Thank you, Rock Hall.”

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Lauper is nominated for the Rock Hall’s Class of 2025 alongside 13 other nominees, including Bad Company, The Black Crowes, Mariah Carey, Chubby Checker, Joe Cocker, Billy Idol, Joy Division/New Order, Maná, Oasis, Outkast, Phish, Soundgarden and The White Stripes.

The Grammy-winning “Time After Time” singer was previously nominated for the Rock & Roll Hall of Fame in 2023, but ultimately didn’t make the final cut for induction. Her Girls Just Wanna Have Fun Farewell Tour continues throughout Europe until the end of February, before Lauper heads to Australia and Japan in April.

The Class of 2025 will be revealed in late April, and this year’s Rock & Roll Hall of Fame induction ceremony will take place in Los Angeles this fall, with more details to be announced in the coming months.

The 74th NBA All-Star Game is back in California as basketball’s biggest weekend invades The Bay Area. In addition to the festivities on the court, there are plenty of parties and events taking place the weekend of Feb. 13-16 in San Francisco and Oakland. It’s the first All-Star Game at the Chase Center, and the […]

Pusha T showed love to Kendrick Lamar for his record-breaking Super Bowl Halftime Show performance in New Orleans. King Push took to his Instagram Story on Tuesday (Feb. 11) saluting K. Dot for a job well done with his Feb. 9 rap-heavy set at the Caesars Superdome. “Mission accomplished… Congrats,” he wrote. Kendrick and Pusha […]