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For the fourth time in four tries this decade, Lil Baby has the No. 1 album in the country.
The rap star’s latest, WHAM (which stands for Who Hard as Me), bows atop the Billboard 200 this week (dated Jan. 18) with 140,000 first-week units. It follows the No. 1 debuts of 2020’s My Turn, 2021’s The Voice of the Heroes (with Lil Durk) and 2022’s It’s Only Me — albeit with the lowest first-week number of the four sets, and only one track debuting in the Billboard Hot 100‘s top 40: the Future and Young Thug collab “Dum, Dumb and Dumber” (No. 16).
What does the album bow mean for Lil Baby’s stardom? And what should he be focusing more on with his future album releases? Billboard staffers discuss these questions and more below.
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1. WHAM debuts at No. 1 with 140,000 equivalent album units moved. On a scale from 1-10, how happy do you think Lil Baby should be with that first-week performance?
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Kyle Denis: A strong 8. Pulling a six-figure opening week is nothing to scoff at, and Lil Baby has done it with his last three studio albums. WHAM’s numbers are even more impressive when you consider that the album doesn’t include any of the three solo standalone singles (“5AM,” “Insecurities” and “Touchdown”) he dropped leading up to the record’s full release. Given the lukewarm reception to WHAM online from casual and devoted fans alike, WHAM’s first-week performance is a triumph for Baby.
Carl Lamarre: 10. I’m beyond elated if I’m Baby, because the internet wasn’t thinking too fondly of my release. Plus, I escaped Bad Bunny by a millisecond after he dropped his album two days after mine. For Baby, he’s no longer the indomitable force he was after his volcanic opus My Turn blitzed the industry in 2020. There’s no reason why LiAngelo Ball, an overnight success, should generate more traction than an established superstar like Baby to start the calendar year. Despite those glaring concerns, Baby ended up on top, and that’s what matters most.
Jason Lipshutz: A 7. Releasing an album in the opening week of the year can be a little dicey, as listeners divert their attentions away from Christmas music and refocus following their holiday breaks. Lil Baby placed a bet on being the biggest game in town once the calendar flipped over to 2025, and sure enough, he snagged another No. 1 debut — with a lower equivalent album units total than 2022’s It’s Only Me, but with a track list roughly half as long as its predecessor hampering streams a bit, so a six-figure bow is pretty impressive.
Michael Saponara: I think he’s gotta be at a 9. To outsell Bad Bunny and debut at No. 1 after Baby’s 2024 singles weren’t generating a ton of buzz is a major W.
Andrew Unterberger: At least an 8. Yes, things might’ve tilted differently if Bad Bunny had a full first week to work with, but the fact that Benito made such a late charge and Baby still ended up on top — while also eclipsing SZA’s revitalized SOS blockbuster — is no small feat, and speaks to the rapper’s continued resonance.
2. The star-studded “Dum, Dumb and Dumber” with Future and Young Thug is the set’s top debut on the Billboard Hot 100, entering in the top 20. Does it feel like a long-lasting hit, or is it mostly bowing so high on the strength of its guest list?
Kyle Denis: This doesn’t feel like a long-lasting hit to me, and it feels particularly tepid for Thugger’s first post-prison verse. I’d be surprised if any of the WHAM songs stick around and become hits on the level of “We Paid” or “Sum 2 Prove.” Maybe the Dominique album will fare better in that arena.
Carl Lamarre: The more I listen to it, the more I like it, but I don’t see it having the endurance of being a long-lasting hit. A torrid Future coming off three No. 1 albums in ’24 alongside Thug’s first post-jail verse should be enough to blow the top off any record, but I don’t think these guys really brought their A-game this time. It felt more like a scrimmage versus a full-throttled performance.
Jason Lipshutz: Although it might never climb higher on the Hot 100 than its current peak, I think it’s going to endure. “Dum, Dumb and Dumber” was obviously newsworthy as Young Thug’s return to the microphone, but Lil Baby and Future match his level of urgency on the track; the beat, co-produced by Wheezy, wails and pummels, letting all three stars rise toward its intensity without relenting for a chorus. That lack of a hook might limit its crossover potential, but I’d bet on “Dum, Dumb and Dumber” continuing to accrue millions of streams and dominate hip-hop playlists in the coming months.
Michael Saponara: Young Thug’s first spotlighted verse since being released from jail combined with a Future reunion is a formula for commercial success. Baby capitalized on the moment and it’s a solid three-man weave between the Atlanta trio, but I don’t see it having a ton of staying power in the Hot 100’s top 25.
Andrew Unterberger: It’s a strong song, and I don’t think it’s going to disappear from the culture completely, but I dunno if it really has enough of a hook — either in terms of a chorus or just an overall narrative coherence — to really keep listeners coming back. It’s great to hear those three voices together on a track again, though, no doubt.
3. Bad Bunny debuts just underneath Baby with his new set Debí Tirar Más Fotos, which notches 122,000 in an incomplete first week. Given that the album was released on a Sunday, already a full two days into the tracking week, do you think it’ll have a good shot at climbing to No. 1 on next week’s chart?
Kyle Denis: Absolutely. Bad Bunny dropped a compelling project, and it’s resonating with people as several songs on the album morph into breakout streaming hits around the world. Between viral quotes from a Rolling Stone interview, an NYC subway takeover, a short film, and co-hosting The Tonight Show with Jimmy Fallon, Bad Bunny has been extremely present throughout the past week, which will only help the second-week performance of Debí Tirar Más Fotos. Of course, Benito is also getting a lot of good press for his innovative approach to ticketing for his upcoming Puerto Rico residency.
But this record also already has much more positive word of mouth than his last LP, 2023’s Nadie Sabe Lo Que Va a Pasar Mañana, and that’s probably the clearest sign that DTMF momentum is just getting started.
Carl Lamarre: I don’t see Baby’s album securing another week at No. 1 for this cycle. The fact that Bunny was only 18,000 units shy of sealing another No. 1 album after an incomplete week is telling, and worrisome for Camp Baby. There’s more chatter surrounding Bunny’s album because of the storytelling, the chances he took sonically, and the ingenious rollout. Bunny’s Rolling Stone interview and recent subway performance with Jimmy Fallon resonated more with people than Baby’s conversation with Charlamagne and his late-night outings.
Jason Lipshutz: Definitely. If you take a peek at daily streaming charts, Bad Bunny’s new album is not just performing strongly but seems to be gaining momentum, with the crackling “DtMF” leading a slew of tracks that will likely fly up the Hot 100 chart next week. The Sunday release helped prevent Bad Bunny from scoring another No. 1 album himself, but he’s got a great shot at getting there next week, especially considering that there are no new Lil Baby-sized debuts to for Debí Tirar Más Fotos to compete with.
Michael Saponara: Yeah, Bad Bunny should do another solid number next week as the tracks are still streaming well across DSPs. However, Mac Miller’s posthumous Balloonerism arrives on Friday (Jan. 17) which could interrupt Benito’s run at No. 1 pretty quickly should he claim the top spot next week.
Andrew Unterberger: Yeah it certainly should be considered a frontrunner to claim the top spot in the next couple weeks. Really cool to see Bad Bunny on track to another enduring full-length, in the wintertime no less.
4. Lil Baby’s career momentum has been trending somewhat in the wrong direction since the 2020 breakthrough of My Turn made him one of the biggest stars in hip-hop. Does WHAM and the early reception to it give you confidence that he can turn that around?
Kyle Denis: My biggest gripe with WHAM is how Baby is seemingly unwilling to deviate from the formula established with his mixtapes and first three albums. The record lacks standout moments, but it’s not a poor collection of songs – he’s just not pushing himself in meaningful or interesting ways. As it stands, Wham tells me that Baby is okay not fulfilling the role of “generation leader” that many tried to cast him in back in 2020. I think Baby has the talent to turn his momentum around, but it’s probably more of a matter of how happy he is with where he’s currently at.
Carl Lamarre: For Baby to land back-to-back No. 1 albums despite falling flat musically speaks a lot to his fanbase. They still believe in him because of his Herculean effort on My Turn. In 2020, he accomplished what few fail to do in the modern-day rap era: conquer the charts and, more importantly, the hearts of listeners. That’s why fans of artists like Roddy Ricch still have hope, as he achieved that same feat with his 2019 debut album. But, like Roddy, Baby is possibly down to his last strike after failing to connect on his previous two projects.
Jason Lipshutz: Lil Baby is an interesting case study in 2020s hip-hop, where an artist can score multiple No. 1 albums and top 10 Hot 100 hits, remain a constant presence on New Music Friday through solo tracks and collaborations, command a sizable touring audience, and yet simultaneously feel like momentum is flagging because the genre is so focused on new voices and achievements. Over the past half-decade, Lil Baby has hunkered down on a winning formula, but also hasn’t taken the artistic chances that can help superstars grow into icons. The chart-topping success of WHAM is in line with what he’s done in the past, and there’s nothing wrong with those commercial wins — but taking the next step as a leader in hip-hop may require an evolution.
Michael Saponara: Turn it around to the level of 2019-2021 Lil Baby? No, but WHAM is a step in the right direction. The test will come next month as Baby already said his Dominique album is slated to arrive in February. Is the appetite for another solo body of work there just a month out? As the great Lee Corso would say, “Not so fast, my friend!”
Andrew Unterberger: It shows me that he still has the fan support that if he ever does release the right project to turn things around, it won’t be too late for him to actually do so. I don’t think this is necessarily the project for that though — it’s solid, but doesn’t really advance his artistry or sound in any meaningful way, so it seems unlikely to have an extensive impact outside of that core fanbase.
5. If you could advise Lil Baby on his next release, is there any particular direction or area of focus you’d recommend he zero in on? Anything to really recapture the excitement of his turn-of-the-‘20s run?
Kyle Denis: Lock in with one executive producer – either Section 8, Twysted Genius, or someone brand new – and try to get back to the headspace that made you sound so voracious on your biggest and best records. And keep making sure those tracklists are tight and concise, WHAM was a good step in that direction.
Carl Lamarre: I would ease down on the Autotune and tap more into his heartfelt bag like he did the intro and outro of WHAM. I thought “Listen Up” and “Streets Colder” showed flashes of the old Baby regarding candor and vulnerability. That’s what made songs like “Emotionally Scarred” and “The Bigger Picture” instant classics upon first listen. Ultimately, he could be back in everyone’s good graces if he can connect the dots and inject that same pathos into his bars on the next album.
Jason Lipshutz: I find it interesting that “The Bigger Picture” — a smart, incisive single that captured the energy around the 2020 Black Lives Matter protests — has yet to receive a proper follow-up, or anything too overtly political, from Lil Baby. Maybe he’s not interested in that lane, but his level of thoughtfulness, refined flow and broad appeal would help him dominate it, if he so chooses.
Michael Saponara: Instead of coming back next month with another solo project, I’d say to finish the joint album he teased with Future and mix in some Young Thug. I think that would really galvanize his fan base and put the rest of the rap game on notice while holding his own with a pair of his heavyweight ATL peers.
Andrew Unterberger: The answer is almost always “focus” — make an album that feels a little more purposeful in its songs, track ordering, guest list and overall messaging. I might also encourage Baby to do a team-up album with a younger, ascending rap star, someone who can maybe challenge him a little and get him a little more motivated to prove himself and his continued supremacy.
The 2025 Calibash concert has been rescheduled amid the ongoing wildfires in Los Angeles. Originally scheduled to take place Saturday (Jan. 18) at Crypto.com Arena, the event — presented by SBS Los Angeles, Mega 96.3FM and 97.9FM La Raza — will now take place Friday, March 7. Confirmed artists include Maluma, Wisin, Xavi, Manuel Turizo, Emilia, […]
Chrissy Teigen and John Legend are among the lucky few who have been able to return home amid the fires that continue to devastate Los Angeles. The Cravings author, who has been sharing resources for fire victims via social media, took to her Instagram Stories on Monday (Jan. 13) to reveal that she and her […]
When new artist Max McNown flies into his falsetto voice in the middle of his first radio release, “Better Me for You (Brown Eyes),” he conveys a sense of strength through vulnerability, as if he’s been doing it for years.
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But sounds, like looks, can be deceiving. McNown had never written a song that mined that part of his register before, and it forced him to woodshed when it connected quickly with his fan base.
“’Better Me for You’ is probably the greatest problem child of any of my songs I’ve ever written,” McNown says. “I mean, it was written so early in my career. I had never taken vocal lessons before – I still have only taken a couple – but when it was written, I couldn’t even sing that song all the way through without messing up.”
Not that that mattered in the song’s creation. McNown rode with it as the melody gravitated naturally in that falsetto direction when he wrote “Better Me For You” with Ava Suppelsa, Trent Dabbs and producer-writer Jamie Kenney last May. McNown’s willingness to take on the discomfort moved the song forward.
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“That was the moment that got me really excited,” Dabbs remembers.
“Better Me for You” was personal for McNown when they crafted it. He was living in Oregon at the time and had started a long-distance relationship that was still fairly new. His co-writers asked him about his life to get the creative juices flowing at the start of the appointment, and as he spoke of his girlfriend in glowing, almost reverent tones, they launched into a bright midtempo groove on acoustic guitars. McNown pulled out a short phrase with a descending melody – “I didn’t know you’d have brown eyes” – that he’d already written about her. It became the opening line of the chorus; it also ends up being the only physical description of the woman that appears in the entire song. The rest of the text frames her as strong, spiritually-grounded and “deeper than a coal mine.”
“He’s not a superficial guy,” Kenney notes. “He’s a deep soul, and he’s a kind, caring and thoughtful person. So I think we always end up writing those kind of songs. And I think it’s not an accident that we don’t end up leaning on trite euphemisms.”
McNown noted that his girlfriend had inspired him to become a better person, an idea that morphed into the payoff line at the end of the chorus: “I gotta find a better me for you.” Knowing where they were headed, the writers turned their attention to the opening verse, the first-person singer remembering a period dominated by alcohol and romantic conquests.
“If you need to be a better person for someone, what does that look like previously, before them?” Suppelsa asks rhetorically. “Those verses [are] painting the darker side of before this girl. You need to have that chorus there to make that change.”
The second verse would begin with an abstract thought about “dipping toes in the water,” a reflection, McNown says, of a period when he worked at a coffee shop, dodging any sort of commitments. “[It’s] basically not being willing to give things my full heart,” he notes. “That’s symbolic in the relationship department, that’s symbolic in the career department, that’s symbolic in life in so many aspects. For a while, especially when you feel like you may have been wounded, you’re afraid to jump back in again.”
To round out the piece, they built a bridge that, like the chorus, starts with a descending melody. The differences are subtle enough that the first few listens, it doesn’t sound like a departure from the rest of the song. “It’s a sneaky bridge, for sure,” Suppelsa says.
McNown inserted a reference to the long-distance relationship – his cowriters feared it was new information that didn’t quite fit the text, but he insisted it fit him, and they deferred to his judgment. Within five lines, the bridge incorporates a hymnal, pledges undying devotion and solidifies a spiritual quality to the relationship that had been seeded earlier.
“It feels like one of those songs where, if he was playing at the Ryman [Auditorium] and he walked to the front of the stage and played the song, I would be sold,” Dabbs says. “I think that’s what you always look for in an artist. It’s kind of like, ‘All right, I get you. I get I get what you’re about.’”
When the song was finished, McNown remained at Kenney’s studio in Nashville’s Berry Hill neighborhood, and they worked through a rough demo of the song, stacking acoustic guitars and makeshift percussion to create a “blurry picture,” McNown says, “of what we wanted the song to sound like.” He added a scratch vocal with fragile falsetto, then returned to Oregon while the production evolved in Kenney’s hands back in Music City.
Kenney played some additional parts, then enlisted Todd Lombardo to overdub banjo and rubber-bridge acoustic guitar; Aaron Sterling for the core drums; and guitarist Jedd Hughes to add electric guitars. Kenney tucked both Dobro and a slide-guitar sample into the background, then worked to find a balance between the acoustics and electrics. It doesn’t sound as tough as he expected.
“I would go back and forth,” Kenney says. “I feel like the sweet spot was so minute. You think ‘power’ when you get to the chorus. You want to go, ‘Let’s punch them in the face with electrics.’ But I felt like it got less cool when I pushed those electrics.”
As Kenney worked on it, McNown moved to Nashville and resided in a room at the studio for six months, making it convenient to redo vocals. He ended up recutting them three times before he was entirely happy with the results. “The third time we recorded it,” McNown says, “I had already toured for 40, 50 shows, and I had built my vocal capabilities and my confidence, and I also knew the song like the back of my hand, and so I came back in and we got it right.”
“Ironically enough,” Kenney counters, “we ended up using pretty much the original, because it had a bit of a freshness to it.”
Kenney enhanced the falsetto parts in the chorus with different instruments – a mandolin in the first chorus, electric guitar in the second – trailing the vocal and creating a dreamy mood. “Anytime you have a melody like that that’s really hooky and singable, the more you can pile on and just accentuate it, the better,” Kenney says.
McNown introduced the song on TikTok, beginning with short performances that keyed on the opening line in the chorus. As the song grew, he inserted “Brown Eyes” into the title in parentheses.
“When you look at it on TikTok, I think people are looking for ‘Brown Eyes,’” Suppelsa says. “If that hadn’t been put in there in parentheses, it definitely would have been a harder search for people.”
Fugitive Recordings – in tandem with Magnolia Music Group’s promotion department, coming off its work on Shaboozey’s “A Bar Song (Tipsy)” – released “Better Me For You (Brown Eyes)” to country radio via PlayMPE on Dec. 16.
“It’s gonna be heard by so many different people that have never heard of me,” McNown acknowledges. “So we need a song that is wide-reaching enough and catchy enough to kind of hook people in and make them fans within two minutes. You have to have a gripping hook and a gripping song, and ‘Better Me for You’ just felt like it fit the criteria.”
Tina Campbell achieves her first solo chart-topper on Billboard’s Gospel Airplay chart (dated Jan. 18) with “Pray for Me.” The song, which climbs two spots to the top, advanced by 9% in plays during the Jan. 3-9 tracking week, according to Luminate. Campbell, who is half of the sibling duo Mary Mary with her older […]
Buck White, the patriarch of country and bluegrass music group The Whites, died Monday, Jan. 13 at age 94.
White’s daughters Sharon, Cheryl, Rosie and Melissa said in a statement: “The Lord answered our prayers and took our daddy home peacefully this morning at 8:00 a.m. We are so thankful for his 94 years on this earth. He was a great Dad who taught us by example to put Jesus first always. His great loves were the Lord, our mother, his family and music. Most people will remember him not only for being a great musician and entertainer, but also for being fun-loving and full of mischief. He lived a full life and finished well.”
White was born Dec. 13, 1930. According to The Whites’ Skaggs Family Records bio, White launched his music career by playing mandolin and piano in dance halls and radio shows around Texas. He later relocated his family to Arkansas in the 1960s. The group initially formed as Buck White & the Down Home Folks, and as White’s daughters Sharon and Cheryl began displaying their own talents for music, they joined the group.
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In 1971, they performed at Bill Monroe’s Bean Blossom festival, which prompted the group to move to Nashville and further pursue a career in music. Throughout the early 1970s, they continued releasing albums. Their music and familial harmonies caught the ear of Emmylou Harris, who invited the group to sing on her 1979 album Blue Kentucky Girl; they then joined Harris on the road as her opening act.
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Buck White also released the solo album More Pretty Girls Than One in 1979, while the group issued their first album under the moniker The Whites in 1983, with Old Familiar Feeling.
In the 1980s, the group earned top 10 Hot Country Songs chart hits including “You Put the Blue in Me” (which earned the group its first Grammy nomination, for best country performance by a duo or group with vocal) and “Hangin’ Around.” Sharon White married bluegrass/country artist Ricky Skaggs in 1981, and Skaggs produced the bulk of The Whites’ 1980s hits. The Whites and Skaggs also began performing often together, with Skaggs introducing the group to new audiences. The Whites became members of the Grand Ole Opry in 1984. The Whites also picked up CMA Awards nominations in categories including horizon award, instrumental group of the year and vocal group of the year. They released their first all-gospel album in 1988 with Doing It by the Book.
White appeared with his daughters in the 2000 film O Brother, Where Art Thou, and the country music classic “Keep on the Sunny Side” as part of the movie’s soundtrack. The group also took part in the 40-plus city Down From the Mountain Tour.
To date, The Whites have won two Grammys, earning best southern, country or bluegrass gospel album for their project Salt of the Earth (with Skaggs), and album of the year for the O Brother, Where Art Thou? soundtrack. The Country Music Association also named the soundtrack as its album of the year in 2001.
The Whites were inducted into the Texas Music Hall of Fame in 2008, and earned the International Bluegrass Music Association (IBMA)’s distinguished achievement award in 2006. They also celebrated 40 years as members of the Grand Ole Opry last March.
On the Billboard Bluegrass Albums chart dated Jan. 18, 2025, the O Brother, Where Art Thou? album re-entered the chart at No. 2.
Funeral arrangements for White are pending.
From “Big One” to “Come Here,” Florida rapper Bossman Dlow kept the hits coming throughout 2024. After scoring a string of viral bangers from his mixtapes, Dlow dropped his debut studio album, Dlow Curry, on Dec. 13. For one of his first interviews of the new year, the fast-rising star caught up with Billboard News to break down Dlow Curry and his upcoming tour.
Last year, Dlow earned his first two Billboard Hot 100 entries with “Get In With Me” (No. 49) and “Mr. Pot Scraper” (No. 93), both from his RIAA Gold-certified Mr Beat the Road mixtape. Those two tracks kicked off a run of hit singles — all of which reached the top 50 of Hot R&B/Hip-Hop Songs — including “SportsCenter” (No. 34), the Glorilla-assisted “Finesse” (No. 37), “Shake Dat Ass” (No. 12), “Talk My Shit” (No. 50), “2 Slippery” (No. 29, with Luh Tyler) and the Lil Baby-featuring “PJ” (No. 28).
For Dlow, his breakout hit, “Get In With Me,” remains his “most shocking” success. “I put that one to the side,” he explains to Billboard staff writer Kyle Denis. “I was shooting a video to ‘Finesse’ [at the time], so when I seen the numbers going up on Instagram, I was like ‘Oh!’ But [I was] shooting a video, so I [couldn’t] really watch it, but every time I checked, [the song] was going crazier and crazier.”
“Get In With Me” ultimately finished at No. 38 on the 2024 Year-End Hot R&B/Hip-Hop Songs ranking, his highest of four entries.
Dlow announced his debut LP through a SportsCenter appearance, playing on his love for sports. In addition to Steph Curry — whose name inspired the album’s title — Dlow’s top five basketball players include Kevin Durant, Kyrie Irving, Giannis Antetokounmpo and Anthony Edwards. Dlow Curry spun off more hits for Big Za, and that’s because the Tallahassee MC finally perfected his formula. “You gotta really think about what everybody else wanna hear,” he reveals. “It’s what you wanna hear at the same time, but it’s 90% what they wanna hear. Nowadays, it’s about [being] catchy. You wanna say something that they can repeat and remember.”
Dlow has used this formula not just to make “get that motion” music, but also to collaborate with rising stars like Loe Shimmy, who he says is his favorite artist to work with in the studio. In the years ahead, Dlow hopes to collaborate with Future, Usher and The Weeknd; hopefully, his forthcoming Wiz Khalifa collaboration sets the stage for those link-ups.
With goals of going No. 1 and getting Diamond-certified guiding him into the 2025, Bossman Dlow is ready to put on a yet-to-be-announced tour that will also involve the kids.
“I know all the kids like my music,” he says. “So they gon get a chance to win money, prizes, all that. I’m putting on a show everytime.”
Former Fox Sports host Skip Bayless and Lil Wayne have a friendship that runs deep. Less than a month out from Super Bowl LIX, Bayless went to bat for Weezy and his belief that the New Orleans icon should be headlining the Super Bowl Halftime Show in his hometown.
“Sorry, Lil Wayne should obviously be the Super Bowl halftime show in New Orleans,” he wrote to X on Sunday (Jan. 12).
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Of course, Kendrick Lamar has been tapped by the NFL to headline the Super Bowl Halftime Show in the Big Easy, which drew criticism from a range of Wayne’s rap peers, including Nicki Minaj, Master P and Cam’ron.
“Denying a young black man what he rightfully put into this game for no other reason but your ego,” Minaj said on X last year while seemingly targeting Jay-Z and Roc Nation, who has served as the league’s live music entertainment strategist since 2019.
Many Kendrick fans flooded Bayless’ replies, citing the recent lawsuit accusing the former host of sexual harassment. “Weird case???? Still around,” a TDE fan account responded while quoting Kendrick Lamar’s “Not Like Us.”
According to the Associated Press, a hairstylist accused Bayless of repeatedly making unwanted sexual advances against her. She also claimed he offered her $1.5 million to have sex with him. Bayless has yet to address the lawsuit.
After Lil Wayne found out he’d been passed over for Kendrick, he admitted that the news was difficult for him to hear. “It hurt a whole lot,” he said at the time. “I blame myself for not being mentally prepared for a letdown, and for automatically mentally putting myself in that position like somebody told me that was my position. So I blame myself for that.”
However, in the time since, Weezy revealed he and Kendrick had been in contact. “I’ve spoken to him, and I wish him all the best and I told him he better kill it,” Wayne explained to Bayless in December.
“It just makes no sense to me. I don’t get it … their politics played … I don’t know,” Bayless said to Weezy, who replied: “That’s another part of it, there’s things I can’t control.”
Super Bowl LIX is slated for Feb. 9 in New Orleans where Lamar will hit the halftime show stage. Find Skip’s tweet above.
Taylor Swift is supporting the growing Kansas City Chiefs family. On Monday (Jan. 13), the team’s quarterback Patrick Mahomes and his wife Brittany announced the arrival of their third child, a daughter named Golden Raye Mahomes who was born on Jan. 12. The duo posted a joint black-and-white photo on Instagram of the new bundle […]
Whoopi Goldberg is sticking up for Carrie Underwood after the singer came under fire for accepting the invitation to perform at Donald Trump’s presidential inauguration. While speaking to her The View cohosts Tuesday (Jan. 14), the Sister Act star acknowledged that though she personally doesn’t align with the president-elect’s policies, the American Idol alum has […]