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Lil Yachty has gone from working at McDonald’s as a teenager in Atlanta to starring in commercials for the iconic Golden Arches brand. Lil Boat adds to his list of lucrative partnerships while teaming up with McDonald’s Canada on Tuesday (April 2) for the launch of their Remix Menu. As part of the celebration, Yachty […]
With WrestleMania XL inching closer, Wale’s anticipation is mounting. This Thursday (Apr. 4), the wrestling enthusiast won’t be lacing up his boots for a bruising Philadelphia Street Fight, nor will he be strolling down the ramps of Lincoln Financial Field, vying for WWE domination against the Head of the Table, Roman Reigns. That’s because he’ll be busy grappling with producing one of the premier highlights of WrestleMania weekend, WaleMania.
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Since its inception in 2015, WaleMania has been a unique fusion of hip-hop and wrestling. It’s not just another event on WrestleMania weekend, but a close-knit gathering where fans and professional wrestlers unite to celebrate the daring athletes who risk it all in the squared circle every night.
“I’m a maniac every year because of that,” Wale told Billboard ahead of the event. “I always lean on [my partner] Kaz, but every year he always gets it done. I go through the phases of nervousness, and as it approaches, I’m cool, and Kaz is like, ‘It’s fine, it’s fine.’ Every year, there’s pressure because we need certain things to happen. I’ll be cool. It’s gonna be a good time, it’s gonna be packed, it’s gonna be sold out. It’s the same nervousness I feel when I hit the stage for a big show.”
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Former music journalist and WWE writer Kazeem Famuyide joined Wale’s expedition around a decade ago, after the two realized they shared a profound love for wrestling. Over the years, Famuyide and Wale have produced incredible events for WaleMania, reeling in major talent from both arenas, including Scott Hall, Big E, The Usos, Westside Gunn, Flatbush Zombies and more. This year, the stage will be even brighter in Philadelphia, as the WWE celebrates the 40th anniversary of WrestleMania. With Wale and Famuyide at the helm, expect nothing short of resounding results leading into the biggest Mania ever.
“I think that with Wale’s obvious experience and my experience in culture, we can bring something different to an industry that doesn’t see a lot of that,” says Famuyide. “I think that’s why it stands out so much and why it’s gotten so big over the years.”
Billboard spoke to Wale and Famyuide about putting together WaleMania, bridging the gap between hip-hop and wrestling, creating a safe space for Black wrestlers, and more.
It’s been nine years since the inception of WaleMania, what were some of your favorite moments of the first iteration of it?
Wale: The juxtaposition of it. Nothing like it is now, but you could see that we had something.
Kazeem Famuyide: I remember that first one — and Wale, you remember Rey Mysterio wasn’t in WWE at the time? He was involved in a tragedy where the dude he was in the ring with passed away.
A lot of the wrestlers got to see Rey [for the first time in a minute] – JR, Scott Hall – there was a lot of love in the room for Rey. From my point of view, I think we saw for the first time as fans the real cameraderie that really happens and the love there for a guy like Rey.
Wale: Inside the community – it doesn’t matter what company you work for, they just having a good time. They consoling Rey. You look back at it, we’ve lost so many people in that business and it hits 10 times harder when you get to this reunion every year. And see them get outside their character.
KF: I think the wrestlers love it even more than the fans. A lot of times WaleMania is the only time they’ll see each other all year long. I think the talent and the folks behind the scenes love it as much as the fans do and it kind of reminds you of the community of wrestling that’s bigger than just putting on a five-star match.
It was a lot of cats who were closet wrestling fans. Now for whatever reason, they feel like wrestling is cool again. Do you feel like WaleMania is responsible for playing a part in hip-hop being more receptive for their love of wrestling?
KF: Wale will never say, it but I’ll say it for him: Wale was spending his own bread to go to these events any time WWE was in town. That same WrestleMania weekend [where] we’re in San Jose and he’s spending thousands of dollars was the same week he’s dropping The Album About Nothing. And we’re in a church watching Ricochet wrestle and Apollo Crews and Rich Swann and all those guys. He has a legit love for the business and the people in it.
He’ll never take credit for the hip-hop connection with wrestling, but all you gotta do is look at it. He’s been the nucleus of it all. Whether it’s in front of the camera, behind the camera or creating relationships in WWE or AEW, he saw this world of professional wrestling where everyone can kick it and get along treating it more like a professional sport. The respect around it grew. A lot of folks that grew up in the Attitude Era are like, “Okay, it’s not a real sport, but as a grown man, you can appreciate the athleticism and what it takes to do it year in and year out.” Wale’s been there — and it’s not just for the looks.
As somebody who has covered hip-hop culture as a writer/producer, I could see the shift. WaleMania, as big as it is a part of his brand, I think of how big it’s gotten with everyone else. I think that’s a big part of why it’s been easier to be digestible for the common/casual fan of wrestling.
Wale: The biggest [genre of entertainment] out there, arguably.
I think it’s dope that it’s not just WWE-centric.
Wale: We got guys that only got one match under their belt. It’s just an experience for them to meet some people and get in some rooms. A lot of stuff goes on behind those doors. That’s some of the stuff I enjoy most to see people. Remember when everyone picked Kofi [Kingston] up and we knew he was gonna win the next day?
KF: Booker T was in that building too. Even though we felt it was gonna be Kofi’s moment, there was that little bit of uneasiness. We were like, “Man, if they don’t do right by our guy, it’s gonna be rough. At least we got tonight.” At least we got to bask in the love for Kofi, and he was kind enough to pull up and receive that love.
Wale talks about folks with one match under their belt. That same weekend we’re lifting up Kofi on our shoulders is when I kicked it with Swerve [Strickland] for the first time. He just signed to NXT and he had a buzz. He came through, and clearly wasn’t as big as he is now. Just seeing the evolution of folks that have pulled up to experience it, there are folks that pulled up that I’m a fan of that I didn’t know pulled up to previous WaleManias. Like, “I was just kicking it in the back trying to have a good time.”
I think the growth with this industry, Wale and the entire event has been beneficial, because at the center of it all it’s always been about celebrating each other, having a good time and giving back to the industry. It’s probably the wildest weekend of the year – hell, we’re gonna celebrate y’all and really enjoy it.
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Looking at past videos, WaleMania gives off a family reunion vibe. How important is it to provide that looseness not just for the fans or wrestlers, but for everyone involved including the hip-hop acts?
Wale: I’ve been on tour and had to do WaleMania, and I’ve been off tour, but I’ll say this — this is by far the busiest day of our year. It’s the most hectic. We’re passive-aggressive to each other, we’re mean to each other, but when the lights come on, it’s hard to explain. There’s a lot of the universe working in our favor on them days. The timing of it all is crazy, and the moving pieces and not getting people in or phones not being on – it’s a lot. But it’s worth it to see everyone happy where they are. It’s worth it to pull up to WrestleMania and Triple H say, “I heard you guys had a blast last night.” That acknowledgment from the higher-ups and the OGs – people like Booker T – that s–t be making it worth it.
KF: As big as it’s become, it’s still very much a grassroots event. It’s not a massive production putting this thing together. It’s myself and Wale hitting people up personally. It’s been word of mouth. I think the reputation of the event perceives itself. It went from this underground, “If you know, you know” kick-back event to people saying, “I’m flying to Philadelphia, and if I don’t get to WrestleMania that’s fine, as long as I get to WaleMania.”
It’s been a common theme — and I think that’s because of what Wale has helped build with this thing. It’s a really unique, one-of-one situation and event, where if you wanna come enjoy different parts of the culture, there’s different ways to experience it, and this is one of those ways. I don’t think we’ve ever had anyone come from the hip-hop world that has no idea what this is that doesn’t say “this s–t was hella fun,” and an amazing experience. That’s what I love about it. I know the wrestling community is going to be super-supportive, but what I get a kick out of is folks that aren’t even wrestling fans at all that are like, “This is a vibe that’s fun as hell.” They come and enjoy themselves, [hear some] good music and meet folks they would never meet under these circumstances.
Is there any pressure on WaleMania to live up to the momentum of Wrestlemania XL, knowing that this will be the biggest Mania to date?
KF: I think the reason we get along so much is we’re both ultra-competitive in our own ways. I think we’re both trying to outdo the last year, have bigger moments, greater partners, bigger experiences for the people who buy tickets and doing it in bigger venues. I think just naturally both of us being super competitive. I compare it to when LeBron [James] and D-Wade teamed up — they’re both these ultra competitors, but that competitiveness is what they have in common, and why they’re so great together.
There’s always pressure and stress. There’s a million things that could go wrong, but it never really does. By the time the night gets there and the vibes get there, it always finds a way to be an unforgettable night. As much as there are benefits to the show production, it’s really the memories we create. You could scroll down the #WaleMania hashtag and see the photos, videos, the pure organic excitement and memories people make from it. To do that, you gotta put pressure on yourself or you get complacent. “It was good, but it wasn’t [this year]” – I never wanna hear that. I wanna hear that it gets better and better every time out.
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It’s a diverse crowd that comes through but it’s been dope to see you guys highlight the Black community. You give that space to Black wrestlers to be showered and praised. How important has that aspect been for WaleMania?
Wale: I think it’s one of those things you never want to be heavy-handed with, because it’s already implied. To be heavy-handed, it doesn’t feel like you’re doing it for the right reasons. They know this is a safe space for us. We gon’ love on each other, we gon’ support each other, we gon’ talk about whatever’s on our minds, we gon’ dap and we gon’ sip something good together and chill. We have guests of honor every year, so it’s kind of implied. We never wanna make it where there’s so many platforms that do that, but it’s cool. To make it how it is, it’s unique.
How do you word it, Kaz? You the loquacious one. It’s a unique thing we’re doing, where we don’t want to be heavy-handed with it, but it’s extremely implied.
KF: WaleMania is for everybody. When we first started doing it, the roster didn’t look like the roster now. I’ll say in the last four years plus, there hasn’t been a better time to be a Black wrestler.
Wale: Or a Black wrestling fan.
KF: There’s top stars, fans, work-rate guys, super-entertaining guys. When I was growing up, in entertainment in general, you fell into the trap of the tokens. They’ll throw you a token Black guy here and there, and there’s usually one spot for the token Black guy, and that’s the gimmick.
Now, like we’ve seen in many forms of entertainment, it’s been a lot more diverse. Just as far as the many different ways the Black experience takes place. That helped with the growth of WaleMania. It’s definitely implied, like yes, this is the party for the n—-s. At the same time, everyone wants that invite. I don’t want to say the “C” word, but everyone wants to feel like I’m cool enough to be in this building. This year, we’ll have those type of folks like, “I can’t believe this guy is up in here.” You can usually tell when the folks are more comfortable around the brothers and sisters.
I’ll tell you a story, even last year and years past, Rob Van Dam is one of my favorite wrestlers growing up. Rob Van Dam is a staple of WaleMania. We love RVD. He brings his girl, he might roll a jay or two, he’ll come and kick it with everybody and put on some music. It’s so many wrestlers of all creeds and colors that pull up.
Wale: Jim Ross, I think [was at] WaleMania Cleveland. Me and the good ol’ JR were smoking a good ol’ jay a couple years ago. It’s for everybody. That might be why they come to get something different.
I just want to say we definitely want to shout out a lot of the other pillars in our community, like Smoke DZA, Westside Gunn, Flatbush Zombies and the guys who come through. They come through off the love. We gon’ go to their stuff too. It takes a village. We not in competition with anybody. Unfortunately, throughout the years we’ve seen people try to compete and it didn’t go well. We not in competition with no one.
Ye – formerly known as Kanye West – and Ty Dolla $ign have nixed Vultures listening parties that were slated to be staged in multiple U.S. arenas later this month, Billboard can confirm.
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The listening parties were dubbed “Vultures 1 & 2 Listening Experience,” but notably, the Vultures 2 album, which was originally announced for release on March 8, about one month after the release of Vultures 1, still hasn’t materialized.
There’s still no word or sign of Vultures 2, and, now, those listening parties have gone quiet. A spokesperson for Ye tells Billboard those playbacks will no longer go ahead, but is confident new replacement dates will be announced shortly. No explanation has been given for the change of plan.
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At the time of writing, Kanye and Ty are still holding a listening party at the Pyramids of Giza in Egypt on April 21, with tickets on sale here.
The listening sessions were quietly announced, and largely overlooked by the mainstream media.
Evidence of those shows can spotted, however, at Ticketmaster which hosts a page for the Washington D.C. “experience,” with a broken link.
A statement from Amelie Arena in Tampa, FL reads, “We regret to report that due to the time constraints for Ye and Ty Dolla $ign to curate production and meet logistic requirements, the upcoming dates for the VULTURES 1&2 listening experience will need to be revisited at a later date.” Amelie Arena was scheduled to host the playback on April 14.
Variety’s Chris Willman was first to report the canceled U.S. playbacks, which were also penciled-in for venues in Fort Lauderdale, FL; Pittsburgh, PA; Nashville, TN; and Charlotte, NC.
The delayed Vultures 1 project enjoyed a fast start around the globe when it finally dropped, including a back-to-back stint at No. 1 on the Billboard 200 in February, for Ye’s eighth consecutive No. 1 album dating all the way back to 2005’s Late Registration.
That two-week stint at the summit for Vultures 1 marked the first time West held the top spot for more than a week since 2011’s collaborative album with Jay-Z, Watch The Throne. The latest LP also topped Australia’s ARIA Albums Chart and opened at No. 2 on the Official U.K. Albums Chart.
A handful of listening parties built the buzz for Vultures 1, and the hip-hop pair would appear on stage at Rolling Loud California on March 14, for a performance that divided audiences as either a spectacle of high-art or next-level trolling.
André 3000 once declared that “the South got something to say.” Nearly three decades later, fellow Atlanta natives Future and Metro Boomin are carrying the torch. The duo’s We Don’t Trust You joint album certainly made a noisy statement with the collab LP debuting atop the Billboard 200 and their nuclear Kendrick Lamar-assisted “Like That” […]
Ludacris is ready to tackle his next big role: hosting the iHeart Music Awards.
Tonight (Apr. 1), the multi-platform star will take centerstage at the Dolby Theatre in Los Angeles at 8 PM EST on Fox. Justin Timberlake, TLC, Jelly Roll, Green Day and Luda himself will all dish out action-packed performances. There might even be a Beyoncé sighting, as the venerable legend will receive the Innovator Award.
For Ludacris, this will be his first time hosting the iHeart Music Awards — but he’s no stranger to the stage. Having previously hosted the Billboard Music Awards from 2016 to 2017, he’s fully aware of the audience he’ll be catering to, and he’s ready to bring the house down again with his comedic flair.
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“You always gotta know your audience. It’s always different audiences for different events and things you do,” says Luda ahead of tonight’s festivities. “To me, iHeart is all about energy, love and they wanna see their favorite artists. I’m also — humbly speaking — performing as well. So, it’s all about the energy in the building. We gotta keep that as high as possible.”
Billboard spoke to Luda about Beyoncé’s possible appearance, the current feud between Drake and Kendrick Lamar, wanting to reprise his role of Darius on Law & Order: SVU, and more.
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Is the preparation process with hosting similar to when you’re preparing to perform at a concert or act on set?
It’s always [me] praying beforehand and thanking the man above for allowing me to do the things that I love and actually make a living off of it. That’s pretty much the preparation, man. Of course, you have rehearsals and you got things that you do beforehand — but besides that, it’s between you and the man upstairs.
Beyoncé is getting the Innovator Award. Luda, is she going to be there?
I hope so. Are you trying to say you think she’s going to have a pre-recorded video or something?
You never know.
You never know. [Laughs]. Listen, I’m sure iHeart is doing everything within their power [to bring her to the show.] She is an innovator. Her receiving that award and being risky with cross-genres and doing what she’s doing with her evolution over the last two decades has been amazing. I love where’s she at, I loved where she was and I love where she’s going.
You and Larenz Tate were in the studio teasing music. I asked you about four years ago, when was the album coming — I’m back again posing you that same question: Where and when is it coming?
You know what’s crazy? When you put out so many projects as an artist, you gotta step back a little and live a little bit of life to give the right injection again, because artistry pulls from real life. I just think I’ve been so fortunate to be one of those artists that can make it that far, when you have that many albums — but in order to properly give the fans what they need, I gotta take a step back for a second. Now that time has passed, it’s time for more music. Absolutely.
Last time we spoke, I asked you if you’ve embraced the word “legend” when speaking on your music career. Let’s flip it. Do you feel you’ve touched those grounds yet on the acting side? If not, what more do you have to do?
Acting, man, I feel like there’s more work to be done. You can put out music a lot sooner it seems than you can put out movies. Well, Samuel Jackson has debunked that, so I take that back completely.
To answer your question, I have so much more time to go before I can be considered a legend in acting. Now, some people my disagree. I’m a Virgo and I feel like I have to overly do and over-prove in order to solidify [my status to] the majority of the people around the world. I have some more time to go before I can be considered a legend in acting. I’ve accepted it in music. Since the last time we spoke, people don’t even throw that around loosely. They’ve definitely given me the love. I’ve appreciated that and I’ve accepted that.
You know, this marks Law and Order SVU’s 25th season. As we’ve previously discussed, your role of Darius got a lot of love and acclaim. Because your character walked away free from charges, can Darius possibly make a return this season?
You know, they haven’t reached out yet — but that goes into your last question of what I was saying. Your work has to stand the test of time. With now my music — in terms of being engrained in hip-hop until this day — they’re still playing it in arenas, like “Move,” “Area Codes” and “Southern Hospitality.” Your movies after a certain amount of time have to do the same thing. Same with your acting jobs. You see Hustle & Flow, I would consider that a cult, legendary film. You got Crash. I still feel like I need a couple more under my belt. But to answer your question, they haven’t reached out. I would love for Law & Order to do that, so we can reprise that role.
Obviously, the internet has been buzzing since Kendrick came after Drake and J. Cole on “Like That.” Being that you’ve had some competitive days, sparring with rappers on the mic, why do you think this battle is good for the culture?
Man, I’m excited. I’m not gonna lie to you. I think I’m just as excited as everyone else is, just to see how it plays out [and] to see if people are going to respond accordingly. Or all of that can be subjective. Do they feel like they need to?
I feel like that everyone should respond, because we’re in a competitive world. Athletes, March Madness, the Super Bowl that I just did was about the two best teams. Everyone’s talking about who’s the best, and everyone wants to say who’s the GOAT. Right now, I think people are like, “OK. You say you’re the best. Prove that because there can only be one.” It’s exciting. I can’t wait to see what happens.
Speaking on that competitive fire, how do you personally keep that streak alive knowing the resumé you have? Does it transfer over to the different arenas you’re in like acting and hosting?
That’s a good question. I think I just want to have numerous options and choices depending on how I feel. [Laughs.] If I wake up and say, “I wanna put out some music today,” I’ll put it out. If I wake up and say, “I wanna do a movie” — it’s all art. It’s all entertainment. If I wanna do something in television that’s ingrained in inspiring people, or if I wanna do some philanthropy today or if I wanna host something and uplift people, I like to have those options moving forward in life. I love the versatility and I love diversifying the portfolio to have those options.
Frank Ocean‘s 2012 track “Lost” has found a new accomplishment 12 years after its release: It recently hit 1 billion streams on Spotify. This marks Ocean’s third song to reach this milestone, following Calvin Harris‘ “Slide,” also featuring Migos, and “Pink + White.” “Lost” was the fourth single from his debut studio album Channel Orange, […]
It’s been four years since Eminem’s last LP, and he pranked fans with an album announcement trailer to celebrate April Fools’ Day. Slim Shady dropped a trailer on Monday (April 1) initially soundtracked by “Crack A Bottle” and filled with fan comments pleading with him to drop his next album. Explore Explore See latest videos, […]
When Beyoncé drops, the world stops and listens. And that’s exactly what happened with the release of her incredibly ambitious 27-track Cowboy Carter LP last weekend (March 29). While the record is framed by Queen Bey’s exploration of the Black roots of country music and her own Southern familial roots across Texas, Louisiana and Alabama, there are still healthy doses of the R&B we all know and love from her, courtesy of collaborators ranging from Pharrell Williams and Raphael Saadiq to The-Dream and Nile Rodgers.
Remarkably, a couple of artists across hip-hop and R&B were able to cut through the Cowboy Carter chokehold. Ye (fka Kanye West) predictably inserted himself in the Drake–Kendrick Lamar back-and-forth, claiming that “there is only one GOAT” and that he “washed” both artists on previous collaborations. Tyla, who is currently enjoying the release of her debut studio album, covered the most recent Billboard print issue and revealed why pulling out of Coachella was “the right decision.” Of course, the Head Barb herself, Nicki Minaj, stayed in the news cycle with the announcement of her first sneaker collection, a winning performance at Madison Square Garden and an appearance at the Knicks game with her family (March 31).
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Beyoné and Shaboozey’s genre-obliterating shootout to Felix Ames’ soulful new single. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Tyrese, “I Would Still Say I Do”
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A sweeping eight-minute tribute to the longevity of matrimony, Tyrese‘s “I Would Still Say I Do” is also a tender love letter to tasteful, old-school soul. The “Sweet Lady” singer has been teasing this track on his official Instagram account — where he’s also been subtly documenting the creation of his forthcoming seventh studio album — and it was absolutely worth the wait. Stirring strings and lush piano serve as the anchors for an arrangement that swells into a mini-orchestra, incorporating bits of jazz along the way. “How foolish would it be/ betting it all after losing everything/ And nothing here makes sense/ Love is worth whatever the consequence,” he croons in a tone that expertly balances yearning with true devotion. The subject matter is reminiscent of “I Still Do” from 2015’s Black Rose, but with even more finesse and gravitas.
Beyoncé, Linda Martell & Shaboozey, “SPAGHETTII”
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“Genres are a funny little concept, aren’t they?/ Yes, they are,” country pioneer Linda Martell chuckles at the beginning of “Spaghetti,” a high-camp Western shootout soundtrack housed on Beyoncé’s latest opus, Cowboy Carter. Here, Beyoncé acts as a bridge between country’s past (Martell) and a fearlessly innovative future that ropes in notes of Southern hip-hop, by way of herself and ascendant country star Shaboozey.
With a rap verse that bears the unmistakable dual fingerprints of both Jay-Z and The Harder They Fall‘s soundtrack, Queen Bey asserts power and dominance over everything in her path. In the context of the album, “Spaghettii” is a smart sonic juxtaposition and a thematic complement to its preceding track, which finds Bey carrying out a murder fantasy — the “I ain’t in no gang, but I got shooters and I bang-bang!” lyric is the bridge between the two — while combining the sounds of country and classical music. Oh, did we mention that she’s also doing all of this over a Brazilian funk sample?
Doechii with JT, “Alter Ego”
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An Ayesha Erotica sample + a Tampa-Miami link-up + an Azealia Banks-esque flow = a bop. The equation really is that simple. Are the “Show Me Love”-esque synths a bit predictable? Yes, but that doesn’t mean they’re still not a worthy addition to the song. On “Alter Ego,” Doechii and JT join forces for yet another bad bitch anthem, but with one foot in the world of house music and the other dipping its toes in histrionic Miami Bass-laden hyperpop, the track sounds fresh, even if its subject matter is far from it. Although “Alter Ego” is less immediately accessible than “What It Is,” it’s still a winning showcase of both ladies’ verve and personality. “Fuck these n—as and these b–ches/ I come through and it be crickets/ I come through and moods be switchin’/ I’m the problem, I’m the villain,” JT spits.
Felix Ames, “Mr. Weatherman”
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As the Milwaukee hip-hop scene continues to bask in its moment in the national limelight, Felix Ames is holding down the city’s soul scene. With “Mr. Weatherman” — which serves as the lead single for the forthcoming deluxe version of JENA, his 2023 debut LP — he sings of both life’s more aimless moments and the search for reassurance and comfort that there truly is a light at the end of the tunnel. “I don’t know where I’m going, but I’m going fast,” he croons before begging, “Mr. Weatherman, tell me something better.” For New Yorkers, those lyrics will feel particularly impactful given spring’s reluctance to stick around for more than two days at a time. For everyone, “Mr. Weatherman” evokes consolation the world is craving in the face of times that are as tumultuous as they are unprecedented.
Machine Gun Kelly & Trippie Redd, “Beauty”
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With this new track, Machine Gun Kelly and Trippie Redd try to navigate finding “beauty” in the breakdown. The Ohio-bred duo returned to bring the emo raps for their genre : sadboy joint project and track two is an early standout from the 10-song project. Built around a pitched-up Frou Frou “Let Go” sample, MGK does most of the heavy lifting on the hook and his numbing verse, while touching on substance abuse, addiction and depression. “21 days clean that won’t break a habit/ 22 days later, I’m a f—-g addict/ Lost a real one, so I went and got him tatted/ Can’t eat, can’t sleep, life doesn’t matter,” he raps. MGK and Tripp join forces looking inward to face their demons and turn those harrowing experiences into cathartic art.
DJ Premier & Snoop Dogg, “Can U Dig That?”
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Inject this into hip-hop purists’ veins. DJ Premier’s signature scratches mixed with Snoop Dogg’s West Coast style make for a laid-back boom-bap rap cocktail here. It’s a sight to behold when a pair of the genre’s dignitaries are still raising the bar three decades into their Hall of Fame careers. “We been doing this s–t, mane, ’bout 25, 26/ S–t, I don’t know, we just been doing it,” Snoop reflects on his lengthy relationship with Preemo, in what’s typically been a young person’s sport. The Doggfather ashes his joint while cruising in his low-rider, and takes a second to show love to Cali peers who also changed the game, like 2Pac, E-40, Ice Cube and Eazy-E. Unfortunately, “Can U Dig That?” appears to be a one-off rather than the lead into a collab project from Snoop and Preemo.
It’s been five years since Nipsey Hussle was tragically murdered in his hometown of South Central Los Angeles on May 31, 2019. Lauren London paid tribute to the late, great rapper in a heartfelt post to social media on the fifth anniversary of his passing, which symbolically fell on Easter Sunday (March 31). “If you […]
Lizzo took to social media on Friday afternoon (March 29) to share an emotionally driven statement.
“I’m getting tired of putting up with being dragged by everyone in my life and on the Internet,” she wrote against an orange and yellow background. “All I want is to make music and make people happy and help the world be a little better than how I found it. But I’m starting to feel like the world doesn’t want me in it.”
She continued, “I’m constantly up against lies being told about me for clout & views… being the butt of the joke every single time because of how I look… my character being picked apart by people who don’t know me and disrespecting my name. I didn’t sign up for this s— — I QUIT [peace out emoji].”
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Billboard has reached out to Lizzo’s team to confirm the validity of the statement.
The “About Damn Time” singer has been under scrutiny over the past year, as she’s been involved in a harassment lawsuit brought by three of the “Special” singer’s former dancers in August 2023. The lawsuit, filed in Los Angeles by dancers Arianna Davis, Crystal Williams and Noelle Rodriguez, accuses Lizzo (real name Melissa Jefferson) and her Big Grrrl Big Touring Inc. of a wide range of legal wrongdoing and included dozens of pages of detailed allegations.
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In one allegation, the lawsuit claims that Lizzo pushed the dancers to attend a sex show in Amsterdam’s famed Red Light District and then pressured them to engage with the performers. The lawsuit also detailed alleged outbursts by Lizzo, including an “excruciating re-audition” in April after she accused the dancers of “drinking alcohol before shows”; one dancer claims the ordeal continued for so long that she wet herself because she feared she would be fired if she left the stage. The case also claims Lizzo repeatedly told dancers “none of their jobs were safe” and raised “thinly veiled concerns” about a dancer’s weight gain.
Lizzo denied the claims in a response shared to Twitter, calling them “false allegations” and “sensationalized stories.” In March, a judge ordered the case “stayed” while Lizzo challenges his January ruling, which largely rejected her efforts to dismiss the lawsuit under California’s anti-SLAPP statute — a special law that makes it easier to quickly end meritless lawsuits that threaten free speech.
A week ago, Lizzo took to Instagram to reveal that she is working on new music and “almost ready” to “be a normal human again… to be outside.. to love and trust people.. to try and make new friends… to go on live … to sing and talk about my pain and joy… just give me a lil more time.”
She continued, “Thank u for the patience and to the ones who unfollowed thank u too cus now I know where we stand.”