State Champ Radio R&B/Hip-Hop
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Mary J. Blige has been in our ears, and on our screens, for more than 35 years. The nine-time Grammy-winning queen of hip-hop soul released her 14th album, Good Morning Gorgeous, in 2022 and recently co-starred in actor Chiwetel Ejiofor’s directorial debut, Rob Peace, which debuted at the Sundance Film Festival earlier this year.
From the looks of it she’s not slowing down at all. But in a new interview with Extra, the 53-year-old music icon who will be inducted into the Rock and Roll Hall of Fame this fall revealed that she is already thinking about her exit strategy. Asked what she’s singing about these days, Blige said, “Mary is singing about life. Life… love… being stable and understanding you can have things like love. You can have a good life.”
Just as importantly, Blige is also thinking about her future, which she said could include an exit from the stage sooner than you might think. “Right now, I’m definitely gonna do some more acting and I’m definitely gonna retire in, like, five or six years,” she told Extra without specifying what retirement would look like for her.
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Now before you freak out, Blige — who has had memorable roles in films including Rock of Ages, Mudbound and the 2021 Aretha Franklin biopic Respect as Dinah Washington — said the music retirement is more of an “eventual” thing, explaining, “Right now, I’m still doing what I’m doing but not as often as I was doing it because I don’t have to now.”
For now her future includes joining Cher, Dave Matthews Band, Kool & the Gang, Foreigner, Peter Frampton, Ozzy Osbourne and A Tribe Called Quest at this year’s RRHOF induction ceremony in Cleveland on Oct. 19. In a recent interview with Tamron Hall, Blige said she was “still trying to process” the news. “It’s a big deal. I’m just so grateful because I know it didn’t have to be this way but it is this way, and I give all the credit to God. I don’t even know what else to do. It’s just so humbling,” she said. “I don’t know what to do besides be grateful and thankful.”
Grab the popcorn, because Kendrick Lamar has returned. K. Dot emerged to unleash the eviscerating “Euphoria,” taking aim at Drake on Tuesday (April 30).
The Compton artist’s Drake diss hit his YouTube channel early in the day and looks to land a knockout punch, with “Euphoria” — Drake is an executive producer of the HBO show of the same name — serving as his official response to Drizzy’s “Push Ups.”
Drake comes under fire as Lamar refers to him as a “degenerate,” “scam artist” and more, with Kendrick utilizing more of a spoken-word flow before horns come in to turn the intensity up a few notches after the first-minute warm-up.
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Next, Kendrick turns his focus to Drake and his 2018 battle with Pusha T, during which King Push revealed that the 6 God had a son, Adonis, on “The Story of Adidon.”
“Yeah, Cole and Aubrey know I’m a selfish n–a/ The crown is heavy, huh/ I pray they my real friends, if not, I’m YNW Melly/ I don’t like you poppin s–t at Pharrell, for him I’ll inherit the beef/ F–k all that pushin p, let me see you Pusha T, you better off spinning again on him you think about pushing me/ He’s Terrence Thorton I’m Terence Crawford I’m whooping feet,” he raps.
There’s no love lost between Lamar and Drake, with their long-simmering feud dating back more than a decade. K. Dot lets it be known this isn’t about competition, but there’s a genuine hatred for Drake.
“I hate the way that you walk, the way that you talk/ I hate the way that you dress/ I hate the way that you sneak dissing/ If I flight it’s gonna be direct/ We hate the b—-s you f–k because they confuse themselves with real women,” Lamar spews.
He isn’t even close to done by this point, as he brings up hating Drake’s mob boss persona, claims the OVO boss doesn’t have a classic record in his discography and questions the legitimacy of his six-pack abs.
“Yeah, my first one like my last one, it’s a classic, you don’t have one/ Let your core audience stomach that/ Didn’t tell ’em where you get your abs from,” Dot continues to fire.
Drake’s “Push Ups” largely centered around him accusing Lamar of having to give away 50 percent of his earnings as part of his deal with Top Dawg Entertainment.
Kendrick turns the tables in “Euphoria,” wondering about Drizzy’s deal in which he was signed to Lil Wayne’s Young Money, which lived under Birdman’s Cash Money Records and Universal Music Group.
He even alleges that Drake’s team served up a cease and desist over the Billboard Hot 100-topping “Like That,” which essentially lit the fuse of the feud earlier this year.
“You was signed to a n—a that’s signed to a n—a that said he was signed to that n—a/ Try cease and desist on the ‘Like That’ record/ Oh, what? You ain’t like that record,” he contests.
Lastly, Kendrick attacks Drake’s biracial identity and voices his disgust with him using n—a in his lyrics. “I even hate when you say the word ‘N—a,’ but that’s just me,” he raps before closing out the track. “We don’t want to hear you say n—a no more.”
“Euphoria” arrives 17 days after Drake’s “Push Ups” was leaked before he brought the diss record to streaming on April 19. (The track debuted at No. 19 on this week’s Hot 100.)
Listen to Kendrick Lamar’s “Euphoria” response below.
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Rich the Kid isn’t much of a blackjack player or one to be firing up bets on FanDuel, but he believes every decision in life is a gamble — which doubles as the title of his upcoming LP.
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The Queen-born rapper bet on himself when taking a flight to Saudia Arabia for the first time last year to meet up with Ye and Ty Dolla $ign, where the origins of “Carnival” began to take place.
Rich cooked up the slippery chorus and his verse in what he estimates took about “15 to 20 minutes, tops.” The early version of the track eventually got into Kanye’s hands, which he turned into a chanting stadium anthem, with additions from Ty Dolla $ign and Playboi Carti.
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“Carnival” hit the ground running as an immediate Vultures 1 fan-favorite when landing on streaming services on Feb. 10. Without much playlisting or radio play, “Carnival” chugged along and finally pushed through to reach the apex on the March 16 Billboard Hot 100, giving Rich The Kid his first No. 1 hit.
“So many people counted you out and down-talking you — to go from that to No. 1, you can’t script it,” he tells Billboard with a smile on his face.
Just a few months prior to “Carnival,” Rich the Kid was down on his luck, as his RCA Records label dropped him and he began plotting his next move.
The single was a full-circle moment for Rich the Kid, who met Kanye two years ago, and says Ye texted him about how people continued to tell him that Rich was a genius. Their universes finally aligned under unlikely circumstances, and the collaboration led to West’s first Hot 100 No. 1 since guesting on Katy Perry’s “ET” in 2011.
RTK will look to carry his momentum into Life’s a Gamble, his first solo album since 2020. Ye has continued to work with Rich since they returned to Los Angeles, as the Vultures duo of West and Ty Dolla $ign will serve as Gamble‘s executive producers.
During his visit to Billboard earlier in April, Rich played album cuts such as “Bandman,” which will serve as the lead single, dropping on May 10. He’s got more heat in the stash, as he teased another possible banger titled “Gimme a Minute,” featuring Peso Pluma and another superstar guest.
Life’s a Gamble is slated to arrive in June, and it will be a busy affair, with co-stars including Ye, Ty Dolla $ign, Chief Keef, BIA, Rob49 and Migos rappers Quavo, Offset and even a posthumous contribution from Takeoff.
Check out the rest of our interview here, as Rich speaks on the magic phone that connected him with Frank Ocean, Vultures 2, “Carnival” and more.
Life’s a Gamble. Talk to me about where your headspace is when naming the album that.
I feel like everything in life’s a gamble. You walk out the front door, you could get hit by a bus. Everything’s a gamble. I’ve took wins and losses with my career and I felt it was a perfect title. I didn’t think twice about it.
Was there a certain gamble in your career that you think paid off?
Just investing in myself and my career. Even to the little things – getting CDs pressed up and handing out mixtapes. I used to have to take the bus from my grandmother’s house from Marietta to get to Atlanta. I had to take the bus to the train station to get to Atlanta. I didn’t have money so I had to take chances investing in myself. To now going to record with Ye and Ty [Dolla $ign] in Saudi [Arabia]. Got a flight and a taxi from the airport. It’s the same hustle.
What was Ye and Ty [Dolla $ign]’s involvement as executive producers on the project?
The project was almost already done. Ye and Ty been helping me with tweaking the beats. Tuning and making everything perfect. We just been tweaking and making everything perfect – perfecting the sound. That’s something me and Ye got in common. I’ve always wanted to perfect the sound or make the next sound. I feel like that’s what we’re doing. When I go in the studio and I heard beats, I try to go off what I know is the next level. This hasn’t been done before. This is the new sound. I try to elevate it. We been in the studio day-in-day working [in L.A.] on music.
“Carnival” hits No. 1 on the Hot 100 – how did that come together? Take me back to cooking the song up.
I’m independent. It’s kinda like three months before “Carnival” came out, me and my label wasn’t on the same page and [RCA] let me go. What a blessing! It was a big moment for me too.
I had a show in Dubai. Ty was like, “We in f–king Saudi.” I’m like, “S–t, I’m an hour away.” And I had an off day before another show. I’m like, “F–k it, off day I’m gonna go to f–king Saudi.” It was kinda different. I never been out there. You can’t smoke out there. You can’t drink but I think you can drink now they passed it after we left. Like what the f–k, why didn’t they have that when we was there? I got out there at the airport they said I needed a visa. I was like, “How the f–k I need a visa?” They like, “You could buy it right here.”
It was me and my boy. We took a taxi cab about an hour and 15 minutes out. Pulled up to a resort type of thing. It was dope. We get out there. The first night Ye and Ty played me Vultures 1. I was like, “Yeah, this is hard.” Second day, I got woken up early around 11 or 10 and we had a set-up in the room. Me and Ty was recording. I was looking for beats and [TheLabCook] sent me a bunch of beats to my phone and I was going through them.
When I heard “Carnival,” I just felt, “Oh yeah, this is the one. This is a new-age rage rock star s–t. This is the one.” I pulled it up and after I did my part. I did the chorus first, then the verse. I probably did it in 15 minutes – 20 minutes tops. Ty was in the room while I was recording. I played it back after I took my headphones off. Then Ty got on there. Ye didn’t get on it right away. I left and Ty hit me up before they had the Vegas listening like, “Ye said he wants you on the album. What song do you think we should put on there?” At the time, it was called ‘Honor Roll’ and another song we had did. I was like, “S–t, let’s put ‘Honor Roll’ on there.’” It had that energy. Ye added a lot of production [and] the chants.
One thing I always think back to, two years ago when I first met Ye, he like “Yo, people are telling me you’re a genius.” He texted me this two years ago. Ye’s a genius. So it’s like two geniuses together. He did the production and picking the chants and I picked the beat. [We] joined forces. [Playboi] Carti got on it two days after Vegas. When I first heard it, I knew it was gonna be No. 1. I was like, “This is a No. 1 song.” I was telling my team that.
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Let’s talk about that road to No. 1 on the Hot 100. Not much playlisting or any radio push, it was really the people. What do you remember about pushing “Carnival” to get to No. 1?
Both [Ye and I] being independent and No. 1 is crazy. It’s crazy, because people was asking me why I’m going so hard. “That’s not even your song.” I’m like, “What you mean? I’m on the song.” I feel it’s just as much my song as everyone on the song. It’s my first No. 1, Carti’s first No. 1, Ye’s first since ‘07 and Ty’s second No. 1. We really made history with one song. Largest streaming song of 2024 as of right now. That’s crazy!
Rich The Kid
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Elliott Wilson said you were the luckiest dude on the planet after that. I was like, “How could you say that?”
It’s kinda weird. I think he should’ve said something like, “Damn, we watched Rich work for so many years and grind so hard from the bottom. So many collaborations, he’s a young GOAT. Salute him!” Instead, he’s like, “He’s lucky.” What the f–k kind of s–t is that? Keep doing your thing. He too old to be hating on young guys like me. I feel like it’s more No. 1s to come. More No. 1s this year, plural.
What’s your best memories of “Carnival” rising and just traveling with Ye and the team?
We was in Milan and the energy was insane. Blow the top off the roof. After we performed, we were backstage and they’re still singing “Carnival.” Loud as f–k. I’m like, “What’s going on?” Pulling out, my car was surrounded by fans and I jumped on top of the sprinter and they started singing “Carnival” a cappella. Knowing it’s coming too. I was telling people it’s coming. I’m on the way! Y’all see my track record. Just because I was plotting for a minute doesn’t mean I wasn’t working. This album too, it’s gonna be slapping them in the face.
What did you think about Ye’s comeback?
I feel like I call myself the comeback kid. I did a comeback and Ye did a comeback. Perfect timing. We did it.
Vultures 2, is the “Motion” record with you, NBA YoungBoy and Takeoff gonna be on there? You played that for [Ye]?
Yeah, just like that. We were cooking up and working on V2 and I was like, “I think I got something.” Takeoff said something about Ye on the song.
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What else do you got lined up for the rest of the year?
I did a full Latin project. My DJ is Dominican. We been working nonstop the last two or three years recording music with different artists and places. I say some things in Spanish. It’s a lot of the biggest Latin artists in the game on there. J. Balvin, for sure. Arcangel, Peso Pluma. Yovngchimi. I was immersing myself in the culture. It’s not like I was like, “I’m gonna do a Latin album one day.” I was tapping in with people.
What do you think about this civil war breaking out in rap right now?
I think a lot of the old heads love it. It’s competition. That’s what I been hearing from the OGs. They love the competition of it.
Do you think that’s lost with the new generation?
I don’t think it’s all the way lost. We got n—as dissing each other all the time.
Last time we spoke [in 2020], people were talking about your lost Frank Ocean collaboration. Was that actually true?
My phone somehow was uploaded with someone’s contacts. Magic contact book. I have everybody you could imagine’s phone number. Executives, artists, restaurant owners, singers, rappers.
You got Dua Lipa’s phone number?
Nah, I don’t got Dua Lipa. That’s how I got on that FaceTime with Frank Ocean. When I got the contacts I was like, “What the f–k’s going on?” I started typing in people’s names. Frank Ocean, damn! You could also go to another time I FaceTimed Ye a couple years back. It was the same way. I FaceTimed him and he picked up the phone looking like, “What the f–k is this?” I screenshotted it and posted it [to social media]. To this day, I don’t know how the contact thing happened. I had Rihanna’s number too.
Did you try hitting Rihanna up?
Yeah, this was three years ago. She didn’t pick up. I texted her saying I was trying to work… I got my first record deal off of that. When I was leaving [Quality Control], I had to pay $500,000 for the buyout, and at the time, I didn’t have $5,000. I had to make something happen, bro. I didn’t know what I was gonna do. I was like, “Let’s go to the magic contact list.” I started typing in record labels from A-Z. A lot of people didn’t answer. Then I typed in Interscope and I called every Interscope person. One person picked up and they was like, “What’s up?” I explained, “I’m Rich the Kid and I got some songs and I’m trying to get signed.” I had a project ready. He’s like, “Bet, come to Interscope this day.” Bet.
I come to Interscope and I’m playing music for somebody in the office. I played seven songs. It’s hard. Then I’m thinking the meeting’s over and someone else walk in the room like, “Hey, I’m Manny Smith.” The person I thought I was meeting wasn’t him. It was another A&R. Everything was meant to be. I played the music for Manny and he wanted to make it happen. Interscope bought me out of the deal. I was also signed to 300 Entertainment too. They bought them out. I was able to get paid from the deal. Three months later, I released “New Freezer” with Kendrick [Lamar] from this magic phone.
Sorry, but PartyNextDoor is outside and will be taking his new album PARTYNEXTDOOR 4 (P4) with him on the road on the Sorry I’m Outside Tour, which he announced Monday (April 29). In the 48-second trailer directed by Aidan Wilde, Party (real name Jahron Anthony Brathwaite) takes fans through his latest album journey from the […]
During an appearance on the Bootleg Kev podcast, Rapsody was asked her feelings about J. Cole apologizing to fans and Kendrick Lamar after dropping his “7 Minute Drill” diss record from his recent mixtape Might Delete Later. On the track, Cole took shots at Lamar’s discography, most notably To Pimp a Butterfly, calling the Compton […]
On early Monday morning (Apr. 29), a security guard was shot in Encino, Calif., at a home linked to music executive and The Weeknd co-manager, Amir “Cash” Esmailian. LAPD sent Billboard a statement regarding the 2:30 AM incident. “The victim (M/B/37 years) was inside a guard shack when he heard several gunshots and discovered he […]
Although Taylor Swift‘s chart-busting Tortured Poets Department dominated the news cycle of the last weekend in April, the hip-hop and R&B worlds kept churning out hot new tracks and buzzy news stories to keep us occupied.
In yet another update to 2024’s Great Rap War, Drake complied with the Tuapc Shakur estate’s request to take down his new “Taylor Made Freestyle,” which featured verses spit by AI-generated versions of Snoop Dogg‘s and Pac’s voices. Kendrick Lamar has still not responded.
In other news, Ice Spice blessed Cash Cobain & Bay Swag’s “Fisherrr” remix, Ne-Yo smashed his NPR Tiny Desk set with a mixture of hits he’s penned for both himself and other artists, and Eminem announced a new album entitled The Death of Slim Shady (Coup De Grâce) out this summer.
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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 Susan Carol’s soulful debut to Tommy Richman’s fast-rising smash. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Susan Carol, “Karma”
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Fresh off her first career Grammy win (best traditional R&B performance for “Good Morning” with PJ Morton), Susan Carol is celebrating her recent signing to Def Jam with new single “Karma.” Produced by Harmony Samuels, “Karma” finds Carol delivering a biting vocal performance that plays well against the lush combination of swanky guitars, steady percussion and ornate strings. “Think you better than you is/ And I swear the d–k was mid/ It’s just like a boomerang/ Your’re throwing out bulls–t & it comes right back on you/ There’s nothing left for me to do,” she sings before the production opens up into a soulful symphony of lounge jazz influences. The concept of the song is simple, yet effective, why waste time plotting revenge when you can let karma fight your battles for you? Well said, Susan.
Tommy Richman, “Million Dollar Baby”
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Tommy Richman has arrived. The Virginia native guested on Brent Faiyaz’s Larger Than Life album last year — but now, he’s capitalizing on his chance to fully introduce himself to the world. A TikTok snippet scorched the platform, and “Million Dollar Baby” hit the ground running on Friday (April 26). Released via Brent Faiyaz’s Iso Supremacy in partnership with Pulse Records, “Million Dollar Baby” sounds like a cousin of BROCKHAMPTON’s catalog, with Richman alternating roles and jumping octaves in his vocal range. For those that enjoy a grungier aesthetic, the unpolished DVD version of the track is also available featuring clipped drums and a fuzzy bassline. “Million Dollar Baby” could be making a splash on the Billboard Hot 100 with a lofty debut, as a bona fide song of the summer contender has arrived.
Normani feat. Gunna, “1:59″
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For the first taste of her long-awaited debut studio album, Dopamine, Normani recruits Gunna for a sultry midtempo that combines the lush vocal stacks of Brandy, the effortless seductiveness of Aaliyah and the Fifth Harmony alum’s own trademark enigmatic allure. As he does on his own R&B-adjacent collaborations, Gunna slinks in and out of harmony with Normani, presenting welcome contrasts to the song’s overall languid feel and providing a bit of dynamism for the “Motivation” singer to play off of in the back half. Now that her debut LP finally has a release date (June 14), “1:59” is a solid introduction to the Normani of Dopamine.
Anycia & Cash Cobain, “That’s Hard”
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Here’s an unexpected collaboration from the pair of rising rappers leaving their mark in 2024. Everything Cash Cobain lends his Midas Touch to is turning to gold these days. Cash freestyles another silky chorus and welcomes Anycia into his world with a Slizzy summer on the horizon. She matches his typically laid-back and raunchy vibes. “I’m getting top in the back of a brand-new car/ Nene the hardest/ He singing my s–t by the bar,” Anycia brags in her raspy flow. “That’s Hard” is a fun standout from Nene’s robust Princess Pop That debut, which arrived via UnitedMasters on Friday (April 26).
JT, “Okay”
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JT is on the cusp. Between her smart moves in the fashion world, the fan base she’s solidifying through her current club tour and club-ready records like “Alter Ego” (with Doechii) and now “Okay,” 2024 is shaping up to be a career-defining year for the City Girls rapper. “I’m pretty than a motherf–ker, h–s be lookin’ okay/ She think that she f–kin’ with me, is this bitch okay?/ He said he ain’t f–kin’ ’round, I look at him like, ‘Okay’/ I used to be down bad, but now a b—h okay,” she splits in her typically unbothered tone of rattling production from Akachi and Shawn Ferrari. With a hook this sticky and a string of solo singles as strong as “Okay,” “No Bars” and “Sideways,” JT’s forthcoming City Cinderella mixtape could very well take her to the next level.
Babyface Ray, “Glory”
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A rose bloomed from the concrete of Detroit. Babyface Ray has been as consistent as they come from the thriving Midwest rap scene. Ray basks in his glory as his smoky flow aerates the twinkly production. However, the 33-year-old can’t relate to his Gen Z peers in some ways like publicly broadcasting street violence. “I’m glad I was raised by bosses, these n—as lost in the sauce keep talkin’ ’bout killing/ All of the killers I know, they don’t even talk, so I’m sayin’ too much right now,” he contests. Ray switches gears and paints a picture of his baby boy waving bye-bye from the back of his Benz – it’s all about versatility. He claimed the Summer’s Mine with his 2023 project, we’ll see if he can find his way into the mix again this season.
Camper feat. Tank & Syd, “I Need It”
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Camper, the Grammy-winning producer behind chart-topping hits like Coco Jones‘ “ICU,” is stepping into the limelight. For his new single, the R&B craftsman recruited Syd and Tank, two voices that — while they evoke two separate eras of R&B — make for an absolutely gorgeous duet. Between Syd’s beguiling tone and the buttery seduction of Tank’s delivery, “I Need It” finds the two singers beautifully painting across Camper’s intimate, bedroom-ready production. “Find a better reason/ Why we shouldn’t lay up/ Get back to freakin’ right now/ All I know is/ I need it,” Syd declares.
Bairi, “Man Enough”
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Bairi’s luscious vocals could melt a heart made of ice. Sampling British art-pop group Art of Noise, “Man Enough” finds The Siren radiating about a distant lover trying to decode where they went wrong along the way. “Trapped in your sea, stuck in your weeds, begging you please, come back to me/ But I ain’t tripping if you want to leave, then leave/ Just don’t leave me on an empty guarantee,” she softly sings. Word to Ariana Grande, Bairi’s got no tears left to cry and she’s ready to move on from her former flame who couldn’t perform up to standard. “Man Enough” is just a peek into Bairi’s talent exuded on her intoxicating debut album Fire Siren.
Tommy Richman has taken the internet by storm in the last few days after releasing his new song, “MILLION DOLLAR BABY.” Released Friday (Apr. 26), the record is already firing on all cylinders on streaming because of its funky sound and Richman’s seamless vocal riffs. Last week, Richman first teased the track on TikTok using […]
Two weeks after the death of their beloved collaborator producer Rico Wade, OutKast paid loving tribute to the ATL legend who died at 52 on April 13.
“The first time we met Rico [Wade] of Organized Noize, we had the ‘Scenario’ instrumental on and we just rapped damn near the whole song, non-stop,” OutKast’s André 3000 wrote in an Instagram post over the weekend. He described sitting in Goodie Mobb member Big Gipp’s truck listening to the song on a cassette player.
“We didn’t know Gipp or Rico or none of them, but Rico knew people who did beats,” Dre continued. “He said, ‘Let me hear what you got,’ so we put in the ‘Scenario’ tape and started rhyming, non-stop, back-and-forth.” The beloved duo’s debut studio album, Southernplayalisticadillacmuzik — produced by Wade and Organized Noize — was released 30 years ago Friday, the same day Wade was buried in Atlanta.
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“That day, after we rhymed, Rico saw something in us. At that time we’d both shaven off all our hair. We’d dyed our hair blonde one time: We were young and in high school, we were outcasts, you know?” André wrote. “Rico saw that, and he said, ‘These guys can really rhyme. They don’t really rhyme like people from the South.’ So he told us to come over to his house, and that’s where the dungeon is, in the basement.”
Wade is considered one of the architects of Southern rap thanks to his role as one-third of the songwriting and production team Organized Noize, whose members also included Sleepy Brown and Ray Murray. In addition to their production and songwriting on the OutKast debut, they also worked on Goodie Mob’s 1995 debut, Soul Food.
Dre’s former partner in rhyme, Big Boi, also had fond memories of working with Wade, adding, “From the beginning, Organized Noize signed us. They were our big brothers, and they did a production deal with LaFace Records. They were the sones that gave us our first shot and we been doing music with them since the beginning. Without Rico Wade… there would be no OutKast.”
The memorial featured the caption, “Thank you, Rico. We will love you forever. Rest well, brother. Until we meet again [prayer hands emoji].”
The post ended with a quote from Wade, who once said, “We got with [OutKast] when they were young. They were like 16 or 17, and they were ready for some direction… I think timing is everything. It was time for a revolution.”
Another tribute post honored the duo’s landmark debut — which included their breakout hit, “Player’s Ball” — and spotlighted pics of Wade in the studio with the pair and posing with the entire extended Dungeon Family crew.
See OutKast’s post below.
Future has evolved into one of rap’s dignitaries in the 2010s as he’s put up seven straight No. 1 albums on the Billboard 200. Pluto broke out with a syrupy assist on YC’s “Racks” and earned an early Hot 100 hit in October 2012 with “Turn On the Lights.” DJ Khaled has repeatedly recruited Future […]
