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Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at [email protected] and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Busta Rhymes featuring Kendrick Lamar, ‘Look Over Your Shoulder’[embedded content]To invite Kendrick Lamar to record a guest verse is to risk being outshone on your own track — just ask Drake, Big Sean or just about every other rapper he’s shared a beat with. Busta Rhymes certainly holds his own on “Look Over Your Shoulder,” a nostalgic love letter to hip-hop from his long awaited album “ELE 2,” and drops a handful of memorable lines (“When I leave, even my shadow got a sound to it.”) But there’s a moment of sublime weightlessness as Lamar kicks his flow from second to third gear, instantly reminding us how singular his talent is, and how much his voice has been missed. Here’s hoping the follow-up to “DAMN.” is arriving soon. LINDSAY ZOLADZEmpress Of featuring Amber Mark, ‘You’ve Got to Feel’“You’ve Got to Feel” starts out as self-help: “You’ve got to feel to let it heal,” it declares. But as the track keeps cleverly juggling its layers of rhythm guitar, bass and beat, Empress Of — the songwriter and electronic producer Lorely Rodriguez — lets her guest, Amber Mark, pivot the song into a denunciation of capitalism and privilege, a system bigger than anyone’s private troubles. JON PARELESTierra Whack, ‘Dora’“Open the door, tell them that you ready to explore,” Philly’s hip-hop surrealist Tierra Whack beckons at the beginning of her new song, “Dora” — and from there you’re transported directly into her Technicolor brain. “Dora” is a playful ode to the material world (“I like nice things/Buy me nice things”) that sidesteps cliché at every turn, simply because you never know where Whack’s rhymes are going to land: “Yes of course, I’m in Dior/I think I just might buy me a horse.” The conceptual artist Alex Da Corte has created a perfect visual accompaniment, combining humorous literalism with childlike zaniness — think Lil Wayne’s “6 Foot 7 Foot” video if it were set in Pee-wee’s Playhouse. It’s a Whack World; we’re all just visiting. ZOLADZKeke Palmer, ‘Actually Vote’This get-out-the-vote song, produced and co-written by Billie Eilish’s brother and collaborator Finneas, will be short-lived, irrelevant after Election Day, Nov. 3. But it deftly microtargets a specific demographic — the Democratic youth vote — with gospel piano chords and catchy, cheerful, pointed advice: “Young people are the biggest voting bloc/You can only make a change if you check that damn box.” It’s a goad to skip social media and fill out ballots. PARELESSebastián Otero, ‘Juyendo’In his pre-election single “Juyendo,” the Puerto Rican rapper and singer Sebastián Otero calls for attacking entrenched corruption with a machete. Produced by Otero and Eduardo Cabra (from Calle 13), it’s an eventful three minutes that encompass singing, rapping, echoes of Santeria drumming, trap percussion, salsa horns and synthesizers that buzz like an approaching swarm of hornets. PARELESRoutine, ‘Cady Road’The newly formed duo Routine is a collaboration between Annie Truscott, the bassist of the jangly Washington band Chastity Belt, and Melina Duterte, the multi-instrumentalist who records as Jay Som. “Cady Road,” the first single from their upcoming debut EP “And Other Things,” moves at the tempo of a casual afternoon stroll, full of lush, chiming guitars. With Duterte helming the production, Truscott sings lead: Her voice is dreamy and low, slightly reminiscent of Helium-era Mary Timony. “Relax, it’s fine/Just give it time,” she sings, reassuringly. It’s indie-rock comfort food. ZOLADZGillian Welch, ‘There’s a First Time for Everything’“There’s a First Time for Everything” is a classic country waltz, with just a handful of chords, from an archival set of songs from the early 2000s — “Boots No. 2: The Lost Songs, Vol. 3” — that Gillian Welch will release on Nov. 13. The arrangement is minimal, tandem vocals over guitar and slide guitar. But in under three-and-half minutes, the storytelling moves from love at first sight to cheating to breakup with an economy to rival Hank Williams. PARELESGianna Lauren, ‘Closed Chapter’The Canadian songwriter Gianna Lauren’s feathery vocal inflections and gradual but eventually unstoppable buildup — from terse guitar pattern to full electric band with horns — clearly glance back to Feist. But she constructs her own enigma in “Closed Chapter,” from an album due Nov. 6. “Why look in the mirror?” she asks. “I know who I am.” PARELESXenia Rubinos, ‘Who Shot Ya?’On her wildly creative 2016 album “Black Terry Cat,” the New York musician Xenia Rubinos interwove everyday banalities (“looking for my glasses in the lost and found”) with razor-sharp political provocations (“Brown walks your baby/Brown walks your dog/Brown raised America in place of its mom”), resulting in a rich, idiosyncratically personal take on modern American life. On “Who Shot Ya?,” a new one-off single, Rubinos brings the spirit of protest to the forefront and raises her voice against an interconnected web of social injustices. In the video’s most striking moment, she is locked inside a cage meant to evoke the immigrant children separated from their parents at the border; elsewhere, she pointedly interpolates the melody of “I Shot the Sheriff” to ask, “Who shot the sheriff when they killed Breonna in her sleep? And they still out free.” ZOLADZMary Halvorson’s Code Girl, ‘Lemon Trees’The guitarist and composer Mary Halvorson has been letting her ambition run wild with her quintet Code Girl, treating it as fertile ground for her ambitions as a songwriter, poet and bandleader. So why not ask one of her idols, the 75-year-old fusion icon Robert Wyatt, to join on a few tracks for its new album? On the opening tune, “Lemon Trees,” he sings Halvorson’s evocative but mysterious verse, inspired by the writer Lawrence Osborne, with a mix of wisdom and innocence. Around him, the band plays a carefully spooled arrangement that never comes undone, even when the trumpeter Adam O’Farrill and the drummer Tomas Fujiwara light off on an open-ended improvised duet. GIOVANNI RUSSONELLOCraig Taborn’s Junk Magic, ‘The Science of Why Devils Smell Like Sulfur’It can be difficult to figure out just how you’re supposed to handle the beat on “The Science of Why Devils Smell Like Sulfur,” from the pianist Craig Taborn’s new album with Junk Magic, his remarkable side project. But as twisted and aberrant as the ecosystem of sounds on this album is, that doesn’t mean you can’t move to it. In fact, this music — influenced by Aphex Twin, Autechre and Squarepusher, but spinning off in Taborn’s own directions — feels almost overwhelmingly physical. He sought to build what he calls sound chambers, moving the listener in and out of them, giving you something more to experience than just melody, harmony and rhythm. RUSSONELLOMouse on Mars, ‘The Latent Space’The beat is nearly relentless but never predictable in “The Latest Space,” an early preview of an album due in February, “AAI (Anarchic Artificial Intelligence),” from the long-running Berlin electronic duo Mouse on Mars. They deploy A.I. software alongside hand drums and chopped-up vocal syllables for a track that arrives like an express train, dances awhile to a quick six-beat pattern, pauses, then resumes — barreling ahead but refusing to stay in any meter for long, like a system constantly re-encrypting. PARELES More

Alarm Will Sound used multiple videoconferencing tools to master the ambiguities of Tyshawn Sorey’s “Autoschediasms.” More

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The ‘Pursuit of Happiness’ hitmaker teams up with screenwriter Ian Edelman and software engineer Jonathan Gray to launch the new mobile-based app that will see him as chief creative officer.

Oct 30, 2020
AceShowbiz – Rapper Kid Cudi has turned entrepreneur to help artists boost their earnings by connecting directly with fans through a new app.
The “Pursuit of Happiness” hitmaker has teamed up with screenwriter Ian Edelman and software engineer Jonathan Gray to unveil Encore, a new mobile-based platform aimed at providing better live music opportunities to fans, while also helping performers find new ways to connect and cash in on their work.
The ‘Man on the Moon: The End of Day’ artist will serve as Encore’s chief creative officer to oversee its artistic vision.

In a statement, he says, “The energy from a concert is undeniable, both for the fans and artists.”

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“I am excited to launch Encore to help bring the live music experience back to our fans. Encore is committed to empowering both established and new artists and delivering the best mobile music experience out there.”
According to a press release, artists will be able to “drop new music, chat with fans and host live shows from anywhere in the world” with the new app.
“The current streaming model puts artists in competition with one another and only rewards the top one per cent of artists who collect 90 per cent of the money,” officials share.
“Encore offers an all-new format that encourages collaboration amongst artists and makes it easy for up-and-coming and established artists to manage and grow a direct relationship with their fans.”
An official launch date for the app has yet to be announced, but Encore is currently in private beta mode.

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The remix, which was first teased by the ‘Follow God’ rapper last week, marks Ye’s first collaboration with the ‘Rockstar’ hitmaker who has announced that he’s voting for West in the presidential election.

Oct 30, 2020
AceShowbiz – DaBaby has sealed his endorsement of Kanye West with an appearance on the latter’s song “Nah Nah Nah”. The original song was released on October 16 as part of his planned album “Donda: With Child”, and he announced two days later that DaBaby did a remix version of it.
“DABABY TURNED THIS VERSE AROUND SO QUICK ITS INSPIRATIONAL TO SEE HOW FAST WE CAN MOVE AS A PEOPLE,” Ye gushed on Twitter about his collaborator last week. He included a 16-second snippet of DaBaby’s verse in the post, writing, “I HAD TO GIVE YALL AT LEAST A SNIPPET.”
In the original song, Kanye raps about his presidential run, his contract dispute with Universal Music Group, and his appearance on Nick Cannon’s podcast. Meanwhile, in the remix which also features 2 Chainz, DaBaby expresses his hope to make it big like the Yeezy designer as spitting, “Tryna make some shoes with Yeezy and Billion Dollar Baby clothing.”
DaBaby isn’t only keen on working with Kanye musically, but he has also shown his support for the “Gold Digger” rapper’s political ambition. Back in August, the “Rockstar” hitmaker announced that he’s voting for Ye in the upcoming presidential election. “Ima let y’all finish…. But you got me f**ked up you think I ain’t voting for Ye,” he tweeted while paying homage to Kanye’s infamous 2009 VMAs moment.

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Kanye was recently reported to have spent $3 million on his presidential run. Reports stated earlier this month that he’s polling at 2 percent nationally, as he was deemed ineligible to get his name in the ballots in a number of states.
His White House run aside, Kanye recently hinted at the launch of his own Yeezy Christian Academy. The 43-year-old star tweeted on Wednesday, October 28 a video appearing to promote the institution.
It featured his daughter North and son Saint, his two elder children with wife Kim Kardashian, as well as their cousins, Kourtney Kardashian’s kids Mason and Penelope Disick, wearing blue T-shirts and pants, with the school’s initials, “YCA,” branded across the chest, as they gathered in a classroom, and run around outdoors.
“Dear Future, I still believe in you. We still believe in you. We believe in our families,” they chanted in the clip. “In our future, we will heal. Our future has homes for everyone. Our future has food for everyone. Our future has love. Jesus loves everyone. Let’s lead with love! Our future is waiting on us!”

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While many of her songs are rumored to be about her exes, the ‘Look What You Made Me Do’ singer insists her 2012 album was her ‘only true breakup album.’

Oct 30, 2020
AceShowbiz – Taylor Swift only has one “true breakup album” – 2012’s “Red”.
Since her 2006 debut album, Swift has built a reputation for penning songs directed at her famous exes, which include Harry Styles and Calvin Harris, but she insists not all of her albums are centred on heartbreak.
In a trailer for Rolling Stone’s 500 Greatest Albums podcast, she opens up on “Red”, which comes in at number 99, and calls the record, “My only true breakup album.”
“Every other album has flickers of different things,” she says. “This was an album that I wrote specifically about a pure, absolute, to-the-core heartbreak.”

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“Red” features several massive hits, including lead single “We Are Never Ever Getting Back Together” and her massive hit “I Knew You Were Trouble”.
Fans have speculated that the album is inspired by Swift’s split with actor Jake Gyllenhaal, with the track “All Too Well” referencing “a little kid with glasses” as well as a sister – believed to be his actor sibling Maggie Gyllenhaal. Taylor has never confirmed the rumours.
Rolling Stone’s 500 Greatest Albums will be available exclusively on Amazon Music and will begin streaming weekly episodes on 10 November.
Taylor Swift once explained why she used the word “Red” for the title, “All the different emotions that are written about on this album are all pretty much about the kind of tumultuous, crazy, insane, intense, semi-toxic relationships that I’ve experienced in the last two years. All those emotions – spanning from intense love, intense frustration, jealousy, confusion, all of that – in my mind, all those emotions are red. You know, there’s nothing in between. There’s nothing beige about any of those feelings.”

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Former golf professional Bob Young wrote his first song at the age of 78 after being so fired up from watching Donald Trump on TV, and recorded it with a band he named The Peterboroughs.

Oct 29, 2020
AceShowbiz – Neil Young’s brother has written and recorded his first song at the age of 78.
Former golf professional Bob Young is so fired up about the upcoming U.S. general election, he decided to write a song about his feelings, “Hey America”, and he’s so pleased with it he has recorded it with a band he has named The Peterboroughs, which features his famous brother on harmonica.
“I didn’t set out to become a songwriter and singer at 78 years of age,” Bob said in a statement. “It was and is an organic event. I was watching Donald Trump on TV a couple of years ago and wrote down a few lines. When I got home, I found I could play those lines on guitar. Gradually, it became what it is now. It took a while to be able to play and sing the song from start to finish. When I could finally accomplish that, it was a victory.”

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“The recording process all happened at once. I had never done that either. It was a band performance that had spontaneity. In another session, some vocal harmony was added, and Neil played harmonica. My perspective is simultaneously that of a participant and spectator. I am watching myself do this.”
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The recording prompted brother Neil to do something he has never done – direct the video with the help of his wife, actress Daryl Hannah.
“The filming of Hey America was done in the COVID-19 environment,” Neil tells Rolling Stone. “One shot where we’re all standing together, singing without masks was done in three separate shoots with the same background and assembled in post-production to look like three people singing together.”

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Doc Wynter still remembers the first time he heard “WAP.”A top radio programmer for decades, Wynter has come across countless explicit rap tracks and “blue” R&B songs that required nips and tucks before they could be played on-air. But even Wynter, the head of hip-hop and R&B programming for the broadcasting giant iHeartMedia, was taken aback by “WAP,” Cardi B and Megan Thee Stallion’s brazenly graphic anthem of lubrication, when he was given a preview before the song’s release in August.“It hits you at the very beginning — like, whoa! — and then it just keeps on going and going and going,” Wynter said, still marveling at the song’s barrage of suggestive imagery. “Thank God we have systems in place,” he recalled thinking, “that prevented that record from hitting the airwaves.”Of course, “WAP” did hit the airwaves, and the streaming services, in a big way. One of the year’s most inescapable hits, it held No. 1 on Billboard’s Hot 100 chart for four weeks and drew 1.1 billion clicks on streaming platforms. An instant social media phenomenon, the song spawned remixes and memes galore, including a subgenre of outraged-slash-titillated parental reaction videos.[embedded content]To an extent not seen in years, “WAP” also became something of a political lightning rod, decried by pearl-clutching commentators like Ben Shapiro, who saw the song as a “really, really, really, really, really vulgar” embodiment of liberal hypocrisy. (Cardi B has been a vocal supporter of Joe Biden and Bernie Sanders.)Yet despite the song’s uninhibited raunch, its popularity was partly earned from one of the music industry’s oldest bugaboos: self-censorship. Before “WAP” could be played on the radio, its most explicit verbiage was pruned by Cardi B’s engineers. Wynter recalled that the ostensibly sanitized copy first offered by Cardi B’s label, Atlantic — the “clean” version of the song, in industry jargon — was still too racy for broadcast, leading Wynter to ask for nine additional, last-minute edits.And the music video for “WAP” that caught fire on YouTube was elaborately censored. If fans listened only to that version, they wouldn’t have learned what its title acronym stood for — instead, just that something was “wet and gushy.”The success of “WAP” highlighted one of the music industry’s dirty little secrets: that even in an age of rampant vulgarity — and 35 long years since a crackdown on lyrics by the Washington elite — the bowdlerizing of pop songs remains deeply ingrained in the work of artists and their marketers.Today, most major releases that have some naughty words — including the latest from Taylor Swift and even Stevie Wonder — also come out in censored versions. Decades ago, that may have been done in part to avoid political controversy. Now business is the driving force, as labels chase down every click and playlist placement to maximize songs’ streaming income.“There is definitely a market for edited content,” said Jim Roppo, the general manager of Republic Records, the label of Drake, Ariana Grande and Swift. “If you are eliminating yourself from that market, then you are leaving money on the table.”Self-censorship was present at the beginning of rock ’n’ roll: Little Richard famously snipped “good booty” from the original lyrics to “Tutti Frutti.” But its current role in the music industry dates to 1985.Little Richard edited the original lyrics of “Tutti Frutti” to remove “good booty.”That was when Tipper Gore, who was married to Al Gore, then a United States Senator from Tennessee, helped start the crusading Parents Music Resource Center after being scandalized by a Prince song. Her group called for warning stickers on albums, a suggestion echoed during a Senate committee hearing the same year, which stirred fears of encroachment on musicians’ First Amendment rights. “If it looks like censorship and it smells like censorship,” Frank Zappa said at the time, “it is censorship.”Then as now, race played a complex role. Black art has always been policed aggressively, particularly in popular music genres — a continuum that stretches from jazz to rock to hip-hop. But in the 1980s, rock and metal came under fire as well, and seemingly anything on the radio was a potential target. In one of the most surreal moments of the 1985 Senate hearings, John Denver defended his song “Rocky Mountain High” against accusations that it glorified drug abuse.Record companies soon agreed to affix a “parental advisory” sticker on albums that they — not an outside regulator — deemed to include “strong language or depictions of violence, sex or substance abuse.”That move may have staved off further scrutiny in Washington. But it led to complications in the market as big box retailers like Walmart, Best Buy and Target came to dominate sales in the 1990s. Some of them refused to carry explicit content, which meant that anything that bore the labels’ black-and-white warning sticker risked not being stocked — and could lose as much as 40 percent of potential sales, music executives said.“The public controversy — the regulatory threat — never felt as great as the retail threat,” said Hilary Rosen, a former chief executive of the Recording Industry Association of America.The record companies’ solution: produce copies of albums scrubbed of their most provocative vocabulary. A golden age of self-censorship followed, with profanities and violent lyrics often simply deleted — leaving hit songs dotted with brief silences, like holes. “We used to call it Swiss cheese,” said Paul Rosenberg, Eminem’s longtime manager.Disliking that effect, Eminem sometimes wrote new lyrics for clean versions. Rosenberg recalled one such rewrite with wincing regret: the “Pizza Mix” of Eminem’s 1999 song “My Fault.” In the explicit original — a classic example of Eminem’s silly-scary storytelling style — a young woman has a drastic reaction after being given too many hallucinogenic mushrooms. In the cleaned-up version, the garden-variety mushrooms are on a pizza, and the woman is merely “allergic to fungus.”“All of a sudden it was not this fun dark comedy,” Rosenberg said, “but literally a record about putting mushrooms on a pizza, which ended up just being ridiculous.”Midway through our conversation, Rosenberg excused himself, saying that “Marshall” — a.k.a. Eminem — was on the other line. When he returned a minute later, Rosenberg said he told his client that he was “doing an interview about your explicit lyrics.”“He got excited about that,” Rosenberg added.Eminem was not alone in willingly tweaking his work. In 1999, when the New Orleans rapper Juvenile released “Back That Azz Up,” his label knew it was too risqué for radio. So they cut a new version, “Back That Thang Up,” which went to No. 19 and ended up a nostalgic favorite. In an interview, Juvenile — who has recently taken on a second career as a furniture maker — recalled that he eagerly compromised.“I wanted to get it to the masses,” said Juvenile, calling from a Home Depot while shopping for paint. “Sometimes you have to make sacrifices on the lyrical content — take a hit on being profane in order for your music to be heard.”In time, as big-box retailers’ power over the industry faded and the consumption of music moved online — and as social mores and media standards evolved — the pressure for clean versions waned.Although edited versions are still released for many new albums, there are puzzling exceptions. Recent releases by major acts like Travis Scott, Lil Uzi Vert, Roddy Ricch and Tyler, the Creator, to name a few, came out only in explicit editions. “Everybody’s Everything,” a posthumous collection by the rapper Lil Peep, did not have a clean version, but XXXTentacion’s “Bad Vibes Forever,” which came out after the rapper’s killing, did.Record executives and artist managers offered various explanations for the inconsistency, although many were not willing to speak on the record. Some musicians, they said, object on principle to the censoring of their work. Though once seen as a bold and risky stance — Green Day, for example, refused to edit its albums “American Idiot” (2004) and “21st Century Breakdown” (2009), and forfeited sales at Walmart — that rarely draws wide notice today.Another reason was structural: In the streaming age, music can be made and released so quickly that little time is left for edits. Those albums may not get a clean version until days or weeks after their initial release, or never. If no edited version is available, radio stations — or random YouTube users — may simply make their own.Ghazi, the founder of Empire, an independent distribution company that specializes in hip-hop, thinks that much of the industry fails to grasp the importance of clean versions. “It’s a lost part of the business,” he said.He noted all the standard opportunities that would disappear without a clean song, like licensing for television and being piped into restaurants and retail shops. But Ghazi, who uses only one name, also pointed to outlets like JPay, which provides music — clean only — to prison inmates, as well as to online platforms in Asia and the Middle East that block explicit content. The existence of a clean version can increase some albums’ sales as much as 30 percent, according to Ghazi.And the artistry of clean edits has made huge progress since the Swiss cheese days. Jaycen Joshua, a mixing engineer who has worked on releases by Jay-Z, Nicki Minaj, Rihanna and many other artists — including Megan Thee Stallion — described an elaborate tool kit of sound effects, stretched-out sibilants and patched vowels to preserve the musical fingerprint of an altered word.“Anything to give the illusion to the brain that a word is still there, even if you don’t hear that explicit word itself,” Joshua said.A Spotify alert for explicit content.For artists who do not self-censor, the risk may simply be invisibility.Music’s consumer landscape is now rife with family streaming plans and parental content-filtering. For customers who set their devices to weed out explicit material, Apple and Amazon automatically substitute edited versions of songs when they are available, and skip them altogether when they aren’t. Most of the time, virtually every track on Spotify’s powerhouse “Rap Caviar” playlist is marked explicit; for a tween on a content leash, it can take three or four arduous clicks to see if a clean alternative is available.Among radio programmers, streaming curators and record executives, the standard scenario to explain the need for clean versions is that of a bystander child: Would an adult object if they heard a particular song with their child in the car, or in earshot of a smart speaker?“I have a 3-year-old daughter,” Ghazi said. “I’m not going to play her Chris Brown singing ‘[expletive] you back to sleep,’ but I might play Chris Brown ‘sex you back to sleep.’”In the 1980s and ’90s, the public discourse about explicit music was centered on parents’ ability to restrict their children’s access to it. In some ways today’s content controls are a powerful manifestation of that goal. Yet in the ocean of online content, nothing is truly hidden.Van Sias, a freelance writer in Brooklyn, said that when he and his wife gave their 12-year-old daughter her first iPhone for Christmas last year, they set it to block explicit content on Apple Music. But they know she may come across some on YouTube or Instagram anyway.“There’s only so much you can do,” Sias said. “You can’t obsess over things you can’t control.”Lil Peep’s posthumous collection “Everybody’s Everything” did not have a clean version.For those who lived through the controversies of the Parents Music Resource Center, 2 Live Crew’s arrest and Body Count’s “Cop Killer,” however, the brouhaha around “WAP” was a jarring throwback. In a way that now seems quaint, rock and rap were once vilified as threats to basic civility.“There was a constant cultural war around whether music was at fault for coarsening society,” said Rosen, who is now a Democratic strategist. “But when you look at it today, I don’t think anyone is accusing Cardi B of coarsening society — that’s Donald Trump’s job.”Cardi B herself stoked controversy around her song, which is equally uninhibited in celebrating female desire and in demanding service from men. In an Instagram clip, she said the music video used the “the censored version of the song” because “YouTube was like, hold on, wait a minute, the song might just be too [expletive] nasty.”A spokeswoman for YouTube, however, said that the raw version of “WAP” did not violate its community guidelines — that version exists on YouTube as an audio track — and that Atlantic provided only one edition of the song for its official music video, using edited lyrics.Cardi B and Atlantic declined to comment. But it may have been that Cardi and her label simply strategized that a censored version would generate the most clicks, and anyone interested would probably hear the dirty version anyway. Indeed, “WAP” may be the raunchiest No. 1 single of all time.Two decades ago, Juvenile had it both ways, too, putting the dirty version of his song on his album and releasing the cleaned-up track as a single. But he made it clear that when he performs in concert, his material is uncensored.“I’m definitely street everything,” he said. “I never do a radio version live, unless they pay me a lot of money.” More

This week’s Billboard 200 chart also sees The 1975’s ‘Notes on a Conditional Form’ debuting at No. 4 with 54,000 equivalent album units, marking the band’s third top 10 album.
Jun 1, 2020
AceShowbiz – Gunna is celebrating his first No. 1 album on Billboard 200 chart with his new album “Wunna”. The album successfully debuts atop the chart with 111,000 equivalent album units in the U.S. in the week ending May 28, according to Nielsen Music/MRC Data.
Of the sum, 106,000 units are in the form of SEA units, while 4,000 are album sales and less than 1,000. are in TEA units. Prior to this, Gunna ranked as high as No. 3 with his last release, “Drip or Drown 2”. Addressing his milestone, Gunna took to Twitter to write, “It’s hard celebrating a #1 album when the world is Hurting.”
Hot on its heels is Lil Baby’s “My Turn” that ascends to No. 2 with the earning of 65,000 equivalent album units. Former No. 1 album, Future’s “High Off Life”, meanwhile, falls to No. 3 with earning 61,000 units its second week.
This week’s chart also sees The 1975’s “Notes on a Conditional Form” debuting at No. 4 with 54,000 equivalent album units. The set marks the band’s third top 10 album joining “A Brief Inquiry Into Online Relationships” (No. 4 in 2018) and “I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It” (No. 1 in 2016).
Occupying No. 5 is Polo G’s “The Goat” that shifts from No. 2 to No. 5 with 52,000 album equivalent units. Drake’s “Dark Lane Demo Tapes” also slips from its spot last week, going from No. 4 to No. 6 with 48,000 units.
Descending two spots, from No. 5 to No. 7 with 42,000 units is DaBaby’s “Blame It on Baby”. Rounding out the top 10 are The Weeknd’s “After Hours”, Lil Uzi Vert’s “Eternal Atake” and Post Malone’s “Hollywood’s Bleeding”. “After Hours” falls from No. 7 to No. 8 with 40,000 units with “Eternal Atake” dropping from No. 6 to No. 9 with 37,000 units. As for “Hollywood’s Bleeding”, it dips two spots from No. 8 to No. 10 with just under 37,000 units.
Top Ten Billboard 200 (Week ending May 28, 2020):
“Wuna” – Gunna (111,000 units)
“My Turn” – Lil Baby (65,000 units)
“High Off Life” – Future (61,000 units)
“Notes on a Conditional Form” – The 1975 (54,000 units)
“The Goat – Polo G (52,000 units)
“Dark Lane Demo Tapes” – Drake (48,000 units)
“Blame It on Baby” – DaBaby (42,000 units)
“After Hours” – The Weeknd (40,000 units)
“Eternal Atake” – Lil Uzi Vert (37,000 units)
“Hollywood’s Bleeding” – Post Malone (just under 37,000 units)

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