Latest news with #CarterVI
Black America Web
3 days ago
- Entertainment
- Black America Web
Reginae Carter Defends Her Pops, Lil Wayne From Carter VI Critics
Source:/Reginae Carter recently spoke out in defense of her father, Lil Wayne, after he got a lot of hate for his new album Tha Carter VI. The album had been highly anticipated, but many fans online didn't like it. People complained about the songs, the production, and how the album was put together. But Reginae thinks a lot of this hate isn't really about the music itself. Reginae went on social media to respond to the critics. 'Tha Carter VI is trash? That's fine, that's what you want to say,' she said, before calling out people for judging music based on whether it goes viral. She said just because you can't make a TikTok dance to a song doesn't mean it's bad. 'My dad was talking real stuff,' she explained, adding that the songs are the kind you might hear in video games, malls, and other public places. In her eyes, that makes the album more meaningful and wide-reaching. Reginae went on to say that people need to get off the internet and stop letting trends decide what's good. She reminded everyone that her pops is a real lyricist who puts thought into his words. 'If you can't understand it, please move in silence like the 'G' in lasagna,' she said, quoting one of Lil Wayne's famous lines. At the end of the day, Reginae made it clear she's standing by her dad. To her, *Tha Carter VI* is more than just an album. It's part of a legacy that doesn't need to go viral to be respected. SEE ALSO Reginae Carter Defends Her Pops, Lil Wayne From Carter VI Critics was originally published on Black America Web Featured Video CLOSE
Hypebeast
4 days ago
- Entertainment
- Hypebeast
Lil Wayne's 'Tha Carter VI' Debuts at No. 2 on Billboard 200
Summary Lil Wayneopens this week'sBillboard 200at No. 2 withTha Carter VI. His latest studio effort earned 108,000 equivalent album units in its first week. The total includes 73,000 in streaming equivalent album units (97.06 million on-demand streams of the songs), 34,000 in album sales and 1,000 in track equivalent album Carter VImarks Weezy's 13th top 10 record, with the rest of the albums under hisTha Cartertrilogy peaking at No. 1 or No. 2. Also appearing in this week are ENHYPEN at No. 3 withDESIRE: UNLEASH, which earned 100,000 equivalent album units, Addison Rae'sAddisonat No. 4 with 48,500 equivalent album units and Turnstile'sNEVER ENOUGHat No. 9 (their first top 10) with 38,000 equivalent album units. Making up the rest of this week's top 10 are Morgan Wallen at No. 1, SZA at No. 5, My Chemical Romance at No. 6, Sabrina Carpenter at No. 7, Wallen again at No. 8 and Kendrick Lamar at No. 10.
Yahoo
13-06-2025
- Entertainment
- Yahoo
Nicki Minaj Reunites With Lil Wayne for Fiery ‘Banned From NO (Remix)': Listen
It's a Young Money reunion and the remix, baby. After Nicki Minaj was noticeably absent from Tha Carter VI, the Queen reunited with Lil Wayne for the 'Banned From NO (Remix)' on Wednesday (June 11). Fans were disappointed after a rumored C6 collaboration didn't come to fruition, but the latest chapter in the Nicki-Wayne lyrical marriage arrived less than a week later, while Minaj emptied the clip with a fiery verse on 'Banned From NO (Remix).' More from Billboard Jewish Groups Withdraw From 2025 San Diego Pride Festival Over Kehlani's Support For Palestine Elizabeth Hurley Gushes About Being 'In Love' in Birthday Suit Picture Amid Billy Ray Cyrus Romance Jin Says He'd Love to Collab With Bruno Mars in Puppy Interview Nicki crafts a delectable chorus with short-stopping bars, using NBA teams as double entendres for the Indiana Pacers, New York Knicks, and Los Angeles Lakers. The Queens icon then dives head-first into her bristling verse, which finds her sniping at NFL player-turned-podcast host Shannon Sharpe, who has been critical of Minaj in the past. 'If I send a pic of Shannon you ain't that Sharpe/ Cause you still can't spell Prague and that's horrible,' she raps. Minaj then salutes a classic Wayne bar from the Pharrell-produced 'Yes.' 'Weezy F Baby and the F is for Phenomenal,' she mimics. Before leaving the burning booth, Nicki wasn't done and she sent a shot at the NFL about their choices for the Super Bowl Halftime Show, which overlooked Wayne in his hometown earlier this year. 'NFL, fire some n—s and then call us,' she spews in defense of the Young Money boss. Tha Carter VI arrived on Friday (June 6) filled with 19 tracks and features from Kodak Black, MGK, Bono, BigXthaPlug, Jelly Roll and Big Sean. The 'Banned From NO (Remix)' marks the first Weezy-Minaj collaboration since 2023's 'RNB' from Pink Friday 2. Listen to the 'Banned From NO (Remix)' below. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Yahoo
12-06-2025
- Entertainment
- Yahoo
Nicki Minaj disses Shannon Sharpe on ‘Made In NO' remix
The post Nicki Minaj disses Shannon Sharpe on 'Made In NO' remix appeared first on ClutchPoints. Nicki Minaj's remix of Lil Wayne's 'Banned From NO' from his Carter VI album featured some interesting lyrics addressing Shannon Sharpe. Sharpe has been a permanent fixture in the news for the past few months and it's clear that Minaj has been paying attention as she said, 'If I send a pic of Shannon, you ain't that sharp.' Minaj took to her X account after the song was released to bring even more attention to the diss, playfully trolling both Sharpe and his Nightcap co-host Chad Ochocinco, saying: 'If I send a pic of Shannon, you ain't that sharp!!!! Yeah ****** you thought I forgot that 'Nicki who' *** you did? 🤣😩🤣🤣🤣🤣🤣 LMFAOOOOOOOOOOOOOOOOO j/k 😐 Ochocinco almost caught a strizzy just by being around yo crazy tail self 🤣😩🤣😩🤣 #BannedFromNORemix' While Shannon Sharpe has been ubiquitous for his viral interviews and his sports take, he has been embroiled in controversy as he was hit with a $50 million sexual assault lawsuit in April. The 13-page lawsuit was filed by a 'Jane Doe' in Nevada, alleging Sharpe had committed assault, sexual assault, battery, and sexual battery, and that he engaged in the intentional infliction of emotional distress. The lawsuit states that she and Sharpe started a relationship in 2023 after meeting at a gym in Los Angeles. She claims Sharpe relentlessly pursued her, repeatedly calling, texting, and 'demanding she come to his Beverly Glen mansion.' The relationship is described in the suit as abusive and controlling. The complaint alleges that Sharpe recorded their sexual activities, something without her knowledge, and that he was sharing the videos with others without her permission or knowledge. The suit also alleges that Sharpe threatened to kill her after she attempted to share her location on her iPhone with her friends. On April 24th, Sharpe stepped away from his ESPN duties while also defending his innocence. His statement read: 'My statement is found here and this is the truth. The relationship in question was 100% consensual. At this juncture I am electing to step aside temporarily from my ESPN duties. I will be devoting this time to my family, and responding and dealing with these false and disruptive allegations set against me. I plan to return to ESPN at the start of the NFL preseason. I sincerely appreciate the overwhelming and ongoing support I have received from my family, fans, friends and colleagues. Shannon Sharpe' ESPN also released a statement about Sharpe's temporary departure from his role with the company, stating, 'This is a serious situation, and we agree with Shannon's decision to step away.' Related: Legendary MTV & BET star Ananda Lewis passes away Related: Aaron Glenn hires HBCU alumni to New York Jets coaching staff
Yahoo
10-06-2025
- Entertainment
- Yahoo
Lil Wayne Turned Madison Square Garden Into a Time Machine on His ‘Tha Carter VI' Tour
In 1994, my parents finally went to see The Rolling Stones. The group released Voodoo Lounge, their twentieth album, in July that year, and immediately began touring it. In August, they came to East Rutherford, New Jersey, to play at a football stadium, and my mom and dad decided it was the right time to check a major show off their bucket list. The moment represented an inflection point for the group. It was the first album the Stones had released in five years and was met with a degree of skepticism. They were firmly in middle age, three decades into their career, and had seemingly come to the realization many sixties era Boomer artists were waking up to: Their largely middle class, middlebrow audience had grown up along with them, and were liquid enough financially to pay exorbitant prices for shitty seats to see the band that had eluded them for so long, even if there was rampant speculation the group was washed, and on the downside of their primes. The Stones were on my mind last night at Lil Wayne's Madison Square Garden concert, because it's been 28 years since the Hot Boys released their debut album, Get It How U Live It! on an independent New Orleans based rap label that called itself Cash Money Records, nearly the same span of time between the Rolling Stones' debut in 1964, and the Voodoo Lounge Tour. More from Rolling Stone Sabrina Carpenter, Lil Wayne, Addison Rae, and All the Songs You Need to Know This Week Lil Wayne's First 'Tha Carter VI' Track Featured in an NBA Finals Campaign Escaped Inmate Asks Lil Wayne, NBA YoungBoy, Meek Mill for Help Wayne's show last night, and the venue itself, was a hard booking to figure out, and made complete sense. Wayne has circled New York, a city with a sacred and tortured place in his heart, the entirety of his career. It's where he found his muses in Jay-Z and the Diplomats in the 2000s, as well as where he served an eight-month prison sentence at the peak of his fame and his artistic powers, in Rikers Island over a possession of a loaded weapon charge in 2007. And yet, here he was holding a glorified album release party in the world's most famous arena, ostensibly the first leg of a North American Carter VI tour that opens here the first week in June, but won't resume until the very end of July. The album we had all gathered to celebrate, two hours past the advertised start time for the show, is quite simply a fucking disaster. Tha Carter VI is the work of an artist who either doesn't have a creative team around him capable of pushing back on his worst and most indulgent impulses, or one unwilling to listen to dissenting voices. And in lieu of that lack of editorial process, its author has clearly misplaced, if not permanently lost, his once unimpeachable grip on his true north. Since Carter VI was released on Friday at midnight, my timeline's been ablaze with fans, former fans, and haters chiming in on what exactly had gone so terribly wrong. And yet the electrified Garden crowd was stuffed to the bleeds by the time Wayne hit the stage just after 10, strutting to the stage with a white electric rockstar axe, sporting blonde dreads, pink sweats tucked into heeled knee high boots, an oversized heavyweight Britney Spears T-shirt with her name in neon pink script, a chunky scarf, a bejeweled grill, white framed sunglasses—which would be subsequently swapped out for glasses so big each lens threatened to blot out Wayne's face—and a frozen wrist and neck, rocking doubled iced out crucifix chains and an iced out crucifix pinky ring to go with an iced out wallet chain and a slowly burning late-90s-sized blunt hanging out of a corner of his mouth. There was a minimal stage show behind him: A steeply pitched platform behind the rapper with the Roman Numerals 'I' and 'V' glowing, garden variety pyrotechnics and smoke cannons, a live drummer and a DJ, but the real special effect was the music. The polished old pro bent time and space, keeping the unfortunate new work to a minimum and running through his hits, reliving, nearly chronologically, the thrill of experiencing his catalog all over again at a speed run. The show is special, as it is for any artist with the generational staying power of Wayne, or say, the Stones, because it can represent entire eras in music, in life, in the career of the artist, a chameleonic constant shifting that is a necessity when you've been around for decades. It's why the live experience in this age of streaming is so vital for younger fans trying to navigate this massive back catalog. A pop animal like Wayne must be experienced outside. Pay attention to the ironclad, near chronological setlist built through generations of trial and error response on the road, and watch how tens of thousands of people who were there for each step of Wayne's career reacts to it. To experience the power of these highlights in the room, with a crowd. He has a roster of endless hits—some that touched the Billboard charts and some that never did because the samples can't be cleared and they're still not streaming but were ubiquitous in the aughts nevertheless—from decades of classic, iconic album and mixtape work, which matters when you're trying to understand the impact of an artist of this magnitude. It's a reminder that Lil Wayne is one of the most unique and context-rich rappers of the modern era, thanks to his inventive and influential approach. No GOAT-level rapper less resembles the artist he was when he began, compared to the artist he became, than Wayne does. Like LL Cool J (Who made a brief but memorable cameo on the Garden stage), he was a survivor who never stopped evolving. Whose appeal to his longtime followers was in charting his evolution: From yapping adolescent with the good fortune of being in proximity to one of hip hop's great groups, powered by one of its greatest beat architects, to a young solo rapper experimenting with his style on his underground mixtapes while at the same time aping the influences he wore on his sleeve on his safe and pat major label releases, be it an imitation of Jeezy and T.I.'s early aughts southern crack rap, or Jay-Z's traditional, rockist east coast LPs, to finally combining all those years of experimentation, and metabolizing those influences and producing a sound and a style that was entirely personal and unique, that at last blended his strange instinctive mixtape shit and pragmatic one-for-them proper album releases to produce a run that changed rap to such a degree it has clearly become difficult to look back and understand how subversive and groundbreaking it was at the time. Old Wayne fans such as myself are a funny breed. We're washed people who haven't quite accepted we're washed, in overlaundered Polos with fucked up collars, wearing sunglasses inside in the dark at night and extremely expensive fendi buckets that look stupid as hell. But the music at MSG made us all children again. And this is why you can more or less skip Tha Carter VI, but can't afford to miss Wayne live this summer if you have the opportunity to go see him. His show recreates the joy of his journey, the sense of wonder, the three-decade progression in style and substance that made Wayne one of the greatest rappers of the modern era. On the 30-year anniversary of the Voodoo Lounge Tour, my parents went back to the Meadowlands to see The Rolling Stones again last year, with a pair of tickets that were still wildly expensive and in demand, this time at a football stadium named after an insurance company rather than a football team. The hand-wringing over Voodoo Lounge and the Voodoo Lounge Tour was both warranted and empty, depending on your perspective and what matters to you as a fan. The album was characterized as a bloated, 15-track, one-hour-long product of the insufferable 'CD era', a glorified excuse to tour that has largely been forgotten, and you could argue that, in terms of new music, it was the official death knell of the Rolling Stones' relevance. It also was the richest tour ever to that point, a record the Stones themselves would break multiple times in the ensuing years, the birth of the band as conveyors of 'adult contemporary' bullshit, a nostalgia factory/national mint, that thanks to their longevity made them one of the first groups to capitalize on their boomer fanbase aging into elder feeling-chasers and exploring the limits of what you could charge for a concert ticket, ushering us into this current, deeply fucked era of crazed fans willing to go into significant debt to see Taylor or Beyoncé. Mick and Keith are in their 80s; they are multi-millionaires and have spent the last three decades releasing music occasionally, strictly for their hardcore fan base, but largely living off the incredible creative output of their first three decades. I thought about that as Wayne poignantly ended his show with 'A Milli', one of the strangest Grammy-winning, Billboard Top 10 hits in rap history. I sat next to a middle aged mother and her teenage son freaking out to Wayne and particularly 'A Milli' in the Garden last night, and considered these institutions in pop, the generations of fans who grew up on the Stones' music and Wayne's music, who exposed their kids and grandkids to that incredible initial run and come together whenever these acts go back on the road to appreciate one of the great catalogs in the American songbook again and celebrate their shared love for it. To run back the hits, and remember the glory days, when our favorite artists were young, and so were we. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
