3, slipping ahead of Juice WRLD, Pop Smoke's "Shoot for the Stars Aim for the Moon" enjoyed another strong week with 106,900 album units. At No.
Swift's smashing debut is more impressive for the facts that the singer did not announce the album's release until less than 24 hours before its bow, and that it had no retail sales outside of downloads and advance CD and LP sales handled through her own web store, although it was widely available for streaming. Physical copies of the CD go on sale in brick-and-mortar stores this Friday. First-week sales were no doubt boosted by her web store making eight different limited editions of the CD and vinyl exclusively available for one week only.
That is easily the biggest number for any new release since Swift's own "Lover," which debuted with 991,800 album units 11 months ago. Taylor Swift's "Folklore" may well go down in the lore of 2020 as the album with the biggest debut of the year. 1 on the Rolling Stone album chart. Although there are still five months to go, "Folklore" scorched any competition that has appeared so far this year, with album units of 852,700 pushing it to No.
Swift also had eight of the top 10 songs on the Rolling Stone songs chart and 15 out of the top 20.
8-10 slots with "August," "Mirrorball" and "Seven." All 16 of the tracks from the standard edition of "Folklore" made it into the top 30. 6, and the Swift nailed down the Nos. 1 with 21.6 million streams, followed by "The 1," "Exile" and the "Great American Dynasty" at Nos, 2-4. "My Tears Ricochet" entered the chart at No. (A bonus track accompanying a deluxe edition won't be publicly released till this Friday.} On the songs chart, her "Cardigan" was No.
This week Juice WRLD drops to No. The previous record holder for the top premiere of 2020 was Juice WRLD's posthumous "Legends Never Die" release, which debuted with 517,800 album units two weeks ago and stayed at the pinnacle again last week with 162,800. 4 with 94,000.
Swift's not-quite-year-old "Lover" had a resurgence, by the way, in the wake of its successor, reappearing on the chart at No. 12 with 26,300 album units.
8 with 40,900 album units. The top 10 of the albums chart had one other debuting release besides Swift and Logic, with the Kid Laroi's "F— Love" coming in at No.
In almost any other week this year, that number would have made for a chart-topping bow. 2 with 229,900 album units for "No Pressure," which he has promised or threatened will be his swan song before retiring. Logic came in at No. Logic's total came from a highly impressive 182,400 in actual album sales, a modest 8,100 in track sales and 57.5 million song streams.
6-7 and Harry Styles and Post Malone at Nos. 9-10. Other holdovers in the top 10 included the still thriving "Hamilton" cast album at No. 5 (71,500 album units), followed by Gunna and Lil Baby at Nos.
The breakdown in Swift's numbers was 627,400 in full album sales, augmented by 86,600 individual track sales and 259.4 million song streams.
Conceived and recorded in quarantine with a lower-key musical approach than anything Swift has done before, "Folklore" remains, by at least one standard, the best-reviewed album of her career. On the Metacritic site, it has an average 89 score from critics, topping the 79 aggregate score for "Lover," her previous best in that ranking.” />

She earned two nods for the album's title track, "Lover," and three for her single "The Man."” /> Apart from the critical success of "Folklore," Swift's seventh studio album earned five MTV 2020 Video Music Award nominations this year.
Taylor Swift's latest album, "Folklore," has sold over 2 million copies worldwide in one week, already solidifying its place as one of 2020's top-selling albums.
Final first-week U.S. And it's a record Swift seems easily poised to take: Billboard reported that her album also turned out over 500,000 sales in just three days. sales estimates have yet to be announced, but Swift's album is pacing to claim the title for biggest debut of 2020. Juice WRLD’s posthumous album “Legends Never Die" currently holds that record, with around 500,000 units sold in the one-week period.
"Cardigan," "exile (feat. Bon Iver)" and "the 1" — three of Swift's newest tracks — have sat at the top of the United States Top 50 chart on Spotify since their release last week. And "Folklore" did well on Apple Music, too, breaking the 24-hour record for most-streamed pop album with over 35 million streams on its first day.
In its first day on Spotify, the album accumulated 80.6 million streams, setting a new benchmark on the platform for first-day streams by a female artist. Swift also holds the record for the female artist with the most albums debuting above 500,000 sales in the U.S., with all but her first album surpassing the mark. "Folklore's" performance has already broken records in the United States and worldwide.
Swift's eighth studio album, which she announced roughly 15 hours before its surprise release, also generated more than 500 million streams across various platforms throughout its debut week. Republic Records, Swift's music label, announced earlier this week that the album sold over 1.3 million copies in its first 24 hours alone.

“Folklore” also set the U.S. According to the announcement, the album also broke the global record for first-day album streams on Spotify by a female artist with 80.6 million streams, and delivered “the most-streamed pop album on Apple Music in 24 hours” with 35.47 million streams. and Worldwide Amazon Music Indie/Alternative Streaming Record, although further details were not immediately available.
Related: ” />
Final first-week numbers will not be available until a week from Monday, but the album could well be on track for the biggest debut of 2020, a mark held by The Weeknd’s “After Hours” until last week, when it was surpassed by Juice WRLD’s posthumous album “Legends Never Die,” which clocked 517,800 album-equivalent units in its first week — the first album to shift more than 500,000 units in its first week this year, according to Rolling Stone's album charts. only, while Swift's numbers provided by the label are global.) “After Hours” debuted with 460,000 units in March. (To put that in context, the above numbers are U.S.
Even though its existence was announced just 15 hours before its release, Taylor Swift’s “Folklore” sold more than 1.3 million copies globally in just 24 hours, according to Republic Records, which released the album.
That’s the side of uncertainty I can get on board with.” When announcing the album on social media Thursday morning, Swift described it as “entire brand new album of songs I’ve poured all of my whims, dreams, fears and musings into… Before this year, I probably would’ve overthought when to release this music at the ‘perfect time,’ but the times we’re living in keep reminding me that nothing is guaranteed. My gut is telling me that if you make something you love, you should just put it out into the world.

2020 comes word that all of her older material has been cleared for use in the film. With Taylor Swift's Netflix documentary "Miss Americana" set to open the Sundance Film Festival in Jan.
22, Braun took to social media out of safety concerns. This game of telephone isn’t working.” On Nov. “I have no choice other than to publicly ask for us to come together and try to find a resolution,” he wrote. “I have tried repeatedly through your representatives to achieve a solution but unfortunately here we are.
And I think people need to come together and have a conversation, because that’s not what we got in this industry for."” /> I think there are a lot of real problems in the world, and I think that these problems that are being discussed can be discussed behind closed doors and figured out pretty easily, and it’s something I’ve wanted to do for six months. Speaking to Variety last month at the Chamber of Commerce State of Entertainment conference, Braun said of the public squabble: "People need to communicate, and when people are able to communicate, I think they work things out. And it’s hard, because I can handle it pretty easily, but when it gets to a place where there’s death threats and there’s offices being called and people being threatened…  it’s gotten out of hand.
"Miss Americana" was directed by Lana Wilson and offers "a raw and emotionally revealing look at one of the most iconic artists of our time during a transformational period in her life as she learns to embrace her role not only as a songwriter and performer, but as a woman harnessing the full power of her voice," according to a release of the lineup.
But according to a source, Swift's "songs have been cleared" and the clearances were granted within 24 hours of her request. That's not to say there's been any direct communication between the artist and the businessman. An insider says that, after Braun's social media plea to sit down and talk — and following threats to his family in the wake of Swift's own Tumblr post titled "Don't Know What to Do" —  "she refuses to have a conversation."
The documentary was a flashpoint in the latest public flare-up over Scooter Braun's acquisition of Big Machine Records, and with it the rights to Swift's first six albums: She claimed that Big Machine was blocking her from using songs from that catalog in the documentary.

Atlanta, Ga. – Friday, December 20, at 7:30 p.m. EST – Power 96.1’s Jingle Ball 2019 Presented by Capital One at State Farm Arena (Jonas Brothers, Khalid, Niall Horan, French Montana, Why Don’t We, Lewis Capaldi and Zara Larsson.)
2019 Jingle Ball Tour Dates:
San Francisco, Calif. PST – WiLD 94.9's FM's Jingle Ball 2019 Presented by Capital One at The Masonic (Charlie Puth, Lil Nas X and Quinn XCII) – December 8, at 7:30 p.m.
Other artists on the tour include Charie Puth, Khalid, Lil Nas X, Why Don't We, Zara Larsson, Lauv, and more.
 local time and runs through October 9  at 10 a.m. 11. Tickets will be available at iHeartRadio.com Sales go on sale to the general public Oct. The Capital One Cardholder Pre-Sale begins on October 7 at a.m. Tickets for the Jingle Ball go on sale next month.
(Katy Perry, BTS, Billie Eilish, Sam Smith, Camila Cabello, Halsey, French Montana, Lizzo and Normani.)
Chicago, Ill. CST – 103.5 KISS FM's Jingle Ball 2019 Presented by Capital One at Allstate Arena (Jonas Brothers, NF, Niall Horan, French Montana, Why Don’t We, Zara Larsson and Lewis Capaldi) – December 18, at 7:30 p.m.
(Halsey, Khalid, Charlie Puth, Niall Horan, French Montana and Lewis Capaldi)
The NYC will be what seems to be a rare opportunity for East Coast fans not able to attend those shows to hear songs from the album performed live. Swift — who will only appear in New York — is not touring the U.S. extensively behind her new album, "Lover," and has only announced a four-date self-created stateside festivals, dubbed “Lover Fest,” in Los Angeles and Massachusetts, along with overseas dates.
13, features Swift, Jonas Brothers, Camila Cabello, Halsey, 5SOS, Niall Horan, Lizzo, Dan + Shay, Monsta X, Lewis Capaldi and Fletcher. December 19. The New York lineup at Madison Square Garden, which takes place Dec. The show be carried live across the country on 100 iHeartRadio CHR stations and will livestream exclusively via The CW App and CWTV.com. In addition, The CW Network will broadcast the event as an exclusive nationwide television special at 8 p.m.
Taylor Swift, BTS, Billie Eilish and the Jonas Brothers are just a few of the artists that will be rocking around the Christmas tree during the 2019 iHeartRadio Jingle Ball tour, the company announced today.
–  December 1, at 7 p.m. Tampa Bay, Fla. EST – 93.3 FLZ's Jingle Ball 2019 Presented by Capital One at Amalie Arena
– December 13, at 7 p.m. New York, N.Y. EST – Z100's Jingle Ball 2019 Presented by Capital One at Madison Square Garden
Philadelphia, Pa. –December 11, at 7:30 p.m. EST – Q102's Jingle Ball 2019 Presented by Capital One at Wells Fargo Center
K-Pop will be well represented on both coasts, with BTS in Los Angeles and Monsta X, who made history in 2018 as the first K Pop act to perform at a Jingle Ball, returning for a set on the main stage at Madison Square Garden.
EST – Hot 99.5's Jingle Ball 2019 Presented by Capital One at Capital One Arena Washington, D.C. –  December 16, at 7:30 p.m.
EST – Y100 Jingle Ball 2019 Presented by Capital One at BB&T Center, Ft. Lauderdale/Miami, Fla. Lauderdale (Jonas Brothers, Khalid, Niall Horan, French Montana, CNCO, Why Don’t We and Zara Larsson.)” /> – December 22, at 7 p.m. Ft.
(Halsey, 5SOS, Niall Horan, Lizzo, Monsta X, Why Don’t We and Lewis Capaldi)
Boston, Mass. –  December 15, at 6 pm EST – KISS 108's Jingle Ball 2019 Presented by Capital One at TD Garden
Worth, Texas –  December 3 at 7:30 p.m. CST – 106.1 KISS FM's Jingle Ball 2019 Presented by Capital One at Dickies Arena (Camila Cabello, Sam Smith, Charlie Puth, Lizzo, Lauv and Why Don’t We) Dallas/Ft.
( Halsey, 5SOS, Niall Horan, Charlie Puth, Lizzo and Why Don’t We.)
Paul, Minn. CST – 101.3 KDWB's Jingle Ball 2019 Presented by Capital One at Xcel Energy Center, St. – December 9, at 7:30 p.m. Minneapolis/St. Paul: (Katy Perry, Camila Cabello, 5SOS, Why Don’t We, Monsta X and Lauv)
Paul; Philadelphia; New York; Boston; Washington, D.C.; Chicago; Atlanta and Miami/Ft. The 12-city arena tour will feature different lineups in markets like Tampa; Dallas/Ft. Lauderdale. Worth; Los Angeles; San Francisco; Minneapolis/St.
(Taylor Swift, Jonas Brothers, Camila Cabello, Halsey, 5SOS, Niall Horan, Lizzo, Dan + Shay, Monsta X, Lewis Capaldi and Fletcher)
– December 6, at 7:30 p.m. PST – KIIS FM's Jingle Ball 2019 Presented by Capital One at The Forum Los Angeles, Calif.
(Sam Smith, Lizzo, Normani, French Montana, Why Don’t We, MAX and AJ Mitchell)
The tour kicks off at Amalie Arena in Tampa Bay, Florida, Dec. 1 with Sam Smith, Lizzo, Normani, French Montana, Why Don’t We, MAX and AJ Mitchell. 6. The Los Angeles lineup, featuring Katy Perry, BTS, Billie Eilish, Sam Smith, Camila Cabello, Halsey, French Montana, Lizzo and Normani, will land at The Forum on Dec.

“Unfortunately in the 2016 election you had a political opponent who was weaponizing the idea of the celebrity endorsement," said Swift, referencing Donald Trump's 2016 candidacy. "He was going around saying, 'I’m a man of the people. I’m for you. I care about you.' I just knew I wasn’t going to help."
Rock is a vocal Trump advocate, frequently promoting the president on social media, television spots and at his concerts. Trump invited Rock to the White House in 2017 alongside Sarah Palin and Ted Nugent.
His tweet comes a day after Swift discussed her political stances at length and explained her silence during the 2016 presidential election in a cover story interview with Vogue.

Good luck girl." The "Bawitdaba" rapper/rocker tweeted on Friday morning, "Taylor Swift wants to be a democrat because she wants to be in movies….period. And it looks like she will suck the door knob off Hollyweird to get there. Oldest move in the book.
'Look, snakes of a feather flock together. In many senses.” She’s a snake. So I disappeared. Look, the two lying women. She’s a liar.' These are the same exact insults people were hurling at Hillary," she added. She’s manipulative. The two nasty women.' Literally millions of people were telling me to disappear. She’s not what she seems. "The summer before that election, all people were saying was, 'She’s calculated. "Would I be an endorsement or would I be a liability?
Swift broke her silence last October, when she endorsed two Democratic Tennessee candidates, Phil Bredesen and Jim Cooper, for the House of Representatives in the 2018 midterm elections. The move by the formerly apolitical singer incensed many on the right, including Donald Trump, who said he likes Swift's music "about 25 percent less now," and Mike Huckabee. White nationalists who had embraced Swift also floated conspiracy theories about the endorsement (Swift has been criticized for not addressing the fringe groups directly).
Kid Rock launched a sexist attack on Taylor Swift's politics, claiming Swift has sided with Democrats to secure gigs and making a crude reference to oral sex.

https://twitter.com/chrissyteigen/status/1159886668586835970″ />
Patton Oswalt and Chrissy Teigen were among those to take to Twitter to call out Rock for the sexist comment.

The Jonas Brothers will also accept the Decade Award. Other celebrities scheduled to make an appearance at this year's show include "Avengers: Endgame" star Robert Downey Jr., Jessica Alba, singers Madison Beer and Lauren Jauregui, Noah Centineo, and Fuller House stars Candace Cameron Bure and John Stamos.
ET.” /> 11 at 8 p.m. The two-hour show airs live Sunday, Aug.
"As one of the best-selling music artists of all time, with more than 50 million albums sold, Taylor Swift is a pop culture icon whose accolades and achievements go beyond topping music charts and selling out stadiums worldwide," the network said. "Swift is also one of today’s biggest social influencers, using her voice and platform to inspire and create positive change."
Taylor Swift will receive the first ever Icon award at the 2019 Teen Choice Awards, Fox announced on Thursday (July 25).

The sale included master rights to the albums she released while signed to the label. Many artists, including Halsey, Katy Perry, Miley Cyrus, and others, have showed their support of the "Me!" singer. "American Idol" alum Kelly Clarkson also suggested the artist re-record her discography. The ten-time Grammy Award-winning artist was recently in the center of a passionate discourse on music ownership, taking issue with her former label, Big Machine, which was recently acquired by mega-manager Scooter Braun.

Universal has released the first trailer for its film adaptation of the Broadway play, "Cats," starring Taylor Swift, Jennifer Hudson and James Corden.
However, in this iteration, things are a little different. Instead of actors dressed as cats, as many fans are familiar with in the Broadway production, director Tony Hooper opted to use motion-capture technology, meaning the cats will actually appear as singing furry felines.
The already star-studded cast is completed with another team of big names including Judith Dench (Old Deuteronomy), Rebel Wilson (Jennyanydots) , Steven McRae (Skimbleshanks), Ian McKellen (Gus), Jason Derulo (Rum Tum Tugger), and Idris Elba (Macavity).
Jennifer Hudson will star as Grizabella, a former "glamour cat." Taylor Swift plays Bombalurina. Tony winner, James Corden portrays Bustopher Jones, a wise and respected member of the Jellicle group.
Eliot, the musical follows the Jellicle cats, a family of felines who go before the group's leader Old Deuteronomy to see who will be selected to travel to the Heaviside layer for a new life. The original musical won six Tony awards. Based on the book “Old Possum’s Book of Practical Cats” by T.S.
The film is set to hit theaters Dec. 20. Along with the team of executive producers, Stephen Spielberg, Andrew Lloyd Webber, and Angela Morrison, "Cats" will be produced by Working Title Films in alliance with Monumental Pictures and the Really Useful Group.
Watch the trailer above.” />

Noel Gallagher is not a fan of much contemporary pop music, as you may have garnered from his recent slagging of the British breakout star of the moment, Lewis Capaldi, as “wank.” But if he’s not about to take his cues from any current hitmakers or producers, that doesn’t mean he wants to recycle the glory-days sounds of his tenure in Oasis, either. So on “Black Star Dancing EP,” the new five-song collection he’s released with his current band the High Flying Birds, Gallagher is turning to some favorite sounds from his youth that he previously hadn’t mined quite as much to put a new spring in his step.
Oh, I turned it down, yeah. It’s like, “Can I ask you a favor?” “No, you can't. You are as dumb as you f—ing look.” I don't give a f— what music you have in your film; you’re not putting any of mine in. Have you seen it? If some f—ing moron is going to make a film slagging me off, calling my wife a c—, after trolling my kids on the Internet, after being a filthy little misogynist sexist prick who cannot keep his f—ing mouth off Twitter, and then call me to ask me a favor, I’m like, “Wow. Go f— yourself.” You're not using my songs to sell his f—ing film.
It's great that you can be a star at Glastonbury without having to actually come to the festival.
In America, you're going to be touring with Smashing Pumpkins. Is that random, or is there a reason that makes sense?
It is like a third world country, but for f—'s sake, man, you must have had a better day than this. He's just thinking, “Wow!” Well, I know you're Scottish and all that, but f—ing hell! The greatest day of his life that I slagged him off or called him an idiot. It’s the greatest day of his f—ing life so far. F—ing Chewbacca should enjoy his 15 minutes. Surely!
People seem to have become comfortable with your diversions, as an outgrowth of where Oasis was headed in the latter days.
Is there anything going on in music that makes you proud at all?
So they just do facsimiles of what they were.…. There's plenty of people trying to do that Oasis thing, right, and you’ll get people saying it's rock and roll. It's unsophisticated music for unsophisticated people. I do write now a lot on the bass, yeah. I suppose that's why rock stars, when they get into their 50s, just kind of give up a little bit, because they can't be f—ing asked to be reinventing themselves, or trying. But it keeps you on your toes. Well, rock and roll it might be, but it's f—ing shit. It's been very liberating and it takes you into a different area musically. It might sound like the f—ing Stooges, but it is shit. That can be a struggle when you play live, because then I play guitar and I've got another guitarist and you’ve got to try and get two guitarists onto a track that's got no guitar on it. Bass, drums and a vocal — that's really all you need.
It's a race to the bottom. It just seems to me that every singer-songwriter gets to be shitter than the next person. They should stop obsessing about me, because really, I'm not even that good. … You're the proof of that. [Liam got in a dig at Noel during his set, performing “Roll With It” and then saying: “There's no way that's shit. But there were a lot of people talking about me from the main stage at Glastonbury over the weekend. And you dig deep enough with these c—s, they're not even singer-songwriters, because they don't f—ing write their own songs. So next time you see the little fart, you tell him."] People are obsessed with me.
No, no, she tweeted, "I want to be Lewis Capaldi when I grow up."
What can I do? But it’s a curse. It was unbelievable.” I was in f—ing Holland, high as a f—ing monkey. Well, I know. My wife was there and she said, “All you could hear was people chanting your name. I'm having the f—ing weekend off, and I'm still one of the best things at Glastonbury.
No, it hasn’t opened in America yet.
F—ing indeed.
Anyone in the States coming to see Gallagher and the High Flying Birds tour with the Smashing Pumpkins in August will hear plenty that’s familiar, though. We also got to a couple of things Gallagher does like: vintage David Bowie and Britain’s thriving grime genre. In a transatlantic call with Variety, he didn’t mince words on much, whether the topic was modern rock (“It might sound like the f—ing Stooges, but it is shit”), the youth of today (“All they can do is take pictures of each other”), his unlikely feud with Capaldi (“Chewbacca better enjoy his 15 minutes”), or his brother Liam’s new documentary film (“Apparently there’s a lot of jogging in it”). And the most unchanging thing of all about Gallagher is his sometimes hilariously unvarnished outspokenness.
It's Father's Day, I'm being slagged off by a man who is old enough to be my Da' and I've never been more happy.”] [Besides wearing the T-shirt, the young star posted a video saying, “Noel Gallagher has just slagged me off. This is dreams coming true. Lewis Capaldi.
Apparently it’s the in thing — Queen and Elton John, and I’ve seen a trailer for another one the other day, some f—ing thing about somebody else. There are a lot of music movies doing the rounds at the moment, aren’t there? Well, the Beatles must have been involved somewhat. … I don't know. Paul McCartney must have been, because he would have had to clear his songs, right?
U.S. [It begins August 8 in Camden, NJ and wraps up August 31 in Mountain View, Calif.] Your tour in Europe got strong reviews these last few months, for how the old and new stuff fared, juxtaposed. fans look forward to seeing you over here in August.
Who f—ing knows? F—ing lunatics.” And then it all became apparent, and before I know it I was going, “Ahhh, Stormzy.” So that's great. Or Young Fathers will come along and you'll think “This is f—ing amazing,” then they disappear for five years. But will they ever make an album? I was watching his thing on Friday at Glastonbury, and while I was watching him, I was thinking, “Ah, so that's what my children are on about when they’re dancing around the kitchen at 8 o'clock in the morning.” Because my kids, they love f—ing grime, and I watch them through one squinted eye, thinking, “What is a Vossi Bop? There's a bunch from Wales called Buzzard Buzzard Buzzard, which they’ve got a couple of good tunes. You know, some of the grime of Stonezy is great. What is he talking about? They don't really speak for me. It's kind of street jive, isn’t it? But yeah, there’s good stuff. A band will come along like Jungle, and they'll have a great first album, then they'll just disappear off the face of the earth for five years. It doesn't seem anybody can get any momentum. I'm not an expert on it. Yeah, you do hear odd things from time to time, but it seems that it can never be sustained.
Anyway, somebody said to the Smashing Pumpkins, “Who would you want to open up for you,” and they said “Oh, well, how about that f—ing guy?” Somebody called me and said, is that a thing you’d consider? I wouldn't say I was a huge fan of Smashing Pumpkins, (but) they’re good tunes. I never saw them in their heyday, but I'm looking forward to it, and looking forward to being in America in August, if the weather will be nice, if nothing else. Yeah, there's a few festivals, but if somebody can hit the magic number, then we'll do it.” And we're gonna have a great time. I've (already) done my (proper) American tour last year for six weeks, and I loved it. And I was like, “What am I doing in August? it's actually one of my favorite places to play now. The more that I tour the States, the older that I get, the more I like it.
Any plans to check it out, just for a lark?
Record execs have got their spreadsheets, and if the numbers don't add up, then they get someone else to do the job, Whereas I think when I first started in the music business, the record labels worked for me, right? It's not about whether there is any longevity in it. They’re so happy to be on stage at Glastonbury … Who was the Scottish guy you were going on about before? They came to me and said, “Please, can we put your records out, because you are amazing.” And I was like, “Hmmmmm. The record industry is absolutely not f—ing interested in guitar music. Go on, then.” Now, i people go into record labels and say, “Please, will you put my records out? I will f—ing do anything.” And that is the fundamental difference: people are so pleased to be in the music business. It's all about how many followers you've got on social media and how many likes this got and how many streams that got.
They’re titles, you know what I mean? I can please myself from here on in. It's amazing how people will say, “Oh, I love your new direction,” and I’m thinking, “Well, all I've done is taken the rhythm guitar off everything.” Lo and behold, I've reinvented myself — and it’s just like, wow, if I’d have known it was that f—ing easy, I’d have done it 20 years ago. My favorite period of David Bowie, if there is one, is “Ashes to Ashes” and “Scary Monsters” up to “Let’s Dance.” And (I was) just listening to those records and saying, hang on a minute, there is no rhythm guitar on any of these records, (so) the first thing I want to do is ditch the rhythm guitar. They've got the Oasis records. If I’m working on a thing and I get to a point where I don't have the chorus, and I walk past my record collection and see “Blackstar” by David Bowie and go “hang on a minute” … But it's not in any way an homage to that album. It was just a case of feeling a bit free. I’m 52 now, and I don't give a f— what people think about me or where I’m going. I don't give a f— what Oasis fans think.
I was still on the road, and I had a lot of material, but it was too soon to put out an album. Luckily enough, I’m on my own record label, so what I f—ing say goes. It was like, let's just put out three EPs and see what happens. By the time these three EPs are wrapped up at the end of the year, there'll be 9, 10 new songs, so it's kind of like putting out an album without having the milestone of putting out an album.
But one of my very dear friends is in it, Lily James, who I adore. Apparently it’s pretty good, though, isn’t it? Is that the joke? When that movie was being made a couple years ago, somebody was telling me the premise of the film, and I thought, well, that sounds as ridiculous as an “Avengers” f—ing film to me. That's what people are saying. I'll probably get around to seeing the film one day. Okay, well, you could safely say that about f—ing 99% of every guitar group, couldn't you? So the joke is, if the Beatles never would have existed, Oasis wouldn’t have existed?
Or his girth. Let's hope she doesn't have his looks. When she grows up? Well, she better be better looking than that c—! I'm not going to allow that. She's gonna have a bad day soon if she wants to be Lewis Capaldi when she grows up.
You recently played Manchester on the 10th anniversary of Oasis’ last gig there, and people assumed that can't just have been a coincidence.
This last EP just came out in mid-June, but do you know when that next one will be out?
It was a coincidence, actually. Do you think I’d book a gig on the 10th anniversary of an Oasis gig just so somebody could write about it? I’ve got better things to do with my time than sit and look around people's calendars and see what I can do. What is it with journalists? Was that deliberate?” What? Coincidence doesn't exist in the world of journalism. Or somebody will say, “You’ve got a single out the day Liam's got a new haircut. It always has to be like, “Oh, you must have done that because of this.” And you sit there reading things sometimes thinking, honestly, life is so f—ing random. Life's too short for that. I don't give a f— about that.
You said on Radio X that one of the remaining two EPs will sound “Mancunian.”
Not everyone. It seems insulting to the Beatles to say that all of music would be exactly as we know it now even if they’d never existed, except Oasis.
You have been writing on the bass, just to change it up, right?
You've said you're putting out three EPs, with the last around Christmas time. Are you doing that just because it’s the more bite-sized way people are consuming music now?
The press is having fun with you and Lewis Capaldi. You took some shots at his music, and then he came out at Glastonbury wearing a shirt with your face on it and said “getting slagged off by Noel was a life-affirming moment.” Then you posted a video of your son mock-sobbing to one of his ballads.
But I get my opinion from the crowd when I play every night, and people love it. I have moved on, and it doesn't matter if people don't like it, because I don't give a f—. Well, good. I like it; in fact I love it. But I'm not trying to still dress like a 19-year-old, metaphorically speaking. If I was to go on an Oasis fan site, it’d be a different story. When I do tracks that are vaguely — you can put this in inverted commas — vaguely dance-orientated, if they're using it as a criticism, they choose to forget (Oasis songs) “F—in’ in the Bushes” or “Go Let It Out” or (early Gallagher solo tracks) “What a Life!” or “Battle of the Mighty I.” All of these things have been derived from some kind of dance music. That’s all that matters.
That's a pretty specific time frame. “Black Star Dancing,” you’ve said, was the result of watching a lot of “Top of the Pops” between ‘83 and ‘87.
Your daughter [Anaïs Gallagher] seemed to be taking a sarcastic cue from you when she tweeted that she wants to be him when she grows up.
Sure, you should all be taking yourselves down a notch or two.
Apparently, it's riveting.
You haven’t seen the movie “Yesterday” yet, but there's an Oasis joke. Basically, very few things in the film’s alternate reality are different because the Beatles never existed — except for the fact that he tries looking up Oasis, and nothing appears.
What did she say? She wants to be me when she grows up?
You may not be a Taylor Swift fan, either, but there's a business story going on. Do you ever care about trying to get your masters back or that aspect of the business?
I don’t know if you’re referring to Liam’s new documentary, “As It Was,” but there was talk that you objected to having Oasis songs included. Is that true?

So, I don't know. Everybody’s sharing everything with everybody. The youth of today: f—ing moronic c—s, if you ask me. All they can do, young people, is take pictures of each other. Nobody lives in the moment. …  I meet young people, and they’re so culturally lost at the moment. Because there's nothing else. You know, when a band walks out on stage, they might as well be at a photo shoot.
Well … what does that mean? I do believe I have to have the whole f—ing entire thing delivered by Monday. Out in the shops where you can buy it? End of September, I believe. I'm going to say it's going to be out by the time we get on tour with the Smashing Pumpkins. Who knows?
You don't own your own f—ing shit, which is why when I finally left Oasis, I started my own record label, because I wanted to own them. I’m less of a fan of Scooter Brown or whatever his f—ing name is. They’re just American idiots. Which, really, I'd be f—ing ashamed of them, if I were you. Scooter? Is that even a real name? F—ing Scooter.” Um, I'm not a fan of Taylor Swift. No, the game is the game. [He adopts an American surfer accent.] “Scooter. But I’m aware of the story of Taylor Swift and some idiot called f—ing Scooter.
My first (impulse) is not to reach for the guitar. Well, anybody that was going to the Hacienda [a nightclub in Manchester] between ‘87 and ‘89 will recognize the sound. It's more acid house than disco. It’s more like, “All right, I want to get a bass and keyboards on this; we don't need any guitar.” It's not my waking thought. But I suppose I finally got Oasis out of my system now, musically. But the other tracks on the (next) EP — one of them sounds like the Smiths, one of them sounds like the Stone Roses, and one of them I don’t know what it sounds like.
Don’t you? Uh, no. So I don't think I'll be going to the local cinema to watch him rewrite f—ing history (about) what a great guy he is; what a wonderful family man. I don't know about you, but I like to see my favorite rock stars jogging. I couldn't think of a reason that would make me want to watch it, considering that every time I see that c—’s face, I want to f—ing take out a McDonald's with a machine gun. Apparently there's a lot of jogging in it. I've got better things to do with my time. You should go and see it, though.
When you look back on it, it’s so sad that pop music has just become so f—ing shit and formulized. In England, anyway. When I look back on the “Top of the Pops”-es themselves, it's a little bit sad, even though it makes me feel great that I was around at that time to experience it, when they were all new artists. It's an endless procession of special guests featuring f—ing someone else featuring this girl written by this guy written by these fellows in a f—ing shed. People don't even write their own music anymore. I've always loved pop music, but in the ‘60s sense, the guitar pop music. Well, I was just using that as a kind of jumping off point, really. Bowie was great, U2 were great, INXS were great, New Order were great, the Smiths were great, Echo and the Bunnymen were great, and Talking Heads were mind blowing. Pop music now is f—ing wank. It was the golden age of pop, wasn’t it? I could go on all day if you like.
Terrible trauma.
So are the youth truly being saddened by all these sad songs being put out in the universe?
I'm looking at the setlist going, [exhales] “At least I wrote them all.”” /> But I did write them all, so I don't feel that bad. You know, the first half of my shows is exclusively new material, which can be a bit tricky, but luckily my new material is quite high energy, so you kind of carry it off until, you know, waiting for the inevitable to be played. I think with the Smashing Pumpkins, we don't get to play that long; we only get to play for an hour. But my gigs have been getting better as the tour has been going along.
Your “Black Star Dancing” title references Bowie’s final album title, even though that’s not the period you’re musically referencing.

In addition, the show will also feature guest appearances from 5SOS, Brad Goreski, Chris Harrison from “The Bachelor,” Olympic medalist Chris Mazdzer, Cody Simpson, Drake Bell, Jackie Cruz from “Orange Is the New Black,” Lisa LoebNe-Yo, Serayah McNeill from “Empire,” and Troye Sivan.
At this year’s awards, Taylor Swift will exclusively world premiere the music video for her new single, “Delicate.” In addition iHeartRadio will honor Chance The Rapper with the 2018 iHeartRadio Innovator Award; Bon Jovi will receive the first-ever iHeartRadio Icon Award; and L'Oréal Paris and iHeartRadio will also present Camila Cabello with the first-ever Fangirls Award.
Nominees for the iHeartRadio Music Awards were announced on January 10. Artists receiving multiple nominations include Rihanna, Taylor Swift, Ed Sheeran, Bruno Mars, Camila Cabello, Cardi B, Luis Fonsi, Daddy Yankee, Justin Bieber, DJ Khaled, Demi Lovato and The Chainsmokers.” />
ET/5 p.m. PT from the Forum in Los Angeles; they will also air simultaneously on iHeartMedia radio stations nationwide. iHeartMedia announced today that Eminem featuring Kehlani, plus N.E.R.D and G-Eazy will join previously announced performers Ed Sheeran, Cardi B, Bon Jovi, Maroon 5, Camila Cabello and Charlie Puth at the 2018 iHeartRadio Music Awards. Hosted by Hailey Baldwin and DJ Khaled, the show airs live on Sunday, March 11 on TBS, TNT and truTV at 8 p.m.
Award presenters for the March 11 telecast include Sean “Diddy” Combs, Shaun White, Bebe Rexha, Dustin Lynch, Halsey, Marshmello, Method Man, Paris Hilton, Rita Ora, The Chainsmokers and more.

Last month, N.E.R.D. 1. 80, Elvis Presley
71, Lil Wayne
67, Drake
57, Elton John
55, Taylor Swift
51, Glee Cast
50, The Beatles
50, Rihanna
49, Madonna

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You have both covers and original music in “Pitch Perfect 3.” Are there different objectives or challenges with each?
Coming off a Grammy nomination for best song written for visual media with “I Don’t Wanna Live Forever,” the Taylor Swift-Zayne duet that helped propel “Fifty Shades Darker” into a $374 million global release, Universal Pictures film music and publishing president Mike Knobloch confirmed rumors about a Liam Payne-Rita Ora collaboration: “‘For You (Fifty Shades Freed)’ will make a big noise at the top of January on the single for the Feb. 9 film release.”
How did it happen?
Just because people are not buying a physical thing, or downloading its counterpart in zeros and ones, doesn’t mean they’re not consuming. Accessing has replaced ownership. Streaming is where the business has gone, and we have to adjust our mindsets.
Is it on-message?” The factors that led to Taylor Swift and Zayn doing “I Don’t Wanna Live Forever” is an unreplicatable series of events. Artists today have to work really hard to build and manage their brand, and it’s all about “Is their brand aligned with our brand? That narrow sliver of overlap between a big artist’s agenda and what we need to accomplish, in the timeframe in which we need to accomplish it – the science and math involved in that are intense. Luck and timing has as much to do with it as a smart, strategic creative plan. It’s so much about timing. It was an opportunity that we flinched it would have evaporated in a second. To align an artist with a movie is almost an impossible thing.
 ” />
No pressure, but “Pitch Perfect 3,” which opens in 3,400 North American theaters and 15 international territories this weekend, only has to follow the world’s top-earning musical comedy, a status the franchise’s 2015 second installment reached when its $288 million gross crushed the $131.3 million earning by previous record-holder “School of Rock.”
There is quite a bit of complaining among music supervisors that soundtracks are a dying genre, if not dead. Aside from the element of surprise, what are the elements of a viable soundtrack?
It came together fairly late in the game. By the end of that week Taylor and Zayn had refined their parts, business affairs got the deal done, we cut it into the movie and came up with a plan with marketing. If you’d asked me even a week before we got them in the studio whether it was in the realm of possibilities I would have put on par with a snowball’s chance in hell. You have to recognize those opportunities when even a hint presents itself and jump on it. It takes a strong creative vision and tenacity. We were all, like, “Wait a minute, can we even do that?!” And from that moment to when we had a finished track – not just in the film, but on the radio – it was matter of, literally, days. The “What if we can get Taylor?” conversation took place on a Thursday, and on Monday we had a version of the song with Taylor on it. Initially we had Zayn, and we were like, “How do we make this into an event and move the needle globally?” At some point, someone in my department suggested “What if we could get Taylor Swift and turn it into a duet?” and it was one of those moments where the heavens part and a ray of light comes down and blinds you for a second.
Logistically, how do you get those big names involved?
Dre’s “Let Me Ride.” How do you decide which songs make it into the film? The soundtrack features the Bellas doing a cappella cover versions of everything from Sia’s “Cheap Thrills” to Dr.
“There’s a strategic intention for music to be a value-add marquee driver.” Transitioning a film from one-off into the franchise column “doesn’t just happen accidentally,” Knobloch says. Knobloch, who joined Universal in 2010 after 13 years as executive VP of music at 20th Century Fox, has the inside track on what it takes to create a motion picture-propelled pop hit.
We don’t cheat voices. For “Pitch Perfect 3,” which was shot in Atlanta, we actually built a recording studio on a soundstage, so when the girls weren’t in wardrobe or rehearsals for choreography or whatever, the schedule during prep and throughout production was when they had a slot in their schedule they’d get pulled into the studio to work with our music producer. But we have three movies of actresses singing their own tracks. Whether it’s Anna Kendrick, Brittany Snow, Anna Camp, Hailee Steinfeld or Ester Dean – every one of the Barden Bellas are singing their own parts. So we had every actress’ voice recorded so by the time the movie was shot we were working with their own voices. Also, lip synching gets really complicated, based on the shape of a person’s mouth and their breathing and things like that. There’s some movie magic, but whether they’re live on camera or lip synching, it’s their own voices. They’d come in and refine their parts, working with the a cappella arrangers and the rest of the team. And during post we’d sometimes rerecord or refine. You’d spot it from a mile away if Anna Kendrick’s speaking voice didn’t match her singing voice.
To move the needle on sales, you need a wow factor. The era of “let’s release a soundtrack for every film, even a silly comedy that has three good songs and we’ll pad it,” that doesn’t exist anymore. I work with the best studio marketing team in the business and, per their high standards, nothing gets me more excited than we cook up something on the music side of a film and I run over and burst into their conference room and say “Guess who we got to do our big song!” and when you tell them the reaction is “Holy sh–!” That’s exciting and points toward worthy of a soundtrack and making music a big part of the strategy of what’s up on the screen. Some movies that have a lot of music aren’t soundtrack-worthy. But very few things can get that reaction.
His department of 30 has helped implement that strategy on projects ranging from 2016’s animated “Sing,” which had more than 60 licensed cues (generating $632 million worldwide and a sequel due 2020) to the “Fast and Furious” series, which has translated to more than $1 billion at the box office over eight films that produced two RIAA platinum-selling and one gold album. With tune-filled tentpoles “Mamma Mia!: Here We Go Again” in July  and the November reboot “How the Grinch Stole Christmas” set for 2018, Knobloch shares his sound philosophies with Variety.
According to BuzzAngle, “Pitch Perfect 2” alone generated more than 800 million song streams, so clearly there is interest. But how do you turn that into revenue?
It’s really hard to pull that off and make it nearly as satisfying and exciting as a cover: They do a specific thing and we try to curate them and execute them in a way that tells the story and that’s fun and works for picture. It’s a lot of boxes to check. The reason you hear cover songs so much – from advertising to a slew of movies and TV – is you can very quickly and easily tap into somebody’s brain in a way that’s going to make the experience of what they’re hearing so satisfying – and  fun –  because it takes a nanosecond to trigger the emotion of “I love this song!” When you have an original song, that can be a tricky thing to do, because it’s a different part of the to learn an original song.
A lot of people get to chime in and there’s an art to collaboration, so it isn’t someone overruling someone else. It’s also a lot about getting on the same page with people: Music being incredibly personal, there’s never a shortage of opinions. Building a great soundtrack all goes back to development, having a script and getting in there early and often to serve the needs of the film. We have a pair of music supervisors, Julia Michels and Julianne Jordan, myself, the director Trish Sie, some very savvy producers, Liz Banks and Max Handleman, who have been there since the beginning. A lot of thought went into conceiving the big production number for the finale, George Michael “Freedom 90.” We considered a lot of songs, and just kept refining the idea: Is it a song we can really do something with? Is there enough in the DNA of the song that we can take it to the next level? “Pitch Perfect 3” was very collaborative.
“Pitch Perfect 3,” which has more than 40 sync licenses, and a lot of actresses performing a capella. Are the actresses doing the singing?

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The Atlanta rapper snag a guest spot on the pop mega star’s new album Reputation, which was released on November 10.

[Intro: Julius Luciano]
It’s hard to estimate the nation’s homeless population
So we shouldn’t add them into the equation
That’s what people think
See we shouldn’t wait for the Census Bureau to acknowledge them
We a part of them
A chain is only as strong as its weakest link
Before we reach the brink of destruction, we can reach an understanding
At least I’m wishing we would
Its aight, I’m a bum too
By which i mean B.U.M
A Brother Unfairly Misunderstood

[Verse 1: Julius Luciano]
Yo, where I’m from the have-nots feel like refugees
With no refuge, I’m trapped, who’s gonna rescue me
All of my life I’ve been caught in this fight
I’m in a boxing ring, no referee
As a child I was homeless, wait let me strike a scene
Eleven years old, been in these scary streets for weeks
With one parent, my family portrait never been complete
I’m asking every pedestrian to spare some sympathy
They stare as if I reek of excrement
They speak so arrogant and keep
Their distance as if they can’t bare the stench of me
They scared as if I reach, and steal their shit
But I’m innocent. Never been a thief
Can’t spare a cent to me
Embarrassment’s the least of my concerns
What to do now?
Me and my family stuck on the ground
Stomach is starting to rumble and growl
Clenching it tight to muffle the sound
Starting to feel like a stray dog
But at least they get picked up by the pound
Down on my luck, no luck to be found
I pray to God, looking up in the clouds

[Hook 1: Julius Luciano]
A young nigga with no place to go, and you can see I’m homeless
Switch the "m" for a "p", and now I’m hopeless
I’m losin’ my mind
How will I focus?
Where will I go?
Where will I go?
Feels like I’m walking round aimlessly
I’m so lost, feels like I’ve lost days of sleep
As I fall, to my knees, somebody pray for me
O woah
Where will I go?
Where will I go?

[Verse 2: Kenny Siegel]
In case you wonder why I don’t mind stunting
A skeeting for an hour has been a long time coming
I was a little nigga, who was homeless
Who’s empty pockets needed a fill-up
But I wasn’t approached by a Drummond
Live or cats got killed for kicks and bass
Nope not drumming
Talking low-tops and coke rocks from know-nots dumbing
.45 busting
Wasn’t old enough to go job-hunting
Standing 4’5" hustling
Picture that like camera-men
Our society is garbage
If home is where the heart is
This is why I’m heartless
This is why I’m starving
Flashbacks of raindrops drizzling while your dark bitch
Sitting by the park bench
Like this is my apartment
This is why my bars sick
Their darker than the tar-pit
I should feel like I’m carsick
From so much drive, fuck them haters who mouth-run
Failure is an option, not just a possible outcome

[Hook 1: Julius Luciano]
A young nigga with no place to go, and you can see I’m homeless
Switch the "m" for a "p", and now I’m hopeless
I’m losin’ my mind
How will I focus?
Where will I go?
Where will I go?
Feels like I’m walking round aimlessly
I’m so lost, feels like I’ve lost days of sleep
As I fall, to my knees, somebody pray for me
O woah
Where will I go?
Where will I go?

[Verse 3: Demetrius Capone]
Ok. This is real talk shit
Sleeping on the park bench
Starving as darkness falls
And we all kids
Talking to God, saying we drowning
Where’s our ship?
Noah’s Ark departed without us
Now we got this hardship
No apartment, car, or house
And now my savage heart gets
Darker than the darkness
Now this cat is heartless
I’m praying for some brighter days so I can talk shit
I’m waiting on my father’s grave so I can hauk spit
All of my aunts disowned us
And now we all alone plus
They called the law on us
To throw us off in a foster home
Cuz we never had a home to call our own
But y’all can go suck our fucking dicks you fucking bitches
Now that we all are grown up
I’m trying to buy a house and a childhood
Ask me for a handout, I wish thou would
If you ain’t been through what I been through, then I don’t trust you
If you ain’t struggled, then hustled, nigga fuck you

[Hook 2: Kobe]
Yeah, yeah, yeah, yeah, yeah
Our father, who are in heaven
Hope you hear me, man these streets are crazy, yeah
Our father, hope you hear me
I know you see me
Man this is all I got, okay?
This is all I got, okay?
Yeah, yeah, yeah, yeah

[Verse 4: Andrew ‘Dice’ Dinero]
I’m from a place where enemies keep Glocks exploding
So I burn beef like pots without non-stick coating
Watch the profit you clock, or your guap get stolen
Protect yourself at all time, I don’t mean cops and Trojans
Cops patrolling and raiding shit
Niggas without electricity get it turned on themselves, Raiden shit
You gotta have a strong will to escape the shit
Cause success is related to Will, like Jaden Smith
I’m married now, the hustle-games’ my bitch
Dedication is the anchor that holds down a relationship
I told her ‘You Belong With Me’, Taylor Swift
Persistence is a virtue, like patience is
My niggas trying to get major rich, selling green plants
Selling out the Garden, like when major teams play the Knicks
I’m from where niggas end up in jail or the morgue
Fallen soldiers live by, and fell by the sword
Them hammers hit everything except nails through a board
People hollering bout college, but you’ll (Yale) get ignored
Hustler’s got no Focus, so to hell with a Ford
People pushing whips, you wonder who the hell could afford
More souls get sold than Hell could afford
Cops watching everything, but fail to record
Police brutality, these streets is Amity-Ville
I see calamity, what I speak is actually real
I’m speaking candidly, I need a piece of sanity
But I’m trying to feed my fam, even if people have to be killed
Real recognize real if you don’t seem familiar
If the truth hurts, then what I speak will kill ya
Life is hard, in fact, damn right unfair
But I’m a winner nigga, damn right fuck yeah
I’m living like I don’t have one care
But I’m a stay drawn until I’m roommates with the Man upstairs
Kobe sing

[Hook 1: Julius Luciano]
A young nigga with no place to go, and you can see I’m homeless
Switch the "m" for a "p", and now I’m hopeless
I’m losin’ my mind
How will I focus?
Where will I go?
Where will I go?
Feels like I’m walking round aimlessly
I’m so lost, feels like I’ve lost days of sleep
As I fall, to my knees, somebody pray for me
O woah
Where will I go?
Where will I go?