Most fans would agree that Megan Thee Stallion is exceptionally tall, but she doesn’t necessarily see it that way.
In an interview with Mystery Fashionist’s Ajay Porter shared yesterday (January 26), Megan was asked for a common misconception about herself, and she said:
“People be thinking… I love my tall queens: We are stallions, we are long-legged, thick queens, but I feel like guys always be editing my pictures so I look bigger than everybody else. They be tryna make it seem like I’m really [tough]. I’m tough, but, like, b*tch: g*ddamn, I’m ain’t that damn tall.”
She added, “These men are small. A lot of your favorite rappers are tiny [laughs], so when they be by me, [they look up], and I be like, ‘Yeah’ [laughs].”
For the record, Megan actually is pretty tall, at least relative to the average height: Per the National Center For Health Statistics, the average height for an adult woman in the United States is 5 feet and 3.5 inches, while various sources (like Billboard) have Meg’s height at 5’10”. That’s actually taller than the average height for an adult man in the US, which is 5’9″.
Last Friday, Central Cee released his debut album, Can’t Rush Greatness after a year-long rollout that proved the truth in the titular aphorism. Of course, now that it’s out, he’s putting the same amount of effort into his awareness campaign.
In the video for “Truth In The Lies,” Cee hits the Paris streets for some high-end shopping alongside the song’s featured artist, Lil Durk. From sharing lush meals to playing FIFA in a luxury hotel room, the two rappers enjoy their wealth, despite Durk’s ongoing legal troubles.
Central Cee kicked off the rollout for Can’t Rush Greatness in May with the release of his video for “Band4Band” with Lil Baby. He continued to promote the album through features with Ice Spice and Asake, as well as releasing “Moi” with Raye — although the song didn’t make the final album.
He really started promoting in earnest with some help from fellow Londoner (by way of Atlanta) 21 Savage, who appeared in the video for “GBP” and then dropped the video for “Limitless” just ahead of the album’s release.
Watch Central Cee’s “Truth In The Lies” video featuring Lil Durk above.
Can’t Rush Greatness is out now via Columbia Records. You can stream it here.
Spotify is the current leader among music streaming platforms, but if they get complacent, a competitor could find a way to claim some more market share. So, Spotify continues to be forward-thinking, as a new deal they just signed with Universal Music Group indicates.
As The Verge reports, the deal suggests Spotify is considering a new “super-premium” tear geared towards “superfans.” Potential features include “early access to new music,” “priority access to deluxe editions,” “listening party invites,” and “artist Q&A sessions.”
A press release days the two companies will collaborate closely to advance the next era of streaming innovation,” adding, “Artists, songwriters and consumers will benefit from new and evolving offers, new paid subscription tiers, bundling of music and non-music content, and a richer audio and visual content catalog.”
Sir Lucian Grainge, Chairman and CEO of Universal Music Group, said in a statement, “When we first presented our vision for the next stage in the evolution of music subscription several months ago — Steaming 2.0 — this is precisely the kind of partnership development we envisioned. This agreement furthers and broadens the collaboration with Spotify for both our labels and music publisher, advancing artist-centric principles to drive greater monetization for artists and songwriters, as well as enhancing product offerings for consumers.”
Last week, Billy Ray Cyrus, of “Achy Breaky Heart” and Gene the pool guy in Mulholland Drive fame, performed at President Donald Trump’s inaugural ball. It was a disaster — so much so that his son, Trace, penned an emotional message on Instagram about (and to) his dad. “The day you adopted me was the happiest day of my life. Sadly the man that I wanted so desperately to be just like I barely recognize now,” he wrote. “It seems this world has beaten you down and it’s become obvious to everyone but you.” Billy Ray allegedly responded to his son’s concern by threatening him with legal action.
Trace’s sister, Miley, is reportedly staying out of the drama.
“Miley used to feel overwhelmed by the family drama. She worked hard to remove herself. She’s not about to get involved again,” a source told People. “She’s in a great place now. She’s thriving and looking out for herself.”
The “Flowers” singer is up for Best Country Duo/Group Performance at the 2025 Grammys for “II Most Wanted” from Beyoncé’s Cowboy Carter.
Previously, Miley offered a backhanded compliment to Billy Ray, crediting him for her “narcissism.” She added, “Without my dad, I know… who I am as a person wouldn’t exist. Because my dad, as a creative and as an artist, and the way his brain works, has always made me feel safer in my own mind.”
The Philadelphia Eagles demolished the Washington Commanders 55-23 on Sunday afternoon to clinch their second trip to the Super Bowl in the last three years. They will face the Kansas City Chiefs, who beat them in their last Super Bowl appearance and are looking to become the first team to three-peat in the Super Bowl era.
As is the case after every big Eagles win, it was pandemonium in the streets of Philadelphia after they won the NFC Championship, with fans taking over the city to celebrate. If you happened to try to drive through Philly between 6 p.m. and 9 p.m. ET, you were almost assuredly going to end up stuck in the masses of Eagles fans partying in the streets. Those who have been in Philadelphia for big Eagles games would know to avoid getting in the car near the end of that game, but this is Paul George’s first year in Philly and he apparently did not know this information.
Fans took videos of George stuck in traffic, and he tried to play it cool but it is pretty clear from the look on his face that he had not hit the streets of Philadelphia to purposefully be part of the celebration.
This is not something PG would’ve encountered at any of his previous stops in Indiana, Oklahoma City, or Los Angeles, as Philly is a particularly unique sports ecosystem, especially when it comes to their beloved Birds. I’m not sure if George forgot the game was going on or assumed things would be contained to down by the stadium, but he has the look of a man who just wants to get home and suddenly has to navigate through thousands of drunk Philly fans. I’d advise George to avoid any trips out late on Super Bowl Sunday, or else he might reach the same fate.
2024 breakout artist and Best Rap Album Grammy nominee Doechii has secured her first solo entry to the Hot 100 with “Denial Is A River.” As the news broke, Doechii shared “a message to smaller artists,” characterizing her first official hit single as “a satire about one of the lowest points in my life.”
“My first solo entry is a satire about one of the lowest points in my life and has no hook,” she wrote on Twitter. “A message to smaller artists: Create whatever art you want, there’s really no rules.”
“Denial Is A River” has peaked at No. 65 on this week’s Billboard Hot 100 in its second week on the chart following the release of its Family Matters-inspired music video. The video is full of cameos from other rappers and comedic actors such as Baby Tate, Earl Sweatshirt, and Zack Fox. Doechii relentlessly promoted the song before that with performances on The Late Show, Genius’ Open Mic series, and NPR’s Tiny Desk Concerts, increasing its popularity.
Thanks to the viral popularity of “Denial Is A River,” Doechii’s debut mixtape, Alligator Bites Never Heal, landed at No. 3 on Uproxx’s Critics Poll albums list for 2024, and making her one of the standouts of hip-hop for the year. Doechii previously entered the Hot 100 at 29 with “What It Is (Block Boy)” featuring Kodak Black and at No. 56 as a feature on Tyler The Creator’s “Balloon.”
The 2025 Super Bowl is set, and Taylor Swift will presumably be in attendance: Travis Kelce and the Kansas City Chiefs are taking on Jalen Hurts and the Philadelphia Eagles. The Chiefs aren’t the only team with musical superfans, though: Zach Bryan grew up in Oklahoma, but he’s throwing his support behind Philly, so much so that in celebration of them making the big game, he decided to share “Blue Jean Baby,” a new song.
Announcing the track on Instagram, Bryan wrote, “BIRDS WIN. OUT AT MIDNIGHT. SEE YALL IN NEW ORLEANS. EP AND ALBUM BY THE END OF THE YEAR.” Then in an Instagram Story, he sought to temper expectations for the track, saying, “also! blue jean baby was a demo turned into a half song that people have been asking for for a long time. Praying no one expects anything more than that out of it. Excited it’ll be out into the world!”
As Bryan indicated in his initial Instagram post, he has a new album coming out this year. Earlier this month, he also enlisted Matthew McConaughey to help him announce Motorbreath, a film about a road trip and the making of “one final major-label album.”
The Kansas City Chiefs punched their ticket to a fifth Super Bowl in seven years on Sunday night, as they beat the Buffalo Bills in yet another thriller between the two AFC rivals. It was as good a football game as you’ll see, with both offenses operating at an incredibly high level, led by the individual brilliance of Patrick Mahomes and Josh Allen.
The game ended, effectively, on a failed 4th-and-5 for Buffalo near midfield, when Steve Spagnuolo dialed up a diabolical pressure, faking a double-A gap blitz and bringing two DBs off the right side instead. Both blitzers came free at Allen, forcing him to backpedal and bail off of the orbit motion to the left and heave one downfield to an open Dalton Kincaid, who could not make the diving catch as he came back to the ball. From there, the Chiefs picked up two first downs and put the game on ice with knees.
It was a wonderful game with big plays made on both sides, but one of the talking points that emerged afterwards was the issue of how the NFL spots the football. The reason that came up is a controversial spot on a 4th-and-1 QB sneak by the Bills, who got stuffed a few times as the Chiefs knew Allen would try and go to the left side of the line and walled it off. On this particular play, Allen got extremely close to the line to gain as he got stood up by the pile, and the far side official ran in with a mark that would’ve been a first down, but the play-side official came in and marked him just short. The play-side line judge is the one that gets the final call in officiating mechanics because he had the clearest line of sight — replay from the far side showed that as Allen got close to the line, you could no longer see the ball among the sea of bodies.
Unsurprisingly, the play stood as called on review because there was not a clear angle of the ball, but it remained controversial because, one, the Chiefs were the beneficiaries and, two, it brought up the age-old complaint: why does the NFL not have a better method for spotting the ball than two old guys eyeballing it?
It’s an understandable question, one that pops up every time there’s a controversial spot in the playoffs — with bonus points if they use the chain to measure, which drives people even further insane. Recently, people have been even angrier because the NFL does actually have chips in the ball and uses that data for their Next Gen Stats feature, but does not use it for spotting the ball. So, why does the NFL have the technology to know where the ball is at all times but not use it? Well, there are two major reasons.
The first is, having data on exactly where the ball is only matters if you also can pinpoint when a player is down by contact (and when officials blew the whistle for forward progress). I’ve often asked folks who insist we should use chips to spot the ball how they would address that issue, and none can really come up with a good answer. It’s not something you can solve with sensors or the like, because it’d be impossible to determine what the contact is from — another player, the ground, a teammate, etc — or when the whistle blew without going to video.
That gets us to the second (and most important) reason the league hasn’t gone to spotting the ball via chip, which is it would bring the game to a halt after nearly every single play. If you thought the occasional replay review ruins game flow, imagine if they had to go over the video on every single play to determine exactly when a guy was down by contact, pinpoint the exact spot where the ball is, and then have the official place the ball at that exact location. It would create a slog of a game with various stoppages and would turn into a complete nightmare in hurry-up situations. There would be some easy ones, but if the point of the chip is to spot the ball exactly correct every time, you can’t pick and choose when to use it and only have it be in high-leverage situations.
That would mean reviewing every single play which, at the least, would slow down the spotting process most plays and at times require them to stop the game entirely to figure out exactly where the ball should be spotted — think about how long it takes them to review plays on the goal line, and imagine if that happened once or twice per drive. Perhaps that’s what some folks want, but I do not want every game to become a 4-hour affair with constant stops and starts to spot the ball.
The NFL has clearly looked at ways to make these processes better. They use expedited review now to correct egregious errors in real time, which is an improvement and a good way to use the technology we have without completely disrupting the game. If there were an obvious solution that didn’t completely wreck the rhythm of the game, I promise you the multi-billion dollar enterprise would have made the switch. That doesn’t exist though, so we continue to have a chain gang and officials spotting the ball.
Keeping up with new music can be exhausting, even impossible. From the weekly album releases to standalone singles dropping on a daily basis, the amount of music is so vast it’s easy for something to slip through the cracks. Even following along with the Uproxx recommendations on a daily basis can be a lot to ask, so every Monday we’re offering up this rundown of the best new music this week.
This week saw Bruno Mars and Sexyy Red get about as raunchy as possible on a new collaboration. Yeah, it was a great week for new music. Check out the highlights below.
Bruno Mars promised that his Sexyy Red collaboration “Fat Juicy & Wet” would be a “strip club anthem,” and indeed, it’s a song fit for NSFW environments. Just take a look at Mars’ chorus: “Fat, juicy, and wet / I don’t even gangbang, p*ssy so good / Make me throw up a set, uh / That good kitty-kitty, good kitty-kitty.”
Tate McRae — “Sports Car”
McRae has established herself as one of the modern era’s big pop stars to watch. She’s definitely drawing from the past for inspiration, though: Her latest, “Sports Car,” comes across like a re-work of The Pussycat Dolls’ “Buttons” but modernized and all her own.
Central Cee — “Limitless”
Central Cee’s profile is growing by the day, especially with the release of his debut album, Can’t Rush Greatness. As he’s built a more stable life for himself, he expresses on “Limitless” that he’s not completely sure how to feel about it: “I’m used to fallin’ asleep to the sound of sirens / So I don’t know if I like this change, it’s too quiet / You’ll always think that the grass is greener till you step foot over there and try it.”
Travis Scott — “4X4”
Scott has been teasing “4X4” for a while now with some live performances, but at long last, the track is finally here. The track is more of Scott’s theatrical and atmospheric hip-hop, this time built on a marching band sample.
J Balvin — “Rio”
Balvin goes the personal route on his latest, “Rio.” The tender track seems him reflecting on his happy life with his partner as he sings lyrics that translate to, “Why hit the streets to look for / What is plentiful in my house?”
FKA Twigs — “Striptease”
Early in the Eusexua album cycle, FKA Twigs said the project “isn’t techno but the spirit is there.” Now that the album has been released, we can really hear what she means, and what she said makes sense: Songs like “Striptease” are definitely indebted to the aesthetics and rhythms of the genre, but as tends to be the case with Twigs songs, they also tread new ground that’s distinctly Twigs.
Djo — “Basic Being Basic”
Plenty of actors have vanity music projects, but Stranger Things favorite Joe Keery is the real deal: He was a musician before his acting career took off and he had a billion-stream hit last year with “End Of Beginning.” He’s starting 2025 off strongly, too, with “Basic Being Basic,” which he shared while announcing an upcoming album and tour.
Shygirl — “True Religion” Feat. Isabella Lovestory and PinkPantheress
Shygirl has Club Shy Room 2, a follow-up to her successful 2024 EP Club Shy, coming out soon. In the meantime, she teased the project with “True Religion,” a thumping number that features contributions from Isabella Lovestory and PinkPantheress (the latter being a reunion).
Scowl — “Not Hell, Not Heaven”
Scowl are on Dead Oceans now, which puts them in the indie big leagues alongside labelmates like Mitski, Phoebe Bridgers, and Japanese Breakfast. They have a new album, Are We All Angels, on the way soon, and the group sounds like they’re justifying their signing on “Not Hell, Not Heaven,” which has a rock/punk edge that both offset and compliments the honey-sweet, hooky songwriting.
Mereba — “Phone Me”
Mereba describes her latest as “a sisterhood/friendship anthem,” saying she “just wanted a fun, joyful song celebrating my chosen sisters and brothers.” Well, mission accomplished: “Phone Me” is endlessly listenable, a warm- and woozy-sounding vibe that’s sure to soundtrack many memorable moments with pals to come.
The rumors are true: Rilo Kiley are reuniting. Jenny Lewis, Blake Sennett, Pierre de Reeder, and Dave Rock will play their first show together in over 15 years at Just Like Heaven, the single-day festival held on Saturday, May 10, at Brookside at the Rose Bowl in Pasadena, California. The lineup also includes Vampire Weekend, Empire Of The Sun, Bloc Party, and the similarly-reunited TV On The Radio.
“We are so very excited to come back together for Just Like Heaven in Pasadena, California — Los Angeles,” Rilo Kiley wrote in a statement (they also released a teaser). “As a band, we began here, and we feel so fortunate to return among so many artists and friends, to this community we hold so dear, in such a beautiful and meaningful place.” Vampire Weekend’s Ezra Koenig added, “I went to Just Like Heaven for the first time last year and loved it. Great vibe, great line-up. Honored to be a part of it.”
Tickets for Just Like Heaven 2025 go on sale on Friday, January 31, at 11 a.m. PT. GA passes start at $175 and VIP passes begin at $399, while children between the ages of 5 and 10 are admitted free of charge when accompanied by a pass-holding parent or guardian. You can find more information here.
Check out the full lineup for Just Like Heaven 2025 below.
Just Like Heaven 2025 Lineup
Beach Fossils
Bloc Party
Chris Cruse
Courtney Barnett
Empire Of The Sun
GROUPLOVE
Hercules & Love Affair (Live)
Panda Bear
Perfume Genius
Peter Bjorn And John
Ra Ra Riot
Rilo Kiley
Slowdive
The Drums
The Sounds
Them Jeans
Toro Y Moi
TV On The Radio
Unknown Mortal Orchestra
Vampire Weekend
Wild Nothing
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
