In The Number Ones, I’m reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and working my way up into the present. Book Bonus Beat: The Number Ones: Twenty Chart-Topping Hits That Reveal the History of Pop Music.
Drake had a bad night last night. One particular 2024 Drake line — “Kendrick just opened his mouth, someone go hand him a Grammy right now” — came back to haunt him. Last night, Kendrick Lamar, someone who has been in this column a couple of times and who will return for more — won five awards, including Record Of The Year and Song Of The Year — for a song where he almost explicitly calls Drake a pedophile. (That song, incidentally, is one of the Kendrick tracks that’ll appear in this space.) Drake has won exactly five Grammys across his entire career. Drake has always made a point of showing that the Grammys don’t really matter to him, and he’s probably always been right about that. Still, I can’t imagine it was fun to watch an arena full of superstars yelling along with the “A minorrrrr” bit, or to see Taylor Swift more or less dancing on his grave. The entire music industry pretty much linked arms to display how much it doesn’t like Drake, and Kendrick didn’t even mention him in his various acceptance speeches. Instead, Kendrick framed the song that he wrote about Drake as a unity anthem for Los Angeles as it heals and rebuilds after the recent wildfires. Drake might as well be a supporting character in his own rap feud right now.
So it’s a little weird for this column to line up with Drake’s career peak on one of the worst days of his entire public life. But Drake’s career peak was stratospheric, and few artists will ever enjoy a run like that. The moment that “Nice For What” dropped, it was game over. Drake’s “God’s Plan” had already been sitting at #1 for months. After one listen, maybe after half a listen, you could already tell that “Nice For What” would keep him there for another extended stay. With “God’s Plan,” Drake proved that he could make a massive blockbuster single without even trying. That song is autopilot Drake, a boilerplate I’m-on-top song with a great video, and every cultural force was aligned to support a song like that. With “God’s Plan,” Drake made a smash almost by accident. “Nice For What” was different. “Nice For What” was what happened when Drake tried.
When male rappers talk about making a song for the ladies, it’s usually the most pedestrian and half-hearted gesture. It’s usually a sex song or maybe a simpering love-rap, often with an R&B chorus. Sometimes, it’ll be an uptempo club song that’s about partying rather than directly hooking up. In pretty much any situation, it’s a bald pander-move, a distracted digression from the tough-talk that they’d rather be doing. I remember rappers bragging about refusing to make songs for the ladies. Drake raps about women more than almost any of his peers, and he sometimes frames those tracks in that reductive for-the-ladies matrix. But with “Nice For What,” Drake talked about ladies, to the ladies and for the ladies, over the kind of beat that could make anyone move. As strategy, this was incredibly smart. As music, it was better.
Drake doesn’t make songs like “Nice For What” anymore. Even when he tries, it doesn’t have the same effect. That could have something to do with what was going on in his life when “Nice For What” was on top, or it could just be that he doesn’t have the juice or the appetite to make songs like that anymore. But once upon a time, not that long ago, Drake had it. There are plenty of reasons to be skeptical of Drake as a pop star, but “Nice For What” was one of the best pop-star moments in recent memory. It was a great song, delivered in an appealing package at the exact right moment. Things are looking bleak for Drake today, but the existence of a song like “Nice For What” is why we can’t write him off yet. If Drizzy Drake manages to make another laser-guided missile like this, he could be right back on top tomorrow.
There aren’t a lot of stories about the production of “Nice For What,” and maybe that’s just because stars on Drake’s level don’t really do press anymore. But the credits of “Nice For What” tell a story. On Spotify, “Nice For What” has 18 credited songwriters, and I’ve seen articles that put the count higher than that. That doesn’t mean that 18 different people wrote parts of “Nice For What.” It means that “Nice For What” plays games with sampling and collective memory — games that Drake can afford to pay, since his budget covers sample clearances and the types of legal negotiations that can lead to a hit song with 18 different people in the credits. To talk about those credits, we need to follow a thread back to 1974, 12 years before Drake’s birth.
I guess the “Nice For What” story starts with Marvin Hamlisch, the EGOT-winning composer who died about six years before “Nice For What” came out. Hamlisch wrote the score for the Barbra Streisand/Robert Redford romance The Way We Were. In the process, he worked with the married-couple lyricists Alan and Marilyn Bergman, who racked up about a million Oscar nominations over a 30-year run, to come up with a theme song for Streisand to sing. Streisand hated “The Way We Were,” the song that the trio wrote for her, but it still won an Oscar and became her first #1 hit and the year’s biggest pop single. (Marvin Hamlisch, incidentally, is a charting lead artist, too. His version of Scott Joplin’s “The Entertainer,” recorded for The Sting in 1973, peaked at #3. Writing about “The Way We Were” years ago, I said, “I guess it’s an 8? It seems completely fucking ridiculous to rank ‘The Entertainer.'” This is still the case.)
A year after Streisand’s version of “The Way We Were” went supernova, former Number Ones artists Gladys Knight & The Pips released a gorgeously woozy live cover of “The Way We Were,” which they combined with “Try To Remember,” a song from the musical The Fantasticks. Knight completely remade the song, transforming it into a dizzily gorgeous soul ballad, and their version went as high as #11. I don’t think “The Way We Were” is a great song, but I do think the Gladys Knight version turns it into one.
In 1993, the RZA sampled Gladys Knight’s “The Way We Were” on “Can It All Be So Simple,” the most nakedly emotional song on the Wu-Tang Clan’s classic debut Enter The Wu-Tang (36 Chambers). Knight’s voice, both her spoken-word intro and her heart-crushed refrain, floats through the track, encouraging and reassuring Raekwon, Ghostface Killah, and Method Man as they vent furiously and dig through traumatic memories. (“Can It All Be So Simple” is a canonical rap classic, but it didn’t chart, even though Wu-Tang released it as a single. As a group, Wu-Tang’s highest-charting Hot 100 hit is 1993’s “C.R.E.A.M.,” the one that came out just before “Can It All Be So Simple,” and it peaked at #60.)
Five years later, former Number Ones artist Lauryn Hill released “Ex-Factor,” a gorgeously devastated ballad about being trapped in a relationship that’s permanently on the brink of falling apart. (Its target is probably her Fugees bandmate Wyclef Jean, another former Number Ones artist.) Hill and her uncredited collaborators built an “Ex-Factor” groove that riffed on RZA’s “Can It All Be So Simple” beat, and Hill made the connection stronger in the song’s first line, when she murmured, “It could all be so simple.” “Ex-Factor” wasn’t a huge pop hit — it peaked at #21 — but it was a key song from a blockbuster album, and it continued to reverberate decades later.
Fast forward to when Drake spent a day working and playing video games with Shane Lee Lindstrom, the Ontario-born rap producer known professionally as Murda Beatz. Murda Beatz is a goofy-looking white guy who makes undeniably hard beats. He started messing around with rap production as a teenager, and he moved to Chicago, where he produced early-’10s mixtape tracks for the late drill star Fredo Santana. From there, he found his way into the Atlanta rap ecosystem, and he landed his first big credit when he produced “Pipe It Up,” the 2015 single from former Number Ones artists the Migos.
Murda Beatz produced tracks for rappers like Gucci Mane and 2 Chainz, and he got to know Drake by moving in the same circles, in Toronto and elsewhere. In 2016, Murda produced “AKA,” a track from Drake’s security guard and occasional collaborator Baka Not Nice — the one with the weird case, why is he around? That’s where Murda got his “Murda on the beat so it’s not nice” producer tag. Soon after, Murda co-produced one song on Drake’s Views album and a couple of tracks on More Life. One of them was “Portland,” the Quavo/Travis Scott collab that peaked at #9. (It’s a 6.)
On this one fateful day, Drake and Murda Beatz were sitting around and thinking of song-samples to use, and they landed on Lauryn Hill’s “Ex Factor.” Drake was a confirmed Hill fan. He’d already rapped over a “Doo-Wop (That Thing)” sample on his 2014 single “Draft Day” and brought Hill out as a surprise guest at his OVO Fest that year. Later on, Murda told Rap Radar about putting together the “Nice For What” beat, chopping up that sample of Hill’s “care for me, care for me” bit from the end of the song. While Murda made the beat, Drake played NBA 2K. When Drake heard the beat, he loved it, and he wrote and recorded the track immediately. Murda says the song took about an hour and a half to finish — an hour and a half and 44 years.
Thanks to that thread of samples going all the way back to “The Way We Were,” a whole lot of people got songwriting credits on “Nice For What.” There is basically no trace of “The Way We Were” on “Nice For What,” but Marvin Hamlisch and Alan and Marilyn Bergman all got credits. All nine original members of the Wu-Tang Clan got credits, which is fun. I don’t know what U-God’s cut of the “Nice For What” publishing is, but I’m glad he’s getting something. Lauryn Hill is obviously credited, too. If “Nice For What” really was done in an hour and a half, then it would still be a link in a long chain — songs referring back to other songs, iterating and playing on the collective memory.
By some freaky cosmic coincidence, another high-profile rap song built on an “Ex-Factor” sample came out exactly one week before “Nice For What.” Cardi B, who has been in this column once and who will be back many times, rapped over an “Ex-Factor” sample on her own relationship song “Be Careful,” and that same roll-call of sampled songwriters got another big credit. Maybe it wasn’t a coincidence. Maybe Hill’s publisher was really pushing “Ex-Factor” samples on people. Maybe the regular Drake collaborator Boi-1da, who co-produced “Be Careful,” had something to do with it. This kind of thing turns me into a conspiracy theorist. The same week that “Nice For What” debuted at #1, “Be Careful” peaked at #11. “Ex-Factor” really had a moment that week. In any case, I like “Be Careful.” Good song.
But “Nice For What” wasn’t really done in an hour and a half. Murda Beatz is one of four producers on the track, and I would love to know when “Nice For What” became a bounce record. Murda Beatz doesn’t make bounce music, but that’s what “Nice For What” is. New Orleans bounce goes back to the late ’80s, and it’s one of many hyper-regional variants of rap music that flourished around then. Bounce is all-out stripped-down party music that owes a lot to second line and Mardi Gras Indian chants. Drake has a direct connection to bounce, since he came up on Cash Money Records, which started as a local bounce label. Lil Wayne, Drake’s most important mentor, started out as a 12-year-old kid making bounce.
The “Nice For What” beat takes that one floating line from “Ex-Factor,” an absolutely beautiful song, and translates it into the kinetic fury of bounce music. That’s a magic trick. It shouldn’t work, but it does. I’m guessing that one of the other producers took the Murda Beatz sample and figured out how to make it work as bounce music. Drake’s usual collaborator Noah “40” Shebib also has producer credit on “Nice For What,” and so does some guy named Corey Litwin, who seems to have no other credits. But I’m guessing that the person who really remade the track is the New Orleans bounce producer BlaqNmilD, who started out making bounce tracks in the early ’10s. Early in his career, BlaqNmilD worked with big stars like Master P and former Number Ones artist Juvenile, but he was probably better known for regional hits like 5th Ward Weebie’s “Let Me Find Out.” (More of BlaqNmilD’s work will appear in this column.)
There are nods to New Orleans bounce all over “Nice For What.” The track opens with a bit of sampled stage patter from Big Freedia, the queer, cross-dressing bounce artist who’d already been sampled on Beyoncé’s 2016 hit “Formation.” (“Formation” peaked at #10. It’s a 10. Another record with a Big Freedia sample will appear in this column one day.) Big Freedia and 5th Ward Weebie both came in to record ad-libs on “Nice For What,” and they both got songwriting credits. Weebie, a truly irrepressible figure, never made anything resembling a mainstream hit, and he passed away from a heart attack in 2020. He was 42. I like the idea that he lives on through a massive hit like “Nice For What.”
Once the pitched-up Lauyrn Hill “care for me, care for me” loop fades out and the drums kick in, Drake makes his “Nice For What” entrance by quoting “Get Your Roll On“, the immortal Big Tymers banger from 2000. As a result, both Big Tymers members, onetime Drake label boss Birdman and ex-Cash Money in-house production genius Mannie Fresh, got their own “Nice For What” songwriting credits. (“Get Your Roll On” just barely missed the Hot 100, bubbling under at #101, and that’s some kind of historic tragedy. That song is amazing. Big Tymers’ highest-charting single, 2002’s “Stay Fly,” peaked at #11.) And then there’s the “Triggaman” beat, which is its own saga.
In 1985, an obscure Queens rap duo called Showboys recorded “Drag Rap,” a berserk six-minute crime-life odyssey with a thundering, stripped-down 808 beat. The instrumental track is all hammering drums, oscillating bleep-sounds, and occasional appearances of the Dragnet theme and the whistled Old Spice jingle. (I’m guessing it’s called “Drag Rap” because of the Dragnet sample, not because it foreshadowed Big Freedia in any way.)
The “Drag Rap” single came out and did no business, and the Showboys figured they were done. A few years later, though, they got a surprise. A promoter in Memphis wanted to book the group who made the song “Triggaman.” The Showboys were confused; they didn’t have a song called “Triggaman.” But it turned out that “Drag Rap” was known as “Triggaman” in Memphis and that it was a huge hit there. Southern territories always loved hard, intense rap songs with enormous bass that sounded great on tricked-out car soundsystems, and “Drag Rap” in particular became the foundation for Memphis gangsta-walk music, the intense subgenre that slowly mutated into crunk over the years. At some point, “Drag Rap” also made its way down to New Orleans, where it also became the foundation of bounce music. I love that shit — a random one-off rap single that winds up spawning two different subgenres without the creators of that single having any idea about it. I strongly recommend Benjamin Meadows-Ingram’s 2018 Red Bull Music Academy piece on the whole “Triggaman” phenomenon.
The “Triggaman” beat pretty much served the same function as a James Brown breakbeat or the dembow riddim — a sound that passes down from generation to generation, anchoring whole waves of music to a single, elemental sound. It’s been sampled hundreds of times — first on early Memphis and New Orleans records, and then on bigger, later records that worked to recreate the immediate feel of those early records. Naturally, there’s a “Triggaman” sample on “Nice For What,” and the two Showboys members get credit.
When Drake is at his best, that’s what he does. He identifies some form of underground music, whether it’s a right-now thing or a long-running historical thread like bounce music, and he taps into what’s appealing about it and finds a way to broadcast it to the world. Bounce music wasn’t exactly a foreign thing in 2018. When No Limit and Cash Money blew up in the late ’90s, New Orleans rap had evolved into something else, but there’s still a direct line to bounce in tracks like Juvenile’s “Back That Azz Up.” Drake went into bounce history on “Nice For What,” bringing in people who’d been making that music for years. He connected to the communal feeling of the music, the power that would get middle-aged women to shake their asses in New Orleans parks in the middle of the afternoon. He sweetened that sound with the Lauryn Hill sample and his own cheerleading. As a rap nerd, I bet Drake loved the idea that his giant summer smash had allusions and credits for the Showboys, the Wu-Tang Clan, the Big Tymers, and Lauryn Hill.
There’s nothing lazy about the samples, interpolations, and allusions on “Nice For What.” It’s expert patchwork, text from hypertext. It takes things that don’t make sense together, and it makes them make sense. But you can’t make a giant summer smash just by calling back to older tracks and recreating a certain feel. You need hooks, and you need a point of view. “Nice For What” has both. Drake might be the most navel-gazing rap star in history, but he simply does not talk about himself one bit on “Nice For What.” Instead, he talks about the ladies.
Drake’s opening line: “Everybody get your motherfuckin’ roll on/ I know shorty, and she doesn’t want no slow song.” So what does this theoretical shorty want? She wants something with bounce, something she can cut up to. She wants a lot of other things, too. For the rest of the song, Drake paints a loving, doting picture of a hardworking career woman who wants to party with her friends whenever the opportunity presents itself. She’s got her shit together and her bills paid. She knows how to take a flattering selfie. She doesn’t have a man anymore, and she likes quiet nights at home, but she makes her nights out count. She’s got a hundred bands, a baby Benz, some bad friends. High-school pics, she was even bad then. She ain’t stressin’ off no lover in the past tense, she already had them.
Drake isn’t really a participant on “Nice For What.” He’s not the protagonist of the story. The unnamed woman is the hero, and Drake is merely an observer. He sees that there’s a real one in her reflection without a follow, without a mention. The song isn’t even about attraction, though that’s in the mix. It’s about appreciation.
The great ladies’ men of the world are the ones who love women. They love the way that women walk, talk, smell, think. They love being around women. They like to flirt because it’s fun, not because it’ll get them something that they want. Too often on record, Drake has not been that type of ladies’ man. On something like “Hotline Bling,” he’s a bitter ex who can’t believe that his old “good girl” would be so crass as to go out and have fun and maybe fuck someone else. But that’s not the Drake that we get on “Nice For What.” The Drake of “Nice For What” is one of the great ladies’ men of the world. You can’t write a song like that if you don’t truly love women. It’s hard to believe that this Drake and the other Drake could occupy the same body, but I guess that’s the human experience.
On “Nice For What,” this particular Drake skips all over the track, and he sounds delighted. He’s still a dork, talking about how this woman has her phone out, snappin’ like she’s Fabo. She’s not taking selfies like she’s the rubbery-limbed star of former Number Ones artists D4L; those two types of snapping have nothing to do with each other. But Drake loves rap and women enough to make that goofy-ass analogy, and he says it with enough conviction to make it stick. Then the song hits its bounce-breakdown climax, and it’s just drums and samples exploding like confetti cannons. There, Drake simply becomes one more texture in this all-out party attack, joining in with the Lauryn Hill voices and the “Triggaman” drums and the wailing sirens. That’s good shit. That’s the kind of song that screams summertime.
“Nice For What” came out in early April 2018, when summer felt like it was just around the corner, and it hit immediately. This wasn’t like “God’s Plan,” where we got the song first and the video later. The “Nice For What” video was just as important, and it arrived on the same night as the song itself. It’s another little miracle from “God’s Plan” director Karena Evans. Drake is in the video, but he’s only got a few seconds of screen time, and he mostly seems happy to be there. Instead, the “Nice For What” clip is a dizzy montage of glammed-out cameo appearances from famous and beautiful women, all of whom get to look cool as hell.
“Nice For What” has movie and TV stars: Olivia Wilde, Tiffany Haddish, Michelle Rodriguez, Issa Rae, Rashida Jones, Tracee Ellis Ross, Emma Roberts, presumptive 2025 Oscar winner Zoe Saldaña, Letitia Wright when she was just coming off of Black Panther. (Wright is on the song, too. She’s the one who says “watch the breakdown” before the breakdown, and she hits that line perfectly.) Bria Vinaite, fresh off of her heartbreaking turn in The Florida Project, is in there riding a go-kart and looking euphoric. Syd Tha Kid from Odd Future and the Internet shows up, as does the dancer Misty Copeland, and some models. Everyone looks unbelievably cool. When the press tour for Don’t Worry Darling was immolating, a voice in my head was like, “Yeah, but remember when Olivia Wilde did that sneaker-bounce thing on the breakdown? That was so good.” That voice was right. It was so good.
Look, it’s pretty cheap for a big-budget music video to be nothing but a string of celebrity cameos. We get it: This artist is very famous and has lots of connections to other very famous people. And maybe it was cheap for a rap star with lots of famously misogynistic songs to come out with a female-empowerment song during the #MeToo era and to fill it with female celebrities. But that video just feels good. It’s artful. It moves. There’s so much affection in the song and in the video, and they build on each other. It worked so well that another male artist stole the parade-of-famous-ladies concept for another big video soon after, and we’ll talk about that in this column.
“Nice For What” hit so hard that it just wouldn’t leave the #1 spot. Another big song would come along and temporarily knock it off its perch, but then “Nice For What” would be back a week or two later. The song went to #1 four different times, a record back then. It kept coming back to #1 even as Drake went through what might’ve been his first true PR nightmare.
After “Nice For What” had been sitting at #1 for a while, Pusha T released Daytona, the Kanye West-produced mini-album where he took a few shots at Drake and Lil Wayne. Drake and West had an uneasy relationship, and Pusha had problems with Wayne that went all the way back to supposedly-missing payments for the 2002 Clipse/Birdman collab “What Happened To That Boy.” (“What Happened To That Boy” peaked at #45, and it is my favorite song of the ’00s.) For a few years, Drake and Pusha had gone back and forth, taunting each other without saying any names, but the few lines on Daytona were apparently enough to convince Drake to escalate. Drake took the bait, releasing the lightweight diss track “Duppy Freestyle,” which was ostensibly aimed at Pusha even if it was just as concerned with Kanye. This was a mistake.
Pusha responded immediately with “The Story Of Adidon,” one of the most destructive, soul-obliterating diss tracks in rap history. There’s all sorts of nastiness at work on “The Story Of Adidon” — the stuff about how Drake’s music is “angry and full of lies,” the taunts about Drake’s parentage, the heartless punchlines about 40’s multiple sclerosis. Drake had a lot of explaining to do over the cover art, from an old photoshoot where he wore Blackface. But the heaviest part was the big reveal: “You are hiding a child.” It was true. Drake was now a father, and he was not with the kid’s mother. Supposedly, Drake had plans to unveil his kid in an Adidas ad campaign, but Pusha’s track put an end to all that. “The Story Of Adidon” never even officially came out, since it used the beat from Jay-Z’s “The Story Of OJ,” but it still had a tremendous cultural impact. (“The Story Of OJ” peaked at #23. Pusha’s highest-charting lead-artist single is the 2022 Lil Uzi Vert/Don Toliver collab “Scrape It Off,” which peaked at #59. Pusha also reached #11 as a guest on Justin Timberlake’s “Like I Love You” in 2002. As one half of Clipse, Pusha made it to #19 with “When The Last Time” that same year.)
Drake never responded to “The Story Of Adidon.” What could he possibly say? In the aftermath, J. Prince, the feared Houston rap elder and street figure, publicly took credit for cutting the feud off and advising Drake to move past it: “You can jump in a pigpen and become a hog, or you can stay on solid ground and deal with the issue and keep moving on [with] your success. That was our decision. I told him, he heard me, and I’m thankful he listened to it.” Maybe it was the smarter call to leave the beef alone, but it meant that Drake lost. He’d never really lost before. In 2015, Drake went up against Philly star Meek Mill, and lots of people thought he’d get rinsed, but Drake scored the decisive victory there. He even turned one of his diss tracks, the excellent “Back To Back,” into a #21 pop hit. Maybe Drake didn’t think that he could lose against Pusha, but he lost. It bothered him. You could tell. He was more vulnerable than he once appeared.
But it didn’t matter. “Nice For What” was out. Drake might’ve been humiliated on a grand stage, but it barely dented his commercial momentum. Maybe the loss just didn’t matter. Maybe “Nice For What” was so undeniable that a momentous rap feud just felt like an internet sideshow. The Pusha T shitstorm overwhelmed the release of Drake’s next single “I’m Upset,” which was obviously planned long before the feud erupted and which was hilariously not about Pusha. Karena Evans once again made a masterful video for the song. This time, she smashed the nostalgia button and reunited Drake with his old Degrassi castmates, and it was cute as hell. But the song was nothing special, and it didn’t become a huge cultural moment like the previous two. (“I’m Upset” peaked at #7. It’s a 5.)
Did “I’m Upset” even underperform, though? When the song came out, “Nice For What” was still on top, and Drake was still making hits. Around the same time, Drake guested on the Atlanta rap newcomer Lil Baby’s track “Yes Indeed,” and that song reached #6 without a video or a big push. (Wah wah wah, it’s an 8.) “Nice For What” remained on top when Drake’s Scorpion album came out in June, and that record did crazy numbers even though it’s a total fucking slog. Drake flooded the market with 90 minutes of sleek dirges full of passive-aggressive lines about his own single-dad status — “I got an empty crib in my empty crib,” that kind of thing. The record’s endless length probably helped its streaming numbers, though it was very inconsiderate to those of us who had to review the damn thing on a tight turnaround.
But it didn’t even matter that Scorpion was ass, or that its moments of energy like “Nice For What” were so infrequent, just like it didn’t matter that Drake lost to Pusha T. The week after Scorpion came out, Drake had six songs in the top 10. Scorpion was the most popular album of 2018. “Nice For What” has gone platinum nine times. Thanks in part to songs like “Nice For What,” Drake was too big to fail. He was at the peak of his imperial era, and he must’ve felt like nothing could possibly stop him. This would not be the case forever, but in the summer of 2018, it was the absolute truth. Drake will be in this column again soon.
GRADE: 9/10
BONUS BEATS: Here’s future Number Ones artist Megan Thee Stallion rapping over the “Nice For What” beat in 2019:
THE NUMBER TWOS: Another rare moment of energy and engagement on Scorpion is the hard-ass Memphis rap pastiche “Nonstop,” which has Drake in imperious mode on a gut-rumbling Tay Keith beat. It’s an 8.
@nbcsnl Nonstop – Drake
The Number Ones: Twenty Chart-Topping Hits That Reveal The History Of Pop Music is out now via Hachette Books. Gotta buy the book, gotta make that ass jump.
