Belly Gang Kushington (born Victor Thomas) has gone from jail cells to getting flowers from J. Cole and Drake, along with hopping on FaceTime with NBA star Kevin Durant.

Born in Atlanta, BGK’s mother left at birth, and he was raised by his dad, along with his great aunt and her daughter. Seeing his uncles and father partaking in trap activities, Kushington immersed himself in the trap boom of the 2000s and the street tales of ATL legends like T.I., Jeezy and Gucci Mane. “That’s what I thought was cool,” he tells Billboard during a trip to NYC earlier in March.

Kushington followed in his family’s footsteps, which led to legal trouble and a handful of jail stints, the last of which came in 2023. “I got so used to jail that I knew something was wrong then,” he quips. “I’m getting locked up and I know everybody on the cell block. This s–t’s just regular.”

The Atlanta rapper promised to leave the pen behind for good and take his rapping career seriously, as he also has a son to provide for. BGK took on the adopted stagename from a nickname given to him based on having “kush by the ton,” and putting on weight.

Kushington began to gain traction in Atlanta by freestyling to the beats from some of his favorite songs, and caught the eye of ATL-based label Love Renaissance, which is home to 6LACK and Summer Walker. He ended up signing to LVRN in late 2024.

He brought his relentless hustler mentality to rap and hit the gas pedal full-throttle for 2025. With traces of the trap titans that paved the way, Kushington’s motivational raps filled his trapper-friendly The Streets Is Yours debut project, which arrived last March.

His rise was accelerated by a few viral moments increasing his exposure along the way, including selling his $100 white tees packaged like cocaine bricks, rapping in the middle of a shutdown expressway, and having Druski release a skit loosely based on his biracial image.

Kushington continued to build momentum when he recruited fellow ATLien YKNIECE for the “Friend Do” remix in September, which became a breakthrough club hit into the fall, topping Billboard‘s strip club chart for three months, and remaining at No. 2 in February.

With a taste of success in his system, BGK’s looking to elevate and make his presence felt even more in 2026, as he’s preparing an album, which he expects to arrive before the summertime.

Check out the rest of our interview with Billboard Hip-Hop’s Rookie of the Month for March, who touches on an upcoming collaboration with BigXthaPlug, plans for ’26 and rubbing elbows with Drake and J. Cole.

You’ve been all over the place this past year, just non-stop working.

I can’t believe we did that much — tour and all type of s—t, shows, songs and videos. I be looking at the videos sometimes like, “That s—t only eight months ago? That s—t had to have been three years ago!” Every hustler plans for it to work, but this still feels like the beginning. I don’t even count the wins, just coming to work every day. 

You’re buzzing in Atlanta — do you feel it everywhere else across the country as well?

We can’t go nowhere [without being recognized]. I think it’s how I look. There’s so many reasons why people walk up [to me]. Some people dead-a– think I’m the white tee guy. Some think I’m the guy on the expressway. The majority of people say I’m the “Friend Do” guy or “Popeyes” guy, then like real music fans. But I can tell there are some people asking for a picture who don’t know where they know me from. We’ll be in L.A. or up here in New York and they’ll ask for a picture and really be like, “I remember him.” That showed me my face got more reach.

It’s getting to the point now, at certain places they ripping my clothes and s–t at shows, it’s getting crazy. I’m happy for all of it. I take every picture, bruh. I just feel like I’m blessed and I could make their whole day. My manager told me the other day, “Bro, you asked for this.” I’m like, “Damn, he’s right.”

You’ve been one of the most in-demand featured artists. Feels like we’re getting something every other week. How do you decide which tracks you want to hop on?

I don’t got one way of deciding. The Bally Baby “Hustlin Mf” was one of them ones I actually listened to in the car. I get in the car, feeling good, that’s what I put on. I started rap by rapping on just other folks’ s–t freestyling. I was about to do that and get back into my bag and then I’m like, “Hold on, bro, I’m him now. I could just be like, ‘Ay, bro, I’ma get on this s–t.’” The Dess [Dior collaboration] came when they actually sent it to me and I actually liked it. I caught a flow instantly. When I can do a verse in 10 minutes, I know. I sent it back.

The Montana [700 collab] was more so real n—a, recognize real n—a. We know what I’m putting down and I know what they putting down in Dallas. I gotta f–k with them. They hit me to kick it at the studio. I gotta link with n—as who putting it down likewise. There ain’t a lot of us anymore. If I feel it’s reason to get on this song, I’m getting on it.

BigXthaPlug hit me up. When I heard the song, I’m like, “This s–t is so hard!” I know he strategically was like, “I want Kush on there.” I had to do that. The beat was so hard and what he was saying was so crazy, I gotta go in.

So the inbox has to be flooded with feature requests right now.

Yeah, inbox is flooded. I wasn’t doing features at all. YKNIECE and YTB Fatt were the only features I did. Inbox been flooded with money, but I just feel like I’m not here to make money off collabing. I think being strategic about it or going off a natural feeling makes more sense. It makes more sense to link with somebody or put art together than pay for something. If you gotta pay for it, I don’t even need to be doing it. 

Who’s on your potential feature list you’d want on a track?

I don’t sit around like, “I want this person on a feature.” Obviously, I’m a businessman and I’d take a Drake or Travis Scott feature. Maybe like a 2Pac verse or an Adele hook. That’s dream s–t. We can go downstairs and there’s a n—a playing the violin — a homeless man — and that could be so hard [that] I want a feature. 

The “Friend Do (Remix)” was No. 1 for three months on our strip club chart. Did you feel that when you were out in Atlanta?

I was on tour when it first took off. I had to get home. The day we got home, I went to Candyland that night and we previewed YKNIECE’s verse and s–t went crazy. 

What’s the plan for you album-wise for the rest of the year?

I’m working on an album right now. Soon as it’s together, it’s dropping. Probably in the next couple of months. Probably gonna drop again after that. Every dope boy got elevation, but a good artist don’t ever leave what got them there. That’s a thin line between trying to show elevation and you gotta think my life’s different now. If I’m rapping the same way about my life and memories, it’s going to go hand-in-hand. I don’t got a title for the album yet. We got a lot of songs with a lot of people.

Do you feel any more pressure to deliver now that you’ve made it in a way and got some spotlight on you?

Nah, if anything, just new fans and different types of supporters. I got 12-year-olds rocking with my music. If anything, I really shouldn’t introduce them to Fentanyl. No other pressure other than that. 

Is that something you’re conscious about when creating?

I think people could feel that. I always refer back to an interview with Pharrell and he was talking about how you could feel the energy and the confidence in a song. I could have the same delivery, but you could feel that confidence. 

I think that’s what makes you special in a way. It would be so hard for me to remain motivated and do this again and continue to chase success.

I always been a person that [feels like] someone’s chasing me and I gotta keep running. My music is motivational, because I’m motivated by everything in front of me. I’m meeting new people and it shows me how broke I am today. I ain’t nowhere near comfortable. 

How was linking with J. Cole in Atlanta?

We just went to support, and he was like, “Shoutout Belly Gang.” He came over there, “Ay, boy, you going crazy, don’t change nothing. Keep that s–t just like that, I’m watching. I’m a fan.” That was crazy, because I didn’t think J. Cole knew who I was. Especially from a conscious artist. I’m kinda street, but vulnerable too. I don’t think he was necessarily saying sonically, but keeping that s–t 100 like you been doing. It’s always good getting flowers from people who made it that big. I know I’m doing something right. 

How was seeing Drake in Houston at Area 29?

His team had seen me post-I was out there. Like, “Pull up, The Boy wanna meet you.” I pull up and out the gate, he gave me my flowers. His first words were, “Is that Belly Gang?” I didn’t know they know who I was. He actually told Area 29 to give me rest of the money he had in there, too. Walked in the club, he got a mic set up right there where they dance at. I don’t understand how he records on it. I guess he makes the club be quiet. 

You were on tour with Lil Wayne last year as well. How was hitting the road?

I ain’t gonna lie, I can even see in my peers that tour really broke me in as a performing artist. My manager was kinda worried that my performance wasn’t moving as fast as the buzz was going. Now my performance is in front of the buzz. I controlled the crowd. I’m really comfortable and feel like I’m in this [office] right here. Doing 17,000 people every night and I ain’t have no hit or nothing out. I had to win them over back then. Now it’s like clockwork. First show I was really nervous. Just did the songs and I had a script. By the last show, I was going out there and winging it and those were the best shows.

Your mom left at birth and you reconnected with her at 23 for the first time?

I met her for the first time at 23. I might have been an infant or something [before that]. I just wasn’t feeling it, bruh. Not my type of person. I ain’t sitting around longing for a momma. Why am I gonna bring on these problems? Family is hard enough as it is, I don’t need more of that s–t. 

Have there been family members popping out since the fame?

I was talking to Jelly Roll one time, and I had asked him for his number, because we were on email. He was like, “I ain’t got no number, I just work on the email.” He was like, “Bro, I don’t want anyone reaching me like that.” I was like, “What the hell?” Now I understand. I’m the highlight of everybody’s day in my family and I’m already working 24/7. You got the bills and people get mad. 

What’s your goal for the rest of the year?

I just want to continue to be able to work every day. I don’t really got no money goals, no number goals. I just want to learn how to be happy. I’m still learning how to be free and a regular citizen. I still think people are watching me. This s–t is bliss for me right now.

Megan Thee Stallion just changed the trajectory of one dog’s life after finding out that he was hours away from being euthanized.

In a video posted Friday (March 27) on Instagram, the rapper showed off her new canine friend and revealed that she’d rescued him from a kill shelter, which she says she didn’t know was a real thing. “I was yesterday years old when I found out that there’s a such thing as a kill shelter, and they are putting down dogs when they can not find them a home,” she told followers.

“That is insane. They were going to put him down yesterday,” Meg continued, sounding shocked. “And I said, ‘No, wait. Just give him to me. I’ll take him.’”

The hip-hop star is already a dog mom to French bulldog Foe, about whom she said in the video, “I don’t know how Foe is going to feel about this.” But overall, she’s happy with how her family — which also includes Maine Coon kitty 9 and pup Dos — has grown. “Meet my new rescue son TYGER,” she captioned the clip.

The update comes just a few days after Meg made her Broadway debut in Moulin Rouge!, becoming the first woman to take on the historically male character of Zidler. On Tuesday (March 24), she posted a video of her first-ever curtain call and wrote, “So grateful for this incredible cast & crew & everyone who worked so hard to make opening night a success!! HOTTIES IM ON BROADWAY!!”

The Houston Hottie hasn’t dropped an album since 2024, when Megan reached No. 3 on the Billboard 200. Last year, she unleashed singles “Whenever” and “Lover Girl,” with the latter peaking in the top 40 of the Billboard Hot 100.

Check out Meg’s video below.

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Out today (March 27) Fcukers’ debut album Ö is an accomplishment not only because its stylish, interesting and fun, but because for awhile it wasn’t clear if and when it would be made at all.

The New York dance-rock duo — Shanny Wise and Jackson Walker Lewis — released their debut EP Baggy$$ in 2024, with the project making them instant critical darlings and one of the buzziest new acts of the post-Brat dance scene. Songs like “Bon Bon” and “Homie Don’t Shake” put forth a sound merging electronics beats, guitar, flecks of disco and singer Shanny Wise’s helium voice, with project putting Fcukers squarely in the holy lineage of indie sleaze and DFA Records.

Amid the EP’s September 2024 release, Fcukers played taste-making festival including Portola and Pitchfork London, collecting fans including Billie Eilish and James Murphy. In February 2025 they were announced as the support act for Tame Impala‘s global 2025/26 Deadbeat Tour. The time was very much right to make a debut album, but the pressure to do so also was stifling.

“We didn’t expect to be touring for a year off an EP,” says Lewis. “It was this unexpected success, so then it almost felt like the debut album had the pressure of a debut, but also [the expectations] of a sophomore album. Usually with a debut, nobody knows what your vibe is yet, but we had established a vibe. So it was like, ‘Where do we take this?’

“I was feeling a lot of pressure,” Lewis continues. “There were a lot of people in my ear saying like, ‘Whatever you do, it has to be good.’ I hit a wall where I was like, ‘I can’t do this.’ I went to the label and was like, ‘No deadlines. You might not get any music this year. I’m not in [a] great spot.’”

Kismet intervened when Wise and Lewis were in Los Angeles around the time of their Coachella debut last April. Their manager had set up a meeting with lauded L.A. producer Kenneth Blume, long known as Kenny Beats. Blume had recently finished work on Geese’s debut Getting Killed, although that project wasn’t yet out. “So he wasn’t top of dome [for] everyone,” says Lewis.

He was barely top of dome for Fcukers. “We were on the way to something else,” Wise says of their first meeting with Blume. “We were literally just going to stop by for a coffee.” But the other afternoon plans were scrapped when Blume and Fcukers came up with two new songs during that first meeting, a breakthrough that effectively dissolved the pressure paralysis they’d been feeling. They cleared their schedule for the rest of the week and posted up at Blume’s studio.

“We ended up working with him for two weeks straight, and in that time wrote and recorded most of the album,” says Wise. While they’d brought two previously existing song ideas to these sessions, everything else was made from scratch. A key difference maker was their faith in Blume’s dexterity as a producer, which “freed us up to really just focus on writing and allowed us to do it so much faster,” says Wise. “It wasn’t like, ‘Does the kick drum sound good?’ We knew it was going to sound f–king great.”

The three artists got into an 11-hour workday rhythm that “was literally on some crazy,” says Wise. “We’d wake up, get coffee at nine, drive to his studio, work until 8:00 p.m., go to sleep and do the same thing again the next day.” They made three songs a day during the first week, using the second week to refine and narrow down the ideas, by which point the 11-track album was essentially done. Inspired by Prince’s symbol era, and deciding that “every word under the sun has been used for album titles,” they called the project Ö.

With additional production by Dylan Brady of 100 gecs, the album is out today on Ninja Tune, an insitution Lewis calls “one of the few labels out there that could really straddle a project that’s both a band and electronic.”

Before forming as Fcukers, Wise and Lewis, both 28, were each in myriad New York bands, with Lewis also DJing around town while working in bars. Members of the same social scene, they were formally introduced by a mutual friend, and together found a shared interest in shifting their creative focus to electronic music.

“I was DJing in New York a lot, and remember one of the first times I played Le Bain,” says Lewis. “I was like, ‘Okay, this is what it feels like to play a packed club.’ I was spinning vinyl and really into ’90s house and other dance music — so when Shanny and I met it wasn’t like a grand aspiration, but more thinking that it would be fun to make music like the music I was DJing.”

“I didn’t listen to any house music before I met Jackson,” adds Wise, “so I feel like we’re always coming at it from different sides in a cool way. Because I didn’t have any preconceived notion of what house music is, or how I should sing and sound. I think that maybe adds something cool to it.”

While both of them were adept with multiple instruments and each knew how to use a DAW, “When we first met Shanny was like, ‘Do you know how to make electronic music?’ and I was like, ‘No, but we can figure it out,” says Lewis. Ultimately, they locked in on a sound that mashes up genres and eras, bringing together trap, drum & bass, garage, R&B, rock and elements of the Y2K era artists they grew up with, like Nelly, Lily Allen, Outkast and Dizzee Rascal.

Fcukers will be presenting this hybrid sound to audiences during a 42-date tour extending from April 2 to September 20, with the run including headlining shows in North America and England, festival dates at Bonnaroo and Barcelona’s Primavera Sound, opening slots for six Rüfüs Du Sol shows in the U.S., and even a gig opening for Harry Styles this July 17-18 in São Paulo. Presenting music from an album they weren’t sure they could even make adds a special sort of thrill to experiences they’re already finding to be life-defining.

“We recently did three sold out nights in London and the crowds were crazy, singing all the words,” says Wise. “I got chills. I’ve toured a lot in other bands and have never felt that type of connection before. It’s sometimes easy to not realize growth as it’s happening little by little, but then there are those moments where it’s like, ‘Whoa, what the hell.’”

“We’ve made it way farther than I ever thought we would in my wildest dreams,” echoes Lewis. “Anything that happens beyond this is a bonus.”

Miley Cyrus once again proved that you can always find your way back home with the new music video for her song “Younger You,” which features the star returning to her Hannah Montana days 20 years later. The star first debuted the song at the end of the Hannah Montana 20th Anniversary Special.

The emotional visual posted Friday (March 27) stitches together footage of a teenage Cyrus starring in Hannah Montana: The Movie with current shots of her — with a few more tattoos, but that same iconic blonde hair. She goes on a drive through familiar roads and carries her pink makeup chest from the film.

“Somewhere along the way, we lost touch/ We used to be so happy just because,” she sings on the ultra nostalgic ballad. “I know you had to go eventually/ But don’t forget about me, don’t forget about me.”

The video also features scenes from Disney+’s recent Hannah Montana anniversary special, which showed Cyrus returning to the set of the Disney Channel show, singing some of Hannah’s biggest hits and chatting with special guests such as Chappell Roan and Selena Gomez. She also answered questions in an interview conducted by Alex Cooper, reunited on camera with her real-life father and Hannah Montana costar Billy Ray Cyrus, and spoke about how the “Hannahversary” had helped her reclaim the character as a part of herself.

”Younger You” accompanies the Hannah Montana anniversary festivities, adding to the franchise’s canon of hits. As Hannah Montana, Cyrus notched 20 tracks on the Billboard Hot 100, including top 10 hit “He Could Be the One.”

Watch Cyrus’ video for “Younger You” above.