Alex Warren Responds to Drake's Diss After Beating Him for Hot 100 No. 1
In response to Drizzy's comments about the TikToker's smash hit 'Ordinary' blocking the former's 'What Did I Miss?' from debuting at No. 1 on the Billboard Hot 100 this week, Warren posted a tongue-in-cheek video of himself Monday (July 14) on Instagram Stories. In the clip, he dances along to Drake's 'Nokia,' staring innocently into the camera as he shakes his hips to the lyrics, 'Baby girl/ Let me see you do your dance, let me see you twirl.'
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In lieu of a caption, Warren simply tagged Drake's username. 'Nokia' also happens to have never reached No. 1 on the Hot 100, debuting at No. 10 in March before eventually climbing to No. 2 the following month.
Warren's response comes shortly after the Canadian superstar expressed his disappointment with debuting at No. 2 on the Hot 100 chart dated July 19. On his Story, Drake wrote earlier on Monday, 'Suppressor on the 1 spot.'
'I'm taking that soon don't worry one song or another,' he added at the time, sharing a graphic of the U.S. chart's top 10, which showed 'What Did I Miss?' sitting just below Warren's 'Ordinary' at No. 1.
Though Drake may not be happy with the position of 'What Did I Miss?' on the charts this week, the track still earned him a record-extending 81st top 10 hit on the Hot 100. He also now has 359 total entries on the ranking, more than any other artist in history.
Plus, 'Ordinary' has proven pretty hard to beat. Warren's breakthrough hit has spent a total of six weeks in the top spot, dethroned only temporarily by Sabrina Carpenter's 'Manchild' spending one week at No. 1 in late June.
Warren is currently fresh off the release of 'On My Mind' with ROSÉ, which followed his Jelly Roll duet, 'Bloodline.' Both tracks will appear on Warren's new album, You'll Be Alright, Kid, which drops Friday (July 18).
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In "National Brotherhood Week," which lampooned the brief interlude of imposed tolerance celebrated annually from the 1930s through the early 2000s he wrote: Oh, the white folks hate the black folksand the black folks hate the white folks,to hate all but the right folks is an old established rule …But during National Brotherhood Week (National Brotherhood Week),Lena Horne and Sheriff Clark are dancing cheek to fun to eulogizeThe people you despise,As long as you don't let 'em into your school. Lehrer's songs also took aim at then-taboo subjects such as sexuality, pornography and addiction. In 1953, his self-released album 'Songs of Tom Lehrer" became an underground hit. Produced for $40 and promoted by word of mouth, the cover image was of Lehrer in hell playing piano as the devil. It eventually sold an estimated 500,000 copies and sparked demand for concert performances around the world. During the mid-1960s, Lehrer contributed several songs to the satirical NBC news show 'That Was the Week That Was,' hosted by David Frost. The show inspired Lehrer's third album, 'That Was the Year That Was.' Released in 1965, it reached the 18th spot on American music charts. On the occasion of his 90th birthday in 2018, Los Angeles Times columnist Michael Hiltzik wrote that Lehrer's lyrics were written "with the facility of William S. Gilbert and tunes that evoked the felicity of Sir Arthur Sullivan. Lehrer's work bounced the absurdities and paranoias of that period back at us, in rhymed couplets and a bouncy piano beat." Thomas Andrew Lehrer was born in New York City on April 9, 1928, to a middle-class family. His father James Lehrer was a successful necktie manufacturer. As a child he took piano lessons but preferred Broadway show tunes — with a particular affection for the works of Gilbert and Sullivan — to the classics. After entering Harvard University at age 15, his penchant for sardonic humor surfaced in his parody song "Fight Fiercely Harvard," which challenged the football team's reputation for toughness and earned him a measure of renown on campus. For a time he followed a dual track, music and academia, though he never completed the PhD thesis he began while pursuing doctoral studies at Harvard and Columbia University. After a two-year break between 1955 and 1957 when he served in the Army, Lehrer once again performed concerts across the U.S., Canada and Europe. In a 1959 Time article, the magazine described Lehrer and fellow comedians Lenny Bruce and Mort Sahl as the symbols of a new 'sick' comedy. 'What the sickniks dispense is partly social criticism liberally laced with cyanide, partly a Charles Addams kind of jolly ghoulishness, and partly a personal and highly disturbing hostility toward all the world." Lehrer's work opened the door for generations of musical satirists including Randy Newman and 'Weird Al' Yankovic and exerted an influence on everything from the musical skits of "Saturday Night Live" to the mockumentary "This Is Spinal Tap." "He set the bar for me — and provided an example of how a nerdy kid with a weird sense of humor could find his way in the world,' Yankovic once said of Lehrer. 'Done right, social criticism set to a catchy tune always makes politics easier to digest,' Lizz Winstead, co-creator of "The Daily Show," told Buzzfeed in an article examining Lehrer's influence on modern satirical comedy. But Lehrer was first and foremost an academic, over the course of his career teaching math and musical theater at Harvard, the Massachusetts Institute of Technology and UC Santa Cruz and working for a time at the Atomic Energy Commission. He viewed entertainment largely as a sideline, and by the late 1960s had grown weary of life in the public eye. After several pauses to focus on his academic pursuits, he stepped off the stage in 1967 following a concert in Copenhagen. In 1971, he wrote songs for the PBS children's series "The Electric Company." His last turn in the spotlight was a year later. After performing at a presidential campaign rally for the Democratic nominee, South Dakota Sen. George S. McGovern, he gave up performing for good. Lehrer explained his retreat from the stage by saying that 'political satire became obsolete when Henry Kissinger was awarded the Nobel Peace Prize." In an interview with the New York Times, he elaborated: 'The Vietnam War is what changed it. Everybody got earnest. My purpose was to make people laugh and not applaud. If the audience applauds, they're just showing they agree with me.' But audiences were not through with Lehrer. 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