State Champ Radio Author: djfrosty
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Fifty years ago on Nov. 10, 1975, massive freighter the SS Edmund Fitzgerald sank in Lake Superior, amid 50-foot waves and 100-mile-an-hour winds. All 29 men aboard the ship died.
The loss was commemorated in folk-rocker Gordon Lightfoot’s “The Wreck of the Edmund Fitzgerald,” which hit No. 2 on the Billboard Hot 100 a little more than a year later, on the chart dated Nov. 20, 1976.
The haunting ballad reenters Billboard’s Nov. 15-dated Rock Digital Song Sales chart at No. 5 and Country Digital Song Sales at No. 7, up 160% to 1,000 sold Oct. 31-Nov. 6, according to Luminate.
The song also gained by 77% to 1.4 million on-demand U.S. streams in the tracking week.
In 2015, Lightfoot discussed the origins of the single, which he solely wrote, in an interview with the Milwaukee Journal Sentinel. “The story of the sinking of the Fitzgerald stayed with me in a funny kind of a way, all by itself,” he shared at the time. “I wasn’t forgetting about it. I knew everyone had forgotten about it, but I knew I hadn’t forgotten it.”
Lightfoot, who died in May 2023 in his native Ontario, recalled that he “had some chords and a melody I had been thinking about and didn’t know where to direct it.
“It is a very good piece of work, I do believe,” he said of the track, which also went top 10 on Adult Contemporary. “It’s one of those songs that just stands the test of time and it’s about something that, of course, would be forgotten very shortly thereafter, which is one of the reasons I wrote the song in the first place. I didn’t want it to be forgotten.”
Lightfoot went on to befriend family members of victims of the ship’s sinking, remaining aware that the song was at its core a tribute to an actual tragedy.
Of it, he said, “There is a responsibility.”
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Music tourism, a growing sector, is in the spotlight more than ever after Puerto Rico’s tourism and economic boom following Bad Bunny’s residency.
The ripple effects were among the topics of discussion during the annual Music Tourism Convention, which has been taking place for a decade and, for the first time, was held in the Caribbean, specifically on the island of Anguilla from Nov. 4 to 7.
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Governmental delegates, entrepreneurs and businesses from Canada, Saudi Arabia, Spain, the United States, Belgium, the United Kingdom, Argentina, Barbados, Saint Vincent, St. Maarten, Martinique, Trinidad and Tobago, the Grenadines, the Virgin Islands, Panama, and the Dominican Republic traveled to this British territory known for its pristine beaches, with the aim of sharing and exchanging ideas about the development of events and how to maximize entertainment resources.
The great success of Bad Bunny in attracting tourists to Puerto Rico and boosting the island’s economy sparked interest among neighboring countries and brought to mind Jamaica, which at one point did something similar with the Marley dynasty.
Although local summer carnivals and festivals attract tourists to the Caribbean, the rest of the year remains underutilized.
“The cultural heritage of the Caribbean is very extensive, but it has not been utilized as it should be,” explained Davon Carty, CEO of Anguilla Music Production and Publishing, speaking about the host island, during one of the panels. “We have great musicians on the island besides our legendary star, Bankie Banks, so we want to showcase them to the world,” he added.
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Another important point discussed by attendees was the need to not only rely on their international stars to promote and publicize their territories but also to make venues and public spaces available to interested artists, equipped with the facilities needed for their performances or content creation.
“In Miami, it seems like everything is Latin music, but it’s not; we have many more musical movements that we want to promote,” explained Connie Kinnard, senior vp of the Greater Miami Convention and Visitors Bureau. “We want to broaden the musical horizon. For example, electronic music, which is very strong,” she added. Meanwhile, John Copeland, director of arts and cultural tourism in Miami, spoke about various attractions that can be offered to tourists. “Now in Miami, we have tours to places where music videos have been filmed. Not just the homes of celebrities are attractive; there’s so much to show people,” he said.
From Canada, Allegra Swanson of Music Nova Scotia, a territory where the renowned Juno Awards take place, shared advice based on her experience: “Hosting an awards ceremony definitely boosts tourism and the economic development of a place, but it also allows talents to be showcased and important partnerships with sponsors to be formed,” she said.
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From Saudi Arabia, Hala Alhedeithy, general manager of strategies at the Saudi Music Commission, led another interesting panel in which she spoke about integrating local talent into important activities in cities like Riyadh, where efforts are underway to make it an attractive destination. Lastly, Mexican Pablo Borchi Klapp, director of events and sponsorships at Sound Diplomacy — a company that not only produces the convention but also provides consultancy on the economic and social value of creative industries — shared his experience in organizing tours for tourists with a musical emphasis, which include visits to restaurants and venues showcasing various types of music.
In 2026, Sound Diplomacy will produce the Music Cities Conventions in Kingston upon Hull in the United Kingdom and in Alberta, Canada.
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This week, Kelsea Ballerini offers a glimpse into an upcoming project with her new song “I Sit in Parks,” while Cody Johnson gives fans a long-awaited official studio version of his rendition of The Chicks’ “Travelin’ Soldier.” Meanwhile, Vincent Mason takes a chance on mixing alcohol and heartbreak, while The Jack Wharff Band and Dylan Conrique also bring new music.
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Check out all of these and more in Billboard‘s roundup of some of the best country, bluegrass and/or Americana songs of the week below.
Kelsea Ballerini, “I Sit In Parks”
After wrapping a headlining arena tour and earning an ACM entertainer of the year nomination earlier this year, Ballerini previews her new project Mount Pleasant (out Nov. 14) with this introspective ballad. This track finds her balancing the pursuit of her musical ambitions with an ache of pondering whether she’s “missed the mark” on motherhood. She captures a scene of a woman in her thirties sitting alone in a park and watching families spend time together, while reflecting on how choices have shaped her life. “I wonder if she wants my freedom / Like I want to be a mother,” Ballerini muses. This is Ballerini doing what she does best—crafting vulnerable, self-aware songs that explore her hopes, dreams, doubts and insecurities in real time, while mirroring the experiences of those who share similar longings.
Cody Johnson, “Travelin’ Soldier”
After years of hearing fans request his version of this song in concert, and previously recording an acoustic rendition of it, Johnson has finally released his own studio version of “Travelin’ Soldier,” which The Chicks previously made a hit in 2003. His studio version slightly speeds up the tempo, which does seem to moderately soften some of the song’s melancholy, but Johnson’s superb vocal brings just the right mix of grit and tenderness to convey the song’s heartbreaking, bittersweet nature. It also showcases the depth of Johnson’s talents as a musical interpreter, one who brings respect to the song, while also refining it with his own unmistakable voice.
Vincent Mason, “Sink or Swim”
Georgia native Mason, known for songs such as “Hell Is a Dance Floor,” issues his debut album, There I Go, including this churning new track. Here, he’s drowning his sorrows in alcohol after a relationship has collapsed and he’s intent on finding out if his ex’s memory is stronger than the drink in his hand. The song’s downtrodden lyrics sharply contrast with a toe-tapping rhythm, creating a dynamic that encapsulates the reckless thrill of surrendering to the bottle and the heartbreak, and seeing where it leads.
Dylan Conrique, “How to Lose the Girl”
Over tenderly-plucked guitar, California native Conrique catalogs the copious missteps and selfish habits that fray, and then sever, a relationship’s emotional ties, from broken promises to failing to show up in the small, everyday moments. Conrique’s dusky voice effortlessly conveys the emotional distress, before turning the song into one of bravery, as the protagonist leaves the unfaithful lover and then reminds the ex of all the ways those ongoing habits will lead to heartbreak in future relationships. Conrique wrote the song with Jackson Foote, Alma Goodman, and Brooke Tomlinson.
The Jack Wharff Band, “Saved”
Country/Americana group The Jack Wharff Band blends rustic, earthy instrumental tones with a message of spiritual redemption their latest, “Saved.” “Been broke a million times/ Trying to stop the hurtin’ inside, some things you just can’t afford,” lead singer Jack Wharff sings, bolstered by churning guitars. Written by bandmembers Wharff, Ryan Atchison and Garrett Howell, this song makes a stark reflection on the futility of self-reliance, while expressing gratefulness to a higher power for renewal.
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KPop Demon Hunters may very well be taking home some golden gramophones soon, and Lizzo is celebrating with a “Golden” cover of the film’s biggest hit — flute style, of course.
On Saturday (Nov. 8), the hitmaker shared an Instagram video of herself playing a lively classical rendition of eight-week Billboard Hot 100-topper “Golden” on her signature instrument, the trilling melody soaring over a lush string accompaniment provided by the Australian Pop Quartet. “‘GOLDEN’ (Sasha’s version),” Lizzo wrote in her caption, referencing the Beyoncé-inspired name she gave her trusty woodwind long ago (Sasha Flute).
She added, “congrats to @kpopdemonhuntersnetflix on all ur Grammy noms!”
The post came just one day after the Recording Academy unveiled nominations for next year’s awards, revealing that KPop Demon Hunters is up for a total of four prizes. “Golden” accounts for three of those nods, earning recognition in the song of the year, best pop duo/group performance and best song written for visual media categories.
In an interview with Billboard shortly after the nominations went live, Audrey Nuna — one of three women who provided the singing voices for fictional KPop Demon Hunters girl group HUNTR/X — said that she and her costars’ “hearts [were] being pulled in so many different directions.”
“Above all, I think we’re just very, very, very grateful to be a part of what feels like a very cultural and historic moment, and something that, as kids, we would have we craved so bad to see,” she shared. “Being a part of it is just really surreal.”
Lizzo herself is a decorated Grammy veteran, earning her first three wins in 2019 — including for best pop solo performance for breakthrough hit “Truth Hurts.” In 2023, she took home record of the year for No. 1 Hot 100 hit “About Damn Time.”
The Yitty founder is now on her way to a new music era, dropping rap mixtape My Face Hurts From Smiling in June. She’d originally been planning to release an album called Love in Real Life, but recently explained why she’s since shelved the project. “I’ve changed, the world has changed so much, and so much has happened,” she told New York magazine in September. “It just wasn’t what I was feeling right now. I was like, ‘I need to do s–t differently and I don’t know what it is, but I’m going to just start following my instincts.’”
Check out Lizzo and Sasha Flute’s cover of “Golden” below.
From “Yo Perreo Sola” to “La Romana” and “Mía,” here are Best Bunny’s best songs (so far).
11/10/2025
Trending on Billboard Hilary Duff continued her return to music on Monday morning (Nov. 10) with the announcement of her first run of live performances in more than a decade. After dropping her new single, “Mature,” last week, Duff expanded her comeback with the roll-out of a quartet of intimate January 2026 shows under the […]
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Former NBA player Maurice Taylor joins The Fumble and takes them on a trip down memory lane.
Real hoopers know Detroit breeds A1 talent, and Maurice is a prime example of that. From his time at the University of Michigan to being drafted by the Los Angeles Clippers in 1997, 14th overall. Taylor expressed to The Fumble squad that basketball wasn’t always in the cards for him; it was football.
He learned quickly that he wasn’t going to be needing cleats, “I found out early I was built for an indoor sport. Football was my first love.”
Also adding that football “Oklahoma Drills” turned him and a lot of others into basketball players. Maurice also went in-depth about the positive impact his city of Detroit had on him. Looking up to Jalen Rose, Derrick Coleman, & Glen Rice. Positive examples of people who looked like him, came from the same city, and were doing something positive with their lives.
Taylor also kept it real about his thoughts on the Fab Five scandal: “I don’t think we were respected in the way we should’ve been for what we did for the university.” The experience made him understand the world of capitalism and also self-worth. Once he understood his worth, it made him start asking questions, why can’t he can’t afford a jersey that he is making popular for the university?
Fans of the Fab Five will never forget their impact despite the backlash.
Maurice also reflected on his time at the University of Michigan, saying, “Michigan influenced me a lot. We were transitional for Michigan. They have always been known as a football school. Seeing inner-city kids come from Detroit and change the culture in Michigan put them on a path they wouldn’t have been on.”
Check out the full episode of Maurice Taylor on The Fumble:
Trending on Billboard Brandon Lake was named ASCAP’s Christian music songwriter of the year on Monday (Nov. 10), while “Praise,” which he co-wrote with Pat Barrett, was named Christian music song of the year. ASCAP’s winning Christian and country music writers will be honored at the ASCAP Nashville Songwriters Celebration on Monday, Nov. 17. Related […]
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Pharrell Williams is walking away with one of the footwear world’s highest honors.
The multihyphenate artist, producer, and designer will receive the Shoe of the Year award at the 2025 Footwear News Achievement Awards (FNAAs), it was announced Monday (Nov. 10), in recognition of his bold and boundary-pushing Virginia Adistar Jellyfish collaboration with Adidas.
“I dreamed of a shoe that felt alive, something that moved like water, that had its own rhythm, energy and glow,” Williams said in a statement. “The Virginia Adistar Jellyfish started as a really big idea that we kept pushing, shaping, refining until it became real. I wanted it to feel fluid, futuristic, and free—not just another shoe but a living design.”
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The sneaker, which quickly became a streetwear standout this year, fuses performance-ready materials with visual design inspired by aquatic life. Its sculptural silhouette and luminous finish made it one of the most talked-about shoes in 2025 — and one of Adidas’ most ambitious collaborative launches to date.
“Pharrell’s partnership with Adidas continues to redefine what creative collaboration in footwear can look like,” said Michael Atmore, chief brand officer of Fairchild Media Group and editorial director of Footwear News. “The Virginia Adistar Jellyfish reflects his singular ability to connect culture, community, and craft.”
The 2025 FNAAs — often referred to as the “Shoe Oscars” — will take place on Dec. 3 at a new venue: Cipriani 25 Broadway in New York City. The event will also honor Tommy Hilfiger with a Lifetime Achievement Award, Coco Gauff as Style Influencer of the Year, and Ronnie Fieg as Person of the Year.
Other honorees include Jordan Brand (Brand of the Year), New Balance x Miu Miu (Collaboration of the Year), and Nordstrom (Retailer of the Year).
This marks Pharrell’s latest win in a standout year — from curating the Louis Vuitton menswear line to redefining sneaker culture with one of Adidas’ most visually daring designs.
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Carlos Vives is gearing up to shine brighter than ever with his Tour Al Sol, Billboard Español can exclusively announce today (Nov. 10). The Colombian superstar’s upcoming North American tour, kicking off on April 16, will celebrate more than three decades of his illustrious career by revisiting timeless hits from his seminal albums Clásicos de La Provincia (1994) and La Tierra del Olvido (1995), as well as songs from the newly reimagined La Tierra del Olvido 30 Años (Remastered & Expanded), released in July.
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“Each show of Tour al Sol will be a concert from sunrise to sunset — a journey through the emotions of music that moves with the sun,” Vives tells Billboard Español. “It will feature a selection of songs, including the most remarkable vallenatos of my career, and pay tribute to classics.” He adds, “In short, Tour al Sol is a concert with the sun of La Provincia.”
Covering 14 cities across North America, his tour will include stops at renowned venues such as Radio City Music Hall in New York, as well as Jazz Fest in New Orleans and will conclude with a special performance at the Coliseo de Puerto Rico José Miguel Agrelot on June 5.
Presented by Cárdenas Marketing Network (CMN) in the U.S. and Canada, and No Limits Entertainment in Puerto Rico, Tour Al Sol will feature next level visual productions, including the symbolic ascent of La Provincia’s sun. According to the press release, the concert series will showcase “the path of the sun: from the first rays of sunrise, symbolizing hope and new beginnings, through the vibrant energy and joy of midday, to the sunset, when nostalgia and magic fill the stage.”
Tickets for will go on presale on Thursday (Nov. 13) at 10 a.m., local time, via Spotify, and general ticket sales will follow the next day at 10 a.m., local time, here.
CARLOS VIVES – TOUR AL SOL 2026 DATES:
April 16: Toronto, Canada @ Coca Cola Coliseum
April 19: Montreal, Canada @ Bell Place
April 24: New York, N.Y. @ Radio City Music Hall
April 26: New Orleans, La. @ Jazz Fest
May 1: Sugar Land, Texas @ Smart Financial Centre
May 2: Grand Prairie, Texas @ Texas Trust CU Theatre
May 7: Chicago, Ill. @ Rosemont Theatre
May 9: Fairfax, Va. @ EagleBank Arena
May 10: Boston, Mass. @ Agganis Arena
May 14: Seattle, Wa. @ WAMU Theatre
May 16: Los Angeles, Calif. @ Peacock Theater
May 23: Miami, Fla. @ Kaseya Center
May 24: Orlando, Fla. @ Kia Center
June 5: San Juan, Puerto Rico @ Coliseo de Puerto Rico José Miguel Agrelot
Carlos Vives
