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12 Nov 2024

How Did Shaboozey’s ‘A Bar Song (Tipsy)’ Become the Second-Longest-Running Hot 100 No. 1 Ever?

The benchmarks just keep falling: A week after tying Morgan Wallen’s “Last Night” for the longest-running Billboard Hot 100 of the 2020s, Shaboozey‘s “A Bar Song (Tipsy)” moves into sole possession of the mark this frame with its 17th week atop the chart.

What’s more, the song now stands along as the second-longest-running No. 1 in Hot 100 history — just two weeks behind the all-time mark set in 2019 by Lil Nas X’s Billy Ray Cyrus-featuring “Old Town Road.” And Shaboozey may have gotten another boost in momentum with Friday’s (Nov. 8) announcement of the 2025 Grammy nominations, with the country hybrid artist picking up four nods, including best new artist and song of the year for “Bar.”

How surprised are we that “A Bar Song” has gotten this far? And do we see it going all the way at this point? Billboard staffers discuss these questions and more below.

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1. “A Bar Song” spends its 17th week atop the Hot 100 this week, moving it into sole possession of the second-longest run atop the chart in its history. On a scale from 1-10, how surprised are you that it’s lasted on top now for this long? 

Rania Aniftos: 4, maybe? There haven’t been many chart-dominating releases that would dethrone “A Bar Song” since the summer. In quieter eras of music releases, it makes sense for the track to make its way back to the summit. It also plays at every bar, restaurant and on every radio station, so its popularity is clear.

Kyle Denis: 10, for sure. I was always extremely confident in this song’s ability to stay at No. 1, but I anticipated that it would begin to fall around the eight-week mark. I did not expect such a historic run at No. 1.

Jason Lipshutz: An 8. Sure, “A Bar Song” is a wildly catchy anthem from a charismatic new artist, with a sound that can cross over to different streaming playlists and radio formats… but chart circumstances are rarely conducive to a 17-week No. 1, and especially during a year that’s featured big hits from proven superstars (Taylor Swift, Beyoncé, Billie Eilish, Morgan Wallen) and new A-listers (Sabrina Carpenter, Chappell Roan). “A Bar Song” could have been a huge, multi-platform hit but been knocked off by one of those big names after a month or two on top; instead, Shaboozey can fending off all challengers, and stunningly, now owns the longest-leading solo hit in Hot 100 history. 

Andrew Unterberger: It’s a 10. I remember being thrilled that the song grabbed a single week at No. 1, because even that didn’t seem like a sure thing until well into its chart run. The fact that it’s held on for over four months in total since then would’ve been totally unforeseeable — even when we started having the “could it…?” conversations at around the 12-week mark, I thought it was absurd. Not anymore though!

Christine Werthman: 10, although I probably shouldn’t be that surprised. Country is the genre of 2024, with everyone and their mother (aka Beyoncé, our matriarch) getting in touch with their twangier roots. And as someone who remembers quite well the power of J-Kwon’s “Tipsy,” which Shaboozey interpolates, at parties in 2004, it’s no wonder that “A Bar Song” has appealed to the masses and held onto that top spot.  

2. Both of the songs to spend 16 weeks atop the Hot 100 this week have been country songs — why do you think a genre that rarely spun off Hot 100 No. 1s this century until a few years ago is now regularly spinning off such long-lasting chart-toppers? 

Rania Aniftos: I think it’s a mix of things. For the first time in what feels like a while, there are exciting young stars in the genre like Morgan Wallen and Kelsea Ballerini, plus some long overdue diversity with people like Shaboozey and Beyoncé. On top of that, you have established pop stars like Bey and Post Malone dipping their toes into country, introducing the genre to an audience who might not have given it a shot previously. It’s a recipe for success. 

Kyle Denis: With “A Bar Song,” Shaboozey was able to supplement his (and the song’s) crossover appeal with legitimate support on country radio, breaking Carrie Underwood’s record for longest-running No. 1 debut single on Country Airplay (seven weeks). Of course, it also helps that 1) country music is the sound of one of the year’s most dominant cultural aesthetics, and 2) the song mines early ‘00s nostalgia with its interpolation of J-Kwon’s “Tipsy.” 

Wallen’s “Last Night” also draws on contemporary hip-hop motifs with its use of 808s, smartly positioning it for crossover appeal (it reached the top five on both Pop and Adult Pop Airplay) and placing it conversation with where hip-hop’s mid-to-late ‘10s dominance pushed the mainstream’s overall sound.

While these are certainly country records, both songs make a concerted effort to bridge the gaps between country’s sound and hip-hop’s influence on top 40 in a way that the genre’s previous Hot 100 chart-toppers didn’t necessarily do. 

Jason Lipshutz: The shift we’ve seen in popular music over the past 10 years is the mega-hit that is able to combine country listeners and pop listeners, in order to form like Voltron and plop itself atop the Hot 100 for months on end. It’s happened with non-country artists making songs that appeal to Nashville listeners (like Lil Was X with “Old Town Road”) and country artists crossing over to pop fans (like Morgan Wallen’s “Last Night”). Both audiences have been sizable for decades on end, and while they’ve overlapped before to produce huge artists and albums, until recently, they did not combine at the top of the Hot 100. It’s a type of alchemy that has helped “A Bar Song” turn into a juggernaut, and one that we’ll surely be seeing more of in the near future.

Andrew Unterberger: Radio, radio, radio. Country has now fully made the crossover leap to pop radio — at least at the highest level of hits — and once you get both of those formats working for you, you can stay in the mix for the Hot 100’s top spot practically indefinitely. Consistent streaming and sales also have been part of the Shaboozey formula, of course, but without that continued radio support it would’ve been lucky to crack double-digit weeks on top, rather than pushing for the all-time Hot 100 record.

Christine Werthman: If I had a dollar for every time someone told me, “I love all kinds of music but not country,” or, “I like old-school country, like Johnny Cash, but not any of the new stuff,” I would be able to retire. But those responses have changed a lot over the past few years, and I think a lot of credit is due to Taylor Swift being a gateway to country (although she walked away from the genre), as well as Lil Nas X and “Old Town Road.” That song pushed country to a new audience and showed that “the new stuff” didn’t have to mean corny pop-country smashes. Other artists took note and are now reaping the benefits.  

3. There was such turnover on the Hot 100’s top spot this spring — why do you think “A Bar Song” has seen such a lower level of competition in its late-year run? 

Rania Aniftos: As I mentioned before, there weren’t really any summer releases that really dominated the charts the way we’ve seen in other years, besides Sabrina Carpenter’s new songs. I feel like the past few months on the Hot 100 have been a revolving door of the same few songs, because there haven’t been many album drops from big, established stars. So, unless a big release comes through this fall and shakes things up, the chart’s going to look the same for a while. 

Kyle Denis: Few songs can compete with the crossover appeal of “A Bar Song.” The song has hit seven different Billboard radio charts and it’s still in the top five of several of those rankings. “A Bar Song” even reached a new peak on Adult Contemporary Airplay this week (No. 12, chart dated Nov. 16). While other songs have been juggernauts within their home genres, “A Bar Song” was able to outlast them by having a wider audience to pull support from.

There’s also something to be said about some of the year’s biggest pop songs facing competition from other songs on the same album. Sabrina Carpenter is juggling four different hits, “Good Luck, Babe!” is fighting for attention against Chappell Roan’s entire debut LP, and Billie Eilish’s “Birds of A Feather” is soaring alongside the steady growth of “Wildflower.” Though he’s pushed other songs post-”A Bar Song” — namely “Highway” and his BigXThaPlug-assisted “Drink Don’t Need No Mix” — none of them have emerged as a viable follow-up smash. 

Jason Lipshutz: Coincidental timing, more than anything. In my opinion, a lot of the No. 1 singles from the first half of the year — “Like That,” “Fortnight,” “Lose Control,” “I Had Some Help,” “Not Like Us” — would have also hit No. 1 in the second half of the year, and cut into “A Bar Song’s” monster run, had their release dates and/or commercial rises been slightly shifted by a few months. The first six months of 2024 were stuffed with blockbuster singles, and a lot of them nestled in for extended runs in the top 10 of the Hot 100 throughout the summer and early fall, while “A Bar Song” kept outpacing them thanks to its own growth across formats.

Andrew Unterberger: I had hoped that the massive activity of this spring would be the new rule rather than just an exception to the overall early-year chart stasis we’ve seen in prior years this decade — but we just might not have enough songs and artists offering the excitement level to really shake up the top of the Hot 100 to spread out over a full year at this point, sadly. So we traded a boring spring for a boring autumn this year, and it’ll ultimately balance out for the full calendar. So it is.

Christine Werthman: The average time spent on the Hot 100 for songs currently in the top 10 is 25 weeks. Morgan Wallen and Tyler the Creator have newer songs at Nos. 9 and 10, respectively, but the top five average is even older at 32 weeks. Things are just moving slowly, and listeners like what they like and keep coming back to what they know. Play the hits, as they say! 

4. Shaboozey was nominated for best new artist, and “A Bar Song” song of the year, at this year’s upcoming Grammys. Which Big Four category do you think he has the better chance of winning? 

Rania Aniftos: The competition is tight in both categories, but I’m going to say best new artist. He’s up against some longtime Recording Academy favorites in the SOTY category, like Billie Eilish, Beyoncé and Taylor Swift, so he might get luckier in the BNA category, highlighting his breakout year. Who knows though? The Grammys are always surprising. 

Kyle Denis: A country song hasn’t won song of the year since Lady A’s “Need You Now” (2011), and that’s one of two nominations for country songs in this category in the past 10 years. Conversely, eight country artists have earned best new artist nods in the past decade, with Zac Brown Band being the most recent winner (2010). 

Even though “A Bar Song” is easily the biggest chart hit nominated for song of the year, it’ll likely split votes with Beyoncé’s “Texas Hold ‘Em” (the other country song in this category) and lose some pop voters to Taylor Swift, Sabrina Carpenter, Chappell Roan, Lady Gaga & Bruno Mars, and Billie Eilish. What could work in Shaboozey’s favor, however, is his lack of a nomination in record of the year. Song of the year is the only place in the general field where the Academy can specifically honor the longest-running solo Hot 100 No. 1 single of all time.

On the other hand, as the sole country nominee in a best new artist field brimming with straightforward pop stars, Shaboozey could end up taking home that trophy. It’s still early in the race, but I think he’s got a better shot at winning best new artist. 

Jason Lipshutz: Song of the year. While there are some huge names in both categories, my early guess is that best new artist will go to either Chappell Roan or Sabrina Carpenter, considering that both artists have rattled off multiple major hits instead of one enormous smash. Because “A Bar Song” has become so year-defining, though, I think Shaboozey has a great shot in the song of the year race.

Andrew Unterberger: He’s not necessarily the favorite in either category, but I think best new artist is at least a possibility if the poppier nominees cancel each other out a little. That’s where I’d be exercising the most campaigning muscle if I was on his team, anyway.

Christine Werthman: I never guess these correctly, so let’s say, song of the year, knowing that it’ll probably be best new artist. Grammys: so mysterious! 

5. Will “A Bar Song” beat the “Old Town Road” all-time record of 19 weeks atop the Hot 100?

Rania Aniftos: Very likely, especially as the Grammys approach and, if the song gets some wins, it might get yet another boost on the charts.

Kyle Denis: Barring any surprise drops or an earlier-than-expected surge in holiday tunes, yes. 

Jason Lipshutz: I’ve been saying no for a while, and I will still say no. We’re two weeks away from a tie and three weeks from a new record, and with holiday music about to take over, it will be a photo finish either way. But 20 weeks (or more!) at No. 1 still boggles my mind to such a degree that I can’t count on multiple more weeks atop the chart. I’m rooting for Shaboozey at this point, but I were a betting man, I’d wager that “Old Town Road” remains on top.

Andrew Unterberger: I think it will? I never like betting against the unknown — which is why I’ve been betting on Shaboozey continuing on at No. 1 to this point — but we’re running out of time for surprises, and Christmas season probably isn’t going to get here quite quickly enough to block him. I can’t maintain my skepticism at this point; I think “A Bar Song” is gonna get to 20.

Christine Werthman: Holiday parties are coming up, and those playlists need to pop. I think “A Bar Song” will be a fixture and end up breaking that record. Everybody in the club gettin’ Shaboozey! [Whispers: Everybody in the club gettin’ Shaboozey]. 

12 Nov 2024

Tyler, the Creator Takes the Mask Off in Behind-the-Scenes Look at ‘Chromakopia’: Watch

Tyler, the Creator is giving his fans a peak behind the curtain in a new behind the scenes video.

Shot and edited by Lazaro Rodriguez — who also directed Tyler’s “Hot Wind Blows” video and was the cinematographer for his “Heaven to Me” video — the new video titled Mask Is Off: Chromakopia sees Tyler putting together his latest album. The six-minute, 18-second mini-documentary features clips of Tyler in his home and recording studio as he puts together verses, directing vocals and critiquing production on his Chromakopia LP. We get an intimate look as he plays instruments, produces, raps, sings, and makes references that we then see come to life in the studio. There’s also cameos from Daniel Caesar, Sexyy Red, Thundercat, Teezo Touchdown, and more.

These days it’s rare when fans get a glimpse of how an album is made behind the scenes. Tyler is old enough to remember when MTV and VH1 would air profiles and mini-docs featuring some of the biggest artists in the world, and has been adamant about artists talking about their creative process more often.

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He expressed as much in a 2023 interview with Nardwuar where the rapper and producer seemed frustrated by today’s music media landscape. “We’re at a point where a musician who you know for music is being interviewed on a platform about music talking in detail about music and people are like ‘why does he keep doing that?’,” he said. “But if I was on here gossiping or so and so, talking about beef, and so on people would feed into it. No, we need to get back to talking about music… Talk about your album, talk about your music.”

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Chromakopia is the West Coast rapper’s third No. 1 album and sits atop the Billboard 200 for the second week in a row. Be sure to check out Mask Is Off: Chromakopia above.

12 Nov 2024

Ikenna Nwagboso, Co-Founder of emPawa Africa, to Exit Company

Ikenna Nwagboso, the co-founder/global head of label services and partnerships at emPawa Africa, will exit the company in January, it was announced Monday (Nov. 11)

Nwagboso launched the Nigeria-based talent incubation enterprise in 2018 alongside CEO/co-founder Mr. Eazi (real name Oluwatosin Ajibade). Since then, he’s overseen the signing and development of artists such as GuiltyBeatz, Joeboy, Tekno, Fave, King Promise, Minz, Xenia Manasseh, Nandy and Nezsa. In May, Tekno joined emPawa Africa as an investor and partner, and his Cartel Music label struck a joint venture with the company. Nwagboso has also secured crucial partnerships with Vydia, YouTube Music, Kobalt Music and Beyoncé‘s Parkwood Entertainment while spearheading the company’s flagship emPawa 100 and emPawa 30 campaigns, which are first-of-their-kind artist development programs that have launched the careers of 130 emerging artists across the continent.

“Ikenna has served emPawa with dedication over the past eight years, building some of the biggest new superstars in the industry,” Mr. Eazi said in a press release. “We look forward to building on the strong foundation he has established.”

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After Nwagboso leaves emPawa Africa at the top of next year, the Toronto-based executive will focus on developing artists through his new Image Ent./Exodus Music Group. Canadian artist Chrissy Spratt and British songwriter Geo are signed to the company, which is consulting on Rwandan artist Bruce Melodie’s upcoming debut album via S-Curve Records.

“I will continue to offer my advice to Eazi and the executive management team at emPawa, but it’s time to chart a new path. I am humbled and honored to have had the privilege to work with the artists and teams I’ve been fortunate to work with and lead. It’s all been a gift,” Nwagboso said in a statement.

Joeboy, whom Mr. Eazi and Nwagboso discovered as part of the emPawa 100 initiative, became the first artist to sign a publishing and distribution deal with the company in 2017. He left the company earlier this year to launch his own label, Young Legend, in partnership with Warner Records. In a statement, the “Sip (Alcohol)” singer credited Nwagboso with helping guide his career from an unknown artist to an international star.

“I’ve worked with Ikenna since the start of my career and he is one of the most reliable people when it comes to making sure his artists are provided with the best opportunities,” said Joeboy. “He is definitely one of the major game changers and role players to the African entertainment sector to the world. He has also been a very integral part of the foundation of my musical progress and growth.”

12 Nov 2024

Kid Rock Calls on ‘God-Fearing Patriots’ for the Return of His Rock the Country Festival

Kid Rock is bringing back his cross-country Rock the Country music festival.

The “All Summer Long” singer took to X (formerly Twitter) on Tuesday (Nov. 12) to announce the second iteration of the festival, which he will headline alongside Nickelback, Hank Williams Jr. and Lynyrd Skynyrd. “JOIN THE MOVEMENT,” he captioned the event poster. “Rock The Country is more than a festival; it’s a movement, a gathering of hardworking, God-fearing patriots who love America and believe in the power of live music to bring people together.”

He continued, “Here, the beer flows, the love pours, and the music rains down like a monsoon. Are you ready to stand with We The People and experience the force of live music? Then join us, or welcome back to Rock The Country 2025.”

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Travis Tritt, Gavin Adcock, Aaron Lewis and the Stateliners, Tracy Lawrence and more are also featured on the show lineup, which will take place across “10 small towns” over 10 weekends throughout the United States.

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Kid Rock previously held his Rock the Country festivals earlier this year, featuring an appearance from Tucker Carlson and a headlining performance from Jason Aldean.

Pre-sale tickets are currently available at rockthecountry.com. See the full Rock the Country 2025 lineup, as well as cities and dates, below.

12 Nov 2024

As Latin Music and Country Music Surge, a New Generation of Latino Country Artists Broadens the Genre 

Earlier this year, Mexican hitmaker Carin León made his Grand Ole Opry debut performing “Primera Cita” and “The One (Pero No Como Yo)” (his recorded collaboration with Kane Brown) on the revered Nashville stage, to an audience filled with adoring fans.

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The moment highlighted a convergence between two of the U.S.’s fastest-growing musical genres. According to Luminate’s 2023 year-end report, Latin music rose 24.1% year over year in U.S. on-demand audio streams, while country music rose 23.7% year over year.

The surge is happening with live music as well. Through Nov. 7, 24 tours in 2024 have grossed more than $100 million, according to figures reported to Billboard Boxscore. Of those, four are by country artists and four are by Latin artists. At this point last year, only two country tours and one Latin tour had met those benchmarks.

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“Everybody wants to be a cowboy right now, everybody wants to do country right now,” León told Billboard earlier this year, noting how much of the roots of country music and cowboy culture are embedded in Latino culture. “We as Americans, as Mexicans, we want to feel proud of what we are for. We don’t want to emulate what everybody’s doing — these are our roots. Our hat is what we are, our boots are what we are. I’m very happy that people are looking to our culture in such a big way that is happening right now.”

Crossover collaborations between the two styles of music have always dotted the soundscape, but recently León, known for Billboard Latin Airplay hits including the four-week chart-topper “Segun Quien” with Maluma, saw his duet with Brown reach No. 48 on the Hot Country Songs chart. Country singer Carrie Underwood previously collaborated with David Bisbal on the bilingual “Tears of Gold,” and country singer Scotty McCreery, who is of Puerto Rican heritage, teamed with Gusi for “Why She Gotta Be Like That.” Brown also teamed with Camila Cabello teamed for “Never Be the Same.”

According to a preview of the Country Music Association’s upcoming fall 2024 Diverse Audience study, country music listenership has increased in the Latino community: 58% of Latino music listeners consume country music at least monthly, compared to 50% when the last study was conducted in 2021. The growth of weekly country music listenership among the Latino audience experienced an even greater jump, rising from 25% in 2021 to 36% in 2024, signifying a 44% growth.

Major country labels have also taken notice. Universal Music Group Nashville signed Louie TheSinger, while Warner Music Nashville inked William Beckmann, who told Billboard he chose from “six or seven different record deals on the table.” Singer-songwriter Kat Luna (formerly of the Latin-country duo Kat and Alex) is signed to Sony Music Nashville. BBR Music Group/BMG Nashville’s roster includes “Country’d Look Good on You” hitmaker Frank Ray.

“We all know that there’s a Hispanic audience that loves country music,” UMG Nashville chair/CEO Cindy Mabe recently told Billboard. “Leaning into it starts to change that and having intentionality about what we’re signing to bring to the table… For me, it’s about bringing in those people that actually can help me change that. That may be through joint ventures, or they may be partners. Whatever that looks like, I’m looking to bring it in so that we’re just widening.”

Other Latino artists who have launched country music careers in recent years include independent acts Angie K, former Sony Music Nashville-turned-indie artist Sammy Arriaga (who in addition to releasing country songs such as “Boat,” has found success online through performing Spanish-language versions of country hits from Chris Stapleton, Morgan Wallen and others), Andrea Vasquez, Valerie Ponzio and Stephanie Urbina Jones. Texan Matt Castillo recently released his album Pushing Borders and has already made inroads on the Texas Regional Radio Report country chart — earning four No. 1s, including the bilingual songs “Te Necesito” and “Corazon.”

However, like many women, Black and LGBTQ+ acts in country music, Latino artists continue to face an uphill battle, especially when it comes to finding chart-topping success at radio. As noted in the 2021 Redlining Country Music report from researcher Jada Watson, Hispanic/Latinx artists represented .4% of artists with songs played on country radio (Mediabase reporting) from 2002-2020. Overall, songs by BIPOC country artists represented 1.5% of songs played on country radio during that same period, while songs by white artists represented 98% of songs played on country radio during that period.

Ray broke through in 2022 with his top 20 Country Airplay hit “Country’d Look Good on You,” and also charted with “Somebody Else’s Whiskey.” In March 2023, Ray was part of Country Radio Seminar’s New Faces of Country Showcase, performing alongside Jelly Roll, Priscilla Block, Jackson Dean and Nate Smith.

However, when Ray followed up at country radio with “Uh Huh (Ajá),” a song that incorporated more Latin music-influenced guitar and percussion, as well as Spanish-language lyrics, he admits candidly, “It flopped. I appreciate country radio for giving it a shot, and that, to me, kind of lets me know that maybe the country music fanbase isn’t quite ready for that much of an infusion. So, there’s a lot of different reasons why I think it’s important to continue to create music like that. Obviously, from a career standpoint, you’ve got to be very strategic about it. We need inclusivity to happen, and it’s got to be socially acceptable all the way around.”

With streaming, playlists such as Spotify’s Latino Country have offered platforms for artists, while a range of other initiatives have spotlighted Latino artists, such as CMT’s Next Women of Country and an ongoing Nashville songwriters round featuring several Latina songwriters and hosted by celebrated Nashville Songwriters Hall of Famer Pat Alger. Meanwhile, music publishers including Sony Music Publishing and Warner Music Publishing have held songwriting camps for country and Latin music songwriters.

“Growing up in Texas, I was often exposed to Tejano and Mexican music, and I have always believed there are similarities between country music and Mexican music,” Rusty Gaston, CEO of Sony Music Publishing Nashville, tells Billboard in a statement. “Our Nashville office recently coordinated two Mexican/Nashville writing camps over the past 18 months and we’ve seen amazing cuts and releases come from each of them already. We’ve only scratched the surface of what is possible.”

“They wouldn’t be pushing for it if they didn’t feel like there was an audience out there that would appreciate it,” Ray says. “I’m proud of what the country music industry‘s doing on the industry side where they’re seeing that the potential for the representation here, and more and more Hispanic artists are getting signed, getting songwriting deals or getting producer credits. So, Nashville is certainly trying [its] d–ndest to be as inclusive as possible.”

According to Luminate, one driver behind Latin music’s surge is Regional Mexican music, which encompasses a range of subgenres, among them banda, mariachi and Norteño — styles that have long been intertwined with country music.

“If you peel it back from a historical standpoint, regional Mexican music, especially corridos, are basically ballads,” says Del Rio, Texas native Beckmann. “A lot of them were these murder ballads specifically about drug cartel and that world. What I would compare it to is the murder ballad ‘El Paso’ by Marty Robbins, where it’s almost like a movie playing through song. Regional Mexican music and country music, a common thread between those two is the story and the storytelling aspect of it, how a lot of it is centered around lyricism.”

MŌRIAH, a Mexican-American musician, actress and producer who has worked on projects including the film Unsung Hero, and previously earned a top 10 hit on the Billboard’s Top Christian Albums chart with her project Brave, just released the new single “Hasta Manana,” which is geared toward a country audience.

“We brought a mariachi band in from Juarez, Mexico, to record this, and I’m so glad they were a part of it,” she says. “My music director said at one point, ‘Mariachi is the folk music of Mexico, and country is the folk of America.’ So, it’s really, it’s not a long bridge to cross once you start kind of finding those connections.”

Much of cowboy culture in the United States comes from Spanish vaquero traditions, including cattle drives, cowboy hats, ranching, lassos and rodeos.

“Vaqueros were the first cowboys and a lot of the American cowboys’ traditions came from them,” says country singer-songwriter and California native Leah Turner, the daughter of a rodeo champion father and a first-generation Mexican-American mother. Turner released This Is Mi, which features bilingual songs, on Oct. 4. “I feel like country music has had such a love affair with the Mexicana culture, and they’ve been dancing for a really long time.”

“At quinceañeras, you’ll have a Tejano song, you have a country song, you have a Norteño song, you have a country song,” says singer-songwriter, journalist and historian Veronique Medrano, who released MexiAmericana in 2023. “We here in deep south Texas have always had a very close relationship to country music. That community that I have at these shows really brings everyone together. I do that very purposefully. I have English and Spanish and bilingual [songs], and I blend those in a set because that is how I walk through the world.”

Throughout the decades, artists with Latin roots have had success on Billboard’s country charts, including Sabinal, Texas native Johnny Rodriguez, who in the 1970s earned multiple Hot Country Songs chart-toppers including “Ridin’ My Thumb to Mexico” and “You Always Come Back (to Hurting Me),” and was nominated for the Academy of Country Music’s entertainer of the year award in 1974.

Long before Ray, Rodriguez was also featured as part of the Country Radio Seminar’s New Faces of Country Music show, in 1973. Freddy Fender, who is the subject of an exhibit curated by Medrano at the San Benito (Texas) Cultural Heritage Museum, topped the all-genre Billboard Hot 100 with “Before the Next Teardrop Falls,” which incorporated verses in Spanish. The song was named the CMA Awards’ single of the year in 1975, while Fender was nominated for male vocalist of the year (his album also earned a nomination for album of the year).

“Teardrop” also topped the Hot Country Singles chart, as did “Wasted Days and Wasted Nights,” “Secret Love” and “You’ll Lose a Good Thing.” Mexican-American singer-songwriter Linda Ronstadt paid homage to her heritage with albums including Canciones de mi Padre and Mas Canciones. In the 1980s, Rosie Flores charted with songs including “Crying Over You” and “He Cares,” and was nominated for the Academy of Country Music’s top new female vocalist accolade.

In the 1990s, Capitol Nashville artist Emilio Navaira, known as the “King of Tejano,” placed songs on both the Country Songs chart (including his top 30 song “It’s Not the End of the World”) and the Hot Latin Tracks chart. That same decade, Rick Trevino saw his songs including “Learning as you Go” and “Running Out of Reasons to Run” become Country Songs chart hits, while The Mavericks broke through on the mainstream country charts with “What a Cryin’ Shame,” “O What a Thrill” and “All You Ever Do Is Bring Me Down,” the latter featuring Flaco Jiménez.

Beckmann hopes he and his fellow artists signal the beginning of a new wave of hitmakers of Latin heritage in country music. “You can probably count on one hand the Johnny Rodriguezes and Freddy Fenders and Rick Trevinos of the world, but it is one of those things where maybe it’s taken this long for it to be the right place at the right time,” he says. “I’m just excited that I’ve got an opportunity to not only put myself out there and showcase my songs, but also help represent the culture of where I’m from and how I was raised.”

12 Nov 2024

Gunna Heads to Spain to Golf With Turbo & Teases New Song in ‘Him All Along’ Video

Gunna certainly doesn’t lack in the confidence department while championing himself as “Him All Along” on his latest single. The Atlanta rapper returned to deliver the lavish visual to the Turbo and Yung Bleu-produced track on Tuesday (Nov. 12).

In the clip, the YSL rhymer and Turbo head to Spain for an opulent vacation. The pair make some time to hit the links for a round of golf while dressed to the nines in dapper attire. Even if their drives were hooking and they had a few shanked putts, the duo was still going to look good doing it as they lit up a couple of cigars during the round. “They was tryna stunt my growth, I been steady chasin my goals,” Wunna raps while seemingly blocking out all of the outside noise and distractions in his life.

The second half of the video centers around Gunna’s Family Fall Fest where he gives back to the community. Gunna donated a $12,000 check to a family in need and mingled with young fans who look up to him as a neighborhood superhero.

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There was even a little dessert for fans left wanting more. The 31-year-old blended the end of the video with a snippet teasing an ethereal track that could serve as Gunna’s next single. “I want my respect God damn/ I been running up a check,” he raps while walking through his private jet.

“Him All Along” arrived in October and peaked at No. 58 on the Billboard Hot 100. It’s currently hanging onto the chart at No. 99 this week.

Gunna is fresh off wrapping up his Wun of Dem Nights Tour, which closed up shop earlier in November with a show in Los Angeles. It appears he’s ready to launch into his next era just six months after One of Wun‘s arrival. The LP was released in May and debuted at No. 2 on the Billboard 200.

Watch the “Him All Along” video below.

12 Nov 2024

Oprah Winfrey Attacked For $1 Million Fee To Kamala Harris’ Campaign

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Oprah Winfrey is denying allegations that she took $1 million from the presidential campaign of Kamala Harris, allegations that have been repeatedly shared by social media observers.

In the wake of the presidential election loss by Vice President Kamala Harris, higher scrutiny on the Democratic Party’s spending has increased and many are looking at allegations that Oprah Winfrey personally received money from the campaign to the tune of $1 million. The allegation came as part of a report by the Washington Examiner, a conservative media outlet, which took a look at the financial output of the Harris campaign which had collected $1 billion in three months of fundraising. The Examiner reported that the campaign “paid more than $15 million, according to federal filings,” on “event production.” That included the million dollars paid to Harpo Productions, Winfrey’s company.

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Harpo Productions was responsible for putting on the “Unite For America” livestream event for Harris that aired in September and was held in a suburb of Detroit, Michigan. The town hall featured celebrities such as actresses Tracee Ellis Ross and Meryl Streep among others appearing virtually. Winfrey interviewed the vice president about her stances on reproductive rights, including abortion, as well as gun control. The reports led to some online expressing their dislike of the situation, and decrying how much monetary donations and high-profile figures have gotten a say in the nation’s politics.

Other outlets picked up on the Examiner’s article and began to write that Winfrey herself had been paid that sum of one million. A reporter from TMZ confronted Oprah Winfrey on the street in a video released on Monday (November 10). “Is it true that they paid you a million dollars for the endorsement for Kamala?”, the reporter asked. “Not true,” Winfrey replied. “I did not get paid a penny. Ever.” She responded to a commenter who was defending her on Instagram, reiterating that she wasn’t personally paid and explaining how her company was paid for producing the virtual town hall.

12 Nov 2024

Marvel’s President Says ‘Blade’ Still Happening & Miles Morales ‘Spider-Man’ On The Way

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It’s been five years since Marvel announced that Blade would be joining their ever-expanding Marvel Cinematic Universe. Since then, the rebooted franchise has suffered setback after setback, and it’s gotten to the point where fans doubt the film centered around the “Day Walker” would ever see the light of day.

Luckily for us, it seems like the President of Marvel Studios, Kevin Feige, hasn’t given up on the project and recently stated that Blade is still a priority and its star, Mahershala Ali, is still all in on becoming the latest superhero in the MCU. According to Deadline, Feige spoke with Brazilian entertainment website Omelete about Blade and a few other Marvel projects and revealed that not only is Blade still very much happening, but that Elizabeth Olsen’s Scarlet Witch is still very much alive in the MCU and could be making a return sooner than later.

Though rumors had been swirling that Marvel was close to giving up on Blade (as was Mahershala Ali) after a few directors quit or passed on the project and the script was rewritten a few times, fans of the vampire killing are rejoicing as Feige says that they’re dedicated to bringing Blade into the MCU and resurrecting the franchise that technically kicked off the Marvel Cinematic Universe.

Per Deadline:

“We love the character, we love Mahershala’s version of him. And rest assured: whenever we change direction with a project, or are still trying to figure out how it fits into our schedule, we let the public know. You’re up to date on what’s going on. But I can tell you that the character will be coming to the MCU,” Feige said.

We sure hope so. While the future of Blade was up in the air, there were whispers that Wesley Snipes would be reprising the role in Marvel’s upcoming Avengers: Secret Wars as his return in Deadpool & Wolverine showed that the man still had a lot left in the tank with the character.

As for Elizabeth Olson’s Scarlett Witch, who supposedly met her fate at the end of Doctor Strange in the Multiverse of Madness, she too will be making her return in the upcoming future, following the success of the Disney+ series, Agatha All Along.

“Since then (Agatha), there have been a lot of questions about Wanda on fans’ minds… So all I can say is that we’re excited to find out when and how the Scarlet Witch might return,” Feige said.

With word that Scarlett Witch may get her own film or series, rumors are already swirling that the X-Men’s Jean Grey could make her MCU debut in a potential Scarlett Witch project.

Another nice little tidbit in Feige’s interview with Omelete was the potential debut of Miles Morales Spider-Man who may get called into MCU action after Sony wraps up their Spider-Verse series.

“I hope that, shortly after that (Beyond the Spider-Verse), he can enter the MCU in live-action.”

Are y’all ready for a Black and Puerto Rican Spider-Man? We know we are.

What do y’all think about Kevin Feige’s revelations? Who should be cast as Miles Morales? Let us know in the comments section below.

12 Nov 2024

Chiquis Performs “Que Siga Pasando” at Billboard Latin Music Week

Billboard-charting and award-winning artist Chiquis stopped by Billboard Latin Music Week for an intimate performance of her single “Que Siga Pasando” with Billboard and Walmart. The Mexican-American star and her band shared a special version of the stripped-down song in the backstage lounge, styled with and presented by Walmart. This year, Walmart joined the celebration of Hispanic heritage, reimagining the space where interviews and performances took place. Enjoy Chiquis’s performance and check out the pieces featured in the lounge from The Nuevolution Project, created in collaboration with visionary Hispanic creatives shaping the future of the culture.

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Wish Me Luck, a Hispanic-led fashion brand from LA, captures the spirit of Dreamers: those who pursue their aspirations while honoring their heritage. Their clothing combines classic casual styles with bold, eye-catching graphics to create pieces you can wear anywhere — and Billboard’s hosts will be wearing them as they sit down with the stars. Add their Workwear Style Jacket and Dreamer’s Win Graphic Tee Shirt to your everyday rotation to add meaningful flair to your wardrobe.

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Puerto Rican-American artist, ceramicist, social activist, poet, and educator Roberto Lugo’s contributions to The Nuevolution Project range from home decor to clothing. Lugo’s lively, illustrated patterns are an extension of his art, acknowledging the realities faced by marginalized communities while also celebrating their beauty and creativity. His candles (in Pigeon, Delft, Flowery and Floral designs) are inspired by the ones that are traditional to Hispanic culture – with his own special twist. Mix and match the pieces in your home to bring your culture to life.

Looking to add color to your kitchen? Walmart has you covered. Robert Lugo’s designs bring Hispanic pride to your kitchen, elevating your morning coffee, tea or hot chocolate. Choose between three bold patterns (Pigeon, Delft, and Floral) to bring the comfort of culture to your cup.

Stay tuned for more from Billboard Latin Music Week and check out more pieces from The Nuevolution Project, available only at Walmart.

12 Nov 2024

Trump Aides Unsettled By Elon Musk’s “Odd” Mar-a-Lago Presence

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Aides to Donald Trump aren’t pleased with Elon Musk being a constant presence at Mar-a-Lago, with some declaring how “odd” it is.

According to reports, tech billionaire Elon Musk has been a constant fixture at Donald Trump’s Mar-a-Lago estate in Palm Beach, Florida, for the past week unnerving those close to him. Sources have revealed that the Tesla CEO dined with the president-elect and his wife Sunday (Nov. 10), and roamed the estate with his son almost every day beginning on Election Day.

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“While Musk himself is still not expected to take any kind of formal position inside Trump’s administration, given how complicated it would be with his companies, what’s becoming clearer tonight is that he doesn’t really need to,” CNN anchor Kaitlan Collins said in a news segment. “One source told me, Elon Musk is having just as much influence from the outside.” She went on to add that Musk has been present for calls to Trump from various world leaders and that “he’s also weighing in on staffing decisions, making clear his preference for certain roles even.”

CNN tech journalist Kara Swisher confirmed the tech billionaire’s influence and aides’ reaction. “He definitely inserts himself all the time, that’s his style,” Swisher said in a report on Monday (Nov. 11). “I’ve heard from Trump people, calling me saying, ‘Oh, wow. This is odd’. And it is.” Elon Musk lent his services to aid Trump in the election’s final days, creating a political action committee (and spending over $100 million in the process) and even moving to Pennsylvania. With that support came controversy, as it was revealed that Musk has been talking with Russian President Vladimir Putin for over two years, facing pressure to comply with the authoritarian’s demands.

Trump previously promised Musk would have a significant say in his administration, but observers feel there would be an eventual ego clash leaving Musk out in the cold. “There’s room for only one star, one genius in the Trump White House,” historian David Nasaw wrote in an opinion-editorial for the New York Times. “As the president-elect has told us time and again, he is one smart fellow and a ‘very stable genius.’ He is not going to share his victory and center stage with anyone. And why should he?”