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Karol G Receives Two Madame Tussauds Wax Figures: ‘How Impressive!’

Karol G has officially received not one but two of her very own wax figures at the renowned Madame Tussauds wax museum.

The Colombian artist was present at the recent grand reveal in New York City, where she reacted to her two figures: one that captures the Colombian-inspired outfit and signature blue hair that she rocked during her 2022 Coachella performance; the other is one of her looks from the “TQG” music video with Shakira, where she had her striking red locks.

“Wow, how impressive!” Karol said in a press statement. “My first impression was I love my smile, and the color of my eyes […] I hope when my fans meet the figures that it’s a manifestation for them that one day they will meet me.”

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Her Coachella wax figure will remain at the Madame Tussauds in Times Square, whereas her “TQG” wax figure will be relocated to the Madame Tussauds in Las Vegas at the end of October.

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“Karol G is one of our generation’s greatest living Latina performers,” added Eliza Rose, marketing manager at Madame Tussauds New York. “Her figure is a beautiful addition to our museums, and a testament to her talent, influence and the love her fans have for her.”

The “Bichota” singer—who’s a 17-time finalist at the 2024 Billboard Latin Music Awards and whose “Si Antes Te Hubiera Conocido” has spent 12 weeks at No. 1 on the Billboard Hot Latin Songs chart—joins Maluma, Anitta, Selena, Bad Bunny, Shakira and other Latin acts with their own wax figures.

Billboard Latin Music Week is returning to Miami Beach on Oct. 14-18, with confirmed superstars including Feid, Gloria Estefan, Pepe Aguilar, Alejandro Sanz, Thalía, Maria Becerra, Peso Pluma and Young Miko, among many others. For tickets and more details, visit Billboardlatinmusicweek.com.

Karol G

Karol G Strikes A Pose With Her Two New Wax Figures at Madame Tussauds on October 04, 2024 in New York City.

Jamie McCarthy/Getty Images for Madame Tussauds

Donald Trump Attacks Immigrants With Vilest Comment Yet: “We Got A Lot Of Bad Genes In Our Country”

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Donald Trump Hosts October 7th Remembrance Event In Florida

Donald Trump remains in a tight race with Vice President Kamala Harris which ends in just under a month, and the stakes are rising higher than ever. In a new interview, Donald Trump attacked immigrants with a vile comment suggesting that they are “bad genes” in the country who have a genetic predisposition to murder.

Donald Trump appeared on The Hugh Hewitt Show on Monday (October 7) and immediately seized upon the xenophobic fears of his supporters by aiming attacks at Vice President Harris and immigration policies enacted under President Joe Biden. Furthering his stances on the southern border and attempting to frame Harris as a communist, Trump went on a verbal tear that many are currently decrying.

“When you look at the things that she proposes, they’re so far off she has no clue. How about allowing people to come to an open border, 13,000 of which were murderers,” Trump says.

He added, “Many of them murdered far more than one person, and they’re now happily living in the United States. You know, now a murderer, I believe this, it’s in their genes. And we got a lot of bad genes in our country right now. They left, they had 425,000 people come into our country that shouldn’t be here, that are criminals.”

Trump’s comments were found to be appalling by others in the media, including the panelists of the Morning Joe show on MSNBC, which discussed the matter on the Tuesday morning broadcast of the program. Across X, others observed Trump’s chat with Hewitt and considered his words offensive and a rallying cry for fascism among other digs.

Trump campaign spokesperson Karoline Leavitt, perhaps realizing how much of a gaffe this could be considering Election Day is fast approaching, countered in a statement that Donald Trump was referring to murderers and not migrants but it appears the damage is done.

Across X, formerly Twitter, many are discussing Donald Trump’s “bad genes” quip. We’ve got reactions listed below.

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Photo: Getty

Country Artists Who Are Helping Bring Aid to Areas Impacted by Hurricane Helene

As areas of the United States spanning North Carolina, South Carolina, Florida, Tennessee and Georgia have been devastated by Hurricane Helene, communities have pulled together to provide essentials to those in need and rebuild areas damaged or destroyed by the storm.

The category 4 hurricane came ashore late on Sept. 26 in Florida’s Big Bend region, with a maximum sustained winds of 140 miles per hour. As the hurricane moved north, it destroyed homes, demolished buildings, crumbled bridges and wiped away roads. In some places, the storm washed away entire communities, and has cut off cellphone services and electricity for millions of residents. So far, the death toll from Hurricane Helene has grown to more than 200 people.

In response to the hurricane’s devastation, several artists in the country, bluegrass and Americana communities have stepped up to help, including many with hometown roots in the states impacted, such as Tennessee natives Dolly Parton and Morgan Wallen, North Carolina natives Eric Church and Luke Combs and Georgia native Jason Aldean.

Church recently released his first solo song in over three years with “Darkest Hour,” dedicated to those impacted by Hurricane Helene. Church is also turning over all of his music publishing royalties from the song to help those in his home state who have been impacted by Hurricane Helene.

“From Western North Carolina, East Tennessee, Upstate South Carolina, parts of Georgia and even Florida which took a direct hit, there are so many places that were impacted. Specifically in the area that I’m from, the mountains of Western North Carolina were devastated. There are places that are just biblically gone. These are our family members, they’re our friends, they’re our neighbors – and they’re in dire need of help,” Church previously said in a statement about the release of “Darkest Hour.” “And I’ve been in the studio for a while, trying some different things and exploring creativity. I had this song that I’d written, and the line that struck me in light of the recent devastation was ‘I’ll come running,’ because there are a lot of people out there right now who are in their darkest hour and they need people to come running. We were going to wait to release music until next year, but it just didn’t feel right to wait with this song. Sometimes you give songs their moment and sometimes they find their own moment.”

Many artists have made sizable donations to various organizations, while many have also spotlighted organizations such as the American Red Cross and the Boone, North Carolina-based charity Samaritan’s Purse.

Below, we highlight some of the artists in the country, Americana and bluegrass communities who are aiding Hurricane Helene relief in various ways.

All the Business-Focused Panels at the 2024 Billboard Latin Music Week

From superstar Q&As to panels that help you understand the business of music, there’s something for everyone at the 2024 Billboard Latin Music Week, with programming that covers every aspect of the industry.

This year, a handful of business-focused panels will feature a mix of executives and artists who will take centerstage to break down elements of their business. One of them being From Clubs to Stadiums featuring Feid presented by Live Nation, which will take place on Monday (Oct. 14) with speakers like Feid, his manager Luis Villamizar and Live Nation’s Hans Schafer explaining why a number of Latin acts are now playing stadiums, the Colombian hitmaker being one of those artists.

Also on Monday, regional Mexican singer-songwriter Eden Muñoz, Colombian hitmaker Keityn and renowned producer Sergio George will take the stage for Why Are There 50 Writers On My Song? — a conversation, set to be moderated by Pierre Hachar, managing partner, The Hachar Law Group, that will explores and asks the sometimes uncomfortable question of: who should get songwriter credit and why?

The 2024 Billboard Latin Music Week is returning from Oct. 14 to 18 at the Fillmore Miami Beach in Miami with a star-studded lineup of more than 70 artists. This year, celebrating its 35th anniversary, Latin Music Week welcomes an array of global artists including J Balvin, Young Miko, Alejandro Sanz, NMIXX, Thalía, Maria Becerra, Gloria Estefan, Pepe Aguilar, Peso Pluma, Fuerza Regida’s Jesús Ortiz Paz, and many more. Purchase tickets to the 2024 Billboard Latin Music Week here.

Get To Know The Rising Producers Making Waves On The Hot 100 And Beyond

Across genres, a new crop of producers has broken out in recent years (some as recently as this past one). Some have quickly established themselves as go-to hit-makers; others are talented newbies who’ve just gotten their first tastes of success. But regardless of experience level, these producers — selected based on their histories on the Billboard Hot 100 and Billboard’s Hot 100 producers chart, along with placements on other charts — are helping to define music’s future.

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Young but already established hit-makers, their big Hot 100 breakthroughs occurred within the past five years

Rob Bisel

The primary producer on SZA’s SOS, he’s charted 13 songs on the Hot 100 (12 by SZA, including “Kill Bill”); he’s also engineered big hits by Doja Cat, Harry Styles, Kendrick Lamar and Tyler, The Creator.

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Nik D

Debuted on the Hot 100 in 2019 with Travis Scott’s No. 1 “Highest in the Room”; returned with hits by Drake and Metro Boomin before co-producing Jack Harlow’s No. 1 “Lovin on Me.”


Jacob Durrett

Produced on seven Hot 100-charting songs — six of them by Morgan Wallen, including Durrett’s debut entry, the top 10 hit “Wasted on You” — all since 2021.


Omer Fedi

Has placed 23 songs on the Hot 100 since his chart debut in June 2020, including four No. 1s: 24kGoldn’s “Mood,” Lil Nas X’s “Montero (Call Me by Your Name),” The Kid LAROI and Justin Bieber’s “Stay” and Sam Smith and Kim Petras’ “Unholy.”

Feature, Rising Producers, The Kid LAROI and Omer Fedi

The Kid LAROI (left) and Omer Fedi

Presley Ann/Getty Images


Charlie Handsome

Of the 54 Hot 100-charting songs he’s produced or co-produced, 23 are by Post Malone and eight are by Morgan Wallen; seven reached the top 10; and two (Jack Harlow’s “First Class” and Post and Wallen’s “I Had Some Help”) reached No. 1.


Jasper Harris

Since 2019, has charted 17 songs on the Hot 100 as a producer, including his first two top 10s in 2022: Jack Harlow’s “First Class” and Post Malone and Doja Cat’s “I Like You (A Happier Song).”

Feature, Rising Producers, Jasper Harris and Lil Nas X

Jasper Harris (left) and Lil Nas X

David Dickenson


Blake Slatkin

Produced on 12 Hot 100-charting songs since 2020, including four No. 1s: “Mood,” “Stay,” “Unholy” and Lizzo’s “About Damn Time.” 2024 credits include Charli XCX, Omar Apollo and Wallows.


Leon Thomas III

Produced on SZA’s “Snooze,” plus Hot 100-charting hits by Drake, Jack Harlow and Ye/Ty Dolla $ign; he’s also worked on songs with Post Malone, Ariana Grande and Giveon.

Ty Dolla $ign and Leon Thomas III attend Affinity Nightlife presents

Ty Dolla $ign (left) and Leon Thomas III attend Affinity Nightlife presents “Music Is Love | Love is Music” Grammys after party at Academy LA on Feb. 04, 2024 in Los Angeles, California.

Vivien Killilea/Getty Images


After some time in the production world, they recently broke through to the charts’ top tier

Evan Blair

Cracked the Hot 100 with Nessa Barrett’s “I Hope Ur Miserable Until Ur Dead” (2021), then moved up the chart with Dove Cameron’s No. 16-peaking “Boyfriend” (2022); earlier this year, reached No. 2 with Benson Boone’s “Beautiful Things.”


BNYX

Charted 13 songs on the Hot 100 as a producer, all since 2022. Four hit the top 10: Drake’s “Search & Rescue” and “IDGAF” and Travis Scott’s “K-Pop” and “Meltdown”; has also worked with Lil Tecca, Lil Uzi Vert and Yeat.

Feature, Rising Producers, Yeat and BYNX

Yeat and BYNX

Jason Renaud


A.G. Cook

His first Hot 100 production credit was on Beyoncé’s “All Up in Your Mind” in 2022; this year, he returned with four Charli XCX tracks — “360,” “Girl, so confusing,” “Apple” and “Talk talk,” with Troye Sivan — which all hit the top 10 of Hot Dance/Electronic Songs.


Ernesto “Neto” Fernandez

One of the biggest current regional Mexican producers. First charted on the Hot 100 in February 2023 with Peso Pluma & Natanael Cano’s “PRC” and followed that with the No. 4-peaking “Ella Baila Sola” (the highest-charting regional Mexican song ever). He’s charted 19 total songs by Peso Pluma on the Hot 100, plus three by Xavi and one by Junior H.


Teo Halm

Has charted three songs on the Hot 100 as producer, all in 2022: Omar Apollo’s “Evergreen” and SZA’s “Notice Me” and “Open Arms.” Co-wrote Drake’s “Fair Trade,” which reached No. 3.


Sean Momberger

Produced on two recent No. 1s — Jack Harlow’s “Lovin on Me” and Kendrick Lamar’s “Not Like Us” — after making his first Hot 100 appearance in 2018 with Chris Brown’s “Tempo” and returning with Gunna and Future’s “Too Easy” (2021) and Lil Baby’s “Everything” (2022).

Sean Momberger at the Spotify Best New Artist Party held at Paramount Studios on February 1, 2024 in Los Angeles, California.

Sean Momberger at the Spotify Best New Artist Party held at Paramount Studios on February 1, 2024 in Los Angeles, California.

Gilbert Flores for Billboard


Nova Wav

The veteran female duo produced on Beyoncé’s “Cuff It,” which spent 35 weeks on the Hot 100 (reaching No. 6) and became her longest-charting song as lead artist, as well as on Bey’s “Jolene” from Cowboy Carter, which reached No. 7 earlier this year.


La Paciencia

The close Bad Bunny collaborator has charted 21 songs on the Hot 100 since June 2023, all by the Puerto Rican superstar, including two top 10s: “Where She Goes” (No. 8) and “Monaco” (No. 5).


RIOTUSA

Ice Spice’s right-hand producer charted six songs with her on the Hot 100, all since February 2023, including her two top 10s, “Princess Diana” (No. 4) and “Barbie World” (No. 7).


Austin Shawn

Produced all seven of Bailey Zimmerman’s Hot 100 entries, including the No. 10-peaking “Rock and a Hard Place” in 2023.


Feature, Rising Producers, Gabe Simon

Gabe Simon

Rodin Eckenroth/Getty Images

Gabe Simon

First charted on the Hot 100 in 2022 with Jessie Murph’s “Pray” (No. 95) — then followed up with seven Noah Kahan hits, including “Stick Season” (No. 9), “Dial Drunk” and “Northern Attitude.” (The latter two made the top 40 and also topped the Triple A radio chart.) Earned two more Hot 100 top 40 entries this year with Koe Wetzel’s “Sweet Dreams” and Wetzel and Jessie Murph’s “High Road.”


They’re brand-new to the charts, but their achievements already make them worth watching

Grant Boutin

Charted for the first time in September 2023 with Tate McRae’s “Greedy” (which went to No. 3 on the Hot 100 and spent eight weeks atop Pop Airplay) and then with her “Run for the Hills.” He’s also worked with Meghan Trainor and Tomorrow X Together.


Sean Cook

Paul Russell’s inescapable “Lil Boo Thang” (No. 14 on the Hot 100) marked his first producer credit on the charts; he made a strong follow-up co-producing Shaboozey’s Hot 100 No. 1 “A Bar Song (Tipsy).”

Feature, Rising Producers, Sean Cook

Sean Cook

Michael Tran/AFP/Getty Images


Dave Hamelin

Charted for the first time on the Hot 100 this year with five songs from Beyoncé’s Cowboy Carter: “16 Carriages,” “Just for Fun,” “II Hands II Heaven,” “Tyrant” and “Amen.”


Hoskins

Charted for the first time on the Hot 100 with Post Malone and Morgan Wallen’s No. 1 “I Had Some Help” and co-produced Post’s F-1 Trillion single “Guy for That” with Luke Combs (a No. 17 peak); previously had only produced one other charting song, Khalid’s “Present” (which spent a week on Hot R&B/Hip-Hop Songs in 2021).


Gerreaux Katana

Broke onto the charts and reached No. 15 with ascendant rapper Flo Milli’s “Never Lose Me.”


Florian Ongonga

Charted for the first time in July 2023 with three Gunna songs, including the No. 4-peaking “fukumean”; also produced Gunna’s “Prada Dem” featuring Offset, which reached No. 15 on Hot Rap Songs.


Tommy Richman’s Crew (Kavi, Mannyvelli, Jonah Roy, Sparkheem and Max Vossberg)

The breakout star’s creative inner circle all charted for the first time with their work on his Hot 100 topper “Million Dollar Baby;” Kavi, Roy and Vossberg followed that up with “Devil Is a Lie,” which peaked at No. 32.


Frank Rio

The go-to producer for Ivan Cornejo, he has produced on 16 Hot Latin Songs entries (including three top 10s) by the young singer-songwriter.

Feature, Rising Producers, Frank Rio

Frank Rio

NEON16


Jack Rochon

Three songs from Beyoncé’s Cowboy Carter became his Hot 100 entrée: “II Hands II Heaven,” “Protector” and “Jolene.” He’s also worked with 6LACK, H.E.R. and Kehlani.


Feature, Rising Producers, Nevin Sastry and Shaboozey

Nevin Sastry and Shaboozey

Courtesy of Nevin Sastry

Nevin Sastry

Charted for the first time co-producing Shaboozey’s Hot 100 No. 1 “A Bar Song (Tipsy)”; also worked on the artist’s “My Fault” and “Drink Don’t Need No Mix,” which reached Hot Country Songs’ top 50.

This article appears in the Oct. 5 issue of Billboard.

Jinkx Monsoon & BenDeLaCreme Are Embracing the Political Chaos in Their New Holiday Show

Seven years ago, Drag Race stars Jinkx Monsoon and BenDeLaCreme saw an opportunity to ring in the holiday season the way they wanted to — as two friends just gabbing to one another in front of a live audience.

“We could have just sat on stage and shot the s–t for an hour and a half,” Monsoon explains to Billboard. “That’s how this whole idea started, with us saying ‘Let’s just sit on stage, maybe do a couple numbers and bulls–t about the holidays.”

Today, that original concept has grown into an annual tradition for the pair that extends far beyond just chatting and singing in front of a crowd. The Jinkx & Dela Holiday Show, instead, transformed over multiple iterations into a spectacle of costumes, dancers, high-production performances and an ever-evolving story — one that usually pits the two performers’ disparate dispositions against one another.

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Each year, the pair use the plot of their show to tackle topics of the moment, including the oncoming approach of AI technology and adjusting to a post-COVID world. For this year’s show — which kicks off its 33-date North American run on Nov. 7 in Charlotte, N.C. — the pair recognized that there’s really only one topic they felt needed to be addressed; our current, fractured political discourse. “There’s a lot of fear right now,” DeLa explains. “We have never shied away from taking on those hard topics, but doing it in a way that also can bring joy and hope.”

It certainly helps that the pair are well-versed in the political challenges of this election — in July, Jinkx and DeLa joined forces with fellow Drag Race stars Alaska, Willam, Monét X Change and Peppermint to create the first-of-its-kind political action committee Drag PAC. Aimed at engaging young voters to exercise their rights in the upcoming election, the organization has already provided prospective voters with the tools needed to register to vote and spread the word about the high-stakes election taking place on Nov. 5.

Below, Jinkx & DeLa break down the creation of their latest special, their thoughts on the upcoming election and their approach to young voters who don’t feel represented by either candidate in 2024.

Let’s talk about the special! What made you want to continue your tradition of doing this holiday tour?

Jinkx: It’s grown through the years — it started as something special, and just becomes more and more special each year, and that’s because there was always true heart and intention from the very very beginning of this project. We are writing a two act musical spectacular for the seventh time, because what we created that first year resonated with an audience that wanted to come back the next year. Their support through the years has allowed us to grow and take more time; now, we take off four months a year to devote to this project. As freelance artists, that’s crazy. But it pays off, because it is not only a wonderful artistic endeavor, but it is one of our best ways to stay in communication with our audience.

DeLa: It’s really about the spirit of this thing. It’s so great to be able to do this, but also, Jinkx and I love spending this time together, we love spending this time with our show family. We wanted to create a new tradition for us and for our audiences, and now, this is coming home for Christmas for us. 

What can you tell us about this particular Jinkx and DeLa Holiday Show? What are some of the new areas you wanted to explore with this year’s version?

DeLa: Every time we come at this, you can always expect that special Jinkx and DeLa flavor — we have a very specific brand of comedy, we have a very specific odd couple dynamic that makes for a very good time, and we come at it with a lot of humor, and camp, and sparkle, and spectacle, and original music, and pop parody. But we’re always also coming at it with keeping what is culturally happening around us in mind, so that will always dictate what is happening in the show. And this year, there is a lot of division happening, politically and otherwise.

Jinkx: I feel like drag queens are expected to be funny. Not every drag queen is funny, but there is an expectation that we’re going to tell some jokes and we’re going to entertain you, right? DeLa and I both chose comedy because it is a wonderfully effective tool for communication and for introducing new ideas. Throughout the years, I’ve learned that even though comedy kind of gets treated like this light-hearted, frivolous art form, it actually has been the most powerful way for me to convey very important messages to my audience.

When you double that with Christmas and what a difficult time of year this is for our community, it’s a no-brainer that people resonate with the work that we put a lot of passion into. This time of year is hard for all of us, and you don’t even have to be queer for it to be hard for you. 

The two of you clearly have an excellent working relationship as artists — what, in particular, about the other person makes them a good collaborator, to you?

Jinkx: I think if you asked us at different points over the last seven years, we might have had different answers. But right now, it’s pretty easy to say that there is trust and respect here. We have so much trust in one another that you can actually believe that this person is making a suggestion that we should wear specific costumes not because she thinks it’s the best option for her, but because she thinks it’s the best option for the show. To find another artist who wants to remove their ego from the conversation and put on the best show possible is rare. It’s hard to get there as an artist, but when you find an artist who brings that out in you, it’s a unique privilege as a performer. 

DeLa: Jinkx and I have just continued to propel each other to get better at everything. We come at this with very specific skill sets, and with different strengths — throughout the years, we’ve built each other up, we’ve helped each other, I feel like I am a freer, more comfortable improvisational artist because of it. I know that Jinkx feels like she’s gotten to learn a little bit about storytelling from me. It’s something that comes out of that incredible inspiration from each other. As a result, we not only are a stronger pair on stage, but we’re better comedy writers together. 

The other project the two of you worked on earlier this year was the creation of Drag PAC. What made the two of you want to engage in this specific way in the election?

Jinkx: The credit actually has to go to a wonderful member of our community, someone who has helped create a lot of work for drag queens and queer entertainers since the pandemic, and that is our good friend Big Dipper. He really is the brain behind Drag PAC, and I don’t mind saying that because he puts in a lot of work so that we can come together as a group of very busy entertainers and use our platforms and our voices in a way that hopefully — actually, no, that will empower our community and give us voice in the political arena. 

This is a very high-stakes election, especially for the LGBTQ+ community. With less than a month until Election Day, how are you feeling about the outcome of the campaign and our collective future as a country? 

DeLa: I, personally, am feeling a great sense of gratitude for the way I’m seeing our community come together. I feel fortunate to get to step up and be a voice in the way that I do, and I feel inspired and grateful to see so many other queer people in the public eye doing that, as well as just seeing queer individuals across the board realizing that, collectively, we can make a lot happen, we can protect things and we can make change. That has been true of the queer community for decades, and I think both Jinkx and I feel very fortunate to be a part of the legacy of drag that has fought for queer rights and for the rights of all disenfranchised communities. As scary as what’s happening can be, and as infuriating as it can be, the counter to it is us knowing our extreme power. I feel a sense of knowledge that we are unbreakable, and no matter what happens in the next couple months, we will not stop fighting.

Part of Drag PAC’s aim is to engage young voters specifically, and there are a lot of Gen Z voters who have made it clear that they are not satisfied with either candidate in this election. As two people hoping to mobilize young voters, how do you approach conversations with people who don’t feel represented by the candidates?

Jinkx: In my lifetime, I’ve never lived through anything more tumultuous or divisive than the last eight years of politics. I know that those people who do not want to endorse either candidate, in many cases, are thinking about the fact that endorsing either candidate makes your friends from Palestine, your friends from the Middle East, your friends who are being actively affected by what Israel is doing, feel like you don’t care about what’s happening to them because it’s not happening to you.

I am not the most satisfied person when it comes to our government, but I’m at a point where I understand that if we want to have the kind of future where we can really dissent to things and have more options than just two candidates, then there’s only one option to vote for right now to make that future possible. I think it’s pretty obvious that, under Trump, we would lose our ability to protest, to dissent, to speak out against our government. He’s made that very clear. If you want to talk about what you can do right now to try and ensure that future that undecided voters are trying so hard to manifest, then there really is only one option right now. 

DeLa: It’s important to note that Drag PAC, as an entity, is about motivating Gen Z voters, and there is no endorsement for a specific political candidate there. The intention is to encourage people to do their own research, find the candidates that align with their own values, and then take the steps to make change through our system. That free thinking is an important piece of all this. But as individuals, yes, Jinkx and I absolutely have our personal endorsements.

I also think there’s so much nuance here. I think about Rep. Ruwa Romman from Georgia, who is a Palestinian-American who was not allowed to speak at the DNC. There’s so much to say about that, and I think it’s also important for people who have strong opinions about this to go and listen to this person that they are upset they didn’t get to hear from at the convention — she has a very nuanced approach to this. She cares deeply for the Palestinian people, but she also has a lot to say about how voting Democrat is an important part of this process when you zoom out and see the full picture. That’s something we’re trying to tackle in our show this year — the importance of larger thinking, of listening, of not getting so entrenched in your own story about what’s going on, but really connecting to others face-to-face and listening to what people have to say. Sometimes, it’s not what you assume it’s going to be. 

Before we wrap this up, is there anything else you want to add?

Jinkx: Yes — we’re comedians, I promise. [Laughs.] 

DeLa: One hundred percent. I mean, one thing Jinkx and I are so proud of is that we’re not afraid to come at the hard stuff directly. At the end of the day, though, we are both inspired by drag. We love to make people laugh. The point of this show is that, at a hard time of year, in a hard year, a bunch of people get to come together and look at some beautiful visuals, outfits, props and performances from our brilliant cast, and get to reap the benefits of some really skilled performers who have developed a very real camaraderie over the years. Hopefully, people will come and experience some joy from this thing, and also come out feeling a little better about some of the harder stuff. 

Jinkx: We’re not just spokespeople for the community — we benefit from being members of this community, too. The audiences charge us to keep going, and we only hope to charge our audiences to keep going, too, and to provide some food for thought.

Taylor Swift & Travis Kelce Share PDA-Filled Moment After Kansas City Chiefs’ Victory: Watch

Karma is the guy on the Chiefs, coming straight over to Taylor Swift‘s box suite to celebrate after lasting yet another week undefeated in the NFL.

Moments after Kansas City won 26-13 against the New Orleans Saints Monday (Oct. 7), Travis Kelce joined his superstar girlfriend in her viewing area at Arrowhead Stadium for a sweet PDA-filled moment captured by fans. In one video, Swift hangs onto the tight end’s arm as he chats with a person who appears to be his father, Ed Kelce, before pulling Travis’ face toward hers for a kiss.

The New Heights host then wraps the 14-time Grammy winner in a tight hug, the pair swaying back and forth.

Swift was on hand to watch the Chiefs game Monday from her usual perch in the upper levels of Arrowhead. Sporting a red plaid dress and platform boots, the musician also made a statement by sporting sparkly faux freckles on her cheeks.

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After the game, Swift also celebrated the victory in a video posted by Chariah Gordon — who is engaged to Chiefs wide receiver Mecole Hardman Jr. — and joked about “photobombing” herself upon realizing that they were standing in front of an Eras Tour poster.

Much like last season, the “Karma” artist has been a mainstay at Chiefs’ home games this fall. She’s currently on a break from her global Eras Tour — on which Travis has accompanied her along several stops across the world — and will resume performances later this month.

Watch Swift and Kelce’s sweet post-game moment and more clips of the pop star at the game below.

Sum 41’s Deryck Whibley Accuses Former Manager of Sexual Abuse & Grooming in New Memoir

In his new memoir, Deryck Whibley of Sum 41 accuses his band’s former manager Greig Nori of sexual abuse and grooming.

As revealed Tuesday (Oct. 8) in the newly published pages of Walking Disaster: My Life Through Heaven and Hell, the now-44-year-old rocker was 16 when Nori — then 34 — allegedly began abusing the musician. According to snippets of the book shared by the Los Angeles Times, the now-61-year-old Treble Charger band member was a personal hero of Whibley’s before he became a songwriting mentor and manager to Sum 41, after which the alleged sexual misconduct began, with Whibley claiming that when he was 18, Nori cornered him in a bathroom stall at a rave and “passionately” kissing him.

Over time, Whibley alleges in his book that Nori manipulated him by calling the younger musician homophobic if he didn’t reciprocate. Whibley also writes that Nori said he “owed” his then-manager for his career, and alleged that Nori pressured him into continuing the relationship because “so many of my rock star idols were queer.”

“Greig had one requirement to be our manager — he wanted total control,” Whibley writes in Walking Disaster, according to the LA Times. “We couldn’t talk to anyone but him, because the music business is ‘full of snakes and liars’ and he was the only person we could trust.”

Billboard was not able to reach Nori at press time. Multiple publications, however, have reported that Nori did not reply to requests for comment.

“I always thought that I would take this to my grave and I wouldn’t say anything,” Whibley told Rolling Stone. “As I started getting into the book, I felt like, ‘How could I not be honest?’”

Whibley still hasn’t told his bandmates about the alleged abuse, according to the LA Times. In March, Sum 41 dropped its eighth and final album, Heaven :x: Hell, after which the band spent much of this year on a farewell tour. In January, the group is slated to play Scotiabank Arena in Toronto, marking its final show ever.

Nori hasn’t been in the picture since 2005, when Sum 41 fired him at Whibley’s urging, according to the LA Times. Without disclosing anything about his personal experiences with Nori at the time, the frontman eventually persuaded his bandmates to part ways with their manager by citing Nori’s alleged professional failings, from fumbling opportunities for the group to being unreachable and showing up to important events under the influence of ecstasy.

Whibley went on to marry Avril Lavigne, who was one of the first to tell him, “That’s abuse! [Nori] sexually abused you,” the “Landmines” singer writes in Walking Disaster, according to the LA Times.

After the couple divorced in 2009, Whibley wed Ariana Cooper, to whom he’s been married for 10 years. Cooper had the same reaction as the “Complicated” musician, Whibley says.

Even so, it wasn’t until Whibley turned 35 — one year older than Nori was when he allegedly began abusing Whibley — that the Sum 41 guitarist finally started to understand what he’d been through. “It all became so clear,” Whibley told L.A. Times. “Then about a year later, the Me Too thing started happening. I started hearing stories of grooming, and it all started to make sense.”

If you or someone you know has experienced sexual abuse, call the National Sexual Assault Hotline at 800-656-4673 for confidential help 24/7.

Record Label Market Share Q3 2024: Island Helps Power Republic as Interscope Makes Big Push

As the third quarter of 2024 comes to a close, a familiar label is atop the current market share standings: Republic, which for the second straight quarter maintains a market share north of 15%, a remarkable achievement.

But while the story of Republic’s second quarter was the dominance of Taylor Swift — whose Tortured Poets Department remains far and away the biggest album of the year so far, more than doubling the second-placed title and still going strong — the story of its third quarter is the huge surge of Island Records, which is included under Republic’s market share alongside Mercury Records, Big Loud Records, Cash Money and indie distributor Imperial.

Buoyed by the breakout successes of Sabrina Carpenter and Chappell Roan, Island posted a 3.81% current share (defined as released within the past 18 months) for the three months between June 27 and Sept. 26. If Island were broken out on its own, that would have been good for seventh among all labels for that period, which boosted its nine-month current market share to 2.15% — about 3.5 times higher than its current market share was through the first nine months of 2023, while that 3.81% mark for the third quarter was 6.5 times higher than for the corresponding three-month period in 2023. (With Carpenter’s Short N Sweet and Roan’s The Rise and Fall of a Midwest Princess at Nos. 1 and 2 on the Billboard 200 in this first week of the fourth quarter, that momentum is likely to continue.)

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That helped Republic post a 15.21% current market share through the first nine months of the year, itself a huge jump from its industry-leading 12.28% through three quarters of last year. But it wasn’t just Island: Republic itself is still floating on its TTPD high, while Post Malone’s F1-Trillion helped Big Loud and Mercury contribute to Republic’s share, too. And while Republic has receded slightly from the 15.72% it posted at midyear — when it outstripped the entire Warner Music Group — any label putting up a number higher than 15% is enjoying a massive year.

Q3 Market Share

Q3 Market Share

On the other coast, Universal Music Group’s other juggernaut, Interscope Geffen A&M, also saw a huge surge in the third quarter, which boosted its nine-month current share into double digits, as it posted a 10.13% share — up from 9.51% at the midyear mark and the 8.55% it held through the same period last year. The enduring success of Kendrick Lamar’s “Not Like Us” — which will get a Super Bowl-sized bump early next year, too — and Billie Eilish’s still-hot Hit Me Hard And Soft album helped Interscope become the only other label to reach higher than 10%. (Interscope’s share also includes Verve Label Group.)

The success of both Republic and Interscope — the two labels around which UMG reorganized earlier this year — helped parent company Universal improve more than two percentage points in current share over the same period last year, jumping from 34.61% through nine months in 2023 to 36.65% this year. That gain has come at the expense of the other two majors, which slipped a bit year over year: Sony Music Group dipped from 27.50% through the first nine months of 2023 to 25.89% through the first three quarters of 2024; while Warner Music Group dropped from 17.46% last year to 16.25% this year for the same period, though the latter recovered enough from its 15.68% mark at midyear to climb back above Republic Records.

Year over year, the indie sector by distribution ownership also grew, up to a 21.21% current share through the first nine month of this year, as opposed to 20.43% during the same period last year, a significant uptick; the biggest song of the year so far, Shaboozey’s “A Bar Song (Tipsy),” was released by indie EMPIRE. (EMPIRE does not report its market share to Luminate, so its individual share cannot be broken out.) By label ownership, the indie sector remains the biggest segment of the business, racking up a 37.09% current share of the market, though that has come down somewhat from the 39.49% it had through the same period in 2023.

Q3 Market Share

Q3 Market Share

Beyond Republic and Interscope, there is more good news from Warner Records (which includes catalog label Rhino and parts of Warner Nashville), as it stays on the hot streak it has been on for the entirety of 2024. Its 6.54% nine-month mark keeps it in third place once again, a full percentage point above fourth-placed Atlantic (which includes 300 Elektra Entertainment), which posted a 5.51% current mark, better than its first two quarters but still down significantly from its 7.39% mark at the three-quarter period of 2023. (Remarkably, despite coming out of the gate so hot this year, Warner Records hasn’t cooled down: its 6.98% third quarter was its best three-month period of the year.)

In fifth and sixth are a pair of Sony Music labels that move up a spot in the rankings year over year, though both dropped in market share over the same period last year: Columbia Records, which includes some RED labels in its share, posted a 4.41% current mark, a slight uptick from its midyear 4.35% but down from last year’s 4.93% nine-month mark, when it was sixth; and RCA, at 4.30%, a dip from the 4.64% it had nine months into 2023, though it is up from seventh to sixth for this quarter. Capitol Music Group, in seventh place so far this year, posted a 4.04% current share; through nine months of 2023, it was in fourth place, at 6.01%.

Epic Records, with several high-flying hip-hop releases this year from Future, boosts its share from 2.39% three quarters through 2023 to 2.79% through the first three quarters of this year, rising to eighth place; while Sony Nashville (2.10%, down from 2.50%) and Sony Music Latin (2.05%, up from 1.96%), round out the top 10 labels by current share.

Q3 Market Share

Q3 Market Share

Overall market share — which combines all a label’s releases in the marketplace, rather than just those of the past 18 months — rearranges the board slightly, though Republic (10.49%) and Interscope (9.98%) still lead the way, both with slightly improved totals from last year’s period. Atlantic’s vast catalog means that it leapfrogs Warner Records into third, with a 7.66% overall share (down from 8.31% last year), while Warner’s 6.86% — up from 6.63% in 2023 — sees it move from fifth place last year into fourth this year. Capitol and Columbia come in fifth and sixth, though in a virtual tie at 5.87%; Capitol edged out Columbia by three thousandths of a percentage point, essentially a rounding error. RCA (5.03%), Epic (2.75%), Sony Nashville (2.07%) and Universal Music Nashville (1.84%) round out the top 10.

Among the label groups, overall market share remained largely static year over year: UMG and Sony each inched up, to 38.47% and 27.25% respectively year over year, while Warner dipped slightly to 18.42% and the indies, at 15.85%, remained flat. The catalog side is largely the same story: UMG dipped two tenths of a percent year over year, while Sony gained half a point and WMG and the indies were down slightly. Among the individual labels, Interscope took the top catalog slot, jumping above Republic to take a 9.93% share of the market, with Republic’s 8.87% edging out Atlantic’s 8.39%.

Motels’ Martha Davis Cancels 2024 Tour Amid 2nd Breast Cancer Battle: ‘I’m Doing Well and Will Be Delighted When All This Is Over’

Beloved 1980s pop group the Motels have been forced to cancel the remaining dates on their 2024 U.S. tour after singer Martha Davis revealed that she is in the midst of a second battle against breast cancer. In a statement released on Tuesday (Oct. 8), the 73-year-old vocalist said that a pair of planned November dates in California on Nov. 8 and 9 — the former part of the throwback Rad Music Fest alongside A Flock of Seagulls and The Tubes, the latter tied to the Totally 80s Fest with Bow Wow Wow and Gene Loves Jezebel — have been called off after she lost her voice due to radiation treatments.

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“I just canceled our remaining shows of the year… I think it’s time i come clean with you lovelies that have purchased tickets for upcoming shows…aside from badly breaking my wrist on September 9,  I’m also in the mopup stages of a two year breast cancer thingie,” Davis said in a statement. “Had the estrogen blocker, the lumpectomy and now radiation. The radiation has caused me to lose my voice…so no guitar, no voice…no shows… I’m doing well and will be delighted when all this is over…last radiation is on the 23rd…yay!”

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Davis continued, “In the last two months the universe has been playing dodgeball with me while my feet are velcroed to the ground.  Started writing a new song… ‘I’m starring in my own sh–show!’ I love and miss you all so much, and I can’t wait to get back at it!” At press time, the band still had shows booked from January-April 2025 in California and Oregon.

Berkeley, CA-bred Davis started her career in 1971 fronting the Warfield Foxes, who transformed into The Motels in 1975. The new wave band’s self-titled Capitol Records debut came out in 1979, followed by Careful in 1980. They broke through in 1982 thanks to a wistful ballad from their third album “Only the Lonely,” which peaked at No. 9 on the Billboard Hot 100, followed by another moody midtempo hit, “Suddenly Last Summer” from 1983’s Little Robbers album; it also peaked at No. 9 on the Hot 100.

Davis first battled breast cancer in 1983-84 at the height of the MTV-favorite group’s success. The singer has released more than half a dozen solo albums since 1987 and the Motels’ most recent studio effort was 2018’s The Last Few Beautiful Days.