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Elon Musks Asks Why Joe Biden & Kamala Harris Haven’t Suffered Assassination Attempts #DeportElonMusk

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Elon Musk has long inserted himself in the culture wars that have divided political discourse similarly to the current makeup of Congress, and employing his massive X platform as a vehicle for said messaging. The wealthy businessman posted and later deleted an X reply pondering why assassination attempts against President Joe Biden and Vice President Harris have not occurred in the wake of the latest attempt on former president Donald Trump’s life.

Elon Musk asked the question in a quoted reply on X via the pro-Trump @cb_doge account, which asked on Sunday (September), “Why they want to kill Donald Trump?”

In the quoted reply, Musk wrote, “And no one is even trying to assassinate Biden/Kamala [chin scratching emoji].”

The X reply from @cb_doge had well over a million views and several quoted replies from both supporters of Musk’s missive and detractors who felt the words were an incitement or invitation to would-be assassins. This has prompted users on X to get the #DeportElonMusk topic to trend with many replies pointing out what they feel is a divisive political stance.

Elon Musk has made no secret of his alignment with Trump after reinstating the business mogul’s once-suspended account and sharing glowing words about the presidential hopeful on his platform and beyond. Further, Musk is a strong proponent of free speech and uses his platform to freely express his views despite how unpopular they may seem to some.

A quick scan of Musk’s account shows him largely quote-replying to other accounts, especially those with favorable things to say about him or his many business endeavors. There are no signs of an apology regarding his quip about President Biden and Vice President Harris. In fact, Musk is framing the deleted tweet as an attempt at humor.

“Well, one lesson I’ve learned is that just because I say something to a group and they laugh doesn’t mean it’s going to be all that hilarious as a post on ?,” reads one X reply. He followed it with, “Turns out that jokes are WAY less funny if people don’t know the context and the delivery is plain text.”

On X, the #DeportElonMusk has several replies calling for the deportation of Elon Musk. We’ve got those reactions below.

Photo: Jean Catuffe / Getty

Morgan Wallen, Lainey Wilson and More Join Brooks & Dunn for ‘Reboot II’: ‘It Was the Most Fun We’ve Ever Had,’ Brooks Says (Exclusive)

In 2019, when Brooks & Dunn collaborated with such hot new artists as Luke Combs, Ashley McBryde and Brothers Osborne for Reboot, a collection of duets covering some of the superstar duo’s most beloved songs, they could have never imagined that within five years there would be a whole new crop of burgeoning stars to revisit the concept. 

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Reboot proved to be such a tremendous success — providing the Country Hall of Fame pair with their first No. 1 on Billboard’s Top Country Albums chart in a decade — that it seemed natural to, well, reboot Reboot, but with a few twists.

Reboot II, out Nov. 15 on Sony Music Nashville, features a legion of new country artists, many of whom were just experiencing their first flushes of success or weren’t even signed yet five years ago, including Megan Moroney, Hailey Whitters, Lainey Wilson, Ernest and Warren Zeiders, but the new set also broadens the concept to include rockers Halestorm and bluesmen Marcus King and Christone “Kingfish” Ingram. Among the other artists on the album are Morgan Wallen, Jelly Roll, HARDY and Corey Kent.

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“What was even more impressive was to sit down with this bunch and turn them loose to do the songs in whatever way fit their artistic vision,” Ronnie Dunn tells Billboard. “The fun part was we weren’t chasing the original recordings or arrangements or our versions. We turned them loose to do whatever they wanted to do and, I’m biased, but it was really refreshing.”

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Brooks & Dunn ‘REBOOT II’

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Hearing some of their songs, while still recognizable, turned on their heads and recreated with new arrangements, tempos or even as different genres, “made me realize how good we are,” Dunn says with a laugh, before seriously adding, “I think how lucky we are to have these songs that you can push the chameleon button on, and they change colors and keep on ticking.”

Unlike the first edition, where Kacey Musgraves and a few other artists upended their takes but for the most part the remakes stayed true to the originals, half the fun of listening to Reboot II are the unexpected roads some of the songs down — such as Moroney and Dunn’s slowed down, sultry duet on “Ain’t Nothing ‘Bout You,” The Earls of Leicester’s spirited bluegrass take on “How Long Gone” and Marcus King’s high-octane version of “Rock My World (Little Country Girl),” which screeches out of the gate.

It turns out Brooks & Dunn, one of country’s most successful duos with 20 No. 1s on the Country Airplay chart — would have happily embraced more reinventions on the first go-round. “I think artistically, Kix and I kind of wanted to let the horse run like we did on this on the first one — but the mandate was, ‘Hey this is an experiment. We haven’t done it before, so let’s try to keep the truck between the lines.’ And we were very pleased with it. But this is a whole different animal.” Then with what can only be described as a mischievous laugh, he adds, “I mean, this is gonna offend some people!”

Surprise more than offend more likely, given how Halestorm turns Brooks & Dunn’s classic “Boot Scootin’ Boogie” up to 11 with screaming guitars and Dunn going head to head with lead singer Lizzy Hale. 

“[Halestorm] did not disappoint,” says Kix Brooks, adding that more than 30 years into their partnership, it’s good for Brooks & Dunn to shake things up a bit.  “At this point in our career, we can’t really be nervous about that, especially on a record like this, and especially inviting some of the artists we did, like Christone “Kingfish” Ingram and Halestorm. Halestorm is a  really badass, really tight rock band and whatever song they come in with heads are going to bang.”



Furthermore, Brooks says some of the artists upped Brooks & Dunn’s game in a way that delighted them. “It was fun to see Ronnie go toe-to-toe with Lizzy,” he says. “I was like, ‘Good luck pal’ — but he did. I feel like a lot of the stuff really challenged us in a way that maybe we weren’t before. Kingfish came in on ‘Hard Workin’ Man’ with this funky blues thing, because that’s what he does with his band… then it’s like, ‘Holy crap. How are we going to plug into this?’ That was a whole new level of fun.”

Like the first Reboot, Brooks & Dunn were in the studio with the acts — no artists added their parts separately as happens in many such collaborative albums. 

“I felt like it would be rude not to be [there],” Dunn says. The duo largely left it to their guests to come up with new interpretations, but were there to assist if the artist got “bogged down, and it would become a team sport to figure things out.”

While Dann Huff produced Reboot, this time he still did the majority of Reboot II’s tracks — but artists were also encouraged to use producers and musicians they routinely work with, which added Joey Moi, Kristian Bush and Jerry Douglas to the mix (along with some unintentional levity). “Kristian, who was producing Megan, has a very cosmic approach to producing,” Brooks says. “He was doing this thing with his hands like, ‘We just need to interweave this and that into that,’ and I was like, ‘You got that, don’t you, Ronnie?’” 

“We almost threw him out the window,” Dunn says with a laugh — adding that making Reboot II  “was the most fun we’ve ever had,” in part because there was no pressure. 

The album contains 18 tracks, including six songs that were on Reboot, remade with different artists for Reboot II. “You think, ‘How can I do it differently? How can it not be repetitive? And everybody found a new way to give it a twist,’” Dunn says. Brooks cites Luke Combs’ straight-ahead read on “Brand New Man” for Reboot, whereas Warren Zeiders slows the tune way down on Reboot II and give it a “Nirvana kind of groove.” 

When asked if there could be a Reboot III five years from now, Dunn says, “We would probably have to write a lot more new songs,” before adding, “we’re both writing all the time.”

The new versions also seem to lead new fans to discover the duo. “Asking our crowds this summer on tour, ‘How many of you are at your first Brooks & Dunn show?’” and probably 70% of that crowd now has their hands in the air,” Brooks says. “They’re just finding these songs. We kind of have this rebirth on stage that’s kind of hard to describe.”

Though Brooks & Dunn took a touring hiatus from 2010 to 2015, they now have no desire to see the end of the road. Their first leg of their 2025 Neon Moon tour, produced by Live Nation, will start March 13 in Lubbock, Texas and run through April 26 in Louisville. 

“We’ve finally gotten to a place where we can kind of not worry about anything, just get out there and enjoy it,” Brooks says. 

“We’re still drawing the same size crowds we did in our heyday, so let it rock,” Dunn says, adding with a laugh, “And we’re still pretty.”

Brooks & Dunn – Reboot 2 TRACK LIST

  1. “Play Something Country” – Lainey Wilson
  2. “Neon Moon” – Morgan Wallen 
  3. “Rock My World (Little Country Girl)” – Marcus King
  4. “Ain’t Nothing ‘Bout You” – Megan Moroney
  5. “Brand New Man” – Warren Zeiders
  6. “Believe” – Jelly Roll
  7. “She Used to Be Mine” – Riley Green
  8. “She Likes to Get Out of Town” – The Cadillac Three
  9. “Boot Scootin’ Boogie” – Halestorm
  10. “Ain’t No Way To Go” – Mitchell Tenpenny
  11. “How Long Gone” – The Earls of Leicester
  12. “I’ll Never Forgive My Heart” – Jake Worthington
  13. “She’s Not the Cheatin’ Kind” – Hailey Whitters
  14. “Hard Workin’ Man” – Christone “Kingfish” Ingram
  15. “Hillbilly Deluxe” – Hardy
  16. “Indian Summer” – Ernest
  17. “Drop in the Bucket” – Thousand Horses
  18. “Only In America” – Corey Kent

After Taylor Swift’s Endorsement, HeadCount Exec Talks Music’s Role In Getting Out the Vote

Taylor Swift‘s endorsement of vice president Kamala Harris for president on Sept. 10 was “the start of the journey” for millions of apolitical Swifties and celebrity-news fanatics, according to Lucille Wenegieme, HeadCount’s executive director. “They might click a link, but they’re not immediately going to Google, ‘Where’s all my voting information?’” she says. “Somebody else might talk about it, and it comes up in their feed somewhere else, and maybe they see a show in October. It’s multiple touch-points that tend to move folks across the finish line.”

Wenegieme, a former scientist who worked in the fashion industry before joining get-out-the-vote group HeadCount as a communications executive in 2019, has spent months observing how young music fans consider getting involved in election campaigns. An attention-getting megastar announcement might coax them into action, but so might a smaller artist at a neighborhood club.

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“Having somebody who’s relatable for you, who plays at the local spot you go to, and you can essentially have a beer with, talking from the stage about how you can go out and vote, is extremely powerful,” she says. “I don’t want to discount what folks with not as large a reach as Taylor Swift can do.”

By phone from New York, where she has worked at HeadCount for the past year, Wenegieme discussed what it’s like, as someone who mobilizes volunteer teams at concerts and festivals, to be a peripheral part of the music business.

What does your background as a scientist working on Nitrogen-fixing bacteria have to do with getting out the vote? 

It just brings me a different perspective. It’s more about not being scared to ask the stupid question. [And] to have the steep learning curve in a new industry.

What are you learning about the music business in this job?

One of the things I admired about HeadCount when I first learned about it a few years ago: You’re starting with the music fan. It’s probably the nicest way to get into the music industry. It feels like a cheat code, to have a nice, fun thing to be able to do, and not have to be in the thick of it with some of our partners, supporting artists in the industry.

What is the most efficient way to engage fans and encourage them to vote?

There’s no easy ticket. The most famous musicians have learned you can throw million-dollar [fund-raising] concerts and not do as much as you think you might — but it is contributing to that overall culture of participation. We do the in-person stuff. That’s our bread and butter. We’ve done it for 20 years. We are having those peer-to-peer conversations with people, and talking to them about why it’s important to have their voice heard. We’re totally nonpartisan and that brings a lot of trust for us.

Where do the geography-centered concert business and major political campaigns, which center on swing states, intersect?

We have different goals than the campaigns do. The campaigns are focused on reaching the smallest margins that they can to get the outcome that they want. We are about getting as many people as possible, anywhere, anytime, not just for the presidential election, not just in a midterm [election]. We have 60,000 volunteers in 38 states and D.C. A lot of times that is extremely regionally focused. These are people who are constantly going to shows in their areas, they know the venues, they know the artists coming through their market. That’s the connection. “These are the people in my town that I see shows with” — that’s what’s important, not the people who live in a specific zip code because it’s been poll-tested in a specific way.

How do you most effectively engage a new voter and coax them to register to vote?

Our team leaders are trained on the latest with voter-registration laws across the country. With music festivals, you might have somebody who traveled across state lines to get to that place. We want to make sure we can support them wherever they live. We’re not asking them to give up money on-site, we’re just asking them to do something. We keep it really functional.

In the week after President Biden dropped out of the presidential race in late July, and Vice President Harris took over his candidacy, voter registration increased 69%, according to HeadCount’s data; registration increased 54% among 18-to-24-year-olds after July 21. What was going on there? 

There was the assassination attempt, there was a vice-president nominee chosen on the Republican ticket, as well as the switch on the Democratic side — a level of unexpectedness that pierced the news cycle, so there were more young people hearing about it. And the candidate switch, for a lot of young people, was validation for something they had been telling us. They wanted to see different choices in general. Again, we don’t tell folks how to vote, but we listen a lot.

What advice would you give both campaigns about how to use music most effectively to get young people to vote for your side? 

Don’t think about music as a thing you can use. Think about musicians, and the music community, as a community to partner with, in the same way you might think of ethnic communities of people to partner with. That’s what we do.

BET Betting on Las Vegas as Site of 2024 Hip Hop Awards

The 2024 BET Hip Hop Awards is headed to Sin City. The show will be held in Las Vegas for the first time on Oct. 8 and will premiere Tuesday, Oct. 15, at 8 p.m. ET/PT on BET. BET is expected to announce the venue next week.

“BET is excited to bring BET Hip Hop Awards to a city known for its electrifying atmosphere and rich history of awe-inspiring entertainment,” Scott Mills, president & CEO of BET, said in a statement. “From the groundbreaking performances of legends like Sammy Davis Jr. and Lena Horne, who shattered racial barriers, to today’s leading and emerging artists, Las Vegas’ vibrant energy reflects the innovation, soul, and storytelling that Black culture continuously contributes.”

The BET Hip Hop Awards, which originated in 2006, has been held in Atlanta in all but three years. It shifted to Miami in 2017-18 and was held in multiple locations in 2020, at the height of the pandemic. Fat Joe hosted the show the last two years. This year’s host has not yet been named.

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Connie Orlando, EVP of specials, music programming & music strategy at BET, will oversee production of the annual event and serve as executive producer with Jamal Noisette, BET’s SVP of specials & music programming. Jesse Collins, CEO of Jesse Collins Entertainment, will act as executive producer, with Jeannae Rouzan-Clay and Dionne Harmon from Jesse Collins Entertainment also serving as executive producers.

Collins and Harmon won Primetime Emmys two years ago for their work on The Pepsi Super Bowl LVI Halftime Show Starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar, 50 Cent, which was voted outstanding variety special (live).

Las Vegas has become a popular home for awards shows. The Billboard Music Awards were based there most years from 1996 to 2022. The Academy of Country Music Awards were held there in all but three years from 2003 to 2022. The Grammys were held there in 2022, the only time the show has been broadcast from a city in which it doesn’t have a chapter.

Buena Vista Social Club Heading to Broadway in 2025

The story of Buena Vista Social Club, the musical ensemble primarily comprised of Cuban musicians (many of them elderly), whose acclaimed debut album from 1997 became a global sensation, will arrive on Broadway early next year, producers Orin Wolf, John Styles and Barbara Broccoli announced on Monday (Sep. 16).

The musical BUENA VISTA SOCIAL CLUB, which had its world premiere off-Broadway in December 2023, will begin preview performances at the Gerald Schoenfeld Theater (36 West 45th St) in New York on Friday, Feb. 21, 2025, before opening officially on Wednesday, March 19, 2025.

With a book by Marco Ramirez inspired by true events, the Saheem Ali-directed show will feature a band of international musicians to narrate the legendary story of the artists who brought the original album to life. BUENA VISTA SOCIAL CLUB will features music from Cuba’s golden age, with choreography by Patricia Delgado and Justin Peck and a music team led by David Yazbek and musical supervisor Dean Sharenow.

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The Broadway company features Natalie Venetia Belcon as Omara Portuondo, Julio Monge as Compay Segundo, Mel Semé as Ibrahim Ferrer and Jainardo Batista Sterling as Rubén González — with Isa Antonetti, Da’von Moody, Wesley Wray and Leonardo Reyna as their younger versions, respectively. Renesito Avich will play Eliades Ochoa, and Ashley De La Rosa a young Haydee. Also performing are Angelica Beliard, Carlos Falú, Hector Juan Maisonet, Ilda Mason, Marielys Molina, and Sophia Ramos, among others.

The musical band will consist of Marco Paguia (piano, musical direction, composition, and arrangements), David Oquendo (guitar, additional arrangements), Gustavo Schartz (bass), Hery Paz (wind instruments), Eddie Venegas (trombone), Jesús Ricardo (trumpet), Javier Díaz (percussion, additional arrangements), Mauricio Herrera (percussion) and Román Díaz (percussion).

Buena Vista Social Club was formed in Cuba 1996, in a project organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos González, who named the group after a popular music venue in Havana in the 1940s. To showcase popular styles of the time, such as son, bolero, and danzón, they recruited a dozen veteran musicians, some of whom had been retired for years.

The group’s eponymous debut album was released in September 1997 and quickly became an international sensation. On the Billboard charts, it reached No. 1 on Tropical Albums, where it stayed at the top for 24 weeks and spent a total of 266 weeks on the chart. It also reached No. 1 on Top Latin Albums and World Albums, and spent 19 weeks on the Billboard 200. In 1988, it won the Grammy for Best Tropical Latin Album, and the Billboard Latin Music Award for Tropical/Salsa Album of the Year by a Group.

“It’s been my honor to help develop Buena Vista Social Club into a new musical alongside Marco Ramirez, Saheem Ali, Patricia Delgado, Justin Peck and David Yazbek — all artists at the very top of their game,” producer Orin Wolf says in a press release. “From our trips to Cuba getting to meet the incredible artists who created the album to our Off-Broadway premiere, the artistic process has been as invigorating as the energy and music that will begin pouring out of the Schoenfeld Theatre next year.”

“I first heard the Buena Vista Social Club as a precocious youngster growing up in Nairobi, wearing out the original album from my father’s eclectic CD collection,” adds director Saheem Ali. “Though we spoke Swahili and not Spanish, I memorized the lyrics in my broken accent. I felt connected to the beautiful songs embodying the spirit of a distant culture. Decades later, I’m thrilled to be joining Orin, Marco and the entire creative team on the journey to bringing this extraordinary, singular musical to Broadway.”

Book writer Marco Ramirez says: “In 1968, my grandfather left Cuba and got a job washing dishes a block from the Schoenfeld Theatre. Almost 60 years later, we’ll be blasting his favorite songs there. Alongside some of the best artists — and people — I’ve ever met, I’m humbled by the chance to forge connections between two of the most musically iconic islands the world has ever known- Cuba and Manhattan.”

BUENA VISTA SOCIAL CLUB is produced on Broadway by Orin Wolf, John Styles, Barbara Broccoli, Atlantic Theater Company, Luis Miranda, LaChanze and John Leguizamo, with executive producer Allan Williams. The off-Broadway production was nominated for Best Musical by the Drama League and Outer Critics Circle organizations.

For tickets and more details, click here.

TikTok Goes to Court Over Law That Could Lead to U.S. Ban

The U.S. government and TikTok will go head-to-head in federal court on Monday as oral arguments begin in a consequential legal case that will determine if – or how — a popular social media platform used by nearly half of all Americans will continue to operate in the country.

Attorneys for the two sides will appear before a panel of judges at the federal appeals court in Washington. TikTok and its China-based parent company, ByteDance, are challenging a U.S. law that requires them to break ties or face a ban in the U.S. by mid-January. The legal battle is expected to reach the U.S. Supreme Court.

The law, signed by President Joe Biden in April, was a culmination of a years-long saga in Washington over the short-form video-sharing app, which the government sees as a national security threat due to its connections to China. But TikTok argues the law runs afoul of the First Amendment while other opponents claim it mirrors crackdowns sometimes seen in authoritarian countries abroad.

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In court documents submitted over the summer, the Justice Department emphasized the government’s two primary concerns. First, TikTok collects vast swaths of user data, including sensitive information on viewing habits, that could fall into the hands of the Chinese government through coercion. Second, the U.S. says the proprietary algorithm that fuels what users see on the app is vulnerable to manipulation by Chinese authorities, who can use it to shape content on the platform in a way that’s difficult to detect.

TikTok has repeatedly said it does not share U.S. user data with the Chinese government and that concerns the government has raised have never been substantiated. In court documents, attorneys for both TikTok and its parent company have argued that members of Congress sought to punish the platform based on propaganda they perceived to be on TikTok. The companies also claimed divestment is not possible and that the app would have to shut down by Jan. 19 if the courts don’t step in to block the law.

“Even if divestiture were feasible, TikTok in the United States would still be reduced to a shell of its former self, stripped of the innovative and expressive technology that tailors content to each user,” the companies said in a legal brief filed in June. “It would also become an island, preventing Americans from exchanging views with the global TikTok community.”

Opponents of the law stress a ban would also cause disruptions in the world of marketing, retail and in the lives of many different content creators, some of whom also sued the government in May. TikTok is covering the legal costs for that lawsuit, which the court has consolidated with the company’s complaint and another filed on behalf of conservative creators who work with a nonprofit called BASED Politics Inc.

Though the government’s primary reasoning for the law is public, significant portions of its court filings include classified information that has been redacted and hidden from public view. The companies have asked the court to reject the secret filings or appoint a district judge who can ferret through the material, which the government has opposed because it will cause a delay in the case. If admitted into the court, legal experts say those secret filings could make it nearly impossible to know some of the factors that could play a part in the eventual ruling.

In one of the redacted statements submitted in late July, the Justice Department claimed TikTok took direction from the Chinese government about content on its platform, without disclosing additional details about when or why those incidents occurred. Casey Blackburn, a senior U.S. intelligence official, wrote in a legal statement that ByteDance and TikTok “have taken action in response” to Chinese government demands “to censor content outside of China.” Though the intelligence community had “no information” that this has happened on the platform operated by TikTok in the U.S., Blackburn said there is a risk it “may” occur.

In a separate document submitted to court, the DOJ said the U.S. is “not required to wait until its foreign adversary takes specific detrimental actions before responding to such a threat.”

The companies, however, argue the government could have taken a more tailored approach to resolve its concerns.

During high-stakes negotiations with the Biden administration more than two years ago, TikTok presented the government with a draft 90-page agreement that allows a third party to monitor the platform’s algorithm, content moderation practices and other programming. TikTok says it has spent more than $2 billion to voluntarily implement some of these measures, which include storing U.S. user data on servers controlled by the tech giant Oracle. But it said a deal was not reached because government officials essentially walked away from the negotiating table in August 2022.

Justice officials have argued complying with the draft agreement is impossible, or would require extensive resources, due to the size and the technical complexity of TikTok. The Justice Department also said the only thing that would resolve the government’s concerns is severing the ties between TikTok and ByteDance given the porous relationship between the Chinese government and Chinese companies.

But some observers have wondered whether such a move would accelerate the so-called “decoupling” between the U.S. and its strategic rival at a time when other China-founded companies, such as Shein and Temu, are also making a big splash in the West. Last week, the Biden administration proposed rules that would crack down on duty-free products being shipped directly from China.

For its part, ByteDance has publicly said TikTok is not up for sale. But that has not stopped some investors, including former Treasury Secretary Steven Mnuchin and billionaire Frank McCourt, from announcing bids to purchase the platform. However, even if such a sale would occur, it would most likely be devoid of TikTok’s coveted algorithm, leaving a big question mark on whether the platform would be capable of serving up the type of personally tailored videos that users have come to expect.

The political alignments on the issue are playing out in unconventional ways.

The law, which passed with bipartisan approval in Congress, had encountered resistance from some progressive and Republican lawmakers who voiced concerns about giving the government the power to ban a platform used by 170 million Americans. Former President Donald Trump, who tried to ban TikTok while in office, is now opposing a ban because that would help its rival, Facebook, a platform Trump continues to criticize over his 2020 election loss.

In court, free speech and social justice groups have submitted amicus briefs in support of TikTok, arguing it restricts the First Amendment rights of users and suppresses the speech of minority communities by disrupting a tool many of them use to advocate for causes online. Some libertarian groups with ties to ByteDance investor Jeff Yass have also filed briefs supporting the company.

Meanwhile, the Biden administration has received the backing of more than 20 Republican attorneys general, former national security officials and China-focused human rights groups who are asking the court to uphold the law.

Faith Sounds: Rimas Publishing Launches Initiative to Promote Christian Music

Rimas Publishing, known for its influence in urban music and its management of stars like Bad Bunny, Arcángel and Eladio Carrión, is launching Faith Sounds, a platform dedicated to supporting and elevating Christian music artists, Billboard Español can announce today (Sep. 16) exclusively. The project seeks to offer a formal structure and advanced resources to Christian artists, providing collaboration opportunities, songwriting camps and a support network to boost their careers.

Faith Sounds is not a recent idea, but rather the evolution of a commitment that Rimas Publishing has maintained since its beginnings: supporting music with a positive message, Emilio Morales, managing director of Rimas Publishing, and Christopher Hernández, who will lead the marketing division, tell Billboard Español. “This was born from a need to be able to give even more visibility to these significant artists within our roster,” says Hernández. “The goal is to elevate them, create new collaborations and take them to different areas that perhaps they could not have reached on their own.”

The platform currently has a roster of 12 artists, covering a wide range of genres within Christian music. Among the most notable names are Lizzy Parra, a Christian trap singer from the Dominican Republic; as well as producer Barajas; Christian reggaeton artist Gabriel EMC; and gospel crooner Shamaai, all three hailing from Puerto Rico.

Additionally, they have established key alliances with companies such as Adarga Entertainment, and the Gospel Music Association (GMA), which has allowed them to access new opportunities in the niche and give greater visibility to their artists at important events such as the Dove Awards. According to Morales, the support of influential Christian companies has allowed Faith Sounds to gain credibility and establish itself in the sector.

Faith Sounds also seeks to foster collaboration between Christian and secular music artists. Camps have already been held in conjunction with Capitol Christian Music Group, with talents from both sides participating. “We invest in ensuring that our A&Rs, who are exposed to the biggest artists and producers in the world — the same person who may be serving Cris MJ, Lyanno, or Eladio [Carrión] one day — are the same persons who will be providing service to the client who is participating in the camp,” Morales adds.

With Faith Sounds, Rimas Publishing seeks to continue breaking patterns and offer Christian artists a broader and more diverse audience by breaking down barriers between Christian and secular music.

Tito Jackson, Elder Brother Of Michael Jackson & Member Of Jackson 5, Dies At 70

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Tito Jackson, a member of the Jackson 5 and elder brother of Michael Jackson, has died according to a social media post from family members. Later becoming a member of The Jacksons group, Tito Jackson also embarked on a solo career among other projects within the entertainment industry.

Below is the announcement of the passing of Tito Jackson from the 3T Instagram page, a group comprised of his three sons:

It’s with heavy hearts that we announce that our beloved father, Rock & Roll Hall of Famer Tito Jackson is no longer with us. We are shocked, saddened and heartbroken. Our father was an incredible man who cared about everyone and their well-being. Some of you may know him as Tito Jackson from the legendary Jackson 5, some may know him as “Coach Tito” or some know him as “Poppa T.” Nevertheless, he will be missed tremendously. It will forever be “Tito Time” for us. Please remember to do what our father always preached and that is “Love One Another.” We love you Pops.

Your boys,

Taj, Taryll and TJ

Tito Jackson was born Toriano Adaryll Jackson on October 15, 1953, in Gary, Ind. According to lore and past accounts, Jackson was discovered playing guitar by his father, Joe Jackson, after breaking a string. The Jackson patriarch instructed Tito to play for him and later asked his brothers Jackie and Jermaine to form a singing group. Marlon and Michael would join the group later and were dubbed The Jackson 5.

Showing prowess as performers by way of street performances, talent shows such as the Apollo Theater Amateur Night competition which the band won, and touring the so-called “Chitlin Circuit,” the Jackson brothers eventually signed a record deal with Steeltown Records in 1967 before signing with Motown in 1969.

The group found major success as an R&B act and crossed over to the mainstream bolstered by several hits. However, Tito’s guitar work never appeared on any of their albums under Motown and instead was played by musicians hired by the label. After leaving the label in 1976 for CBS Records, Tito would then get to display his work.

The years that followed resulted in various incarnations of the brothers as a singing group, with the youngest of them, Randy Jackson joining later under The Jacksons moniker. The brothers would continue to collaborate and tour with one another despite some shuffling of the lineup, releasing their final album as a group, 2300 Jackson Street in 1989.

In 2003, Tito Jackson embarked upon a solo career leaning into the Blues tradition and notched a Billboard charting single, “Get It Baby” from his 2016 album Tito Time featuring Big Daddy Kane. His sophomore album Under Your Spell was released in 2021.

Tito had three sons with his ex-wife Delores “Dee Dee” Martes, Taj, Taryll, and TJ, who later formed the R&B group 3T.

Photo: Scott Dudelson / Getty

Allies Of Mixxy NYC Mayor Eric Adams Investigated By Feds Over Expensive Taste

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The plot thickens when it comes to the investigation into the inner circle of New York City’s Mayor. Reports say that allies of Eric Adams have a taste for the finer things.

As reported by Page Six the legal inquiry into some of the official’s aides is still ongoing. According to a federal task force Brothers Phil and Terence Banks have very expensive taste. The celebrity website spoke to several sources at different hot spots in The Big Apple and they were told that Phil Banks, the current Deputy Mayor of New York City for Public Safety, likes to frequent swanky places. His favorites include Casa Cipriani, a members-only club that charges almost $4,000 a year in dues. Additionally, he and his brother, also frequent Club Macanudo an upscale cigar bar located in midtown Manhattan.

An anonymous co-worker of Phil described him as “greedy ex-boss who thinks he’s above the law”. A retired police supervisor also said “he has expensive taste — cigars, cognac, watches — but he doesn’t like to pay.” The ex badge went to add that “that’s why he got in trouble the first time for hanging out with Jeremy Reichberg.”

Back in 2016 Reichberg was apart of a massive police corruption scandal. Back in September federal agents raided the homes of Phil Banks and Sheena Wright; two aides and longtime friends of the New York City Mayor. Eric Adams however has not been accused of any crime.

Shakira Leaves Stage at Miami Club After Noticing Fan Filming Up Her Skirt

Shakira hopped up on stage at the LIV Miami nightclub over the weekend to celebrate her new single, “Soltera.” But according to fan video of the impromptu moment, after swiveling her hips in classic style for a few minutes, the singer stopped dancing when she appeared to notice someone in the crowd attempting to film up her skirt.

In the video, Shakira can be seen smiling and dancing on a stage as her fans scream during the preview of the song whose released date has not yet been announced. In the clip, the superstar can clearly be seen gathering up her short skirt at several points and waving the index fingers on both hands as she looks down at an unseen person off screen with a gesture indicating that they should stop what they’re doing. At one point Shakira gestures to her eye as if to say “I see you” and then swiftly grabs at the front and back of her skirt to block any view.

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The music continues to blast out of the speakers and Shakira, seemingly frustrated, puts her hands on her hips and busts out a few more moves before once more tugging down at her hem, shaking her head and walking off stage.

At press time a spokesperson for Shakira had not returned Billboard‘s request for comment on the incident and it did not appear as if the singer had addressed it on her socials.

In July, Shakira made her Copa America debut during the final match’s halftime on July 14 in the midst of the Argentina vs. Colombia game. The Colombian singer rocked Hard Rock Stadium with a medley of old and new hits including “Hips Don’t Lie,” “Te Felicito,” “TQG” and Puntería,” among other songs. The singer is slated to kick off the North American leg of her Las Mujeres Ya No Lloran world tour on Nov. 2 with a show at Acrisure Arena in Palm Desert, CA.