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11 Jun 2024

Young Thug Trial Chaos, Bad Bunny Baseball Battle, Phish Bong Drama & More Top Music Law News

This is The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between.

This week: Young Thug’s trial in Atlanta descends into chaos as the judge orders the rapper’s lawyer thrown into jail; Bad Bunny’s battle with Major League Baseball players’ union gets messier; Madison Square Garden bans a Phish fan over the “first bong hit” at the Las Vegas Sphere; and much more.

THE BIG STORY: Young Thug Trial Goes Off The Rails

Young Thug’s gang trial in Atlanta was already in uncharted territory – it’s now the longest trial in Georgia state history, with dozens of witnesses still scheduled to testify and no clear end in sight until 2025. But on Monday (June 10), it crossed over into the realm of the truly bizarre. 

It started when Young Thug’s attorney, Brian Steel, said he had learned of an allegedly improper secret meeting between Judge Ural Glanville, state prosecutors, and a key witness. It ended with Steel being escorted into custody by a court officer. In between, the attorney and the judge engaged in an extraordinary back-and-forth — broadcast across the internet in real-time — over illegal leaks, witness coercion, and potential jail time. 

“I’m going to give you five minutes. If you don’t tell me who it is, I’m going to put you in contempt,” Glanville said at one point. “I don’t need five minutes,” Steel fired back. 

When the dust settled, Glanville had sentenced Steel to 20 days in jail, to be served over 10 consecutive weekends. Capping off the surreal proceedings? Steel demanded to serve that time in jail right alongside Young Thug, who has been locked up for two years as the case drags on.  

Go read our full story here, and stay tuned at Billboard for more developments — Steel has already filed an appeal, and something tells us this isn’t the last we’ll hear about that secret meeting… 

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Other top stories this week…

BAD MONEY? Major League Baseball’s players’ union fired back hard at a lawsuit claiming it had discriminated against Bad Bunny’s sports agency Rimas Sports — explaining (in great detail) how the company had, in fact, been penalized due to “egregious and systemic” violations of union rules against offering gifts to prospective clients. According to the union, those illegal “inducements” included a $200,000 interest-free loan to one ballplayer, and VIP tickets to Bad Bunny concerts to others. 

PHISH FUED – A Phish fan who bragged about taking the “first bong hit to ever be ripped” in the Las Vegas Sphere — and posted a viral video of him doing so — received a letter from Madison Square Garden Entertainment’s lawyers permanently banning him from the venue and all other MSG facilities. Though MSG initially stuck by the decision, the company later backtracked after the story made headlines: “There was a breakdown in our process due to a change in personnel which resulted in the letter being sent inadvertently,” said a Sphere Entertainment spokeswoman in a statement. “This customer is not banned from our properties.” 

KBJ x QUEEN BEY – When the U.S. Supreme Court’s nine justices released their annual financial disclosures, Justice Ketanji Brown Jackson reported a cooler-than-usual line item: that Beyoncé had personally gifted her four concert tickets. 

‘ALRIGHT, ALRIGHT, ALRIGHT’ – Travis Scott asked a federal judge to end a copyright lawsuit accusing him of using unlicensed samples on Utopia and Astroworld from “Bitches Reply,” an oft-sampled 1992 track that’s previously been used by Lil Wayne, Cardi B, Kid Cudi and others. In their filing, Scott’s lawyers argued the only material the rapper allegedly copied were the words “alright, alright, alright” — and that such “stock phrases” do not have “even the minimal creativity required for copyright protection.” 

MADONNA CASE *NOT* SETTLED – A bizarre exchange took place in one of the several lawsuits filed against Madonna over claims that she broke the law by delaying the starts of her concerts. Days after news of a settlement was filed in court by the plaintiff’s attorneys, lawyers for Madonna and Live Nation emphatically denied that any such deal had been reached and told a judge they “will not be harassed into settlement.” The case remains very much pending. 

MOTOWN SINGER SUES HOSPITAL – Alexander Morris, the current lead singer of the legendary Motown group The Four Tops, is suing a Detroit-area hospital over allegations that staffers “assumed he was mentally ill” and put him in a straitjacket after he informed them that he was a famous musician. Morris claims he was sent for a psychiatric evaluation and deprived of necessary treatment for his heart infraction — until, that is, his wife showed up and staffers watched a video of him performing at the Grammys. 

COUNTERFEIT COUNTERATTACK – With the problem of bootleg music merch continuing to grow, Billboard’s Steve Knopper chatted with two companies that are fighting back using technological weapons like artificial intelligence, image-matching software and automated takedown notices.

11 Jun 2024

JoJo Siwa, Dylan Mulvaney & More Reveal Which Artists Inspired Their ‘Queer Awakening’: Watch

Sometimes it takes seeing yourself represented to feel like you can be honest about your own sexuality. But the question remains: Which celebrity helped you realize you were queer?

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At the GLAAD Media Awards back in March, Billboard News asked stars on the red carpet — including JoJo Siwa, Dylan Mulvaney, Billie Joe Armstrong and more — which musical artists provided them with their “queer awakening.”

For Siwa, the answer was immediate: “Lady Gaga and Miley Cyrus,” she said without hesitation. “And currently G Flip. I love them so very much.”

Mulvaney, meanwhile, said she’s felt affirmed in her gender identity by pop stars Britney Spears and Chappell Roan. “The way that I danced to Britney Spears’ music was very suggestive of my queerness,” she said. “Now, I feel like the person I’m so inspired by is Chappell Roan. It’s so queer, it’s so exciting, and it feels like she’s the next it girl.”

Green Day frontman Armstrong went for a deep cut, pointing to punk group Pansy Division as inspirations. “[They were] pioneers when it came to just straight, queer punk rock,” he says. “It was amazing.”

When asked for his take, Let’s Make a Deal host Wayne Brady couldn’t pick between two of his favorite artists. “Janelle Monáe, who was a trendsetter in my mind, because when she came out, it was like ‘Woman!’” he said. “And Prince — I dare anybody to say that you are more of a ‘man’ than Prince. Prince, in six-inch heels, would do a split, get back up, play the piano and the drums, steal your girlfriend, get on his private jet, make a record, go on tour and beat your a– in basketball.”

Check out the video above to see more answers from Michaela Jaé Rodriguez, Frankie Grande and more.

11 Jun 2024

How Did Eminem’s ‘Houdini’ Already Become His Best-Charting Single in a Decade?

While Eminem has never experienced a major decline in popularity in the 25 years since his “My Name Is” breakthrough at the turn of the century, his new single “Houdini” is reminding people just how big he remains after a quarter century.

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The new single, Em’s first unaccompanied solo release since 2020 and the expected lead single off his upcoming The Death of Slim Shady LP, sees the rapper reviving his “Without Me”-era personality, down to the “Guess who’s back, back again” intro and the superhero getup in its music video. “Houdini” has also now matched the chart peak of that 2002 classic, debuting at No. 2 on the Billboard Hot 100 this week (dated June 15).

How did “Houdini” score such a big bow? And will Eminem be able to keep up the momentum from here? Billboard staffers discuss these questions and more below.

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1. “Houdini” debuts at No. 2 on the Billboard Hot 100 this week, breezing through a loaded top 10 giving Morgan Wallen and Post Malone’s “I Had Some Help” all it could handle for No. 1. On a scale from 1-10, how surprised are you that Eminem is still able to manage this kind of bow in 2024?

Katie Atkinson: 4. We can’t be that surprised when “Godzilla” with Juice WRLD debuted in the top 10 only in 2020. And the fact that Em is recalling his most popular early days in all the marketing for his new music – from the cheeky Unsolved Mysteries promo to the title of the album itself – means generations of fans who have been along for at least part of his 25-year career feel invested in giving it a curiosity listen (or curiosity watch, in the case of the throwback music video) at minimum. Really, Eminem never went anywhere.

Anna Chan: 1: Not surprised whatsoever – I’m only surprised that he didn’t debut at No. 1. (Marshall was robbed!!!) Of course Em was going to have a massive debut upon his return. Not only is he the Rap God, though he may have laid low in terms of music in the last few years, he’s remained relevant in pop culture, whether it was rooting for his Detroit Lions to make the Super Bowl, partnering with Fortnite, making surprise SNL cameos, to serving up Mom’s Spaghetti and other opportunities. Plus, both the song and music video reflect the classic Em days, so “Houdini” is a welcome return for many a longtime fan. 

Kyle Denis: Probably around a 5? Eminem’s always been one for lofty debuts, and there was clear anticipation for “Houdini” thanks to its pre-release campaign. When you couple that with a questionable bar about one of culture’s hottest current female rappers, a No. 2 isn’t terribly surprising. 

Angel Diaz: My number is 8 and my mind is officially blown. I can’t believe that record performed that well. All I saw were jokes about how washed up he is on my Twitter timeline. Color me impressed. 

Andrew Unterberger: I’d say a 7. Yes, “Godzilla” had a lofty debut, but that was nearly a half-decade ago at this point, and was heavily boosted by its posthumous Juice WRLD hook. I thought this bow would be closer to “Walk on Water” (No. 14) territory for Eminem. I was wrong!



2. Eminem explicitly harkens back to his “Without Me” era both in the “Houdini” song and the video. Does the return-to-classic-form still feel fresh to you, or is it starting to sour?

Katie Atkinson: This feels like a good time to admit that I’m from Michigan. I have the softest soft spot for my fellow Michiganian Eminem and always have, which probably makes me quicker to defend or praise him, even when I should know better. Which is to say, I kind of love all this nostalgia. I wouldn’t say it “feels fresh,” but I think a lot of the things that people are calling out about “Houdini,” from the offensive lyrics to the cheesy sample, are Slim Shady hallmarks that are designed to press these exact buttons. This album is called The Death of Slim Shady, right? So Em is in the process of killing off this purposely annoying alter ego. Shouldn’t we wait to hear the whole thing before casting judgment on the intro single that sounds exactly like at least three other Eminem lead singles over the decades? (Now if the whole album sounds like this, I’ll take back everything I just wrote.)

Anna Chan: Fresh smesh. Nostalgia works for a reason, but in this case in particular, the goofy Em is back (only to be killed in the music to come?) to entertain, and I’m here for it. Call me old, IDGAF. Give me more RapBoy! 

Kyle Denis: It’s been sour. He’s referencing The Eminem Show (2002) on a song that’s the lead single for an album whose title references The Slim Shady LP (1999) which will arrive just over a decade after The Marshall Mathers LP2 (2013) – which, in turn, references his own Marshall Mathers LP (2000). It’s tired. You can’t keep heralding a return-to-classic-form when the new material isn’t up to par. The constant self-references feel more like a crutch than a source of genuine inspiration. 

Angel Diaz: I hated the song but warmed up to it after watching the video. I wouldn’t say it was “fresh” but there was something nostalgic about the video, I guess. I will probably never listen to it again after this exercise, though. That’s how Em’s silly stuff has been for me over the course of his career. “My Name Is” is the only one of those I find myself going back to. 

Andrew Unterberger: About as fresh as mom’s spaghetti after being left on the radiator for a week.

3. Em also gets a good deal of help on “Houdini” via a melody lift and chorus interpolation from a song that got all the way to No. 1 on the Hot 100 42 years ago: Steve Miller Band’s “Abracadabra.” Is the lift more tired or inspired to you? 

Katie Atkinson: Somewhere in between. “Abracadabra” is obviously a fitting sample, given the magical theme of “Houdini,” and it’s always been a catchy (albeit sorta grating) song. I think it very much works within the Slim Shady theme, because it has a sort of carnival-music sound that matches previous Em productions. What I would call tired is the atrocious rhyme scheme in the chorus. “Abracadabra” rhyming with “I’m ’bout to reach in my bag, bruh” and “Just like that and I’m back, bruh”? This is where my Michigan loyalty ends.

Anna Chan: My two cents: It’s … free. I mean, fine! The beat lends itself easily to a “Without Me” mashup and the magic theme, so no complaints here! 

Kyle Denis: I’d say it’s inspired. Thanks to the sample, “Houdini” doesn’t really sound like anything else in mainstream rap right now, for better or for worse. Regardless, the way he and producer Luis Resto flipped the sample makes it sound more cartoonish than they probably intended. 

Angel Diaz: I don’t like Carny Beat Eminem at all and didn’t realize the chorus and the beat are essentially the same. However, for the sake of the rap community I’m going to say it’s more wired than tired and inspired. The song is fun when matched with the video. 

Andrew Unterberger: The melody lift is inspired, but the “Abra, abracadabra/ I’m ’bout to reach in my bag, bruh” chorus hook is downright comatose.



4. What do you think is the biggest reason Eminem is still able to command this much interest and attention 25 years into his career — and do you see this lasting, or mostly being a one-week thing where interest in the song and his return will fade quickly afterwards?

Katie Atkinson: He’s a legend who has consistently stayed present in pop culture since his mainstream debut in 1999. He doesn’t feel dated because he just had a Hot 100 top five hit four years ago. No one is forcing him to tap into his early days; he seems to have an artistic reason/motivation for revisiting the alter ego that made him famous. This all adds up to a fun, throwback-y moment that anyone who has ever been invested in Eminem before would enjoy. I think the album rollout will be on our radar all summer, but as for “Houdini” itself? I could see it staying the upper half of the Hot 100 for at least month.

Anna Chan: Talent can withstand the ages, and Em is wildly talented – just ask Dre, Drake and Wiz Khalifa. (Don’t believe them? Check out Billboard’s very own 50 Greatest Rappers of All Time, in which Em lands in the top five.) But what’s more, he knows how to court controversy (and it’d be so empty without him). While he’s toned down significantly since the early Slim Shady days, he still knows how to push just the right buttons to get fandoms in an uproar (that “Houdini” lyric about Megan’s feat, anyone?) while also maintaining a sense of humor (see: the new single’s music video). So yes, Shady’s back with a No. 2 debut, and he ain’t going anywhere, obituary or no.

Kyle Denis: Obviously, Eminem is a very gifted rapper who has built an unwavering fan base over the past quarter century. He’s one of those artists that will always be able to garner considerable interest in new material because his track record (at least pre-2013) is so strong. Nonetheless, there’s also something to be said for the reach Eminem has in comparison to Black rappers. His whiteness allows him to reach and maintain a broader audience, some of whom don’t even really engage with hip-hop outside of Eminem and his music. 

Angel Diaz: I think some of the controversial lines got people talking again and this song felt fresher than some of his latest lyrical miracle efforts. He’s also a legend and every white person’s favorite rapper. The latter part always helps when it comes to the charts. 

Andrew Unterberger: Eminem never really fit that seamlessly into contemporary pop or hip-hop, so the fact that he sounds even more out of step with trends now doesn’t really hurt him much with his still-devoted fanbase. I don’t think the song is gonna hang in the top 10 for more than another week or two, but if radio picks up on it — he is still a big name, and the song is catchy — I doubt it’ll disappear from the chart altogether that quickly either.

5. Make one request of Eminem for his upcoming The Death of Slim Shady album. (Anything you think he should do or hope he doesn’t do on or with the album.)

Katie Atkinson: Slim Shady worked best when balanced with Em’s more thoughtful songs, like “Stan” or “Mockingbird.” If Slim is getting killed off, then I’m hoping for the jokey songs like “Houdini” to be paired with something a little deeper. …Or at least give me a new jam for my workout playlist – “Lose Yourself” and “Not Afraid” are still in heavy rotation, but I can always use more gritty inspiration.

Anna Chan: There’s so much I’ve loved from his previous albums – witty word play, lyricism and humor, for starters! – that I’m sure will be present on TDOSS. So let’s hope for yet another amazing collab with a powerhouse female vocalist to bring some extra oomph, someone new, along the lines of a Rihanna (“The Monster”), Dido (“Stan”) or Beyonce (“Walk on Water”). 

Kyle Denis: No more weird lines about “transgender cats.” Please. I’m begging. 

Angel Diaz: Please let this be the only carnival beat. Wishful thinking, I know, but one can only dream. He was so good on Dre’s 2001 and 50’s Get Rich or Die Tryin’. I’m not sure why he doesn’t rap on harder beats more often. 

Andrew Unterberger: If he’s calling this The Death of Slim Shady, then I just hope he gets all these callbacks, reheated beats and half-hearted attempts at controversy out of his system and tries something new and different next time around.

11 Jun 2024

JoJo Siwa, Frankie Grande & More Share Which Artists Made Them Realize They’re Queer | Billboard News

We caught up with some of your favorites at the GLAAD Media Awards 2024, and we found out which artists made them realize they’re queer. Keep watching to see who they were!

Tetris Kelly:
Who’s somebody you can think of from a young age where you were like, “Oh, wait, am I? I’m queer.” 

Jojo Siwa:
Am I gay? I mean from a young age, Lady Gaga. 

Snow Wife:
Lady Gaga. 

Mark Hoying: 
For me, it was Lady Gaga.

Dylan Mulvaney:
Gaga.

Tetris Kelly:
It’s Tetris with Billboard News. We’re here at the GLAAD Awards finding out which artists represent the community the best, and what are some of your favorite queer artists, queer awakenings? What’s an artist that you can think back to your childhood that made you say, “You know what? I might be queer.” 

Scott and Mark Hoying: 
Ohhh.

Jojo Siwa:
Lady Gaga and Miley Cyrus. Currently, G Flip. Love them so very much.

Tetris Kelly:
When you think of other queer music icons, who comes to your mind?

Chlöe:
Oh, Kim Petras. I really love her. 

Tetris Kelly:
Like, her music is, like, perfection — pop perfection. 

Chlöe:
So definitely she’s top for me.

Michaela Jaé Rodriguez:
The only people that I really saw were probably Janet Jackson. The Michael Jacksons and the Beyoncés and the Tina Turners and the Anita Bakers. I could go on for days. The rolodex is going on in my head as you ask this question. 

Frankie Grande:
Madonna. Absolutely, hands down, no question. Me dancing in my bedroom and my living room to Madonna on VHS. The Immaculate Collection VHS with all of her music videos, and me just doing everything that she did and being like, “Huh, this feels too good.”

Keep watching to learn more!

11 Jun 2024

Billy Ray Cyrus Files for Divorce From Firerose After 7 Months of Marriage

Billy Ray Cyrus has filed for divorce from Firerose, according to court documents obtained by People. The couple was married for seven months.

The 62-year-old country star made his filing in Nashville on May 22, citing “irreconcilable differences” and “inappropriate marital conduct.” He is also seeking an annulment on the grounds of fraud.

Billy Ray’s representatives declined Billboard’s request for comment.

The Hannah Montana alum and 37-year-old Australian singer — whose real name is Johanna Rose Hodges — first started dating in 2022 after years of friendship. They got engaged later that year and tied the knot in October 2023.

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“10/10/23 will always be the beautiful, joyous day that our two souls united as one in holy matrimony,” they wrote in a joint statement at the time. “It was the most perfect, ethereal celebration of love we could have ever imagined. For both of us to hear the preacher say, ‘Billy Ray and Firerose Cyrus… I now pronounce you husband and wife’ that was the sacred moment our new forever began. Long Live Love!”

News of their split comes just a few days after Billy Ray made a heartfelt post about his daughter Miley, whom he shares with his second wife, Tish Cyrus, along with 30-year-old son Braison and 24-year-old daughter Noah. Uploading a throwback photo of the 31-year-old “Flowers” singer as a toddler, he wrote: “I’m incredibly proud of her. She’s a survivor and a true artist. She learned early on to love and appreciate the fans who make everything possible. We both cherish the connection we have with our fans and are grateful for every single one of you!”

The post came as a surprise to some fans, as rumors of a rift in the Cyrus family had been circulating since Billy Ray and Tish legally separated in 2022 after nearly 30 years of marriage. Said rumors were fueled by Miley when she noticeably didn’t thank her dad in her Grammys acceptance speech for record of the year this year, simply shouting out her mom and sister Brandi before joking, “I don’t think I forgot anyone, but I might have forgotten underwear.”

Before wedding Tish in 1993, Billy Ray was married to Cindy Smith from 1986 to 1991.

11 Jun 2024

A Timeline of Christian Nodal & Angela Aguilar’s Relationship

Christian Nodal, 25, and Ángela Aguilar, 20, have confirmed their relationship in two separate statements: the former via a news outlet on Monday (June 10) and the latter via an Instagram video on Tuesday (June 11).

“It is not a new relationship; it’s the continuation of a story that life made us pause so we could grow and miss each other,” Aguilar said to HOLA! , which also released the couple’s first photos together, further confirming their romance. “Because when we let go, we returned even closer.”

The surprising news comes two and a half weeks after the Regional Mexican singer and Argentine trap star Cazzu (real name: Julieta Cazzucheli) announced their breakup. The former couple first went public in November 2022 during the Latin Grammys and had their first baby together the following year.

“First of all, Julieta is a person I love and who has my respect for life. We are public figures, we are artists, but we are not masters at life,” Nodal expressed in a video statement after the news circulated. “Love doesn’t always work. Our cycle together ended in the best possible way. It was a love that gave us the most precious gift that could have come to us in life, the most beautiful thing we could have done together, which is Inti, my daughter, who I will always love, who I will always take care of. And in that relationship there will never be a third party, there was never any infidelity.”

Despite being the newest couple in Latin music, Nodal and Aguilar first established a relationship over five years ago. See the complete timeline below:

11 Jun 2024

Creepy Nuts Talk ‘Unexpected’ Hit ‘Bling-Bang-Bang-Born’ Topping Billboard Japan Mid-Year Charts: Interview

Billboard Japan released its 2024 mid-year charts last week, and Creepy Nuts’ viral hit “Bling-Bang-Bang-Born” topped the all-genre Japan Hot 100 list compiled from six metrics.

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The catchy rap banger was featured as the opening theme song for the TV anime series MASHLE season 2, which premiered in January. Along with the infectious dance moves of the anime’s opening clip, the hip-hop hit gained overwhelming support from listeners, mainly through TikTok and streams.

The popularity of the song spilled over from Japan to other countries, and the track spent 19 straight weeks atop the Global Japan Songs Excl. Japan tally — the longest consecutive streak at No. 1 on this chart. This puts the viral hit atop the mid-year tally for this and numerous other rankings for an unprecedented total of 13 No. 1s.

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The tremendous momentum that propelled “BBBB” up the charts was something that the pair, rapper R-shitei (“R-rated”) and DJ Matsunaga, never anticipated. The two spoke about their long-running hit in this mid-year chart-topper interview and shared their common mindset of enjoying what they never imagined.

Congratulations on “Bling-Bang-Bang-Born” topping 13 charts including the Japan Hot 100 and Global Japan Songs Excl. Japan charts on Billboard Japan’s 2024 mid-year reports. Tell us how you feel about these accolades.

R-shitei: I wasn’t expecting it at all, so I’m surprised, or rather… It still hasn’t really hit me yet. But I’m thankful. It’s gratifying.

DJ Matsunaga: The song became a hit when I was working at my own pace, in a kind of “I’ll just take it slow and have fun making music” mindset, which highlighted the unexpectedness of it all. I’m at a place where it’s all too much of a blessing and I haven’t been able to take it in. [Laughs]

R-shitei: We weren’t trying to break out overseas at all, either. I’ve always thought that our style of music… my rapping in particular, is super-native, the type of rap that’s interesting only to those who understand the Japanese language. Of course I do want to make rap music that’d be awesome to listen to even for those who don’t understand the language, but I thought that Japanese was the crux of my rapping. I’ve never really considered tailoring my style to fit international audiences.

That’s interesting. Along the lines of what R-shitei just said about his verses, your tracks sound really “Japanese” as well. Could you share your thoughts on this, DJ Matsunaga? I have a feeling “Bling-Bang-Bang-Born,” even with its Jersey club beat, would have turned out differently if, say, an American track maker had produced it.

DJ Matsunaga: Well… Our stance is, “Let’s make something we’ve never heard before.” The thing is, there’s no reference when we’re mixing our songs, so I often find it hard to convey what I’m aiming for to the engineer. There are no similar songs.

R-shitei: [To Matsunaga] When a song we’re working on turns out to be something that doesn’t exist elsewhere, it feels worth it, doesn’t it? We feel the greatest sense of accomplishment when we create a type of song not found anywhere else in the world… In the U.S. or any other foreign country.

DJ Matsunaga: I made the sound of that track based on my own ideas… The combination of Latin and Jersey club music was rare. Plus, not just one but a number of things I’ve adopted and have been inspired by are included in a track. I mix them together and then my habitual hand movements are added to the mix. I also mess around a lot when I make each song, waiting for an “accident” (unexpected turn of events) to happen. We have other Jersey club-inspired songs with a feel for chord progression besides “Bling-Bang-Bang-Born,” but none of them have such a solid riff.

Lyrically, “Bling-Bang-Bang-Born” and “Nidone” were written as tie-ins for an anime and drama series, respectively, and while both include content inspired by those works, they don’t end there, which I think is brilliant. Do you start assembling the lyrics after being tapped to work on a project?

R-shitei: Basically, yes. But looking back at our songs written as tie-ins up to now, because of hip-hop as an art form, I end up singing about me. And I want to sing about me, it’s harder not to. Both “Nidone” and “Bling-Bang-Bang-Born” were written so that they end up being about me, even though they’re linked to other works. In fact, when I work on a tie-in, instead of conforming to the source material, I take the theme or the worldview of the original work and then ask, “So, what about me?” I write lyrics that I can ultimately shoulder to the end as something that pertains to myself. That’s basically how I’ve always done it.

By the way, did you routinely check music charts, including those other than Billboard Japan, before “Bling-Bang-Bang-Born” became a hit?

DJ Matsunaga: No, I never really looked at the charts. I’ve looked at streaming charts and the like for the purpose of checking out new music, but honestly never thought I’d ever look at the charts from the viewpoint of a participant.

R-Shitei: I used to think that charts didn’t have anything to do with me. Seeing ourselves alongside people like Taylor Swift and 21 Savage makes me go, “Come on, this must be a lie that some junior high kid who just started rapping came up with.” [Laughs]

The week when “Bling-Bang-Bang-Born” reached No. 2 on Billboard’s Global Excl. US chart, Taylor was at No. 5, Miley Cyrus was at No. 6, and and Ye (Kanye West) & Ty Dolla $ign were at No. 10. [Week of Feb. 24, 2024] 

R-shitei: I thought, “That’s insane!”

DJ Matsunaga: Really. It’s not like we weren’t thinking, “Damn, Kanye’s new album came out at the same time!” [Laughs]

R-shitei: If some younger rapper were saying that, you’d tell them to cut it out, wouldn’t you?

DJ Matsunaga: I sure would. [Laughs]. I’d be like, “Come on, man, cool it.”

Your songs have been appearing on the upper tiers of the Japan charts since “Bling-Bang-Bang-Born” became a hit, and the public’s expectations for new songs seem to be growing rapidly. Could you share your future plans in terms of new music?

DJ Matsunaga: The next song we’re releasing is already done. The song we’re writing next will be… Well, this is completely subjective, but it’ll be aggressive, and we’ll focus more on points like, “We’ve learned a new way of doing things,” “We’ve updated ourselves,” and “We’ve come up with another song that doesn’t exist anywhere else in the world” when we’re working on it. I wonder what kind of song it’ll turn out to be?

Oh, so you don’t know what to expect, either?

R-shitei: But that’s what we hope will happen. We’re happier when we come up with something that’s not like what we’re imagining now. 

DJ Matsunaga: Yeah, that’s so true. It’s not much fun just taking what we’ve imagined, what’s done in our minds, and making a clean copy of it in reality.

R-shitei: It’s more fun when it’s like, “Whoa, this is how it turned out?!”

DJ Matsunaga: That’s so true. The fun part is that the two of us can definitely make that happen by playing catch with each other. I’m sure we’ll be able to make things that we can’t imagine now. All of our new songs will be like that.

Creepy Nuts is set to perform at South Korea’s Incheon Pentaport Rock Festival 2024 in August. This will be your first performance outside of Japan after “Bling-Bang-Bang-Born” became a hit. Is there anything you’re looking forward to?

R-shitei: I’m not looking forward to anything much, but we will try to do our best and are considering what to do.

DJ Matsunaga: For sure. But I think that’ll be so much fun. When we were starting out as a duo, we didn’t even have our own songs, so every show was like an away game. The process of trying to gain fans by all possible means was really rewarding and fun. And now, thankfully, we’re performing more and more in places we’ve been before where there are a certain number of people who’ve heard our songs, so I’m really grateful to be able to take on such challenges again from square one at this timing and at my age, when I’ve experienced various things to some extent.

Are you willing to expand your activities globally in the future?

R-shitei: I’d love to. I want to go to various places, to various countries to do shows. I haven’t been outside of Japan much in my daily life to begin with, so being able to go with our music in tow will give us something in return, you know? I’m really looking forward to seeing if and how the things we express will change.

DJ Matsunaga: Yes, I’m willing. It’s the same in Japan, but if you listen to hip-hop from overseas, there really aren’t many artists these days who do engaging shows with just rapping and DJing.

R-shitei: I know, right?

DJ Matsunaga: All I can say is that we’re really grateful that that’s the case. [Laughs] So it’s exciting to be able to take our style and go out in front of people who’ve never heard our music before. 

Lastly, a lot of songs from Japan that rank high on global charts, including “Bling-Bang-Bang-Born,” tend to be a blend of Japanese and Western styles, or have some Japanese elements to them. As a duo that has taken pride in exploring Japanese rap throughout its career, could you tell us how you face the Japanese language and elements of Japanese-ness in your music?

R-shitei: I don’t face it, but rather, it turns out that way when I do things naturally. Personally, the first thing I listened to was rap by Japanese artists. When I try to do something that’s fun and feels good to the max in a natural way, elements of Japanese style are probably going to surface no matter what. And I think that’s good, so it just overflows without my thinking consciously about it. The things I’ve absorbed by being born and raised in this land are being outputted.

I also look forward to how something I’ve never seen before will come about as I change through other influences. Of course, I do think about using and studying various languages, but in the end, the language that suits me best is the language of my own country. As for my rapping, I don’t think that will change much.

DJ Matsunaga: When you look at the Japanese music market, there are many templates. Themes, sounds, chord progressions, and all other aspects of a song can be said to be “designed for the Japanese charts.” If you make a song based solely on the J-pop model, the range of expression becomes extremely limited. Plus, that J-pop model is incompatible with the sound production and songwriting of hip-hop, so I’ve completely given up, or rather abandoned, the idea of creating songs that will perform well on the domestic charts.

I want to use everything properly — my own sensibilities, new things I’m constantly absorbing, styles unique to Japan, overseas trends. But I think songs sound catchier when there are fewer notes. In any case, I want people to listen to rap music. I think it’s absolutely true that the voice is the catchiest instrument. With that in mind, I design my tracks in a very conscious way.

I see now that the blend of Japanese and Western styles and the sonically Japanese elements in Creepy Nuts’ music are the products of both of your personalities.

DJ Matsunaga: Yes. Well, highlighting R’s Japanese may be a big factor, because he raps in a way that makes the Japanese come across in a solid way. And yet his flow is freakier than those who break down the language to make it sound more like English.

R-shitei: I want to rap to different beats and also want to try out various ways of playing with Japanese. A big part of rap is about how much you can play around with language, so I’ve always wanted to create something good by manipulating the words I see as someone who has lived a normal life instead of forcing myself to use U.S.-like phrases.

DJ Matsunaga: Polishing up our songs while maintaining that and seeing how much they resonate with people who don’t know Japanese at all is what makes it worthwhile.

—This interview by Maiko Murata first appeared on Billboard Japan

11 Jun 2024

Luciano Luna to Be Honored With SESAC’s Legacy Award, Talks Two Decades of Mexican Hits

Throughout almost two decades, songwriter and producer Luciano Luna has stood out as one of the most prolific artists behind the scenes in regional Mexican music, with songs like “Te Hubieras Ido Antes” by Julión Álvarez that will remain for posterity in the genre.

“I belonged to the generation of songwriters who suffered the most, who fought to get our credit in song collaborations or announcements,” Luna tells Billboard Español.

On June 26th, the musician will receive SESAC Latina’s Legacy Award in Los Angeles, as part of the celebration of the association’s 30th anniversary.

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Born in Sinaloa, Mexico, Luna has been recognized four times as SESAC Latina Songwriter of the Year for his many hits performed by a variety of acts, such as Banda El Recodo (“La Mejor de Todas”), Calibre 50 (“Tus Latidos”), Julión Álvarez (“Te Hubieras Ido Antes”), Grupo Firme (“El Reemplazo”) and Banda Los Recoditos (“Me Sobrabas Tú”).

Throughout his nearly two-decade career, he has recorded over 1,500 songs, of which about 500 have been released as singles in Mexico and the United States. With the SESAC Legacy Award, the Latin Grammy winner adds to a list of accolades that also includes La Musa Awards and the Conqueror Award from the Latin Songwriters Hall of Fame.

In an interview with Billboard Español, Luna recently talked about the road he has traveled alongside colleagues such as Horacio Palencia and Espinoza Paz, the differences between the composers of past and present and upcoming projects with stars such as Pepe Aguilar and Carín León.

You have received many awards — what does this one in particular mean to you?

All awards are motivating, for me they are also important. Maybe for someone who doesn’t know about songwriting, it doesn’t mean much. Unless it’s a Grammy or a Billboard [Music Award], it doesn’t attract so much attention for those who are not in the industry.

Had you done any recounting of your career accomplishments before?

When I found out that I was going to receive this great recognition I realized that I have been composing for 18 years, I have been constant and now I am of the generation that has already come a long way. In fact, it will be 10 years since the first time I won SESAC Songwriter of the Year; I had 17 singles placed in 2004, so it was unforgettable. Subsequently I’ve been awarded three more times, so we’ve had a good run.

Your contributions to Latin music haven’t always been smooth sailing.

I belonged to the generation of songwriters who suffered the most, we fought to get our credit in song collaborations or announcements. The new generation, if they get a song recorded, they get into orbit very fast and they make money very fast too … Maybe the only complication is that there are a lot of them now, but nothing more.

To what extent have things changed for you financially?

Every stream today is worth something, and you get paid. I had to suffer along with Horacio Palencia and Espinoza Paz, because there was a lot of piracy [back then]. It was very difficult financially to think that you could only dedicate yourself to songwriting. I had never said this, but I received 1,800 Mexican pesos a year, about $950. Imagine what nonsense!

I could tell you that the first seven or eight years were very difficult — because it was the [physical] album era, so you had to deliver something that stood out so that it could become a single, get radio plays and then from there, that’s where you got the biggest income. I’m one of the veterans who battled and I’m proud of that. We have built a great brotherhood. Besides those I mentioned, there’s also Omar Tarazón, Tony Montoya, Geovani Cabrera and Edén Muñoz.

Do you think it’s fair how music is handled today?

It is unfair if we think that there is so much music released today that a lot of it remains hidden. But if you make quality, your music will continue to survive. I go to Banda El Recodo’s concerts and listen to 14 of my songs that they recorded eight or 10 years ago, and that makes me feel satisfied with my contribution to music.

What do you think is the key to transcend over time?

I bet more on a timeless style, not on what is trending, and that has worked for me. I am currently on Pepe Aguilar’s new album, that’s a dream come true; on Carín León’s new album with three songs; four songs on Luis Ángel “El Flaco”’s album; and soon with Ángela Aguilar and Conjunto Primavera. Another dream fulfilled is to work with Tony Meléndez, one of the voices I admire the most.

I have produced four of Chiquis’ albums; also with Banda Los Sebastianes. I am still here, perhaps no longer with that anxiety of being in first place. Now I have the wisdom to enjoy what I do.

What advice would you give to the new generations of songwriters?

Now that I will be given this award, I feel confident to advise new composers not to sign documents without legal advice, try to make music that will last for many years. They should have gratitude to their peers who guide them.

We had more love for this profession; today they fight for percentages and publishers rights when they only have one or two hits.

What are your thoughts on the current state of regional Mexican music?

What is happening with regional Mexican music adds up to all of us, but we have to take advantage of it to make quality and good collaborations and to be known globally. The new generations must know where the whole movement comes from. It is not fair to think that what is currently being listened to is all that exists.

Is there an artist you would like to collaborate with?

I have been talking with Julión Álvarez about working together again. There is also Alfredo Olivas, who is going through a great moment in his career. Last year for the first time he recorded for someone other than himself and he did very well with the song by [Aarón] “La Pantera” Martínez [“Ni Con Labios Prestados”]. I think Horacio and I can contribute to his career now that he is having that opening.

How will you celebrate the night of June 26?

It is a very intimate event and I want to experience it with my family. Since I was notified that I would be honored, we have been enjoying it together. My history with SESAC through [its vice-president] Celeste Zendejas has been very nice. I’m going to enjoy celebrating with my colleagues and be grateful, because many of those who will be there that night have been part of my career.

11 Jun 2024

‘How Music Got Free’: Here’s How to Watch the New Docuseries Online

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The two-part docuseries How Music Got Free officially premieres on Tuesday (June 11), exclusively on Paramount+, in the U.S and Canada. The series provides an in-depth and behind-the-scenes look on how technology rapidly transformed the music industry in the late 1990s and early 2000s.

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Starting Wednesday (June 12), viewers in the U.K., Australia, Latin America, France, Germany, Switzerland, Austria and Italy can also enjoy the series.

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The series was produced by Eminem & LeBron James and directed by Alexandra Stapleton, also known for her work on the HBO docuseries God Save Texas, and for her documentary on baseball icon Reggie Jackson, Reggie.

Keep reading to learn how to watch the new docuseries below.

How to Watch How Music Got Free Online for Free

The docuseries is classified as a Paramount+ Original, indicating that it’s available solely through the platform’s streaming service. If you’re already a subscriber to Paramount+, you can watch the docuseries at no extra charge.

Not subscribed? Paramount+ is currently offering a 7-day free trial when you sign up for either of its plans: Paramount+ Essential and Paramount+ with Showtime, which means you can watch How Music Got Free for free. For those seeking budget-friendly options, the most cost-effective option would be Paramount+ with Showtime. This subscription not only grants access to Paramount+’s extensive library of shows and movies but also allows streaming of Showtime’s entire catalog for just $11.99 per month after the free trial period ends.

Paramount+ Essential is also a simple alternative. After the free trial, it’s only $5.99 per month and gives you access to over 40,000 episodes and movies, along with CBS News, NFL on CBS, and the UEFA Champions League.

Shows and movies you can look forward to watching are Behind The Music, As We Speak: Rap Music On Trial, Let the Canary Sing, The Day the Music Died: The Story of Don McLean’s American Pie, Bob Marley: One Love, and more. With Showtime, you can stream original shows and movies such as Yellowjackets, The 12th Victim, Dexter, Dexter: New Blood, George & Tammy, Homeland, Ziwe, Penny Dreadful, Buried and more.

11 Jun 2024

Pusha T Pays Tribute to Jay-Z With His New Diamond Chain

If you couldn’t tell from all the times he’s mentioned him in interviews or the songs he’s featured him on, Jay-Z is Pusha T’s favorite rapper. Pusha’s paid homage to Jigga many times in the past, but never like this.

On Saturday (June 8), the Virginia rapper and the jeweler Saint Jewels shared pictures of the new piece on Instagram in a carousel of images that ends with an old picture of Jay-Z wearing a similar pendant around his neck.

“The Anchor inspired by the culture, art, and history,” the caption reads. “Made for @kingpush. Pavé diamonds on solid white gold accented by a bronze rope, reverse set diamond end points. Multifaceted classic briolette cut diamonds handle the steering wheel.”

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The photo of Hov wearing the anchor pendant is from a 1988 photoshoot for his friend and mentor Jaz-O, taken by Timothy White in Brooklyn. At the time, Jay was 19 and relatively unknown to most rap fans. He addressed this era of his life many times through his songs, the most recent being “Bam” from 2017’s 4:44 where he rapped, “I’ve never seen a worker rock so many jewels.”

Push has expressed his Jay fandom before, calling Jay “the best rapper” during an interview with SiriusXM in 2022 when talking about collaborating with the Brooklyn legend. “When I reach out to him about a record, I feel like he sort of knows that I’m not reaching out to him about no bullsh—t … I must really think that this is like, a joint or something that’s gonna add to the great legacy that he has.”

Jay and Push have only two songs together: 2016’s “Drug Dealers Anonymous” and 2022’s “Neck & Wrist,” the former being widely considered a classic. Hopefully, this new tribute will lead to more music from the pair, but what we really need is an entire project produced by the Neptunes. They can even wear matching chains on the album cover and in the music videos.

Check out Saint Jewels and Pusha T’s Instagram post below: