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The Siblings of Latin Music: Ha*Ash, Mau y Ricky, Los Dos Carnales & More

From the ranks of Los Temerarios to the emerging Los Esquivel, see the list below.

From The Beach Boys to Jackson 5 to the Jonas Brothers, musical family affairs have always existed —and maybe even moreso in the Latin music scene. 

One of the most notable Latin brother duos is Los Temerarios, who exclusively announced on Billboard last fall that they were parting ways after more than 40 years together. The act, composed of brothers Adolfo and Gustavo Ángel, have made strong waves on the Billboard charts, entering 41 songs on Hot Latin Songs, including 17 Top 10s and four No. 1s: “Ya Me Voy Para Siempre” (1997), “Porque Te Conoci” (1998), “Que De Raro Tiene” (2004), and “Si Tu Te Vas” (2008). 

Six-time Latin Grammy winners Jesse & Joy was formed in 2005 by brother and sister Jesse Huerta and Joy Huerta. The Mexican pop duo, which became a household name with their 2011 single “¡Corre!,” have placed 20 titles on the Latin Airplay chart and 17 on Hot Latin Songs. 

The talented Colombian brothers Manuel and Julian Turizo have also demonstrated that creating music with a sibling is magical. The former performs the songs and is the face of the project, while the latter produces, composes, plays the ukulele and does backup vocals. Since kicking off his career in 2016, the urban-pop star has earned 27 songs on Hot Latin Songs, including his 2022 hit “La Bachata,” which peaked at No. 67 on the all-genre Billboard Hot 100

Like the Temerarios, the Huertas and the Turizos, the Latin music family affairs are endless across all genres — including reggaetón, pop, and música Mexicana. See Billboard‘s list below.

Will Smith and Martin Lawrence Run For Their Lives in First ‘Bad Boys: Ride or Die’ Trailer: Watch

The Bad Boys are back, only this time they’re the ones on the run. In the first trailer for the upcoming fourth installment in the Bad Boys renegade cop action series, Bad Boys: Ride or Die, Will Smith (Det. Lt. Michael “Mike” Lowery) and Martin Lawrence (Det. Lt. Marcus Burnett) have to take flight to solve the biggest case of their careers.

The three-minute preview that dropped on Tuesday morning (March 26) opens with the partners stopping to get a snack at a convenience store where they swiftly dispatch an armed perp who clearly picked the wrong store, on the wrong day. Cut to the partners learning that their old boss, late Miami PD Capt. Conrad Howard (Joe Pantoliano) had allegedly been secretly working with drug cartels for years, an assertion they think is bogus.

The pair then receive a beyond-the-grave message from Howard instructing them to clear his name, which, of course, sets off a series of explosive adventures as the fugitive cops run for their lives while looking for evidence to exonerate their boss. As you might expect, their time on the lam is accompanied by the requisite avalanche of explosions, gunfire and GIF-worthy quips along the way.

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After director Michael Bay helmed the first two installments of the Miami-based comedy action franchise that launched in 1995, the pair behind the most recent installment, 2020’s Bad Boys For Life, Adil El Arbi and Bilall Fallah, are back behind the camera for the upcoming quadquel. The fourth chapter brings back characters previously portrayed by Vanessa Hudgens, Alexander Ludwig, DJ Khaled, Paola Núñez and Jacob Scipio, while adding new faces John Salley, Eric Dane, Ioan Gruffudd, Rhea Seahorn and Joyner Lucas.

The film represents a big screen return for Smith, who has been mostly laying low since his March 2022 onstage attack of Chris Rock at the 94th Academy Awards after the comedian told a joke about Smith’s wife, actress Jada Pinkett Smith. Will Smith’s previous film, the slavery drama Emancipation, had a selective release in theaters and then streamed on Apple TV+ in Dec. 2022; Bad Boys: Ride or Die will open exclusively in theaters on June 7.

Check out the Bad Boys: Ride or Die trailer below.



George Benson of ‘This Masquerade’ Fame Reunites With Warner Music Group

Multiple Grammy-winning jazz guitarist-vocalist George Benson is rejoining the Warner Music Group (WMG). In addition to new music arriving later this year, the legendary artist and WMG are celebrating the reunion with a previously unreleased video featuring Benson in a live performance of the track “Lady Blue” in the late ‘70s.

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Benson was already a renowned jazz guitarist when he made his mainstream breakthrough in 1976 with his Warner Bros. Records debut album Breezin’. Propelled by the top 10 crossover hit “This Masquerade,” the album topped the jazz, R&B and pop charts. It’s since become one of the top-selling jazz albums of all time having been certified triple platinum.

“When I joined WB Records the first time, it caused an explosion in my career as a musician and quest to become a singer,” said Benson in a press release. “The exposure from that union has given me a life that I never imagined. Nothing but good has come from this partnership and today the inspiration continues on.”

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Added Kevin Gore, president of Warner Music Global Catalog and Arts Music, “I am thrilled to welcome back the legendary George Benson to the Warner Music family. With his unparalleled guitar skills and soulful voice, Mr. Benson continues to mesmerize audiences across generations. We are privileged to be a part of his journey again and honored to work with such a gifted artist with an extraordinary musical legacy.”

Benson recorded 12 albums for Warner between 1979 and 1993. Those projects include three more platinum-certified projects: 1977’s In Flight, 1978’s live album Weekend in L.A. and 1980’s Quincy Jones-produced Give Me the Night. Benson also counts several gold albums, among them: 1979’s Livin’ Inside Your Love, 1983’s In Your Eyes and 1985’s 20/20.

Out of 25 Grammy nominations, Benson has won 10 awards. His first two came in tandem with the aforementioned Breezin’ album, which claimed best pop instrumental performance, while “This Masquerade” won record of the year.

Benson is set to perform at the Hollywood Bowl on Aug. 18. Watch his live performance of “Lady Blue” on the official Rhino YouTube channel.

Bruce Springsteen to Become First International Songwriter to Receive Ivors Academy Honor

Bruce Springsteen‘s lyrics have shaped generations, defined movements and put words to the American experience. And now, his legacy will carve out yet another piece of history as he becomes the first international songwriter to be named an Ivors Academy Fellow.

Following in the footsteps of Sir Paul McCartney, Kate Bush, Joan Armatrading and Sting, Springsteen will receive the honors at The Ivors with Amazon Music ceremony in London on May 23. The accolade means that the “Born to Run” artist is also the first American musician in the organization’s 80-year history — as well as the 27th musician overall — to become an Academy Fellow, which is the highest honor one can receive from the institution.

“I’m proud to be the first international songwriter to be recognized by The Ivors Academy,” Springsteen said of the prize in a statement. “In addition to recognizing my songwriting, the award stands as a tribute to the fans and friends who have supported me and my work for the last 50 years.

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“This entire country has made me feel welcome every step of the way,” he continued. “For this, I will always remain deeply appreciative.”

As an Ivors Fellow, The Boss will be recognized for his “outstanding contribution to the craft of songwriting,” as well as his “impact on the UK’s cultural landscape,” according to a release. The accolade comes a little over a year after the 20-time Grammy winner released his 21st studio album Only the Strong Survive, which peaked at No. 8 on the Billboard 200 — a chart he’s topped 11 times over the course of his career.

“There is no one more fitting than Bruce Springsteen to be the first international songwriter inducted into our Fellowship,” added Tom Gray, Chair of The Ivors Academy. “Songwriters are powerful storytellers, who capture our lives, loves and hardships. Bruce has always told the greatest stories. The Fellowship marks the esteem in which he is held by all those who share his craft.”

MSNBC’s Rachel Maddow Goes Off On Election Denier Ronna McDaniel Hire

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NBC News is facing a public revolt by its on-air personalities including Rachel Maddow over the hiring of former RNC Chair Ronna McDaniel.

The hiring of Ronna McDaniel, the former Republican National Committee chairwoman by NBC News and Comcast last week has caused a visible backlash, becoming more apparent as several of the on-air personalities made it a point to decry her hiring, with its star anchor Rachel Maddow expressing her displeasure on her show Monday night (March 25).

“I want to associate myself with all my colleagues, both at MSNBC and NBC News, who have voiced loud and principled objections to our company putting on the payroll someone who hasn’t just attacked us as journalists, but someone who is part of an ongoing project to get rid of our system of government,” she during the 29-minute opening monologue. “Someone who still is trying to convince Americans that this election stuff, it doesn’t really work.” Maddow would implore her bosses to reconsider. “It is a sign of strength, not weakness, to acknowledge when you are wrong,” she said, adding: “It is a sign of strength. And our country needs us to be strong now.”

McDaniel resigned as the head of the RNC at the behest of the presumptive nominee and former President Donald Trump. McDaniel has been under fire for parroting his false claims that the 2020 presidential election was stolen. When appearing on Meet The Press with host Kristin Welker on Sunday (March 24), McDaniel seemed to walk that back. “Fair and square, he won,” Ms. McDaniel replied when asked about the election by Welker, but adding, “I do think it’s fair to say there were problems in 2020.” That led to Chuck Todd denouncing the decision in a post-segment panel. Reportedly, McDaniel is set to earn $300,000 in the deal. Numerous employees at NBC News and MSNBC have also reportedly expressed their outrage at McDaniel’s hiring.

Maddow would also be joined by Lawrence O’Donnell of The Last Word, capping off an entire day of rebuke that began with Joe Scarborough and Mika Brzezinski, stating that McDaniel would not be on their program as a “paid contributor.” That sentiment was echoed by Joy Reid, Jen Psaki, and Nicole Wallace who said the hiring “wittingly or unwittingly” was a signal to election deniers of the approval of McDaniel’s past actions. There has been no public comment from MSNBC boss Rashida Jones, NBC News Chairman Cesar Conde, or McDaniel. 

It’s Still Difficult, But It Might Be Easier Than Ever for Outsiders to Crack Country

When Beyoncè announced the March 29 release of what’s expected to be a country-leaning album, Cowboy Carter, she alluded to a moment when she felt unwelcome in the genre.

But current chart numbers suggest that the carpet has been rolled out for her, assuming she’s willing to keep walking the path. Her single “Texas Hold ’Em” jumps to No. 33 in its sixth week on the Country Airplay chart dated March 30, while it remains at No. 1 on Hot Country Songs. The Airplay position is lower than the slots the song occupies on other genre charts, where she has been historically established. But country radio develops slowly. Only two of the 32 songs ahead of her on Country Airplay — Nate Smith’s “Bulletproof” and Keith Urban’s “Messed Up As Me”— have charted for six weeks or fewer. The performance of “Texas Hold ’Em” suggests that the genre may be as open as it ever has to figures invading country from other entertainment formats.

“I kind of see things starting to open up,” says Country’s Radio Coach owner and CEO John Shomby.

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Beyoncè is hardly the only artist making a move into the format from another entertainment base. Post Malone spent 18 weeks on Country Airplay in a pairing with the late Joe Diffie, Diplo has released two country-shaded projects, and Lana Del Rey is reportedly recording a country album. Additionally, actors Charles Esten and Luke Grimes recently released their debut country albums, contemporary Christian artist Anne Wilson has signed with Universal Music Group Nashville, and retired St. Louis Cardinals pitcher Adam Wainwright made his Grand Ole Opry debut on March 9.

There’s no guarantee that any — let alone all — of them will stick. But it’s not like country music is a closed society.

“Take a look at Jelly Roll,” Shomby says. “This guy was a rapper, for crying out loud — he wasn’t even a famous rapper, but he was around. He’s welcome with open arms.”

It hasn’t always been that way. There’ve been plenty of figures from other music formats — such as Jessica Simpson, Connie Francis and La Toya Jackson — who made brief forays into country, then disappeared. So did former NFL quarterbacks Terry Bradshaw and Danny White, plus actors Dennis Weaver and Maureen McCormick. 

The country music business has long been skeptical of people it perceives as carpetbaggers. Even artists who’ve had some success when jumping into country — such as Tom Jones, who scored a No. 1 single with 1977’s “Say You’ll Stay Until Tomorrow” and a top five with 1983’s “Touch Me (I’ll Be Your Fool Once More)” — have been flummoxed by its expectation of a commitment.

“With country stations, if you don’t record country all the time, they feel then that you’re not a country artist,” he complained in ’83. “If you only come out with an occasional country album, it’s hard to get it played on some stations because they stick with their regulars.”

R&B and adult contemporary stations, he allowed, operated with the same sort of provincialism.

But plenty of artists have made successful transitions into country, too — Conway Twitty, Dan Seals, John Schneider, Exile and Darius Rucker, to name a few. All of them faced skepticism on their way to acceptance. Seals’ former manager, Melody Place COO Tony Gottlieb, recalls when Seals was confronted about it on late-night TV.

“This guy who’s from Nashville — obviously tuned into the Nashville scene — asks Dan, ‘What do you say about failed pop artists coming to Nashville to pursue country music careers?’ ” recalls Gottlieb. “Of course, as Dan’s manager, I wanted to strangle the guy because he had just ambushed him right on live TV.”

Seals had actually been raised on country — Ernest Tubb and The Louvin Brothers — and he proved himself over the long haul. His fourth single, “God Must Be a Cowboy,” became the first of 16 top 10s, including 11 No. 1s. Like Twitty and Kenny Rogers before him, Seals did three things that most successful outsiders have done to become insiders: He committed to country; his music targeted the center of the format, not its sonic periphery; and he recorded high-quality songs.

“You can be new one time,” observes Mike Reid, who segued from his original career as an all-pro NFL lineman into a country singer-songwriter in the 1980s. “But you better always be good, you know. The audience is going to tell you if you’re any good or not.”

The audience likewise will decide whether members of the current crop — including Beyoncè and Post Malone — make an authentic connection with their country endeavors. Pushback is to be expected in the beginning.

Maverick partner Clarence Spalding saw that play out in the early 1980s as the road manager for Exile, which began making country records five years after a No. 1 pop single with “Kiss You All Over.” Spalding’s current management client list includes Rucker, who was known as the frontman for multiplatinum pop/rock band Hootie + the Blowfish before he recorded as a solo country artist.

“There’s a divide — there always is — when anything new comes in town,” Spalding notes. “It’s, you know, ‘That’s not country,’ ‘That is country,’ ‘What is country?’ I don’t know the answer; it’s a subjective thing. If the consumer accepts it as country, then it’s country.”

Transitioning into the genre might actually be easier now than ever before for multiple reasons, beginning with the makeup of the music itself. From the soul-tinged sound of Thomas Rhett’s core hits to the hard-rock influence in HARDY’s material, the genre is much more flexible. 

“It’s a wider avenue to go down, and so it’s going to be more forgiving than if it were the traditional country song,” suggests Reid. “You better not go near that unless you know what the hell you’re doing.”

Additionally, Taylor Swift’s reverse transition more than a decade ago, from country singer to pop stadium-filler, has made genre-hopping more acceptable. 

“She could probably put a country album out tomorrow, and nobody’s going to question anything,” Shomby says.

Like Swift, Beyoncè, Post Malone and Del Rey are all courting country while they are still going strong in their original genre. Many of their predecessors tried to jump to country only when their pop careers had sunk, creating a negative view of the practice in Nashville.

Radio programmers are operating differently, too. Many modern PDs came into country from other formats and view country’s boundaries with more elasticity, and since they often work for stations in multiple formats, they’re less concerned about the exclusivity of any single genre. Plus, digital service providers have created a more fluid environment.

“Clearly the technology has changed this,” says Gottlieb. “This discussion would not have occurred in the same context six, eight years ago before the DSPs had such a major impact on what we’re doing.”

Perhaps the biggest factor, though, is sheer quality. The country industry has historically felt demeaned by the rest of the business. The fact that visiting artists are approaching country while they’re hot is viewed positively on Music Row. But the quality, and authenticity, of the work weighs most heavily in the reception it receives.

“If it’s a really, really good song, I hope they play it,” Spalding reasons. “And if it’s not a really good song, if it just has a big name on it — you know, don’t spread the crap.”

Subscribe to Billboard Country Update, the industry’s must-have source for news, charts, analysis and features. Sign up for free delivery every weekend.

NewJeans Tease Release of Two 2024 Mini Albums ‘How Sweet’ and ‘Supernatural’

NewJeans will double-up this summer with a pair of single album releases as the follow-up to their Jan. 2023 single album OMG. The single albums (which are akin to EPs), will drop on May 24 and June 21, with the first, How Sweet, slated to feature the title track, as well as “Bubble Gum” and instrumental versions of both songs.

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The second, the Japanese single album Supernatural, will mark the band’s official debut in Japan and feature the title track along with “Right Now” and two instrumental tracks. “Bubble Gum” will debut in Japan ahead of the mini-album’s release when it is featured in a commercial and in a TV program next month. Similarly, “Right Now” will be pre-released as a commercial song in Japan and South Korea in May according to a press release announcing the projects.

To celebrate their Japanese debut, the group comprised of members MINJI, HANNI, DANIELLE, HAERIN and HYEIN will host a two-day fanmeet concert, on June 26-27.

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Earlier this month NewJeans received the Group of the Year Award at the 2024 Billboard Women in Music event celebrating their impressive chart feats in 2023. Last year the group scored entries on 10 Billboard charts, including the Billboard Hot 100, Billboard 200 and Billboard Global 200. Most impressively, they scored five entries on the Billboard Hot 100, led by “Super Shy” (No. 48), along with other entries including “OMG” (No. 74), “ETA” (No. 81), “Ditto” (No. 82) and “Cool With You” (No. 93).

Check out the Bunnies Camp promo posters below.

Shakira Says Ex Gerard Piqué Was ‘Dragging Me Down’: ‘Now I’m Free!’

Whenever, wherever, Shakira is going to share her truth. The Queen of Latin music appeared on The Tonight Show Starring Jimmy Fallon Monday (March 25), and opened up about her former relationship with soccer star Gerard Piqué, and how it had hindered her from producing a full album.

The three-time Grammy winner, who was on the late-night show to promote her new album, Las Mujeres Ya No Lloran [Women No Longer Cry], told the comedian that the reason for the seven year gap between her latest collection and 2017’s El Dorado was her ex. “I’ve been putting out music here and there, but I think it was really hard for me to put together a body of work” the Colombian superstar shared. “I didn’t have time. It was the husband factor.”

“Now I’m husband-less,” the She-Wolf declared. (Shakira and Piqué — who announced their split in 2022 — never married during their 11-year relationship, but share two sons.) “The husband was dragging me down. Now I’m free! Now I can actually work!”

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The musician continued to open up in the interview, sharing her grieving and recovery processes. “I was trying to rebuild myself and music was the glue, but it felt like it was an alchemical process in which I was transforming pain and anger and frustration into creativity and productivity and strength and resilience,” the singer-songwriter explained while discussing the alternate covers of her new album, which are themed around precious stones. “The resilience of a diamond. So that’s why I picked the metaphor of the precious stones, because of the resilience that us women have today when we have to face adversity,” Shakira told Fallon.

The star also spoke about the societal expectations placed on women to hide their pain and to conform to certain standards of healing, a notion she firmly rejects. Her new album title embodies this sentiment, with the singer explaining, “It’s men’s turn [to cry] now. Now women [should] decide when to cry, how to cry and until when. No one is supposed to tell us how to cope with the hardship of life.”

During her appearance on The Tonight Show, the singer also performed “Puntería,” originally featuring Cardi B. Shakira, dressed in white baggy pants and a top with ropes, began her set seated. Amid iridescent curtains and a pearlesque backdrop that displayed a gigantic diamond on the screen, Shak was flanked by two female dancers, and as they got up they were joined by two more, all wearing matching outfits while dancing in unison to the electro-pop song. 

Before the performance and interview, the show began with the superstar undergoing a playful lie detector test. “Everything hooked up?” Fallon asked Drew Barrymore, who made a guest appearance as the technician.

“We’re ready,” she replied.

“You know what to do, Shakira,” said Fallon over Shak’s Billboard Hot 100 No. 1 “Hips Don’t Lie.” With wires hooked to her hips, the Barranquilla hitmaker began to gyrate them in classic Shakira fashion.

“It checks out, they’re telling the truth,” replied a serious Barrymore.

“Her hips don’t lie,” added Fallon, nailing the punchline.  

Check out the performance of “Puntería” and the lie detector test below, and Shak’s full interview above.


https://youtube.com/watch?v=vZ0HmhkwVB0&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent



‘RuPaul’s Drag Race’ Star Dawn Breaks Down That Iconic ‘Body’ Lip Sync: ‘It’s a Wrap for Me, Sis!’

With only a few episodes left until the grand finale, RuPaul’s Drag Race season 16 needed to take a short bathroom break.

On last week’s episode (March 22), the top six contestants were paired off into duos and asked to makeover gender-neutral bathrooms for an HGTV-style renovation comedy challenge. Designing a space rather than their outfits, the girls needed to come up with cohesive themes and larger-than-life presentations to make the judges laugh.

Thanks to their 1920s speakeasy-inspired bathroom — and a pair of well-crafted characters — Sapphira Cristál and Plane Jane nabbed a dual win, making them the two most-winning queens of the season so far (Sapphira with four wins, while Plane follows with three). Meanwhile, Dawn’s performance in the Museum of Modern Fart fell short of the judges’ high expectations, while Morphine Love Dion couldn’t find her spark in her her hellish commode.

Finding themselves in the bottom, Morphine and Dawn lip-synched to Megan Thee Stallion’s hit song “Body.” Weaponizing her curvy figure and slick dance moves, Morphine owned every second of the booty-bouncing track, earning her spot in the hotly contested top five. That meant Dawn turned to dusk, and the Brooklyn queen was sent packing.

Below, Dawn chats with Billboard about her time on the show, becoming the unofficial narrator of the season through her confessional clips, her explosive “doo doo clown” fight with Plane Jane, and why she thinks she never stood a chance against Morphine in that Lip Sync for Your Life.

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Dawn, you made it to top six! How do you feel about your run on the show?

Thank you, my greatest accomplishment! Looking back on the whole run, I have nothing but gratitude and happiness. I feel incredible, I could not be happier about how it all happened. Obviously, I didn’t get any wins, I guess I didn’t “make my mark” in that capacity. Like, there was no moment that was “about Dawn,” but even through that, I made it to top six on an incredibly stacked season! I have watched every single episode and been so happy and satisfied with what I was able to provide for the audience.

I hear you, but I wholeheartedly disagree on you not “making your mark” — because not only were killing a lot of these challenges, but your confessionals were maybe the most entertaining parts of every episode. 

[Laughs.] I guess that’s my win — do they give out challenge wins for best confessionals? 

You were the narrator of the season without a doubt, because you were simply unafraid to be unfiltered and occasionally unhinged in those clips. What was the energy you were trying to bring to those sessions?

OK, the keyword there is trying — because let me tell you, I was not trying to do anything! I rolled into that confessional chair and I was just excited, happy to be there, ready to cut up and shoot the s–t. Sometimes, I was definitely a little too comfortable in that confessional chair. But, it worked out for me, because what you are seeing is deeply authentic to me as a person. That’s how I talk to my friends and the people I love. I’m not sitting there timid, scared to say how I feel. 

I mean you really came after us theater gays in that one episode. 

I’m sorry! [Laughs.] There’s one specific moment of that particular confessional that happened — when I was about to start talking s–t, there is a twinkle in my eye, and then suddenly I go, “No, wait, I shouldn’t say that.” It was so funny. 



You also did one of my favorite things that queens do on this show, where you would walk into a scene, ask the other girls a very pointed question, and then slink back into the background to watch the drama unfold—

That was crazy, because I straight up didn’t even realize I was doing that until I watched the season back! What I like to say is, “I will never start drama, but I will make sure as hell that it never ends.” 

But there was one exception to this trend, which was the now iconic “doo doo clown mess” moment between you and Plane Jane. You really just called her dress boring and she cracked. What was that legendary reading session like in person?

That might have been my favorite moment on this season, just the way that I said something so … benign, honestly! I just said “the dress is ugly,” and I figured she would just say, “Okay, I hate you,” and move on. She cracked so effortlessly! She stands up like a vulture and circles me, and I’m just sitting there cackling, like, “Yeah, girl, keep going!”

What’s so funny is she kept “reading” me, but ultimately she was just stating facts. She said I was dressed like a clown — correct, I was. You’re saying I’m wearing children’s fabric — also correct, and exactly the point of the outfit, thank you, girl. She was not saying anything that hurt my feelings, because I was like, “You understand the concept behind the outfit, amazing! Now please sit down!”

When this latest episode started, you and Morphine were the only girls without wins — how does that factor into your state of mind, especially this far into the competition?

Interesting. One thing I was feeling a lot around that time, probably like episode 11 to 12, was that … I don’t mean this in a pessimistic way, but I’d kind of given up on winning a challenge. My main goal, at that point, was just to have as much fun as I possibly could. In my experience, that is what would translate to the judges and to the audience. I remember thinking that I wasn’t letting go enough. In episode 11, I wanted to let go more, but then I got paired with Mhi’ya, so I said, “We will try again in episode 12.” And then I made it to the next week, and “Body” happened — so what’s a girl to do?

Oh we are going to discuss the “Body” of it all, but before we do, I just want your take on this challenge. I think this bathroom makeover HGTV parody might be one of the strangest main challenges Drag Race has done in a while — do you like it when the show gets a little unhinged with its challenges?

Girl, I haven’t been able to enter a public bathroom since this challenge, the trauma. I mean, I had Nymphia to reign in, who wanted to, like, paint poop on the walls! But there’s something about this show, where they’re sometimes telling us, “Please, let’s not do fart jokes, let’s not do piss jokes,” and then they ask us to decorate a bathroom and make it funny — we’re gonna make fart jokes, girl!

But all of this is to say: As absurd as it was, and as frustrating as it was to go home on this challenge, I also think that one of my favorite aspects of Drag Race is the absurdity of it all! When we get into these kind of challenges, it’s actually iconic.



Which brings us to the lip sync. Once you were in the bottom, in that tight dress, against Morphine lip synching to Megan Thee Stallion’s “Body,” was there any part of you that thought, “I can win this?”

No! [laughs] Are you kidding? What was going through my head was, “Which wig am I going to put in which suitcase?” Like, as much as I want to think and I want to say … actually, no, I won’t even say that! I am never going to beat Morphine to “Body” by Megan Thee Stallion! The BBL queen of Miami? It’s a wrap for me, sis! She could’ve been on her sixth lip sync with a broken leg, and I still would have gone home. I just have to be at peace with that!

Before I let you go, I’d love to know — what music have you been listening to lately?

I have been streaming Eternal Sunshine on repeat, no skips, over and over. It is crazy. My favorite songs are definitely “Supernatural” and “We Can’t Be Friends.” But other than that, I’ve also been listening to a lot of Beabadoobee, and I’ve been getting very into this first new song from Rainbow Kitten Surprise in six years. That’s been my playlist, lately. 

Ashley Tisdale Reveals She’s Pregnant, Expecting Baby No. 2 With Husband Christopher French

It’s the start of something new! Ashley Tisdale revealed that she’s pregnant with her second child in a sweet Instagram post Tuesday (March 26), sharing photos of her baby bump alongside her husband, musician Christopher French. 

In the pictures, the High School Musical star poses in a white button-up shirt, unclasped at the bottom to show off her belly. French joined her for one of the snaps, and in another, Tisdale holds hands with her firstborn, 3-year-old daughter Jupiter. 

“We can’t wait to meet you,” she wrote in her caption. 

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“here we goooo!” French added in the comments. “I love you. We can do this lol.” 

Fans were quick to shower Tisdale with congratulations in the post’s replies, with many pointing out the coincidence of the Suite Life of Zack & Cody alum expecting a baby at the same time as her HSM costar, Vanessa Hudgens. (The Spring Breakers actress debuted her bump on the 2024 Oscars red carpet earlier this month, confirming her pregnancy about three months after marrying baseball player Cole Tucker.) 

“Gabriella and Sharpay having babies together I love this,” one person commented, while another fan added, “the next generation of wildcats is coming!!!” 

Tisdale and French tied the knot in 2014, seven years before welcoming Jupiter in March 2021. The singer-actress’ latest role was as Stariana in Baby Shark’s Big Movie, which also featured voice acting from Cardi B, Offset, Lance Bass and the boys of ENHYPEN. 

In 2020, Tisdale dropped her most recent single, “Lemons.” Her third studio album, Symptoms, arrived the year prior. 

See Tisdale’s pregnancy announcement below.