Music
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St. Vincent provided one of the rare high points at Crypto.com Arena for the home team L.A. Sparks on Thursday night (Aug. 15) with her fiery rendition of the National Anthem. The shape-shifting indie rocker hit all the tricky high notes of the notoriously hard-to-sing “Star-Spangled Banner,” and even though she had her trusty signature […]
With Fanatics Fest NYC launching on Friday (Aug. 16), the digital sports platform has teamed up with Apple Music for a playlist to provide the soundtrack for fans attending the inaugural festival throughout the weekend.
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The versatile playlist boasts 50 tracks in total with contributions from Jay-Z, Travis Scott, Sabrina Carpenter, Taylor Swift, Beyoncé, Usher, Eminem, 50 Cent, DJ Khaled, Tyla, Megan Thee Stallion, Shaboozey, Future and more.
There’s quite the mix of eras shown throughout with Michael Jackson and The Notorious B.I.G. making appearances as well as new school artists like Jordan Adetunji and Central Cee.
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Tickets to the immersive sports-centric event — think Comic Con but for sports — are still available with fans having the opportunity to interact with some of their athletic heroes all weekend (Aug. 16-18) at the Javits Center in Manhattan.
There’s plenty of star power slated to be in the building with Jay-Z, Travis Scott, Quavo, Lil Wayne and more representing for hip-hop. On the athletic side of things, fans will have the chance to see Carmelo Anthony, Derek Jeter, Jalen Brunson, Kevin Durant, Anthony Edwards, Tom Brady, Cody Rhodes and more.
Jay-Z’s legendary 40/40 nightclub has also been reimagined as a pop-up activation for VIP guests attending Fanatics Fest NYC. 40/40’s curating the ambiance that the shuttered nightclub once held, with autographed jerseys and memorabilia showcased throughout the venue.
The 40/40 Club’s Flatiron location closed its doors in August 2023, but Jay and his team plan to reopen in a new NYC location come 2025.
Stream the playlist on Apple Music.
FFNYC X Apple Playlist Story
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Lady Gaga and Bruno Mars tip their cowboy hats to the era of Dolly Parton and Porter Wagoner in their new music video for “Die With a Smile,” the pop duo’s new collaboration that dropped at midnight ET Friday (Aug. 16). The visual finds the “Just Dance” singer and Silk Sonic band leader jamming out […]
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Lady Gaga and Bruno Mars link up for a surefire hit, Post Malone tries on a cowboy hat and LISA brings in a friend for a pop banger. Check out all of this week’s picks below:
Lady Gaga & Bruno Mars, “Die With a Smile”
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The superstar collaboration “Die With a Smile” apparently came together when Bruno Mars invited Lady Gaga over to his studio one night, played her the bones of the track, and the two stayed up until dawn finishing it; that backstory is befitting of an epic duet about not wasting the finite time we all have, as Gaga and Mars let their melodies ricochet off of Andrew Watt’s guitar snarl.
Post Malone, F-1 Trillion
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Posty may have brought in Nashville’s varsity squad to help him craft his debut country project — Tim McGraw, Morgan Wallen, Blake Shelton, Dolly Parton and Hank Williams Jr. all appear on F-1 Trillion, and that’s just the first five tracks! — yet the pop-rap polymath is also a songwriting savant, and knows precisely how to translate his storytelling into a new form.
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LISA feat. Rosalía, “New Woman”
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After launching her new solo era with “Rockstar,” Blackpink’s LISA has summoned more firepower for “New Woman,” a multi-lingual electro-pop track featuring Rosalía oozing charisma, sleek production courtesy of Max Martin and Ilya, and ample room for LISA to showcase her attitude and spirit.
Tinashe, Quantum Baby
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Tinashe may have recently revived her mainstream fortunes with the viral smash “Nasty,” but she’s been releasing danceable, self-assured R&B for a decade — and Quantum Baby, a sumptuous new 8-song project full of immediately likable beats and flirtations, simply continues the positive momentum.
Grupo Firme & Demi Lovato, “Chula”
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Demi Lovato has a long history of singing in Spanish on her own projects and as a collaborator, and with “Chula,” the pop veteran links up with Grupo Firme to explore the regional Mexican sound that has exploded over the past few years, as well as toss out an anthem that works well in the waning summer days.
Hozier, Unaired
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Continuing a huge year that has included the first Hot 100 chart-topper of his career (“Too Sweet”) and packed arena audiences, Hozier has unveiled Unaired, a three-song EP that toasts the success of his Unreal Unearth album on its one-year anniversary as well as finds a home for the rollicking new soul-rock single “Nobody’s Soldier.”
Halsey, “Lonely is the Muse”
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Although Halsey didn’t work with Trent Reznor and Atticus Ross on new single “Lonely is the Muse,” the spiraling rock track recalls the work that the trio created on 2022’s excellent If I Can’t Have Love, I Want Power, with crashing guitars failing to wash away the pop star’s insecurities or blunt her anger.
Benson Boone, “Pretty Slowly”
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“Oh, how come all the best things fall apart?” Benson Boone wonders on “Pretty Slowly,” a stomping folk-rock track that examines a breakup from all angles and allows the singer-songwriter’s falsetto to heighten the drama; after the breakthrough of “Beautiful Things,” Boone may have another hit on his hands here.
Foster The People, Paradise State of Mind
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“Pumped Up Kicks” may forever be their biggest hit, but Foster The People have fashioned an impressive decade-plus run out of the opening provided by their smash single, and Paradise State of Mind, their Atlantic Records debut, is a jaunty mix of disco, rock, psychedelia and retro pop that showcases Mark Foster’s pinpoint songwriting instincts.
Editor’s Pick: Wishy, Triple Seven
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Indianapolis quintet Wishy revel in being unclassifiable, with their songs ranging from anthemic pop-rock to hard-guitar emo to bleary shoegaze — but debut album Triple Seven is so captivating in its shaggy charm and searing hooks that you won’t care which genre lines it does or doesn’t cross.
Shaboozey dominates Billboard’s Country Airplay chart (dated Aug. 24) for a fourth week with “A Bar Song (Tipsy)” – gaining entrance to a select group of artists’ breakout hits that have led for at least that long over the chart’s 34-year history.
The song by the Virginia native (born Collins Obinna Chibueze) drew 30.5 million audience impressions at the format Aug. 9-15, according to Luminate. The single, on American Dogwood/EMPIRE, with country radio promotion by Magnolia Music, concurrently crowns the Pop Airplay chart for a second week.
“A Bar Song” is only the ninth country career-establishing No. 1 at the format to reign for four-plus weeks – and the second among the three most recent Country Airplay leaders, after Post Malone’s “I Had Some Help” (featuring Morgan Wallen) ruled for four beginning in June. (Before that, however, no such song had achieved the feat in over 18 years.)
What makes “A Bar Song” so special, and a hit at multiple formats, from country and pop to rhythmic? Travis Daily, who in May became Cumulus Media vp of country, after being named brand and content manager of the chain’s WKDF and WSM-FM Nashville in April, tells Billboard, “I have a kid in college who sends me music almost daily, and he sent me the song one night as I was packing for my move to Nashville. My first reaction was, ‘This is exactly what we need to stand out on WKDF when I get to town.’
“After listening multiple times, I began thinking that this is going to take off before I even get a chance to drive across the country [from Salt Lake City],” Daily says. “Some people think it’s a mystery that it’s doing so well, which kind of baffles me. We have a great song by a very talented artist that our audience seems to love. Passion for this song is almost unheard of.
“Some country programmers don’t like when pop stations play our country hits,” Daily further muses. “I would argue that songs like this give me a chance to convert some audience into becoming fans of the greatest format in the world, which is obviously country.”
Below, browse the songs that have topped Country Airplay for four or more weeks by artists making their first major inroads at the format (counting acts’ first entries on the chart as a lead artist or their initial songs promoted to country radio). They include memorable rookie anthems by acts that went on to become some of country’s biggest names.
Shaboozey, “A Bar Song (Tipsy)”
Image Credit: Daniel Prakopcyk
Jordan Davis has built quite the reputation as a modern-day storyteller, winning the Country Music Association’s song of the year award in 2022 with “Buy Dirt,” claiming the Academy of Country Music’s song trophy this year for “Next Thing You Know” and climbing to No. 1 on Billboard‘s Country Airplay chart in May with “Tucson Too Late.”
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Moving at a ballad or midtempo pace, all three explore a life lesson or personal crossroad. But his latest release, “I Ain’t Sayin’,” takes a different attitude, mirroring the barroom setting of his 2017 debut, “Singles You Up,” with a steady dance texture similar to Morgan Wallen’s “One Thing at a Time.”
“It’s been a minute since we’ve released this kind of song,” Davis says. “I feel like I’ve been long overdue for it.”
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“I Ain’t Sayin’” was tailor made for Davis, fashioned May 25 on the final day of a writing retreat in snowy Livingston, Mont. While Davis wrote that morning with several other creatives in a rented cabin, Travis Wood (“Girl in Mine,” “’98 Braves”), Mark Holman (“Flower Shops,” “Don’t Think Jesus”) and Steve Moakler worked in a separate building, determined to craft something a little more speedy for Davis. Holman had created a few musical tracks prior to the trip, and one of them, built around some hand claps and a buzzy acoustic guitar, energized the room.
“It might just be like little guitar parts and a little loop or something behind it just to kind of catch a vibe,” Holman says. “It’s not a full thing. It’s just enough to be like, ‘Oh, we like this. We like the feeling of this.’ ”Wood had a ready-made chorus that he had penned with Los Angeles-based songwriter Emily Reid, with whom he frequently writes “starts” — small chunks of potential songs that can serve as a foundation during a full writing session. He reached out to her to make sure she was OK with this one getting used on this trip.
“I’m in L.A., they’re in Montana, and I got the FaceTime from him,” Reid remembers. “He was like, ‘Hey, we’re writing this “I Ain’t Sayin’” idea. It’s really going well. Can you just make sure this first verse makes sense?’ Because sometimes when you’re in the thick of it, it’s hard to have perspective. And I was like, ‘Damn, sounds brilliant.’ ”
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Reid’s original idea wasn’t actually the title. It was the phrase “He sure as hell ain’t,” which became the payoff line at the end of the chorus that she and Wood started. They weren’t entirely certain what the plot should be, though it fit a scenario involving a mismatched couple. As they built it, they used the phrase “I ain’t sayin’ ” as a repetitive lyrical device in a loaded chorus.
“When we were punching out that phrasing, we wanted to do something that felt really fresh,” Reid notes. “We wanted to make it really rhythmic and get a lot in there.”
When they came up with one particular line, “I’m here and he’s MIA,” they felt it had a lot of potential, though once they finished writing it, Reid put it out of her mind. Thus, the call from Wood was a welcome surprise.
As it started taking shape in Montana, Wood, Moakler and Holman unlocked the opening verse, depicting a woman who had bought a beer for a date who seems to have stiffed her. The protagonist presents himself as a short-term alternative, though the writers knew instinctively that he couldn’t be too pushy.
“We could have gone to further extremes with the guy and the girl,” Moakler says, “but we ended up choosing [to] walk the line, I think, in a cool way where he’s not overtly trying to steal the girl. He sees his opportunity, and he seems like a relatable guy, you know. That was the job of the day.”
As the protagonist moves in during the second verse, he attempts to reframe the woman’s bad moment with a bit of hope: “He let you down, but here’s the upside” — using a word, “upside,” in a way that’s rarely heard in a country song.
“It’s a little different,” Holman acknowledges, “which is always good.”
They saved the most elaborate lyrical twist for the end of that second verse, guaranteeing that that stanza could meet — if not exceed — the quality established in verse one.
“ ‘I ain’t trying to change that miss to a missus/But he don’t know what he’s missing’ — I just love that wordplay, Wood says. “It perfectly paraphrases the ‘I ain’t sayin’ I’m the one, I’m just saying he ain’t.’ I mean, you couldn’t find a cooler way to paraphrase that.”
They debated “He Sure As Hell Ain’t” as the title, but settled on “I Ain’t Sayin’,” avoiding a slightly profane word in favor of the song’s most frequently heard phrase.
“I think we picked the right one,” Moakler says. “I haven’t heard a song called that. The only hang-up with the song is, people say, ‘What’s it called?’ And you say, ‘I Ain’t Sayin.’ ’ And they say, ‘Wait, why won’t you tell me?’” Holman quickly whipped a demo together, and Wood went back to his cabin, where Davis’ small group was still writing in a different room. When that team finished, Wood had writer-producer Paul DiGiovanni (Travis Denning, Justin Moore) play the demo, which seemed to connect with Davis.
“Jordan was pretty effusive about it, but I didn’t know if he was just being polite,” Wood says. “When we hit that miss/misses line, he turned around and looked at me after that line. So I was like, ‘I think he likes it.’”
Indeed, the next week, Davis, DiGiovanni and a studio band tackled “I Ain’t Sayin’ ” at Sound Stage in Nashville with drummer Nir Z sharing duties 50/50 with the programmed percussion. “The loop thing was going basically throughout the whole song, so I needed to just go to another level on the master and just keep the energy going,” DiGiovanni says. “The demo was just like the verse feel the whole time, and I just kind of kicked it over the top.”
But the enhancements were comparatively incremental. “We never made a lyric change, we never made a melody change,” Davis says. “We dropped the key a half step from the original demo, maybe we bumped the [beats per minute] down a couple. But other than that, it was basically taking Mark’s demo and letting Paul kind of pepper in his touch on it.”
While the tracking band established most of the rhythm and textural sounds, DiGiovanni did add some color during overdubs, including a Spanish-flavored guitar in the background, steel-sounding guitar parts and a Southern rock-like twin guitar break.
“It didn’t need a shreddy, really crazy guitar solo by any means,” he says. “There’s so much melodic stuff happening in the song, so I just tried to do something that was kind of familiar. I think I sat down and put my track on loop and played like five or six different kinds of melody things, and that one just stuck out.”Davis tends to inject downward-sliding grace notes into his vocal performances, and though the writers didn’t specifically put that into “I Ain’t Sayin’,” it adapted well to his approach.
“That chorus melody, I was kind of like, ‘Wait a second, you’re sure I didn’t write this?’ ” he notes. “It just felt like something that I would write and something that I would say.”
MCA Nashville released “I Ain’t Sayin’ ” to country radio via PlayMPE on July 24, and it’s at No. 52 in its beginning stages on the Country Airplay chart dated Aug. 17.
“It’s something that I think people want,” Davis says of its breezy, summer-ish sound. “It feels like it’s the right release right now.”
Eden Muñoz is back with a new album simply titled Eden. Released on Thursday (August 15), the set contains 15 songs in which he fuses the genres that formed him musically — such as folk, country, rock ‘n’ roll and, of course, banda sinaloense, corridos and cumbia.
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In his second studio LP via Sony Music Mexico and third in his discography as a solo artist — after a decade fronting the successful group Calibre 50 — the Mexican singer-songwriter released playful titles like “Me Rento” (or “I rent”), “No Sabes La Que Te Espera” (“You don’t know what’s ahead”) with Luck Ra, “¿Cómo Te Fue Sin Mí?” (“How did it go without me”), “Todo Me Vale Madre” (Mexican slang for “IDGAF”) and bonus track “Traigo Saldo y Ganas de Rogar” (“I got money and a desire to beg”).
“If I don’t have fun, people won’t have fun either,” Muñoz tells Billboard Español. “I’ve never been so happy recording an album, I wanted to push my own boundaries. Ten years ago neither my audience nor I would have achieved something like this.”
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Eden follows 2023’s Como En Los Viejos Tiempos, whose song of the same name reached No. 1 on Billboard’s Regional Mexican Airplay chart last January. The tour of the same name kicks off in the United States on Friday (August 16) in San Antonio, Texas, and will take the regional Mexican star to cities such as Houston, Atlanta, Indianapolis, Phoenix, San Jose, Reno and Denver, ending on November 27 in Irving, Texas.
Also, on October 19, he will perform for the first time as a solo artist at the Arena Ciudad de México, a venue only the greats aspire to. “It is a great dream for me to be in such an important place and at the same time a great responsibility,” says Muñoz.
In Mexico he will also have concerts in Monterrey on November 9, at the Citibanamex Auditorium, on November 30 at the Telmex Auditorium in Guadalajara, for which tickets are already sold out, and on December 7 at the GNP Auditorium in Puebla.
Below, Eden Muñoz breaks down 5 essential songs from his new album, Eden, here. (Listen to the full album here.)
“Mi Lugar Favorito”
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“Mi Lugar Favorito” (“My favorite place”) is definitely No. 1. I never thought I would write a song for my children, and the moment arrived. I consider this the most beautiful piece of work I’ve done so far. Maybe they don’t understand it yet because they are six and three years old, but it will remain as a legacy and they will understand it when the time comes. Musically it is very calm, but the lyrics are very deep: It talks about unconditional love and what we are capable of doing as parents for those beings that fill our world. I believe that many parents will feel seen and that will be a great satisfaction — that they will also dedicate it and share those feelings that I express in the song.
“Mi Momento Más Ex-Quizofrénico”
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I love it because it’s risky, because it’s something different up to a certain point in the song, but then a chorus comes in, very much in the style we’re used to. It’s a crazy song [“My most ex-schizophrenic moment”], but without going out of line. It starts with an intro like a horror movie and then suddenly I start singing the blues for a few seconds — and later I mix it with the regional Mexican music that has always characterized my project. I think it was a good mix, it will surely attract attention.
“Mezcal de Calzón”
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“Mezcal de calzón” (Mezcal of calzón) is inspired by one of my favorite Beatles songs, “Twist and Shout.” I wrote it in London last year when I was on vacation there. Let’s say it’s a similar sound, but with the lyrics a very Mexican with double entendres, as we speak. I have to think about people 60 years old or older who also want to enjoy the music they like, and with this song they will probably even dance to it. That’s the idea — that everyone has fun and enjoys my music as much as I enjoy it. The lyrics talk about someone who is in love and thinks that maybe they gave him something to drink because he can’t stop thinking about the person. It’s kind of funny but very colloquial.
“Mi Situación Actual”
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It is the song with which I close the album. I confess that I went out of the line there; it was a whim because I love rock, electric guitars and everything that goes with it. I used a lot of tools that I’ve been getting to know in the last few years when I’ve been getting into producing. I mix, I get involved in everything and I don’t say that with a desire to be the protagonist, I do it because I’m aware that everything has to be right. Also in this song a part of it is rock and continues with regional Mexican music. The song [title meaning My current situation] talks about someone who has existential problems, who feels bad and doesn’t know where to go, something that happens to all of us at some point.
“Traigo Saldo y Ganas de Rogar”
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“Traigo Saldo y Ganas de Rogar” is also one of my favorites because I feel I have the responsibility to present songs with banda because it is the music I grew up with and was formed with. Banda music opened a very big path for regional Mexican music and I have a lot of respect for it. For this reasons it is the bonus track, it is my essence, what represents the genre. I do not speak neither good nor bad of what the new generations are doing, I also sang corridos alterados at some point when I was very young. Today, at 33 years old, I know that this is what I want, to make fusions but to not abandon our musical roots. This is the typical song of someone who is in love and is not ashamed to beg the person. Once again, we are talking about something that happens to a lot people: when they are drinking and want to make an impression on a special someone.
Eden Muñoz
Courtesy of Sony Music
On Aug. 16, 1969, Merle Haggard’s “Workin’ Man Blues” climbed to No. 1 on Billboard’s Hot Country Songs chart. It became the seventh of the genre cornerstone’s 38 leaders, the third-most in the survey’s history after George Strait, who reigns with 44, and Conway Twitty, who notched 40. Haggard wrote “Workin’ Man Blues,” which Ken […]
Yung Miami, Offset and Cash Cobain are among the next-generation lineup for this year’s REVOLT WORLD, Billboard can exclusively report. Presented by Walmart, REVOLT’s three-day immersive event will make its return Sept. 20-22 at Atlanta’s Pangaea Studios. This year’s theme: “We Are the Future.”
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In a statement announcing the event, REVOLT CEO Detavio Samuels said, “REVOLT is home for the next generation of creators and cultural leaders actively shaping hip-hop and youth culture globally. We believe in creating the future we want to see by providing our community access to experiences like REVOLT WORLD that introduces a new category of cultural events that not only entertains and informs, but truly changes lives.”
The talent slate also includes Boosie, Key Glock, N.O.R.E. & DJ EFN, Pusha T, 42 Dugg, Rob49, Ari Fletcher, Byron Messia, Mariah The Scientist, Lady London, Law Roach and Speedy Morman. Attendees will be treated to live tapings of the popular REVOLT shows such as like Caresha Please, Drink Champs, The Blackprint, Baller Alert Live and Big Facts. Additional offerings include exclusive performances, masterclasses, keynote talks, cultural conversations and brand activations.
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Joining presenting partner Walmart as major sponsors are PepsiCo’s portfolio of brands, McDonald’s and State Farm. Among PepsiCo’s supporting brands are Starry, whose Starry FizzFest Competition will award HBCU student finalists and one grand prize winner; Doritos with its Creator Studio; and Mountain Dew, whose Gaming Zone will target the gaming and streaming community. With fashion as its focus, McDonald’s will debut a space this year to engage fashion contributors and spotlight the company’s investment in Black fashion designers.
“Walmart is dedicated to driving visibility to Black-led brands and creators who are changing the game through our new Black & Unlimited experience – The Shoutout,” stated Allison Rand, Walmart’s associate director of brand experience and talent partnerships. “We are proud to continue our partnership with REVOLT WORLD, where we can collectively support and amplify Black voices and innovation.”
More than 30,000 participants attended last year’s REVOLT WORLD. On hand to underscore its theme, “We Are Hip-Hop,” were Don Toliver, Moneybagg Yo and Mr. Eazi, among others. Click HERE for additional information and updates about this year’s upcoming REVOLT WORLD.
Barbra Streisand was the marquee star on Thursday night’s (Aug. 15) Jewish Women For Kamala online Zoom rally in support of the presumptive democratic presidential ticket. The latest in a series of similar digital rallies that have brought together white dudes, Deadheads, Swifties, Black men and women and several other niche voting demos drew more than 16,000 attendees according to organizers, many, no doubt, tuning in to hear what the Oscar-winning legend had to say about Vice President Kamala Harris and her VP pick, Minnesota Gov. Tim Walz.
“It’s been said that Jewish women are known to speak out and tell you what they think and I’m one of them,” said Streisand, seated in a bespoke library. “I’m so tired of hearing [former President Donald] Trump put down America, saying ‘Make America Great Again’ because America has been great since 1776. And it’s still great in 2024.”
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Streisand said she’s supporting Harris/Walz because she wants a president who believes we can “do anything if we work together.” She praised the democratic ticket for bringing a new sense of “optimism, energy and excitement” to the campaign since Harris stepped in for President Biden more than two weeks ago in an unprecedented switch at the top of the ticket with less than 100 days to go in the neck-and-neck race.
The singer called Harris a “terrific combination of both compassion and strength, a joyful warrior who will fight for the values that so many of us hold dear.” She went on to praise the Vice President for being a consistent advocate for programs that support gender equality, social justice and voting rights, while noting that in a recent appearance at a rally with evangelical voters Trump promised that if they voted for him just this one time, “you don’t have to vote again,” a line some took as the latest attempt from the former one-term president to erode democratic norms.
“Can you imagine?” Streisand said. “In contrast, Kamala Harris understands just what a privilege it is to be able to vote! And her commitment to health care, Social Security, education and to combatting climate change are the policies of someone who cares about the future of our country, our children and our planet… and not just the profits from big oil.”
Streisand noted that women are nurturers who take care of others and can think “beyond themselves,” while tagging Trump as someone who cares “only about himself” while insulting “any woman who questions him” by calling them “nasty.”
“I don’t think he even respects women,” Streisand said as a pivot to Trump’s appointment of several conservative Supreme Court justices who erased half a century of precedent by overturning Roe v. Wade. “I don’t know of any equivalent law giving the government control over men’s bodies,” she said of the decision that eliminated the federal right to abortion.
“Clearly in some people’s eyes women don’t count… oh but we will in November when they count the votes!,” she added with a sly smile before doing the most Barbra thing possible and taking a brief pause to sip of water from a flowered tea mug through a straw before leaning into Trump’s VP pick, Sen. JD Vance. She lambasted the first-term Ohio native for what she said are his stances that “women should stay at home,” as well as her description of what she said said was his belief that women’s careers are to blame for the nation’s “moral decline.”
“But Vance’s moral compass seems off, because he sees nothing wrong with his running mate — a convicted felon who talks about law and order — but doesn’t think it applies to him,” she said of Trump, who in addition to his 34 felony convictions in New York in his porn star hush money trial, is facing at least three other major court cases tied to his hoarding of government documents at his Florida residence and federal election interference tied to his attempt to results of the 2020 election he lost to President Biden.
She warned that Trump and Vance had given a preview of what they have in mind via their embrace of the Project 2025 blueprint from the ultra-conservative Heritage Foundation, a document that seeks to replace thousands of non-partisan federal workers with political appointees loyal to Trump while injecting conservative Christian values into government as well as eliminating the Department of Education and the Head Start program for young children living in poverty. Calling it a “naked grab for power… a blueprint for a dictatorship,” Streisand said the 900-page document is full of things that should be alarming to anyone who cherishes the Constitution.
Trump has claimed he has “nothing to do” with the controversial Project 2025, despite Heritage Foundation president Kevin Roberts telling the Washington Post that he personally briefed the former president on it, as well as recent hidden camera footage in which one of the document’s co-authors talked extensively about his work behind-the-scenes to prepare policy for a potential second Trump administration.
Decrying the use of “fear and hate” to pit people against each other, Streisand described great presidents such as Washington, Lincoln and Jefferson working to bring Americans together and change the world. “This is how we make progress, not with hateful, divisive leadership,” she said, praising Harris’ compassion “for all human beings,” while criticizing Trump for what she said was his lack of “intelligence, judgement and heart.”
“Our society will flourish with a smart, experienced woman,” Streisand said in conclusion to her two-plus minute endorsement. “Who will defend our rights and send Trump back to where he belongs… in his golf cart, lying about his scores.”
Check out Streisand on the Jewish Women for Kamala call below.
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