Music

13 Nov 2023

Latin Grammy Awards 2023 Predictions: Who Will Win the Top Honors?

Who will have a big night at the 2023 Latin Grammys? Each year, Billboard offers its analysis of who will win and who should win in the main categories (song of the year, record of the year, album of the year and best new artist).

This year, leading up to Latin Grammys on Thursday (Nov. 16), we’ve gathered our Latin editorial team and embarked on a lively discussion, with educated guesses based on the marketplace and past voting behavior (not endorsements). Our participants are Leila Cobo, Billboard’s chief content officer, Latin/Español; Jessica Roiz, assistant editor, Latin; Griselda Flores, senior writer, Latin; Ingrid Fajardo, social media manager & Latin’s staff writer; Sigal Ratner-Arias, Billboard Español’s deputy editor; and Isabela Raygoza, Billboard Español’s associate editor.

For the first time held outside the United States, the annual Latin Grammys will be broadcast from the Conference and Exhibition Centre in Seville, Spain on Nov. 16 on Univision starting at 8 p.m. ET, UniMás and Galavisión in the U.S., and at 10:30 p.m. CET on Radiotelevisión Española (RTVE) in Spain. Danna Paola, Sebastián Yatra, Roselyn Sánchez and Paz Vega will serve as co-hosts.

Here are our predictions:

“No Es Que Te Extrañe,” Christina Aguilera

“Carretera y Manta,” Pablo Alborán

“Déjame Llorarte,” Paula Arenas Featuring Jesús Navarro

“Shakira: Bzrp Music Sessions, Vol. 53,” Bizarrap Featuring Shakira

“Si Tú Me Quieres,” Fonseca & Juan Luis Guerra

“Mientras Me Curo Del Cora,” Karol G

“De Todas Las Flores,” Natalia Lafourcade

“Ojos Marrones,” Lasso

“La Fórmula,” Maluma & Marc Anthony

“Despechá,” Rosalía

“Correcaminos,” Alejandro Sanz Featuring Danny Ocean

Griselda Flores: I think Shakira and Bizarrap should win and will win. “Shakira: Bzrp Music Sessions, Vol. 53” is the perfect example of a song that should be up for record of the year, because this honors the producer and Bizarrap is super hot right now. Pair him up with Shakira, who’s had a massive year, and they double their chances of winning. They are two well-known names for voters, and because of that and because the production of this song is incomparable, it deserves to win. That music session also had a massive impact culturally — it was playing everywhere!

Leila Cobo: The Shakira Bizarrap session should win. I think that the way Bizarrap produced this track is really masterful — so is the way he produces every track for every artist, but what he did here, just like quoting her old songs and making the references that are both lyrical and musical, is so clever. He was able to read her. There’s a lot to discover in that song, and I think from a production standpoint, it was brilliantly done. It’s a great example of production and songwriting being done at the same time — you could almost see this whole thing being created before your eyes. However, I’m not sure it will win. Voters might go for Christina Aguilera’s “No Es Que Te Extrañe,” Pablo Alborán’s “Carretera y Manta” or Fonseca and Juan Luis Guerra’s “Si Tú Me Quieres,” which is a beautiful song.

Sigal Ratner-Arias: I agree with you, Leila. I feel that Bizarrap’s song with Shakira stands out, because it’s so different and so original musically, in terms of the lyrics and how it’s put together. It’s very masterfully done, every detail of the song is perfect. On the other hand, I don’t know if it’s going to win, because it could go to “Si Tú Me Quieres,” which is very beautiful. I re-listened to Lasso’s “Ojos Marrones” and I think it’s perfect pop from start to finish and beautifully produced. That has a chance, too.

Isabela Raygoza: Not to jump on the bandwagon but the Shakira-Bizarrap session is also my favorite, although I suspect the winner could be Natalia Lafourcade’s “De Todas Las Flores.” I think it’s such a beautiful recording. She’s a darling for the Latin Grammys and it was captured on analog tape and produced by Adan Jodorowsky, the French-Mexican producer, who is a fantastic musician. The live instruments and how the orchestration comes together really did it for me. I predict that song will win, but my favorite is Bizarrap and Shakira’s session.

Natalia Lafourcade

Natalia Lafourcade performs in concert during Noches del Botánico Music Festival at Real Jardín Botánico Alfonso XIII on July 8, 2023 in Madrid, Spain.

Jessica Roiz: I would love to see Shakira and Bizarrap take it, because it would make a statement given how powerful this song was when it dropped at the beginning of the year. However, I do have other favorites on this list that have grown on me musically. “La Formula” is one of those, because it has really good melodies — it’s not your typical salsa song, it has some urban in there. I feel that the Recording Academy noticed it too, and that’s why it’s on the list. But I also agree with Sigal about “Ojos Marrones.” I wouldn’t be mad if Lasso takes it.

Ingrid Fajardo: It would be nice if Shakira won, but I feel that it also might not go to her. I agree about “Ojos Marrones” having a big chance, but my favorite is Karol G’s “Mientras Me Curo del Cora.” The way they created that song with the chorus really moved me. That added a lot to the production.

La Cu4rta Hoja, Pablo Alborán

A Ciegas, Paula Arenas

De Adentro Pa Afuera, Camilo

Décimo Cuarto, Andrés Cepeda

Vida Cotidiana, Juanes

Mañana Será Bonito, Karol G

De Todas Las Flores, Natalia Lafourcade

Play, Ricky Martin

EADDA9223, Fito Paez

Escalona Nunca Se Había Grabado Así, Carlos Vives

Ratner-Arias: Natalia is on the list and she is a darling, and presents another album with classic sounds and deep lyrics, folkloric and poetic sounds. But Karol’s Mañana Será Bonito presents a very contemporary and eclectic album with an inspiring message of empowerment, and it touched the hearts of so many people. This is the album of the year with songs like “Provenza,” “Mientras Me Curo del Cora,” “TQG” with Shakira. It should win, and hopefully it will.

Cobo: I second all of that. And yes, the Latin Grammys could make a statement by giving it to a woman, but also give value the things that are [commercially] successful. But Juanes or Natalia Lafourcade could also win.

Flores: I will say these are all solid albums — it’s a tough choice. I had to write up this category for our Latin Grammys guide, so I listened to all the nominated sets and some here are truly moving. Paula Arenas and Andres Cepeda’s respective albums are really gorgeous. But I do have to say that Mañana Será Bonito, being as intentional as it is and a history-making album, should win and will win. Karol G deserves that recognition. I’m rooting for her.

Fajardo: Karol’s album was a complete mix of everything, and it was super empowering, but in a soulful way: the importance of healing yourself. That album made me feel all the emotions, and you don’t always connect like that with an entire album.

Raygoza: I actually also really like Carlos Vives’ album. I know it’s not a popular choice, but it’s a beautiful contribution to Latin music in general. While he continues to update vallenato for this generation, he does resurrect the music de Rafael Escalona, whom he famously played in his telenovela. He delivers that zest for life, the music, the production, and I really love that he honors Escalona’s unique way of songwriting. The lyrics and the music are beautiful, and it offers diversity to the Latin genre.

Roiz: Maybe Carlos Vives can take this one. He puts so much hard work and research into all his projects. He’s so passionate about his genre, and that reflects in his music, so I feel that his hard work will be rewarded as album of the year. He goes that extra mile to bring out these types of albums, like he did with Cumbiana. But I also think Vida Cotidiana by Juanes could win because it’s Juanes’ comeback album. But Karol G’s Mañana Será Bonito should win. More than Karol experimenting with genres, it really shows her healing process, and it made a lot of us heal along with her.

Carlos Vives

Carlos Vives in 2023.

“Acróstico,” Kevyn Mauricio Cruz Moreno, L.E.X.U.Z, Luis Fernando Ochoa & Shakira, songwriters (Shakira)

“Amigos,” Pablo Alborán & Maria Becerra, songwriters (Pablo Alborán Featuring Maria Becerra)

“De Todas Las Flores,” Natalia Lafourcade, songwriter (Natalia Lafourcade)

“Ella Baila Sola,” Pedro Julian Tovar Oceguera, songwriter (Eslabon Armado, Peso Pluma)

“NASA,” Edgar Barrera, Camilo & Alejandro Sanz, songwriters (Camilo & Alejandro Sanz)

“Ojos Marrones,” Luis Jiménez, Lasso & Agustín Zubillaga, songwriters (Lasso)

“Shakira: Bzrp Music Sessions, Vol. 53,” Santiago Alvarado, Bizarrap, Kevyn Mauricio Cruz & Shakira, songwriters (Bizarrap Featuring Shakira)

“Si Tú Me Quieres,” Fonseca, Yadam González & Yoel Henríquez, songwriters (Fonseca & Juan Luis Guerra)

“TQG,” Kevyn Mauricio Cruz, Karol G, Ovy On The Drums & Shakira, songwriters (Karol G Featuring Shakira)

“un X100to,” Bad Bunny, Edgar Barrera, Marco Daniel Borrero & Andres Jael Correa Rios, songwriters (Grupo Frontera Featuring Bad Bunny)

Flores: I would love to say that “Ella Baila Sola” is going to win, but I think this made more sense as record of the year, because the sound is so refreshing and it put at the forefront a new style of musica Mexicana with charchetas, trambones, a tololoche. I’m not sure it has a good chance to win song of the year. My prediction is that “un x100to” will win, because the Academy will want to recognize a regional Mexican song, and with superstar Bad Bunny attached and Edgar Barrera as its songwriter — who is the most nominated artist this year — I think it could take the award.

Cobo: This is a hard one. I think “Ella Baila Sola” could win. It so deserves to win. The other day I was in an Uber with a Cuban driver who he had a playlist of reggaeton, and suddenly “Ella Baila Sola” comes on. This song pierced through everything. This is perhaps the only regional Mexican song that doesn’t live solely on regional Mexican playlists. I think that song should win, I hope it does. It’s a gem. If not, “TQG” by Karol and Shakira could win. But if they are going to go the Grammy way, it could go to Alejandro Sanz and Camilo for “NASA.”

Pedro Tovar, Eslabon Armado, Peso Pluma

Pedro Tovar de Eslabón Armado y Peso Pluma

Raygoza: I also agree that “Ella Baila Sola” should’ve been in record of the year category. It really gets you up on your feet. It’s transcended so much. This category is one of the most difficult for me because there are so many good ones. I want to mention Shakira’s music session with Bizarrap. Leila wrote a great article where she dissected the lyrics and how forward and upfront it is to name-call someone, but in such a brilliant way. The unapologetic storytelling is a significant departure from the typical breakup song. The songwriting in general is so bold, and I think it would be unconventional for the Academy to award this song, but I do feel that it embodies all characteristics to win this category as well. However, it’s not the song I think will win. Grupo Frontera and Bad Bunny integrated in an incredible way to bring that song to life. The songwriting is very clever, and I love the way that the title “un x100to” juxtaposes the enduring power of love with the short-lived life of a cellphone. Bad Bunny’s way of delivering the song is seamless. It’s an irresistible cumbia, norteño song.

Ratner-Arias: I would love to see that song win but, although it may come as a surprise to you, of all three Shakira songs that are here, the one that has the best chance of winning song of the year is “Acróstico.” It is one of the most sensitive and vulnerable songs, not from a Colombian superstar, but from a mother and wife. It has heartbreakingly sensitive lyrics, written in an acoustic way with the names of her children, and Shakira exhibits a mixture of vulnerability and strength while trying to come out of that dark stage of her life. I think “Acróstico” has a chance.

Roiz: I would say “Ella Baila Sola” and “Un x100to” should win for the reasons you’ve all mentioned. Regional Mexican has had such a big moment, so how can the genre not win song of the year? But also “TQG” is up there for me, because everytime I hear it, I think of how important it is for women now to listen to this song because it’s so full of empowerment. This isn’t the type of songs we grew up with, which had a more submissive theme.

Fajardo: I feel that “NASA” has a high probability of winning. Regardless of the fact that they are all darlings, Camilo, Alejandro Sanz and Edgar Barrera, this song thrives in storytelling. I would also like Shakira and Bizarrap to win — the way they composed the song is incredible.

Borja

Conexión Divina

Ana Del Castillo

Natascha Falcão

Gale

Paola Guanche

Joaquina

Leon Leiden

Maréh

Timø

Flores: I think this is a good best new artist category. Mostly all artists nominated are actually super new. I think GALE should win. For starters, she’s been a songwriter for major artists — that will help her — and now she’s making a space for herself as a recording artist. She’s talented both as a singer and songwriter. Her sound is very different too — she can do pop, rock, ballad, urban. She’s very diverse, and I like what she brings to the table.

Cobo: It’s a big advantage that GALE has written for a lot of big names. She’s been in the room with a lot of writers and producers, a lot of people that vote, and that will go in her favor.

Ratner-Arias: I am between GALE and Joaquina. GALE seems to be a spectacular artist — we saw her in concert last year at Latin Music Week, and she impacted me there. She’s also written for many people, so she has the chops, she has the look, she has everything to be a super artist and she will go far. But the award will go to Joaquina. Since she emerged from Julio Reyes Copello’s Arthouse before signing with Universal, I was impressed by her ability to tell stories with deep themes that affect her generation, with a lyrical and musical sensibility that goes beyond her years.

Juan Luis Guerra told me the other day, “Have you heard Joaquina?,” because he knows I am Venezuelan. He is impressed by her and told me that she reminds him of Shakira in her beginnings. I feel that she has connected with her generation, the girls at her shows sing at the top of their lungs. She has a sweetness, charisma and sincerity that is necessary among so much superficiality. She has much deeper lyrics of the same love that Shakira once sang about in her beginnings.

GALE

GALE photographed on October 3, 2023 at the Faena Forum in Miami.

Roiz: I would like to see GALE take this award. I remember we had a WhatsApp dinner two years ago in Los Angeles for Women’s History Month, and I sat next to her and that’s where I met her. She told me she was so nervous about launching her music career. Everything about her — from her personality to her lyrics about unsolicited D-pics, which is something her generation deals with — is very honest, which I like, and she is like a modern-day Avril Lavigne, a rocker girl who can adapt to any genre. I hope she wins. I’m also a sucker for Leon Leiden because he’s so innovative. He’s also so refreshing, but I don’t think he’ll win.

Raygoza: When I saw GALE sing live in New York, I was very impressed. She reminded me of female rockers of the ’90s. She has that essence — her delivery, her confidence. She’s very cool and very likable. Another nominee I would like to see win is Ana del Castillo. She has a powerful voice and she is very promising in the vallenato genre. She’s been around and has a trajectory in the genre and she boasts a very tough persona. She’s sensual but tough and can hang out with the boys. I like that tough personality in a female to show that badass-ery. Either GALE or Ana would be cool to win the award.

Fajardo: I like GALE. She has a very good chance of winning. I’m with Isabela about Ana del Castillo, because she is the only woman who represents her genre. She may be a bit too sexy, but she is the female version of vallenato. But I’m not sure she has a real chance of winning.

13 Nov 2023

Jung Kook’s ‘Standing Next to You’ Debuts Atop Billboard Global Charts, The Beatles’ ‘Now and Then’ Hits Top 10

Jung Kook’s “Standing Next to You” soars in at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. songs charts (dated Nov. 18). He achieves the third solo leader for a BTS member on each survey, following his own “3D” with Jack Harlow, and “Seven” featuring Latto.

Plus, The Beatles bound into the top 10 on both charts with “Now and Then,” which surges from No. 152 to No. 10 on the Global 200 and launches at No. 9 on Global Excl. U.S.

The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

Jung Kook in Good ‘Standing’ Atop Global 200, Beatles Top 10

Jung Kook’s “Standing Next to You” starts at No. 1 on the Billboard Global 200, with 81.6 million streams and 121,000 sold worldwide Nov. 3-9, following its Nov. 3 release. (In addition to its original version, seven mixes of the song arrived Nov. 6: its Future Funk, Holiday, Latin Trap, PBR&B and Slow Jam remixes and its Band Version and instrumental version.)

Jung Kook, from South Korea, earns his third Global 200 No. 1, and the third solo leader for a BTS member; it’s the first with no accompanying acts. Here’s a rundown, ranked by peak position, of BTS members’ 10 Global 200 top 10s outside the act, with BTS as a group having tallied 11 top 10s, including seven No. 1s:

  • “Standing Next to You,” Jung Kook, No. 1 (one week to date), November 2023
  • “3D,” Jung Kook & Jack Harlow, No. 1 (one week), October 2023
  • “Seven,” Jung Kook feat. Latto, No. 1 (seven weeks), July 2023
  • “Like Crazy,” Jimin, No. 2, April 2023
  • “Slow Dancing,” V, No. 4, September 2023
  • “Left and Right,” Charlie Puth feat. Jung Kook, No. 5, July 2022
  • “That That,” PSY feat. SUGA, No. 5, May 2022
  • “Set Me Free, Pt. 2,” Jimin, No. 8, April 2023
  • “Dreamers (Music From the FIFA World Cup Qatar 2022),” Jung Kook, No. 9, December 2022
  • “The Astronaut,” Jin, No. 10, November 2022

Jung Kook’s “Seven” rebounds 10-2 on the Global 200; Tate McRae’s “Greedy” returns to its No. 3 high from No. 7; Taylor Swift’s “Is It Over Now? (Taylor’s Version) [From the Vault]” falls to No. 4 a week after it debuted at No. 1; and Doja Cat’s “Paint the Town Red” rises 8-5 after four weeks at the summit.

The Beatles blast 152-10 on the Global 200 with “Now and Then,” with 37.6 million streams and 42,000 sold worldwide Nov. 3-9, following its Nov. 2 release. The song debuted a week earlier with 6.4 million streams and 30,000 sold in its first day. A 12-minute film chronicling the track premiered Nov. 2, while the song’s official video premiered Nov. 3.

“Now and Then” (the Fab Four’s first entry since the Global 200 began) is billed as the final Beatles song, first recorded as a demo in 1977 by John Lennon and initially intended for the band’s three-edition Anthology series in the mid-‘90s before being shelved. The song was completed at last by surviving members Paul McCartney and Ringo Starr, among others, after new technology helped extract Lennon’s vocals from the original demo, while George Harrison guitar parts from the initial attempt to finish the track were also incorporated into the song.

Jung Kook No. 1 on Global Excl. U.S., The Beatles No. 9

Jung Kook’s “Standing Next to You” concurrently opens at No. 1 on the Billboard Global Excl. U.S. chart, with 71.2 million streams and 44,000 sold outside the U.S. in its first week.

As on the Global 200, Jung Kook claims his third No. 1 and the third solo Global Excl. U.S. leader for a BTS member (and the first with no accompanying artists). Here’s a recap, ranked by peak position, of BTS members’ 14 Global Excl. U.S. top 10s outside the group, while BTS totals 11 top 10s, including seven No. 1s:

  • “Standing Next to You,” Jung Kook, No. 1 (one week to date), November 2023
  • “3D,” Jung Kook & Jack Harlow, No. 1 (one week), October 2023
  • “Seven,” Jung Kook feat. Latto, No. 1 (nine weeks), July 2023
  • “Like Crazy,” Jimin, No. 2, April 2023
  • “Left and Right,” Charlie Puth feat. Jung Kook, No. 2, July 2022
  • “That That,” PSY feat. SUGA, No. 2, May 2022
  • “Slow Dancing,” V, No. 4, September 2023
  • “Dreamers (Music From the FIFA World Cup Qatar 2022),” Jung Kook, No. 4, December 2022
  • “Love Me Again,” V, No. 6, August 2023
  • “The Astronaut,” Jin, No. 6, November 2022
  • “Rainy Days,” V, No. 8, August 2023
  • “Set Me Free, Pt. 2,” Jimin, No. 8, April 2023
  • “Stay Alive,” Jung Kook, No. 8, February 2022
  • “Vibe,” TAEYANG feat. Jimin, No. 9, January 2023

Jung Kook’s “Seven” holds at No. 2 on the Global Excl. U.S. chart; Iñigo Quintero’s “Si No Estás” dips to No. 3 after two weeks in the lead; Tate McRae’s “Greedy” retreats to No. 4 from its No. 3 high; and Jung Kook and Jack Harlow’s “3D” rebounds 11-5.

Plus, The Beatles debut at No. 9 with their first Global Excl. U.S. hit as “Now and Then” begins with 27.1 million streams and 26,000 sold outside the U.S. Nov. 3-9.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 18, 2023) will update on Billboard.com Tuesday (Nov. 14). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

13 Nov 2023

Ariana Grande & Ethan Slater Pose Backstage at ‘Gutenberg! The Musical!’

Ariana Grande and Ethan Slater are seemingly still going strong.

The duo attended a performance of Gutenberg! The Musical! on Broadway on Sunday night (Nov. 12), and the show’s star Andrew Rannells took to Instagram to share some backstage photos with the attendees, which also included Michael Urie. “We had some big fun in Schlimmer yesterday,” Rannells captioned his post, in which Grande is seen on the third slide posing alongside Slater, Rannells and Urie. “Spamalot’s Ethan Slater AND Michael Urie! Two great guys to eat dreams with. Plus Ariana Grande! It was a perfect Sunday. Go see Spamalot!”

See his post here.

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Earlier this month, Grande was spotted at the St. James Theatre in New York City to support her rumored boyfriend Slater in the first preview performance of Broadway’s Spamalot revival. In an Instagram video shared by user Jim Glaub, who was in the audience, Grande is seen smiling and cheering from the audience.

Reports surfaced back in July that Grande is dating her 31-year-old Wicked costar following her recently reported split from husband Dalton Gomez. Both TMZ and People reported that he and Grande started dating after both of their relationships were over. Slater was previously married to singer Lilly Jay, and the two celebrated their four-year wedding anniversary in November 2022. 

Grande plays Glinda opposite Cynthia Erivo’s Elphaba in Jon M. Chu’s upcoming live-action film adaptation of the Broadway show Wicked, which will be split into two parts. The movie was initially meant to hit theaters on Christmas Day of next year (Dec. 25, 2024). Wicked Part 1 is now set to be released next Thanksgiving (Nov. 27, 2024).

13 Nov 2023

Jason Aldean & Kid Rock to Headline Small-Town Festival Series Rock the Country

Small towns have long played an outsized role in American songwriting, often serving as waypoint between past and present, a place that that some characters leave, others yearn to return and many are left behind.

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For country singer Jason Aldean, the intricate details of life in a small town — from beer runs at the local Amoco station to the smell of White Rain hairspray at a Friday football game — have led to some of the genres most commercially successful songs in the past two decade. Songs such as “Night Train” — a love story about a man who stays connected to his hometown through sound of passing freight trains, or “Amarillo Sky,” which honors a humble farmer whose connection to his family is threatened by drought.

When it comes to documenting life in the “Fly Over States,” Aldean is an unrivaled talent and an obvious choice to headline the inaugural Rock the Country festival series, a traveling country music series spread out across seven small American towns in the Southeast U.S. Produced by Alabama-based producer Shane Quick of LiveCo — creator of the long-running Rock the South country festival in Cullman, Alabama — and Nathan Baugh, president, 46 Entertainment, the festival will also feature headliner Kid Rock on all seven stops and special guests such as Miranda Lambert, Hank Williams Jr., Lynyrd Skynyrd, Koe Wetzel, Brantley Gilbert, Travis Tritt and many more who will appear at different stops on the Rock the Country tour.

Aldean will be joined on the tour by co-headliner Kid Rock. Quick insists the tour is not political, but it’s booking of one of former president Donald Trump’s biggest boosters, and its timing months before the election injects an unavoidable dose amount of political energy into the tour that will be impossible to ignore.

Through Rock the Country, which launches at the Lamar-Dixon Expo Center in Gonzalez, La., on April 5 and 6, Aldean has a rare opportunity to speak to the serious challenges rural America faces over the next few years. First, as the controversy surrounding Aldean’s 2023 song “Try That in a Small Town” demonstrates, it can be difficult for rural America to express itself collectively to the country’s urban populations, and it can also be difficult for some living in major population centers to listen and not be patronizing in their response.

Could the controversy have been avoided had Aldean’s song been a little lighter on the rhetoric? Maybe, but once the conversation becomes a word-for-word litigation over intent and historical context, it becomes difficult to find middle ground.

And yet finding commonality is probably the most effective way to deal with major challenges facing rural communities, like the closure of more than 600 rural hospitals in the near future, according to a recent study by the Center for Healthcare Quality and Payment Reform. Rural communities have also been much harder hit by major economic downturns, leading to higher and longer rates of joblessness and unemployment during recessions.

Whatever direction Aldean decides to, Rock the Country is a rare opportunity for the artist to lift up rural America, and a rare chance for his fans and fans of country music to travel to small towns and celebrate together.

Dates and locations for Rock the Country are listed below. To learn more and buy tickets, visit rockthecountry.com.

  • Gonzalez, La. – April 5 & 6 at Lamar-Dixon Expo Center
  • Ashland, Ky. – April 19 & 20 at Boyd County Fairgrounds
  • Rome, Ga. – May 10 & 11 at Kingston Downs
  • Ocala, Fla – June 7 & 8 at Majestic Oaks Ocala
  • Mobile, Ala. – June 21 & 22 at The Grounds
  • Poplar Bluff, M. – June 28 & 29 at Brick’s Offroad Parks
  • Anderson, S.C. – July 26 & 27 at Anderson Sports and Entertainment Center

rock the country

13 Nov 2023

Fall Out Boy & My Chemical Romance to Headline When We Were Young Festival: See 2024 Lineup

My Chemical Romance and Fall Out Boy are the top headliners on When We Were Young festival‘s 2024 lineup, which was announced Monday (Nov. 13).

The annual punk rock summit will return for a third year to the Las Vegas Festival Grounds, kicking off Oct. 19, 2024. Also on the bill with MCR and FOB are A Day to Remember, Jimmy Eat World, Pierce the Veil, The Used, Simple Plan, Dashboard Confessional and dozens more.

The festival also promises that each group will perform an album in full, with highlights including My Chemical Romance’s The Black Parade, Jimmy Eat World’s Bleed American and A Day to Remember’s Homesick.

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Fans can sign up for tickets now on When We Were Young’s website to receive an access code for the 10 a.m. presale on Friday (Nov. 17). If there are still spots left after the presale, remaining tickets will go on sale to the general public later that day at 2 p.m. PT.

“Now Come One, Come All To This Tragic Affair………………,” wrote My Chemical Romance on the band’s Instagram page, sharing a poster for the festival.

Fall Out Boy also shared the poster to Instagram, writing, “headlining next year’s @whenwewereyoungfest see ya then Vegas ✌️”

The 2024 dates mark When We Were Young’s third year in Vegas, with MCR and Paramore headlining its inaugural festival there in 2022. Last year, Blink-182 and Green Day headlined the bill, which also included 5 Seconds of Summer, All Time Low, 30 Seconds to Mars, Good Charlotte, The Offspring, Something Corporate, Yellowcard and more.

See When We Were Young Festival’s 2024 lineup announcement below:

When We Were Young

13 Nov 2023

Taylor Swift’s ‘Cruel Summer’ Returns to No. 1 on Hot 100, Jung Kook & The Beatles Debut in Top 10

Taylor Swift’s “Cruel Summer” rebounds for a third week at No. 1 on the Billboard Hot 100 songs chart. Three weeks earlier, it became her 10th career leader. It takes over for her 11th, “Is It Over Now? (Taylor’s Version) [From the Vault],” which interrupted the reign of “Cruel Summer” with its No. 1 debut a week ago.

Elsewhere in the Hot 100’s top 10, Jung Kook’s “Standing Next to You” debuts at No. 5, marking the BTS member’s third solo top 10, and The Beatles return with “Now and Then,” their landmark 35th top 10 – extending their record for the most among groups – and their first since 1996.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Nov. 18, 2023) will update on Billboard.com Tuesday (Nov. 14). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

In the Nov. 3-9 tracking week, “Cruel Summer” drew 77.8 million radio airplay audience impressions (up 3%) and 13.8 million streams (down 9%) and sold 4,000 downloads (up 17%), according to Luminate.

The single scores a fourth week at No. 1 on the Radio Songs chart; rebounds 21-8 on Streaming Songs, following a week at on top; and falls 12-19 on Digital Song Sales, also after a week in charge.

A week ago, Swift’s “Is It Over Now? (Taylor’s Version) [From the Vault]” soared in at No. 1 on the Hot 100, supplanting “Cruel Summer,” which dropped to No. 6, as parent album 1989 (Taylor’s Version) launched atop the Billboard 200 chart and all 21 songs from the set infused the Hot 100.

As “Cruel Summer” reclaims the baton atop the Hot 100, Swift becomes the second artist in the chart’s archives to reign with a song, take over at No. 1 with a different track, and directly return to the summit with that first leader. In 2021, BTS led for seven weeks with “Butter,” halted the song’s command with a No. 1 debut for “Permission to Dance” and then returned to the top the following week with “Butter” (which ran up its rule to 10 total nonconsecutive weeks).

As previously noted, “Cruel Summer” was originally released on Swift’s 2019 Republic Records album Lover before being promoted as a single and gaining new prominence as the superstar has performed it on her The Eras Tour this year.

1989 (Taylor’s Version), meanwhile, notches a second week at No. 1 on the Billboard 200. “Is It Over Now? (Taylor’s Version) [From the Vault]” descends to No. 3 on the Hot 100, down 34% to 21.1 million streams – as it spends a second week atop Streaming Songs – and down 61% to 2,000 sold. Being promoted as a radio single, it boasts 16.1 million airplay audience impressions, up from 4.7 million the week before, as it debuts at No. 41 on Radio Songs and wins the Hot 100’s top Airplay Gainer award.

In between Swift’s songs in the Hot 100’s top three, Doja Cat’s “Paint the Town Red” rises 4-2, after it led for three nonconsecutive weeks beginning in September. It posts a 10th and 11th week, respectively, atop the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

SZA’s “Snooze” ascends 8-4 on the Hot 100, after reaching No. 2, as it rules the multi-metric Hot R&B Songs chart for a 15th week.

Jung Kook’s “Standing Next to You” enters the Hot 100 at No. 5 with 10.6 million streams, 400,000 in radio audience and 99,000 physical and digital singles sold combined, following its Nov. 3 release on his debut solo album, Golden – which opens at No. 2 on the Billboard 200. (In addition to its original version, seven mixes of the song arrived Nov. 6: its Future Funk, Holiday, Latin Trap, PBR&B and Slow Jam remixes and its Band Version and instrumental version.)

The track is Jung Kook’s third Hot 100 top 10. Here’s a recap of all four top 10s so far by BTS members apart from the group, ranked by peak position. As a group, BTS boasts 10 top 10s, including six No. 1s.

Peak Pos., Date, Artist, Title:

  • No. 1, one week, July 29, 2023, Jung Kook feat. Latto, “Seven”
  • No. 1, one week, April 8, 2023, Jimin, “Like Crazy”
  • No. 5 (to date), Nov. 18, 2023, Jung Kook, “Standing Next to You”
  • No. 5, Oct. 14, 2023, Jung Kook & Jack Harlow, “3D”

“Standing Next to You” concurrently debuts at No. 1 on Digital Song Sales, with 84,000 downloads sold, as Jung Kook earns his fourth leader on the list.

Zach Bryan’s “I Remember Everything” featuring Kacey Musgraves climbs 11-6 on the Hot 100, after it led for a week upon its debut in September. It tops the multimetric Hot Rock & Alternative Songs and Hot Rock Songs charts for an 11th week each and Hot Country Songs for a seventh frame.

The Beatles bound onto the Hot 100 at No. 7 with “Now and Then” with 11 million streams, 2.1 million in radio reach and 73,000 physical and digital singles sold combined Nov. 3-9, following its Nov. 2 release. The song debuted on the Hot 100’s Bubbling Under chart (which ranks the top titles yet to hit the Hot 100), at No. 5, a week earlier, with 2.6 million in airplay audience, 2.3 million streams and 17,000 sold in its first day. A 12-minute film chronicling the cut premiered Nov. 2, while the song’s official video premiered Nov. 3.

“Now and Then” is billed as the final Beatles song, first recorded as a demo in 1977 by John Lennon and initially intended for the band’s three-edition Anthology series in the mid-‘90s before being shelved. The song was completed at last by surviving members Paul McCartney and Ringo Starr, among others, after new technology helped extract Lennon’s vocals from the original demo, while George Harrison guitar parts from the initial attempt to finish the track were also incorporated into the song.

The song was made available for purchase as a download, on cassette and via six vinyl versions: 7” and 12” black vinyl; 7” clear vinyl; 7” blue/white marble vinyl; 7” light blue vinyl; and a Target-exclusive 12” red vinyl (as well as for pre-order on CD).

With the song’s Hot 100 debut (The Beatles’ second-highest, after “Let It Be” launched at a then-record No. 6 in 1970), The Beatles mark multiple new chart milestones.

Most Hot 100 top 10s among groups: “Now and Then” becomes The Beatles’ 35th Hot 100 top 10, extending their record for the most among groups. The Rolling Stones rank second among groups with 23 top 10s, followed by Chicago and The Supremes, each with 20.

Most Billboard Hot 100 Top 10s:

  • 76, Drake
  • 49, Taylor Swift
  • 38, Madonna
  • 35, The Beatles
  • 32, Rihanna
  • 30, Michael Jackson
  • 29, Elton John
  • 28, Mariah Carey
  • 28, Stevie Wonder
  • 27, Janet Jackson
  • 26, Justin Bieber
  • 25, Lil Wayne
  • 25, Elvis Presley (whose career start predated the Hot 100’s inception)

Longest span of Hot 100 top 10s, excluding holiday songs: The Beatles first hit the Hot 100’s top 10 on the chart dated Jan. 25, 1964, with their iconic U.S. breakthrough single “I Want to Hold Your Hand” – which became the first of their record 20 No. 1s. They now claim a span of top 10s of 59 years, nine months and three weeks, the longest excluding holiday fare. They surpass Elton John, who has logged a top 10 span of 51 years, seven months and three weeks, dating to his first frame in the bracket with “Your Song” (Jan. 23, 1971) and running through “Hold Me Closer,” with Britney Spears (Sept. 10, 2022).

(Including holiday songs, the late Andy Williams holds the record for the longest span of an act appearing in the Hot 100’s top 10: 63 years, two months and three weeks, from his first week in the tier with “Lonely Street” in October 1959 through “It’s the Most Wonderful Time of the Year” during last year’s holiday season.)

Beatles get back to top 10 after 27 years: The Beatles achieve their first Hot 100 top 10 since “Free as a Bird,” from the Anthology series, hit No. 6 on the Jan. 6, 1996-dated chart. They end a break of 27 years, 10 months and two weeks between top 10s – the longest for an act, excluding holiday music, with sole billing on bookending top 10s. Among all waits between top 10s (again, not including holiday hits), The Beatles end the fifth-longest break; as a soloist, McCartney ranks third.

Longest Breaks Between Hot 100 Top 10s, excluding holiday songs:

  • Ozzy Osbourne: 30 years and three months, between “Close My Eyes Forever” with Lita Ford in 1989 and Post Malone’s “Take What You Want” featuring Osbourne and Travis Scott in 2019
  • Dobie Gray: 30 years, two months and one week, between “Drift Away” in 1973 and Uncle Kracker’s cover featuring Gray in 2003
  • Paul McCartney: 29 years and two weeks, between “Spies Like Us” in 1986 and “FourFiveSeconds” with Rihanna and Kanye West in 2015
  • Santana: 28 years, seven months and two weeks, between “Black Magic Woman” in 1971 and “Smooth” featuring Rob Thomas in 1999
  • The Beatles: 27 years, 10 months and two weeks, between “Free as a Bird” in 1996 and “Now and Then” in 2023
  • Billy Ray Cyrus: 26 years and eight months, between “Achy Breaky Heart” in 1992 and Lil Nas X’s “Old Town Road” featuring Cyrus in 2019
  • Aqua: 25 years, nine months and three weeks, between “Barbie Girl” in 1997 and “Barbie World” with Nicki Minaj and Ice Spice in 2023

Top 10 in a fourth decade: The Beatles become the lucky 13th act with Hot 100 top 10s in four or more decades, having now ranked in the region in the 1960s, ‘70s, ‘90s and 2020s. Michael Jackson and Andy Williams lead with top 10 placements in five decades each. The Beatles join Aerosmith as the only groups in the elite club.

Click here for a look at all 13 acts with Hot 100 top 10s in four or more decades.

Most Hot 100 hits among bands: “Now and Then” also marks The Beatles’ 72nd Hot 100 hit overall (and their first since Anthology single “Real Love,” which reached No. 11 in 1996 as the follow-up to “Free as a Bird”). They extend their mark for the most entries among bands that play their own instruments (and rank second among all multi-member acts only to TV troupe the Glee cast’s 207).

Among all bands, The Beatles lead over The Rolling Stones (57 Hot 100 hits), The Beach Boys (55) and The Temptations (53).

Below The Beatles on the latest Hot 100, three country hits round out the top 10: Luke Combs’ No. 2-peaking “Fast Car” (13-8) and Morgan Wallen’s “Thinkin’ Bout Me” (17-9), after it reached No. 7, and “Last Night” (15-10), following 16 weeks at No. 1 beginning in March – the longest reign ever for a non-collaboration.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 18), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 14).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

13 Nov 2023

PinkPantheress Isn’t Afraid to Label Her Biggest Hit To Date ‘Crap’

One of the most useful tools in a young artist’s toolbox is the ability to know when they’ve missed the mark. And though she’s only a few years into the game, British singer PinkPantheress (born Victoria Beverley Walker), 22, told The Guardian in a new interview that she, frankly, thinks the remix of her high-energy UK No. 2 Jersey Club-style hit “Boy’s a Liar,” as well as the original, are “crap.”

“I didn’t expect that it to be my biggest song,” said the singer of the track that has become her most-streamed song to date; the remix featuring Ice Spice is also the rapper’s top-streaming track. “I thought on an internet level it was going to be big. I didn’t expect it to be big on the radio.”

To be clear, the singer said both the original single and the “Boys a Liar, Pt. 2” remix with Spice — the latter hit No. 1 on Billboard‘s radio airplay chart in May and No. 3 on the Billboard Hot 100, while the original also charted on the pop airplay and adult pop airplay charts — are “crap.” She explained that she’s convinced that “the songs that are not my greatest are the ones that do better.”

Don’t get her wrong, she does like some of her songs, such as her personal favorite, “I Must Apologise,” from her debut 2021 To Hell With It mixtape. But even some of the tracks on her just-released debut album, Heaven Knows, are already prepped for the rubbish bin in her mind. She dubbed the mellow R&B song “internet baby” a non-starter, though she is quite psyched about “Angel,” her dreamy contribution to the Grammy-nominated Barbie soundtrack.

“It was so much fun. I was really excited to be asked,” she said. “I loved the actual process of meeting the director. I got to meet [soundtrack producer] Mark Ronson. I went on set.”

Check out the “Boy’s a Liar, Pt. 2” remix video below.

13 Nov 2023

R&B/Hip-Hop Fresh Picks of the Week: BJ the Chicago Kid, Sinkane, Kevin Gates, Elmiene & More

Nothing stops New Music Friday — not even Grammy nominations.

Although 2023 MVPs like Ice Spice, 21 Savage, Drake and Nicki Minaj racked up the rap field nominations for the upcoming 66th annual Grammy Awards, last Friday (Nov. 10) offered a litany of music beyond those four 2023 Billboard Music Awards finalists. Last week saw new albums from the likes of Brandy, YoungBoy Never Broke Again and Kodak Black, but those weren’t the only notable releases to update your weekly playlists with.

With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from BADBADNOTGOOD’s gorgeous rework of an Elmiene standout to BJ the Chicago Kid and Chloe Bailey’s sultry, synthy link-up.

Explore

See latest videos, charts and news

See latest videos, charts and news

Be sure to check out this week’s Fresh Picks in our Spotify playlist below.

Freshest Find: Sinkane feat. Tru Osborne, “Everything is Everything”

For his first new song since 2019’s Dépaysé album, Sudanese-American singer Sinkane chose to ground his lyrics in the harsh realities of the Black living experience. Written and composed by bandleader Ahmed Gallab with vocal contributions from Harlem-bred artist Tru Osborne, “Everything Is Everything” is an amalgam of free jazz, Sudanese pop, gospel, funk and rock. A hearty choir provides a strong anchor for the arrangement, while Sinkane and Tru’s harmonies add splotches of color throughout the track. “The tides of change / Serve great purpose in our every day / My people, we will find our way,” Sinkane sings, with a hopefulness that consistently permeates the darker truths that the song explores.

Elmiene, “Marking My Time (BABDBADNOTGOOD Edit)”

Elmiene dropped off his debut major label EP, Marking My Time, last month, and to continue his promotion of the project, he’s released a reworked version of the title track, helmed by Canadian experimental jazz collective BADBADNOTGOOD. Here, the group reimagines Elmiene’s original with heavy splashes of R&B and psychedelic, specifically of the ’70s persuasion. Elmiene’s vocal is predicated on allegiance to subtle dynamism, and it’s that steady build that grounds the winning remix.

Rick Ross, Meek Mill & Cool & Dre feat. BEAM, “Go To Hell”

Hip-hop heavyweights Rick Ross and Meek Mill unleashed their highly anticipated Too Good To Be True joint album last week (Nov. 10), and this collaboration with BEAM and Cool & Dre is an immediate standout. Heavily nodding to Tears for Fear’s “Shout,” “Go To Hell” finds the two rappers deep in their braggadocio as they trade bars about their wealth, their escapes from the feds, and how much status and clout they have in whatever room they choose to walk into. “Bitch boys run to social media / Rich n—a, name in Wikipedia / If I f–k her once, she wanna f–k me twice / All the real n—as clique up, let’s get rich tonight,” Rozay raps.

Kevin Gates feat. B.G. & Sexyy Red, “Yonce Freestyle”

In a way, Kevin Gates and Sexyy Red are perfect foils: two devil-may-care rappers who are unafraid to embody and celebrate the grimiest parts of sex and sexuality, with a healthy dash of humor to add some levity to the whole affair. On “Yonce Freestyle,” the pair’s new collaboration which also features NOLA rapper B.G., the two maximize their similarities — even if the end result is a bit tamer than what some may expect. “Yonce Freestyle” is a well-crafted club banger, with a murky Southern hip-hop beat courtesy of ProdByJM, EJ Grimes and Juko, and a perfect laid-back ratchet tone from Sexyy.

BJ the Chicago Kid feat. Chlöe, “Honey”

BJ the Chicago Kid also released an album last week (Gravy), and that project featured loads of collaborations for R&B lovers. Among those impressive duets is the Chloe Bailey-assisted “Honey.” Landing squarely in the disco-tinged pop that has dominated mainstream top 40 for most of the young decade, BJ and Chlöe deliver a sexy, synth-laden collaboration that balances come-hither euphemisms with some outstanding harmonic choices. Between a surprisingly smooth vocal blend and a bright, clean mix, this just might be Chlöe’s best release of the year.

Ben Hughes, “What Was It For?”

For the opening track of his forthcoming Manha EP, UK musician Ben Hughes opts for a breezy guitar and drum-forward groove. “What Was It For” fits nicely in the landscape of contemporary British R&B, and Hughes’ careful vocal approach works alongside the instrumentation instead of towering over it. It’s a very soft and lush number — an air that offers a smart counterbalance to the melodrama of the lyrics. “Bring me peace / And heal my wounds / I’m bleeding out / Just for you,” he croons.

13 Nov 2023

Hilarie Burton Predicts Taylor Swift & Travis Kelce Will ‘Be Engaged by May’

Hilarie Burton is calling it: Travis Kelce and Taylor Swift will be “Mr. and Mrs.” by spring 2024.

Following Swift’s adorable lyric change at her Argentina Eras concert this weekend, in which she gave Kelce a special shoutout by altering the bridge of “Karma” — “Karma is the guy on the Chiefs coming straight home to me” — Burton tweeted her prediction on Sunday (Nov. 12) that wedding bells will ring in the new couple’s near future.

“They are gonna have the most flannel lined, pie and red ribbon kinda Christmas….,” tweeted the One Tree Hill actress, re-sharing a video of Kelce smiling at the pop star’s gesture from his VIP tent in the audience. “And then these babies are gonna be engaged by May.”

Burton went on to theorize that Swift decided to change her lyrics just for Kelce because, unlike the Kansas City tight end, “every other guy made her feel like she had to downplay her own work.” “This big ol beefy tree of a man is holding up signs and singing along! Catching her as she runs offstage?!?!” she added. “Get a man who lights up when you win. ?”

The White Collar alum is far from the only fan placing bets on Swift and Kelce’s future nuptials, with one person commenting on her post, “I say February if he wins the superbowl! February 14th precisely.” Others speculated that a proposal will be in the books by summer of next year, while one Swiftie reckons it’ll happen within the next six months.

Why is the internet suddenly certain that Swift and Kelce are end game? It probably has something to do with the fact that shortly after her “Karma” lyric switch, Swift was captured in a now viral video running into the athlete’s arms and planting a big kiss on him backstage. Fans also loved how supportive Kelce looked while watching the pop star perform, with videos showing he danced along and held up a “We will stay” sign throughout the night.

In addition to recently being nominated for six Grammys, Swift is the top finalist at the 2023 Billboard Music Awards with 20 nods. The ceremony will stream on Sunday, Nov. 19, and will be available at BBMAs.watch, as well as Billboard and the BBMAs’ social channels.

See Hilarie Burton’s tweets predicting Taylor Swift and Travis Kelce’s engagement below:

13 Nov 2023

Billie Eilish Has No Problem With Her Pal Lil Yachty Rapping About Her Breasts: ‘I Think It’s Fun!’

Being a teenager is hard enough. But being a teenager and trying to figure out how you feel about your body while the whole world is watching (and commenting) sounds like a nightmare. That, though, is basically the gauntlet Billie Eilish said she had to run early in her career, when any rando with a keyboard felt emboldened to say the first thing that popped into their head about the singer’s figure.

“I have big boobs. I’ve had big boobs since I was nine years old, and that’s just the way I am. That’s how I look,” she told Variety magazine in an interview in which Eilish explained that she was never trying to “have people not sexualize me.” She did, however, until recently restrict access to her body by wearing her signature baggy outfits because on the rare occasions when she did show some skin — such as wearing a tank top in public when she was 16 — it set off a media frenzy and unwanted attention. “You wear something that’s at all revealing, and everyone’s like, ‘Oh, but you didn’t want people to sexualize you?,’” she recalled thinking. “You can suck my a–! I’m literally a being that is sexual sometimes. F–k you!”

She did, however, admit that she had no problem when her pal Lil Yachty rapped “She had big t–s like Billie Eilish, but she couldn’t sing,” on Drake’s “Another Late Night.” Asked if she was offended by the line, Eilish said not at all. “I think it’s fun!” she said of the song from Drizzy’s new For All the Dogs album. “I’m flattered! Yachty is my friend. Drake is my friend. It’s a joke. I do have big t–s. I love it.”

Elsewhere in the chat, Eilish goes into what the writer describes as a “good old-fashioned rant” about the double-standard applied to women in music. “Nobody ever says a thing about men’s bodies. If you’re muscular, cool. If you’re not, cool. If you’re rail thin, cool. If you have a dad bod, cool. If you’re pudgy, love it!” she said. “Everybody’s happy with it. You know why? Because girls are nice. They don’t give a f–k because we see people for who they are!”

The Power of Women interview also touches on Eilish’s Oscar-buzz Barbie song, “What Was I Made For?,” her tenuous relationship with femininity/womanhood and her ardent support for a plant-based diet.