Music

Jovonta Patton’s ‘Always’ Becomes His First No. 1 on Gospel Airplay Chart

In its 29th week on Billboard’s Gospel Airplay chart (dated Aug. 12), Jovonta Patton’s first entry, “Always,” ascends to No. 1. In the tracking week ending Aug. 3, the single increased by 18% in plays, according to Luminate.

Patton, who is based in Minneapolis, solo-authored “Always.”

“As an independent artist, the internet has been a blessing to me in the music industry,” says Patton, referencing his reach on TikTok. “‘Always’ is a personal monumental milestone for me. The pandemic put the world in a state of the unknown. So, instead of using fear, I decided to use prayer. I wrote this song to trust God to heal and provide for me, and the song’s impact has overwhelmed me, how it has connected through radio.”

Previously, Patton notched two No. 1s on the Gospel Digital Song Sales chart, both of which debuted at the summit. “Way Maker” ruled in February 2018 and “Worth It,” with his daughters Ella and Zoe, led in October 2020. He also boasts two No. 1s on Top Gospel Albums: Finally Living (2016) and EP Sanctuary (2019).



Meanwhile, “Always” marks an act’s third initial entry to top Gospel Airplay in 2023. In July, Otis Kemp’s “Daily Bread” reigned for two frames, after Marcus Jordan’s “Call on the Name” led for a week in February.

Quaid’s New Act

Actor Dennis Quaid, who played a quarterback in director Oliver Stone’s 1999 hit film Any Given Sunday, then a pitcher in the 2002 baseball drama The Rookie among many other popular roles, makes his opening pitch on Top Christian Albums.

Released July 28, Quaid’s Christian and country LP Fallen: A Gospel Record for Sinners arrives at No. 15 with 2,000 equivalent album units earned in its first week.

The 12-song set was co-produced by Quaid, who wrote five of the songs solo. It’s not his first foray into music, as he has been performing, writing and recording for many years.

The Houston native, 69 (and younger brother of fellow actor Randy Quaid), also debuts on the Emerging Artists chart at No. 29.

How a 2012 Chart Change May Have Influenced Country’s 2023 Hot 100 Trifecta

When country tracks ranked at Nos. 1, 2 and 3 on the Billboard Hot 100 for the first time in history, it happened in part as a result of reverberations from a significant change in consumption measurements 11 years ago. 

Morgan Wallen’s “Last Night” succeeded on country radio before it spread to other formats. Luke Combs’ “Fast Car” is a remake of a 1988 pop single that earned airplay on multiple formats after it broke out via streaming. Jason Aldean’s “Try That in a Small Town” owes its rise to streaming and downloads spurred by a video controversy.

A study by a Cornell researcher released earlier this year suggests that the introduction of Billboard’s multimetric Hot Country Songs chart in October 2012 changed the industry’s understanding of consumer behavior. In turn, it made gatekeepers and creators more accepting of crossover elements and widened country’s potential in the marketplace. It also allowed Aldean’s release, a song that is far from the most-played one on current radio playlists, to top the charts through other means.

“A Change of Tune: The Democratization of Market Mediation and Crossover Production in the U.S. Commercial Music Industry” — authored by Yuan Shi, assistant professor at the Cornell SC Johnson College of Business — suggests that when the primary chart expanded from radio-only data to a list built on airplay, sales and streaming, consumers replaced broadcasters as the ultimate arbiter of the format’s most popular songs. Those fans are less apt to put boundaries on the definition of country.

“The chart change, what it really does is give more voice to the consumers,” Shi says. “The creators and labels can now see, ‘Oh, this is what consumers want,’ even though they may not get played on radio.”

Exemplifying that phenomenon is “Heartbroken,” a new track by producer/DJ Diplo,pop singer Jessie Murph and hip-hop artist Polo G. Though none of the acts are country-centric, the song fits current standards in the genre and debuted at No. 14 on the Hot Country Songs chart dated Aug. 5, despite a general lack of airplay.

It’s not that the chart single-handedly changed country. But it did reflect consumer interest generated by means other than the radio, where programmers filter the music that’s exposed on the station. Those programmers have a vested interest in maintaining a sound distinct to their format. Shi’s study, which used metadata from crowd-sourced MusicBrainz.com, evaluated 20,000 songs released from 2010-2014. It found that the crossover components of country records released in the two years before the 2012 chart change vacillated frequently. But within three months after the shift to multimetric measurement, the crossover elements in country records became consistently more prominent.

Other significant events occurred at that time. Nashville songwriters began writing more frequently around 2010 with laptops, which led to a larger volume of programmed drums and more acceptance of computer plug-ins, which in turn allowed a wider variety of sounds. Taylor Swift’s “We Are Never Ever Getting Back Together,” marketed to both pop and country, arrived in August 2012, and Florida Georgia Line’s “Cruise,” enhanced by a remix featuring Nelly, was a trend-setting release that same year. “Cruise” topped Hot Country Songs a then-record 24 weeks, demonstrating a level of popularity beyond the three-week No. 1 it achieved on Country Airplay.

At the same time, increases in streaming expanded the titles that were exposed to existing country fans. Simultaneously, younger listeners, some of them attracted by the Swift and FGL singles, began adopting country.

“Gateway drugs — man, they’ll get to you,” jokes 615 Radio Promotions president/radio consultant Brian Jennings, noting that crossover records often bring new fans to the format.

Jennings points to the rise of Kane Brown as one of the early beneficiaries of Hot Country Songs influence. Brown’s early consumption was rooted in streaming, and country radio accepted his blend of ’90s country, hip-hop and pop only grudgingly. He is now one of the genre’s core artists, but might have been missed had the chart not reflected consumers’ interest. 

“It accurately tells the music makers, the music consumers and the music spreaders or radio stations that this format can be far more diverse than we’ve been treating it,” says Jennings. “The audience figured it out long before we figured out how to do the correct chart for it.”

The creators have definitely responded. Songwriters and producers were previously driven almost exclusively by the tastes of country broadcasters, who tend to make safe programming choices to avoid tuneout. With Hot Country Songs reflecting consumer enthusiasm, the increased acceptance of unusual sounds and pop influence have made creators feel more freedom to take risks.

“It’s impossible to say that you’re never thinking about genre,” notes songwriter Jordan Reynolds, a co-writer of Dan + Shay’s broadly influenced “Save Me the Trouble” (see page 10). “But when you’re not as concerned about where it may land, things can get interesting. It’s either going to be really bad or really good.”

The really good chart performances definitely get noticed. Reynolds says Wallen’s chart successes with a variety of styles have made country’s creative community less conscious of boundaries. Shi believes that increased variety has given the genre more entree into the playlists of non-country fans and made those other audiences more curious about country. And that 2012 chart change, while not the sole driver, likely influenced the Wallen/Aldean/Combs trifecta.

“It has gotten bigger — in my opinion, based on my study — in part because country music has now crossed over into these other genres,” Shi says. “It’s bringing together a lot of ingredients from other popular genres like pop, rock, hip-hop, dance, and to an extent, it also brings together the audiences associated with these genres. I think that’s a big driver of the popularity that we’re seeing and also the historic moment.”

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Primary Wave Music, Luther Vandross Estate Team With Waterford for Exclusive Crystal Collection

Luther Vandross’ soulful, luxurious tenor wrapped its way around a string of R&B and pop hits in the ‘80s, ‘90s and 2000s. So it’s only fitting that the Luther Vandross Estate and Primary Wave Music would collaborate with esteemed Irish luxury brand Waterford to launch an exclusive crystal collection.

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Paying homage to the eight-time Grammy winner’s 1981 platinum single “Never Too Much,” the limited-edition Luther 81 X collection will become available on Aug. 10.

Each piece in the Luther Vandross X Waterford collection of cocktail and barware features a karo cut design that underscores a key line in the song’s refrain: “A thousand kisses from you is never too much.” Each crystal piece is also emblazoned with a single hand-cut karo kiss on its base. 

Waterford x Luther Vandross

Waterford x Luther Vandross

Courtesy of Waterford

In an additional salute to the music and legacy of Vandross, who died in 2005, the House of Waterford has designed a unique crystal art piece commemorating the artist’s double-platinum debut album, also titled Never Too Much. The 12-inch wall-mounted crystal disc, set against a steel and brass backdrop, sports 81 polished precision-cut track grooves and a hand-etched center label featuring Vandross’ signature. It took more than 19 hours and four Master Craftsmen to forge the crystal album, using five specialized techniques: mouth blowing, cutting, sculpting, satin finishing and assembling. It will be available for purchase on the Waterford website for $15,000.

“Luther Vandross’ genuine affinity for crystal always mirrored the crystal-clear quality of his voice and spirit,” said Lisa Fruggiero, vp of brand partnerships at Primary Wave Music, in a release announcing the news. “Our collaboration with Waterford beautifully symbolizes this, adding a level of sincerity and elegance that embodies Luther’s legacy in a unique, tangible way.”

Luther Vandross

Courtesy Photo

David Gottlieb, manager of the Luther Vandross Estate, stated, “This unique collection honors Luther Vandross’ timeless legacy, beautifully capturing the spirit of his music in each crystal piece. It’s more than just barware — it’s a testament to Luther’s profound influence on music and his ever-present essence in our lives.”

With support from Waterford, Primary Wave Music and The Luther Vandross Estate, the Luther Vandross Foundation honored the singer’s dedication to helping students and historically Black colleges and universities (HBCUs). Held at Philadelphia’s historic Belmont Mansion earlier this year, the event showcased a custom-cut crystal decanter that prefaced  the Luther 81 X line’s upcoming August launch.

Waterford x Luther Vandross

Waterford x Luther Vandross

Courtesy of Waterford

“Music is an emotional thread that will be integral to our new brand narrative at Waterford,” said Waterford creative director Alice Bastin. “Luther’s music has inspired and bonded generations and his legacy lives on through the important work the Luther Vandross Foundation does. It’s incredibly important to me that Waterford supports the work of the Luther Vandross Foundation and promotes cultural conversations around diversity and inclusivity. It’s an honor for Waterford to be able to contribute to the important work of the Luther Vandross Foundation and to give talented students attending HBCUs the financial aid to further their passions in education.”

The Luther Vandross X Waterford collection will be available on waterford.com. It will also be available exclusively at Bloomingdale’s in the U.S., David Jones in Australia, House of Waterford in Ireland, and Harrods in the U.K. For more information, visit https://www.waterford.com/en-us/collections/collaborations/luther-vandross.

The 50 Most Essential Spanish-Language Rappers of Yesterday and Today

The most essential Spanish-language rappers, the G.O.A.T.s, and the most riveting Masters of Ceremonies, of yesterday and today: It’s a heavy crown that only a few dozen are worthy of upholding, and of passing on its majestic power. As a salute to hip-hop’s golden year, with the genre officially turning 50 on Friday (August 11), the Billboard Latin and Billboard Español teams are uniting to compile a list of the most extraordinary, compelling and commanding Spanish-language hip-hop acts of our generation and beyond. 

As any self-respecting rap pundit knows, hip-hop was born in New York, 1973. But unbeknownst to many is that the Latin immigrant population dwelling in the Bronx played a fundamental part in the genre’s growth. Nuyoricans took the style back to the island, where in the 1990s, it got the tropical treatment in the hands of genre pioneers Vico C, known as the Father of Latin Hip-Hop, streetwise poet Tego Calderón, and her royal reggaetón majesty, Ivy Queen — and later Residente, who revolutionized the style via sardonic wordplay and fearless social commentary.

Through cassettes and bootlegs, the Spanish-language art form traveled far and wide, planting seeds of rap throughout the Hispanophone world. Trailblazers began adopting the lyrical style in Spain during the ‘90s, thanks to the likes of Nach, SFDK, El Chojin and more.

By the turn of the new millennium, the blockbuster Eminem-starring film 8 Mile inspired a movement among the youth in pursuit of winning rap battles, as they flexed their freestyling abilities. Mexican tianguis eventually became a hotbed for battle rap, where batalla heavyweight champ Aczino helped elevate the art form to the next level.

Enter Red Bull’s Batalla de los Gallos — formed in 2005 — which, throughout the years, helped boost the booming scene across Ibero America, snowballing by the years and making stars out of urban kids with lyrical dexterity. There’s also Buenos Aires’ battle rap competition El Quinto Escalón, which began in 2012, where the likes of Paulo Londra, Duki and Wos rose from the Argentine capital’s underground scene to international notoriety, via viral YouTube videos.

Today, Spanish-language rappers continue to play a formidable role in the movement’s evolution and expansion.

In a similar approach to Billboard/Vibe’s 50 Greatest Rappers of All Time list, the Billboard Latin and Billboard Español teams took into account the following criteria in the selection process and ranking: body of work/achievements (charted releases, gold/platinum certifications), cultural impact/influence (how the artist’s work fostered the genre’s evolution), longevity (years at the mic), lyrics (storytelling skills) and flow (vocal prowess.)

Note: We opted not to include the significant contributions of pop-reggaetón acts on this list, or of rappers like Bad Bunny and Anuel AA, who have focused more on reggaetón and the reggaetón lifestyle. This is not a reflection of their rhyming capabilities or commercial success, but rather our attempt at keeping the focus of the list on artists whose output have been more rap-centered. We also aimed to spotlight the most representative rappers of Spanish-speaking countries with foundations in hip-hop, for the sake of diversity.

So without further ado, here are the 50 best Spanish-language rappers — including both solo artists and groups — and let the battles begin!

Riley Keough Describes ‘Chaos’ After Mother Lisa Marie’s Death: ‘There Was a Bit Of Upheaval’

Two months after Daisy Jones & the Six actress Riley Keough was named the sole trustee of her late mother Lisa Marie Presley‘s estate, the star has opened up about the chaos that engulfed her world in the wake of her mother’s passing.

In a new Vanity Fair cover story, Elvis’ only grandchild addresses the swirl of headlines and drama that followed after Lisa Marie’s death on Jan. 12 at age 54 after a hospitalization following cardiac arrest.

“When my mom passed, there was a lot of chaos in every aspect of our lives. Everything felt like the carpet had been ripped out and the floor had melted from under us,” Keough said of the passing of Elvis’ only child; an autopsy determined that a complication Presley experienced following weight loss surgery several years ago that caused a small bowel obstruction was her cause of death.

“Everyone was in a bit of a panic to understand how we move forward, and it just took a minute to understand the details of the situation, because it’s complicated,” Keogh continued. “We are a family, but there’s also a huge business side of our family. So I think that there was clarity that needed to be had.”

Asked to confirm that that clarity has been achieved, Keough said, “clarity has been had.”

The settlement earlier this summer reportedly involved a $1 million payment to Priscilla and the reimbursement of $400,000 in legal fees.

Asked if things between Keough and her grandmother are totally smoothed out, the actress was a bit more guarded, but positive about the possibilities. “Things with Grandma will be happy. They’ve never not been happy,” she said, hesitating before describing the scene after her mother’s passing.

“There was a bit of upheaval, but now everything’s going to be how it was. She’s a beautiful woman, and she was a huge part of creating my grandfather’s legacy and Graceland,” she said of Priscilla. “It’s very important to her. He was the love of her life. Anything that would suggest otherwise in the press makes me sad because, at the end of the day, all she wants is to love and protect Graceland and the Presley family and the legacy. That’s her whole life. So it’s a big responsibility she has tried to take on. None of that stuff has really ever been a part of our relationship prior. She’s just been my grandma.”

As for the conflicting reports about whether Priscilla will be allowed to be buried at Graceland — where Elvis and his parents are interred — Keough said she doesn’t know why that’s even up for debate. “I don’t understand what the drama in the news was about. Yeah. If she wants to be, of course,” she said. “Sharing Graceland with the world was her idea from the start. I always had positive and beautiful memories and association with Graceland. Now, a lot of my family’s buried there, so it’s a place of great sadness at this point in my life.”

The interview also revealed the name of the child Keough welcoming privately via surrogate in August 2022, Tupelo Storm Smith-Petersen, whose first name is a nod to Elvis’ Mississippi birthplace. “It’s funny because we picked her name before the Elvis movie,” Keough says of the Oscar-winning Baz Luhrmann biopic starring Austin Butler as The King.

“I was like, ‘This is great because it’s not really a well-known word or name in relation to my family — it’s not like Memphis or something… Then when the Elvis movie came out, it was like, Tupelo this and Tupelo that. I was like, ‘Oh, no.’ But it’s fine.” The child’s middle name is a nod to her late brother, Benjamin Storm Keough, who died by suicide in July 2020 when he was 27; her brother is also buried at Graceland.

Kylie Minogue Wishes Madonna a ‘Speedy Recovery’ After Recent Health Scare

Add Kylie Minogue to the list of people sending good vibes to Madonna amid the singer’s ongoing recovery from a “serious bacterial infection” that sent her to the ICU in June. In an interview with E! News, Minogue said she hopes that Madonna has a “speedy recovery” from the health scare, adding that she knows the rigors of touring and how being on the road can take a lot out of you.

“I feel for her. I feel for everyone touring, but especially women touring,” said Minogue, who recently announced a Las Vegas residency at the Venetian’s intimate Voltaire venue. “I think it’s just that bit more work for us and it is so taxing on you as a whole. I will definitely be getting my ticket and going to see Madonna when she gets back on the road.”

Minogue, whose 16th studio album, Tension, is due out on Sept. 22, also hinted in a recent interview that she would absolutely embrace a Madonna collaboration. “I would. Of course, I would!” she said about a potential collab between the two pop icons that fans have been trying to manifest for years. “She’s going on tour. I don’t have Madonna’s number but if I was in town and she was in town it would be amazing. The building would probably fall down. We’d need to send out warnings!”

Madonna’s health scare prompted the postponement of the singer’s career-spanning Celebration world tour, which will skip over planned North American dates this summer and instead launch with a European leg in the fall; at press time the rescheduled U.S. dates had not yet been announced.

As she continues to convalesce, Madonna, 64, was spotted — and shouted out— at Beyoncé’s show at New Jersey’s MetLife Stadium last week in one of her first appearances since her hospitalization.

Houston Mayor Confirms Travis Scott Booked to Play Houston on ‘Utopia’ Tour Two Years After Astroworld Tragedy

Hours after Travis Scott revealed on Tuesday (Aug. 8) that he was gearing up for a U.S. tour in support of his just-released chart-topping Utopia album, the mayor of his hometown, Houston, confirmed that the rapper has booked a gig at the city’s Toyota Center later this year.

While Scott has not revealed any of the dates or venues for the outing yet, other than to tease on Instagram “UTOPIA TOUR SOON, US AND EURO DATES SOON TO BE ANNOUNCE, I MISS THE ROAD I MISSS YALLL,” the Houston gig is notable because it will mark the first time since the Astroworld tragedy two years ago that the rapper will take the stage in the city.

According to ABC 13, Houston Mayor Sylvester Turner released a statement on Tuesday that Scott and his promotion partners “booked the Toyota Center for a concert in October.” Turner also noted that the 19,000-seat arena is a different type of venue than the one that hosted Astroworld in 2021, the parking lot at NRG, where 10 people died and hundreds were injured during a deadly crowd crush. Scott and Live Nation are still facing a number of civil lawsuits over Astroworld.

“The Toyota Center has been a good partner with the City of Houston, and we expect this to continue for this and every other concert. Before today’s announcement, Toyota Center representatives convened meetings with public safety officials and the City’s special events office,” the mayor’s statement read. “They will continue working together to ensure this concert’s safety, not unlike the many other concerts and events held at Toyota Center each year.”

A grand jury in Houston decided in June that neither Scott nor the organizers of the festival would face criminal charges in the incident following a 19-month investigation that found there was not enough evidence to support criminal charges against the rapper or other individuals who organized the event.

Though Scott has not confirmed the Houston date, KPRC 2 reported that local law enforcement agencies told the station that leaders in the Houston Police Department were not pleased with the news. “The HPOU found out early last week that Travis Scott would be returning to Houston for two concert dates. October 19th, and November the 20th, were the dates in which were proposed for the return. Like most we were in complete disbelief,” read a statement from HPD Union president Douglas Griffith after what was reportedly a tense meeting with the HPD and a number of officers who expressed their frustrations and safety concerns about the upcoming show by the rapper who in the past has encouraged his fans to “rage” at his shows.

“Only days after the release of a 1,200-page report describing the tragic events that took place during his Astroworld Concert, we are advised just days later that there will be another,” the HPD statement continued. “This is outrageous and the HPOU will be calling for all of our elected officials to stand up and say, Not in our city, not again! We truly do not want to ever make a statement like the one two weeks ago asking for prayers for the families of those lost at a Travis Scott concert.”

At press time a spokesperson for tour promoter Live Nation could not be reached for comment on the HPD’s reported concerns.

Scott celebrated the release of Utopia with a concert at Rome’s Circus Maximus over the weekend which featured a surprise appearance from disgraced rapper Kanye West (who now goes by Ye.) Utopia shot to a No. 1 debut on the Billboard 200 albums chart dated Aug. 12, marking the third-biggest week of 2023 for any album and the largest for any R&B/hip-hop or rap release.

U.N. Slams Response to Johnny Kitagawa Sexual Abuse Scandal

An investigation by the U.N. Human Rights Council has concluded that the late Johnny Kitagawa, for decades the most powerful man in Japanese show business, abused hundreds of boys, and that the agency he founded has still not taken responsibility for the crimes.

Pichamon Yeophantong, a member of the U.N. working group which visited Japan, also criticized the inaction of the government and said it needed to act as “the primary duty bearer to ensure transparent investigations of perpetrators and that victims obtain effective remedies.”

The working group “observed deeply troubling issues” across the Japanese media and entertainment industry, according to Pichamon, who said that the absence of codes and rules around workplace behavior contributed to a culture of “impunity for sexual violence and harassment.”

Born John Hiromu Kitagawa in Los Angeles to a Buddhist priest in 1931, Kitagawa went back and forth between L.A. and Tokyo in his early life and began working at the U.S. embassy in Japan in the 1950s. While there, he recruited a group of teenagers to join a boyband he would manage and christen Johnnys, the name given to the multitude of groups he would go on to create. In 1962, he founded Johnny & Associates Inc. It was instrumental in creating the ‘idol’ group phenomenon, spawned megastar groups such as SMAP and Arashi, and only handled male talent.

An article this month in the weekly magazine Shukan Bunshun quotes a former staff member who worked for many years with Kitagawa at the agency, saying, “More than a case of the president of an idol empire being a sexual abuser, this was a sexual abuser who created an idol empire to groom boys on the way to making their [showbiz] debut.”

Though the recent spotlight shone on Kitagawa’s crimes followed a BBC documentary aired in March Predator: The Secret Scandal of J-Pop, his behavior was an open secret in Japan that was reported on by weekly magazines and covered up by the major media groups.

Indeed, the first allegations were printed in a March 1965 issue of the now defunct Shukan Sankei, when Kitagawa was still working at the U.S. embassy, with Shukan Gendai carrying a report from another victim in April 1981. A number of books written by former talent from Johnnys were published in the 1990s contained accounts of abuse both experienced and witnessed.

In 1999, Shukan Bunshun ran a 10-part series detailing graphic accounts of rape by Kitagawa from a dozen victims. Kitagawa sued the publisher for libel and won damages in the Tokyo District Court in 2002. His victory was reported by all the major newspapers. That decision was partially overturned and the damages were drastically reduced the following year by the Tokyo High Court, which concluded the abuse allegations were largely true. Only two newspapers, the liberal-leaning Asahi Shimbun and Mainichi Shimbun, carried the new ruling, and in smaller articles than they had run on Kitagawa’s previous victory.

All of Japan’s biggest newspapers belong to media groups that include television and radio networks. Kitagawa was ruthlessly effective in controlling the narrative around himself and his stars. It was well known that anything approaching negative coverage of anybody attached to his agency could result in an entire media group losing access to its huge stable of talent.

When Kitagawa died in 2019, then deputy chief cabinet secretary Kotaro Nogami paid tribute to the mogul, saying that he had “trained many idols over many years and left behind huge achievements in the Japanese entertainment industry. I wish to offer my sincere prayers for him.”

Since the airing of the BBC documentary and subsequent Japanese media coverage, dozens more victims have come forward, finally putting names and faces to what had previously been mostly anonymous accounts in weekly magazines.

In May, Takeshi Kitano, arguably Japan’s most recognizable entertainer, weighed in on the Kitagawa sexual abuse scandal. Speaking at the Cannes Film Festival, Kitano told The Hollywood Reporter that “the time of being able to speak up about LGBTQ stuff and sexual harassment has finally come to Japan.” He added, that “these stories have always been around [in our industry].”

Still, there appears a reluctance to fully accept the enormity of the crimes and how the complicity of the media and entertainment businesses helped facilitate pedophilia.

Shortly after the documentary aired, U.S.-born Japanese TV talent Dave Spector tweeted (in Japanese) that he was “Surprised at the difference in tone between the reporter’s insistent Western-style “sense of justice” and victim mentality thinking and that of the people involved in the actual case,” going on to question why they didn’t report about it while Kitagawa was alive if they cared so much.

Another regular on Japanese TV went further. Dewi Sukarno criticized the U.N. group’s visit to Japan on Twitter last month, and said that Kitagawa “loved the children from his agency as if they were his own,” adding that the criticism of him was “bringing disgrace to Japan.”

This article originally appeared in THR.com.

Inside Billboard’s 2023 R&B/Hip Hop Power Players Event Honoring Lil Wayne, Nas, Ice Spice & More

On Tuesday evening (Aug. 8), hundreds of R&B and hip-hop executives gathered in Los Angeles to celebrate one another — and honor 50 incredible years of hip-hop. 

As the red carpet started to jam with guests eager to get the night started, those already inside Billboard’s 2023 R&B/Hip-Hop Power Players event were treated to a warm up set from DJ Jadaboo and passed food courtesy of Fixins Soul Kitchen.

“I’m so excited to see Lil Wayne,” said one attendee. Meanwhile, fellow cover star Nas was getting comfortable in a private booth as Ice Spice did the same one table down.

Soon, Billboard‘s chief brand office Dana Droppo kicked things off with a stellar introduction. She not only set the tone for the evening, but also introduced Billboard executive director, R&B/Hip-Hop, Gail Mitchell. “Gail is the first person to big up her team and the first to fight for coverage that she believes in,” said Droppo. “Thank for you being a tireless champion of this music and of music journalism.”

Mitchell then took the stage (fittingly dressed in gold to honor hip-hop’s 50th) and spoke about how 50 years ago, the very genre being celebrated tonight was dismissed as a fad. She then gave a special shout out to Quality Control CEO Pierre Thomas, winner of Billboard‘s first-ever peer-voted R&B/Hip-Hop Power Players’ Choice Award, before welcoming Antonio “L.A.” Reid to the stage, who presented Larry Jackson with his Executive of the Year Trophy.

From Jackson’s impassioned speech — during which he read a letter from Clive Davis to Billboard written in 1997 — to Lil Wayne revealing his post-party plans, below are the best moments from the special night.

Amy Shark Books Surgery, Cancels North America Tour

Amy Shark will miss her upcoming tour of North America due to an unspecified illness that requires urgent surgery.

The award-winning Australian singer and songwriter broke the news on her social channels.

“In recent days I’ve had some very uncomfortable painful moments and have just found out that I need surgery ASAP,” reads Shark’s post accompanied with a photo of herself wearing a blue hospital gown, and giving the thumbs-down.

“I am choosing to keep the details private but I’m all good DW. I will need a month to recover, meaning I have to cancel the North American tour next month.”

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The post continues, “I’m so sad right now. I’m very sorry but I need to focus on my health for a month. I hope you understand and I promise I’ll be back as soon as I’m recovered. Much love from sad Amy.”

Due to the mystery ailment, Shark misses a U.S. run that includes September shows at Union Stage, Washington, DC; Irving Plaza, New York; Johnny Brenda’s in Philadelphia, PA; and multiple stops in Canada.

Indeed, all dates are scrubbed from her itinerary, with the exception of a homecoming concert Nov. 18 at Optus Stadium, in Burswood, Perth.

With No. 1 hits, multiple ARIA Awards including best female artist, and several APRA Awards, including the coveted song of the year, Shark is one of the biggest starts in her homeland.

Hailing from the Gold Coast, Shark’s (real name: Amy Billings) career took flight with “Adore You”, which placed at No. 2 on Triple J’s Hottest 100 for 2016. Matters have only heated up since.

She has released three albums, 2018’s Love Monster, and 2021’s Cry Forever, for two No. 1s, and, for her work as a judge on Australian Idol, she recently scooped the silver Logie award for best new talent at the Australian TV industry’s annual ceremony, the Logies.