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What will be the No. 1 song of the summer of 2024? With one week of tracking remaining, Post Malone’s “I Had Some Help,” featuring Morgan Wallen, maintains its lead for the coronation, per Billboard’s Songs of the Summer chart. The 20-position Songs of the Summer running tally tracks the most popular titles based on […]
The primary question around Texas country singer Randall King for the last several years has not been if will he break through on a national stage, but when? The answer could well be 2024, as Warner Music Nashville releases a single to country radio. “I Could Be That Rain” has a classic sound that draws from his ‘90s-country influences, and a weather-beaten lyric that rings true to his Amarillo roots.
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“I just flat out love storms, man, being from West Texas, how open it is, how flat,” he says. “They say you can watch a dog run off for three days out there. And you can watch the thunderheads just rolling in, and it’s beautiful.”
The emotions in “I Could Be That Rain” aren’t nearly as beautiful, though, as they are twisted. The protagonist finds himself shut out by his ex, with no chance to get close to her again. If only he could take the place of a rain shower, he could manage to touch her once more. Morphing into a downpour might be a little sci-fi for country, but the broken heart behind it grounds the story.
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“It’s just so real,” King says. “That’s what country music should be.”
Songwriter Mason Thornley developed the title and concept circa 2021 when he heard Brit-pop artist Labrinth’s 2014 ballad “Jealous” on Spotify. That song goes through a list of people and natural elements that may be sharing space with an ex, leaving the singer frustrated that his love interest is moving on when he cannot.
Thornley focused specifically on the rain in the opening image of “Jealous,” believing that that smaller concept could be built into something much larger. “I always thought that was a whole country song in itself,” he says.
Thornley developed the chorus hook and opening line, “Wish I could be that rain,” and wrote the front half of the chorus, personifying a downpour. As raindrops, he fantasized, he could touch his ex’s skin or sing her a song through the rhythm of raindrops on a tin roof.
He pitched the idea in several writing appointments, but didn’t get any traction. Finally, he got a good reception for his rain song during a writing appointment at the office of his publisher, the aptly named Deluge Music. Artist-writer Brian Fuller, one of Thornley’s frequent writing partners, thought humanizing the rain was a bit of an outlier concept, but he saw that as a positive.
“The wackier or weirder the idea, the more interesting it is to me,” Fuller says. “I like being able to chase hooks like that and just see [what happens]. Sometimes they turn out great. Sometimes they don’t turn out at all. But I really loved it. I mean, it wasn’t anything that I hesitated on at all.”
They finished the back half of the chorus – the first line in that exercise, “Wish I could move some clouds into your sunshine,” might be the song’s best – then moved to the first verse, pitched significantly lower to create some drama in the chorus.
“I like to write those big, overarching choruses a lot of times, if you got a singer in the room who can do it,” Thornley says. “Brian’s got a great voice, and it’s not a problem for him to go up and hit those notes.”Going low in the verse allowed for introspection. For that first stanza, they used a July shower to make the protagonist nostalgic, recalling the romantic moments the couple experienced in the rain. For the second verse, the singer contemplates how, if he had morphed into rain, he could affect her in ways he could not as a human.
“It’s not that I’m going to text her, or I’m going to go try to see where she’s at, if she’s at a bar that we used to hang out at, or she’s with her friends,” Fuller says. “I’m not going to drive by her house and see if she’s home. If there’d be a unique way to do this, if there’d be a way that I could get back to her and make her think about me, I know that the rain would be the way to do it.”
They didn’t cut a demo immediately, but when Thornley was on vacation months later, Fuller discovered that Parker McCollum was considering outside songs for a project. “I Could Be That Rain” seemed like a potential match to Fuller, so he asked Thornley if they could finish the demo. Thornley worked on it during his downtime, and when he got back to Nashville, Fuller put a vocal on it.
“Rain” didn’t land with McCollum, so Fuller recorded his own version with producer Joey Hyde. When Durango artist manager Scott Gunter was shopping for a producer for developing vocalist Jake Jacobson, Hyde sent that recording among several others to demonstrate his skills. Gunter listened steadily to “Rain” for weeks before he realized that the song might work for King. Indeed, King was instantly attracted to it, though he called Fuller to make sure it was cool.
Once he got a thumbs-up, King and co-producer Jared Conrad recorded it at Nashville’s Soundstage in July 2023, intent on balancing his ‘90s proclivities with 2020s touches. “I wanted it to still be the traditional country sound that I have, but with a little bit of that darker, modern edge,” King says. “I have a Gary Allan/Dierks Bentley influence in me, that’s kind of ‘Smoke Rings in the Dark.’ And that’s what we wanted on this record. I wanted to put some ‘Smoke’ on it.”
The band played it three times at a slightly faster tempo with okay results, but on the fourth go-round, King suggested steel guitarist Justin Schipper take a more prominent role, playing the opening signature lick and handling the instrumental solo.
“Production-wise, we did try to take it a little more sad,” Conrad says. “I mean, just adding a steel guitar to it helps that immediately.”
King also wanted to weave the feel of rain on a tin roof into the sound. Tim Galloway hinted at that with a pulsing rhythm on bouzouki, a tinny-sounding Greek stringed instrument, but King heightened the effect by asking drummer Evan Hutchings to play in tandem with Galloway, tapping the metallic side of the snare.
When King sang the final vocals for the album, Into the Neon, he held “Rain” back until the end, fearful that its range might destroy his voice for the rest of the songs. “This is by far the hardest record I’ve ever sang in my life,” he says. But he handled a couple full run-throughs well, then Conrad changed things up to focus on specific parts of the song.
“We just chopped it up into the sections so I could do all the low verses together and then move into the choruses,” Conrad says. “But I’m assuming he had practiced it a lot, because in the studio, it felt super natural.”
Warner Music Nashville released “Rain” to country radio via PlayMPE on July 10, making it his first single the label has worked nationally to primary stations. King is confident in its potential.
“It’s a song that people can relate to,” he says. “People understand when you’re hurting and missing somebody. You’re hoping that they hurt and miss you, too. That’s as straightforward as it could go.”
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Few songs withstand time, distinguished by their infectious beats, experimental sounds, poignant lyrics or enduring appeal, rendering them as classics. In partnership with Tres Generaciones Tequila, a brand that champions the journey and not just the destination, we’re on an exploration to roundup the top Get Up Anthems over this next year from these six cities: Houston, Atlanta, New York, Chicago, Miami and Los Angeles. Guided by curated panels, we delve deep into each city’s sonic history, spotlighting tracks that embody resilience, authenticity, and innovation and celebrate the power music has to inspire listeners to get up and chase their passions, in the spirit of perseverance.
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The Top 10 Get Up Anthems from Chicago were crafted through a blend of editorial expertise, data-driven analytics, social impact and personal sentiment, to create a ranked list of the songs which inspired, captivated, and energized the A. In a historical dive from 1973 to present day, the city’s playlist [click HERE to play] features hometown hits that are synonymous with the city’s rich history and culture, hand selected by Chicago’s very own, Twista, Vic Mensa and Dreezy, Billboard editor, Kyle Denis, and moderated by Rocsi Diaz.
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Did they get it right? Or were they off the mark?
Take a look at the Top 10 Get Up Anthems for Chicago:
10. “Kill S**t” – G Herbo and Lil Bibby (2012)
“Kill Shit” is a powerful embodiment of Chicago’s drill movement, a subgenre that captures the raw and often harsh realities of life in the city’s neighborhoods. The track, produced by DJ L, is more than just a song; it’s a declaration of resilience and survival. G Herbo and Lil Bibby’s aggressive delivery and vivid storytelling resonated with a generation of Chicago youth who saw their own lives reflected in the lyrics. While it didn’t chart on the Billboard Hot 100, its influence on the drill genre and the careers of both artists is undeniable. This track served as a catalyst, not just for G Herbo and Lil Bibby, but for the entire drill scene, which would go on to shape the sound of hip-hop for years to come.
9. “This Ain’t What You Want” – Lil Durk (2013)
“This Ain’t What You Want” marked a turning point for Lil Durk, both artistically and commercially. The track’s dark, menacing production, paired with Durk’s introspective lyrics, delves into the complexities of life in Chicago’s streets. It’s not just a song, but a reflection of the tension, struggles, and aspirations that define the drill music scene. By capturing these elements so effectively, Lil Durk solidified his role as one of the most influential voices in Chicago rap. The track also highlighted his ability to blend gritty street narratives with a more polished sound, a balance that would become a hallmark of his later work. It’s a song that helped put Lil Durk on the map nationally, while remaining deeply rooted in the city that shaped him.
8. “Percolator” – Cajmere (1992)
“Percolator” is a quintessential Chicago house track that exemplifies the city’s rich history in electronic music. Cajmere (aka Green Velvet) crafted a minimalistic yet infectious beat that became an instant classic on the dance floors of Chicago’s clubs. The repetitive, hypnotic nature of the track is a testament to the power of simplicity in music production. Though “Percolator” didn’t chart in the mainstream, its impact on the house music scene was profound, influencing countless DJs and producers around the world. The track’s enduring appeal lies in its ability to get people moving, a true “get up” anthem that speaks to the spirit of perseverance and joy that is at the heart of Chicago’s music culture.
7. “Kick, Push” – Lupe Fiasco (2006)
“Kick Push” is a breath of fresh air in the world of hip-hop, offering a narrative that was both unique and universally relatable. Lupe Fiasco’s debut single, produced by Soundtrakk, tells the story of a young skateboarder navigating life’s challenges, using his passion as a means of escape and expression. This was a stark departure from the prevailing themes in hip-hop at the time, and it showcased Lupe’s ability to bring new perspectives to the genre. The song’s smooth, jazzy production complements the storytelling perfectly, creating a track that feels both introspective and uplifting. “Kick Push” didn’t just introduce Lupe Fiasco to the world; it also expanded the boundaries of what hip-hop could be, resonating with listeners who found their own passions reflected in the lyrics.
6. “No Problems” – Chance the Rapper feat. Lil Wayne and 2 Chainz (2016)
“No Problems” is more than just a hit song; it’s an anthem of independence and celebration. Chance the Rapper’s collaboration with Lil Wayne and 2 Chainz on this track from his Coloring Book mixtape embodies the spirit of triumph over adversity. Produced by Brasstracks, the song’s upbeat energy and infectious hook made it an instant favorite, not just in Chicago but across the country. The track’s success—culminating in a Grammy win for Best Rap Performance—is a testament to Chance’s unique approach to music and business. As an independent artist, Chance’s success with “No Problems” sent a powerful message to the industry: you don’t need a major label to achieve greatness. The song resonates deeply with those who have faced obstacles and come out on top, making it a perfect addition to this list of Get Up Anthems.
6. “The Light” – Common (2000)
“The Light” is a beautiful example of how hip-hop can be both deeply personal and universally resonant. Produced by the legendary J Dilla, the track features a smooth, soulful beat that perfectly complements Common’s heartfelt lyrics about love and commitment. Released as part of his Like Water for Chocolate album, “The Light” stands out as a conscious, introspective track that showcases Common’s lyrical prowess. This song had a significant impact on Chicago’s hip-hop scene, as it highlighted a more thoughtful, positive side of the genre at a time when mainstream hip-hop was dominated by more aggressive content. “The Light” not only earned Common a Grammy nomination, but it also solidified his place as one of the most respected and influential voices in hip-hop. It’s a song that continues to inspire listeners to connect with their emotions and express themselves authentically.
5. “Hay” – Crucial Conflict (1996)
“Hay” is a track that encapsulates the eclectic nature of Chicago’s hip-hop scene. Crucial Conflict’s fusion of hip-hop with country vibes created a unique sound that was unlike anything else at the time. The song’s twangy production and catchy hook made it an instant hit in Chicago, and its success helped to shine a spotlight on the city’s West Side. Included in the group’s debut album The Final Tic, “Hay” played a crucial role in expanding the boundaries of hip-hop, showing that the genre could draw on a wide range of musical influences. The song’s success on the Billboard Hot 100, where it peaked at No. 18, is a testament to its broad appeal.
4. “Po Pimp” – Do or Die feat. Twista (1996)
The seminal track from Chicago rap group Do or Die, featuring Twista and produced by The Legendary Traxster, “Po Pimp” is characterized by its smooth, melodic production and rapid-fire verses, epitomizing the Midwest’s unique twist on gangsta rap. The song became a massive hit in Chicago and beyond, reaching No. 22 on the Billboard Hot 100 and played a crucial role in popularizing the “speed rap” style and brought national attention to Chicago’s hip-hop scene.
3. “All Falls Down” – Kanye West feat. Syleena Johnson (2004)
The self-produced standout track from Kanye West’s debut album The College Dropout, “All Falls Down” blends soulful production with introspective, thought-provoking lyrics, featuring a sample of Lauryn Hill’s “Mystery of Iniquity,” reinterpreted with Syleena Johnson’s powerful vocals. Kanye’s commentary on materialism, self-consciousness, and societal pressures struck a chord with listeners, both in Chicago and beyond. The song’s success, peaking at No. 7 on the Billboard Hot 100, solidified Kanye’s place as a leading figure in hip-hop, known for pushing boundaries both musically and lyrically. “All Falls Down” is more than just a hit; it’s a cultural touchstone that continues to resonate with listeners who grapple with similar themes in their own lives
2. “Don’t Like” – Chief Keef (2012)
“Don’t Like” is a raw, unfiltered anthem that became the defining track of Chicago’s drill movement. Produced by Young Chop, the song’s minimalist production and aggressive lyrics capture the stark realities of life on Chicago’s South Side. Chief Keef’s delivery is unapologetically direct, and the song’s hook became a rallying cry for a generation of listeners. The impact of “Don’t Like” was immense, not only in Chicago but across the world, as it introduced drill music to a global audience. The song’s influence is evident in the countless artists who have adopted the drill sound, and its legacy continues to shape the trajectory of hip-hop. The remix by Kanye West and other artists on the G.O.O.D. Music compilation further cemented its status as a modern classic.
1. “Overnight Celebrity” – Twista (2004)
“Overnight Celebrity” is a masterclass in hip-hop production and lyrical delivery, showcasing Twista’s rapid-fire flow over a dramatic, orchestral beat produced by Kanye West. Released as part of Twista’s Kamikaze album, the song is a perfect blend of soulful samples and modern hip-hop, creating a sound that is both timeless and innovative. The track’s narrative of sudden fame and its pitfalls resonates with listeners, making it more than just a club hit. Peaking at No. 6 on the Billboard Hot 100, “Overnight Celebrity” played a significant role in elevating Twista’s status in the music industry, while also highlighting the unique style of rap that Chicago is known for. The song’s impact on the city’s music scene is profound, as it exemplifies the creativity and resilience that have always defined Chicago’s hip-hop culture.
Watch the full discussion HERE and recreate the cocktails that powered the conversation at home! And be sure to follow along on all content for the Get Up Anthems series HERE.
Tres Generaciones Tequila, a 50 year old brand introduced by the family that elevated tequila to a symbol of Mexican pride, and Billboard are partnering together for a year-long celebration of music’s transformative power to unveil the top songs that have energized, uplifted and excited six select cities, known as the ‘Get Up Anthems.’ These playlists are curated through a mix of editorial insight and data analytics, and honor the songs that define each city’s history and culture.
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In an exposed brick warehouse on Chicago’s Westside, hometown legends Twista, Vic Mensa, and Dreezy gathered with Billboard editor Kyle Denis to honor the Windy City’s rich musical heritage. Over Tres Generaciones Tequila’s Chicago Fire cocktail, Rocsi Diaz led a spirited debate on the top 10 Get Up Anthems. After a deep dive into 15 local hits, the group unanimously crowned “Overnight Celebrity” by Twista as the definitive Chicago anthem. Despite Twista’s presence on the cohort, the decision was based solely on the track’s undeniable influence on the city’s cultural landscape.
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“Overnight Celebrity,” a standout from Twista’s 2004 album Kamikaze, is more than a hit; it’s a sonic triumph, a cultural milestone in Chicago’s hip-hop legacy, and a commercial powerhouse. The track, produced by Kanye West, is a testament to the perfect synergy between Twista’s rapid-fire flow and Kanye’s innovative production, a blend that is both artistically innovative and culturally significant.
West’s production blends lush orchestration with hip-hop’s gritty edge. It utilizes a sped-up sample of Lenny Williams’ “Cause I Love You” to craft a dramatic, soul-infused backdrop that perfectly complements Twista’s breakneck delivery. The contrast between Twista’s relentless flow and the soulful strings creates a dynamic tension that propels the track forward. At the same time, the moderate tempo allows listeners to fully appreciate the intricacy and speed of his delivery.
Nationally, the track broke new ground, introducing the Midwest’s unique rap style to a broader audience. Twista’s rapid-fire technique and Kanye’s soulful production offered a refreshing alternative to the dominant East and West Coast sounds. The collaboration of these two future powerhouses symbolized Chicago’s ability to shape the national soundscape. With its themes of fame and aspiration, “Overnight Celebrity” captured the spirit of a city where gritty realism meets ambitious dreams while tapping into the mid-2000s zeitgeist when instant fame became a cultural obsession. Twista’s lyrics offered a sharp commentary on celebrity’s allure and fleeting nature, reflecting the broader shift toward the commercialization of personal identity.
Commercially, “Overnight Celebrity” was a triumph, peaking at number six on the Billboard Hot 100 and topping the Billboard Hot Rap Tracks chart. Its success, with over 312,000 copies sold in its first week, propelled Kamikaze to debut at number one on the Billboard 200. These achievements not only solidified Twista’s place in mainstream hip-hop but also bolstered Kanye West’s reputation as a top-tier producer, making the audience feel the track’s commercial triumph.
“Overnight Celebrity” remains a landmark in Twista’s career and Chicago hip-hop history. Its intricate production, powered by Kanye West’s genius and Twista’s unparalleled lyrical speed, created a track that was as artistically innovative as it was culturally significant. Locally, it became an anthem of Chicago’s hip-hop prowess and redefined the rap landscape nationally.
Watch the full Chicago discussion HERE and be sure to follow along on all content for the Get Up Anthems series HERE
In the “The Stars Behind the Star” franchise, the editors of Billboard Latin and Billboard Español share stories that have not yet been told about those who are not usually in the spotlight. Think “everything you don’t see on camera,” or “everything that happens behind the scenes.” These unsung heroes are essential to an artist’s team and their foundation. Today, we highlight Latin Grammy-winning music video director Carlos Perez.
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Carlos Perez has directed many of Latin music’s most viewed music videos, from Luis Fonsi and Daddy Yankee‘s “Despacito” to Marc Anthony‘s “Vivir Mi Vida.” But one helped change music history forever: “Gasolina” by Daddy Yankee, the first single from his revolutionary album Barrio Fino, which debuted at No. 1 on Billboard’s Top Latin Albums chart in July 2004 and became the best-selling Latin album not only of the year but of that decade.
The song and its respective video, which juxtaposed the adrenaline of racing with the sensuality of dancing women, helped make Daddy Yankee something of a reggaeton Messiah, reviving sales of the Latin genre, introducing a new radio chart in the United States (Latin Rhythm Airplay) and laying the foundation for the urban music that continues to dominate much of the Latin landscape.
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And Perez was much more than the director of “Gasolina”: He worked extensively with Daddy Yankee on the album’s art and marketing campaign, even though they met just six months before Barrio Fino came out thanks to a mutual friend, Raúl López, who was the manager of the Puerto Rican reggae band Cultura Profética.
“I was in the United States and knew very little about reggaeton,” Perez says, “and my friend insisted: ‘Look, reggaeton is what’s coming.’ But I, ignorant of the subject, one day told him that the day I could work with the Jordan of reggaeton was when I was going to work in the genre. He told me, ‘I got it for you; give me a few days.’ And sure enough, days later, I had a meeting [with Daddy Yankee] at Villa Kennedy, a housing project in San Juan, Puerto Rico.”
As far as Perez knew, Daddy Yankee initially needed photos and art for his album, but the first thing the artist told him, he remembers, was: “Tell me everything you can do for this album.”
Director Carlos Perez
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As part of Barrio Fino‘s 20th anniversary, we traveled to 2004 with Perez to learn the details behind the success that inaugurated not only a musical movement but also a lifestyle. Built on a rhythm with an irresistible, global appeal that would eventually form the basis for other movements — from Medellin’s romantic reggaeton to Argentine trap — Daddy Yankee’s album opened doors and inspired subsequent generations of musicians throughout the region.
How long before did you start planning everything for this album?
We met six months before. He told me that he didn’t want to look at what was being done around him in the genre, and we wanted to make a release that, when it came out, would be on par with any release worldwide.
So I made him a proposal for a launch that included something that at that time was not common: the development of identity from the logo, the photography, and the general concept online. It was a launch that monopolized all distribution points. At that time, record labels were outsourced to different people. What I was selling was to make a consistent launch, and to monopolize all the content distribution points with a solid, aspirational image.
What did you think of Daddy Yankee when you met?
The first impression I had was of someone who was very clear about his horizon and his objective, and a person who listened, learned and, in the same way, challenged you. “If this is for this, why can’t it be for this, too?” He is a person who has an innate sense of the market and knows how to market.
For example, I think that, for about a year-and-a-half, he had been announcing the album with “Barrio Fino Coming Soon” in all the songs he recorded. That lets you understand how he already had the name and the concept of what he had been developing long before the album came out. He said that reggaeton had many attributes that allowed it to go global. Among them, it was not just a genre, but it had the culture of dancing, how one dressed, and how one spoke. I had all that very clear.
And did he show you his music that first day?
It was interesting, because I didn’t listen to the album. He has always been very private with music, so I didn’t listen to music until he was already mastering and delivering the album. Yes, I had heard little things, but I remember that he said it was a complete album with a range of musical diversity. He focused with me far beyond the music in the album’s concept of what he wanted to convey around the part. At that time, he did not see that album as something that was a selection of 10 songs; I saw it almost like a movie. I had a visual film behind each song, and that’s how I could explain them to you.
How difficult was it for you to create a concept with a genre that was not your favorite?
For years, he came from a genre called “The Underground.” I had already worked with Ricky Martin, Ricardo Montaner and Olga Tañón, and had made several international releases. So he was precisely looking to create a concept that did not turn its back on the essence of reggaeton, but also had a global look at its identity.
I grew up in the United States, so hip-hop influenced me. He often compared reggaeton with hip-hop, and it was much easier for me to understand where he was coming from and why the genre had all the necessary variables to make a more international release.
What is one of your earliest anecdotes of that time?
We had a second meeting in Miami, and a budget had already been developed. I shared an office with a friend, and we had a house where the first floor belonged to my friend and the second floor was mine, so every time a guest of mine came, we had to go through [his house] and invade the space.
The day Daddy Yankee arrived, my friend was meeting with about ten or twelve executives from the city of Miami. That’s where Yankee arrives with his chains, his cap, and it was quite interesting to see the reactions of all these people when he enters. Obviously no one knew who the guy was, of course, he was new. But just because he was walking around with twenty chains and the cap, everyone was like, “Who the hell is this?” [Laughs]
Apart from “Gasolina,” did you make any other Barrio Fino videos?
Yankee was so clear with the marketing that he figured out that MTV allowed you to deliver a four-and-a-half-minute video, so he decided that for the release, he wanted to include three songs within those four-and-a-half minutes. I mean, it was basically a minute-and-a-half, a minute-and-a-half, a minute-and-a-half.
Then he chooses “King Daddy,” which for him is like the conceptual theme of the character. If you listen to it, it defines the character of the Barrio Fino album. [Also] he chose “No me dejes solo” with Wisin y Yandel, which he thought was one of the most commercial songs on the album. And then “Gasolina,” which he was always very clear about, was “a hit.”
Those three songs were filmed on that first shoot. After that, I also made a video for “Corazones,” one of the album’s hip-hop songs, and we did a couple of other things.
If Daddy Yankee asked you to re-record the video for “Gasolina” today, how much would you change it?
It’s just that when “Gasolina” takes off, MTV obviously asks for a full video of the entire length of the song, but we didn’t have that back then. We talked about having an extra day of shooting because I didn’t think we had enough material. Then the speed was such that what is known today as the “Gasolina” video has different parts. I actually filmed and edited a minute-and-a-half, then someone else — I don’t even know who it was, because my office didn’t handle that — they repeated much of the material. They even added shots to that video that I would never have used.
Also, the resources and the budget with which we worked were very limited, so today would be another film. I would love to re-record the video. They have never talked about it. Well, at one point I think there was talk about doing something for the anniversary, but it never happened. It was the video that I wanted to do again.
Did you ever think you were creating a historic album?
I knew that the concept of the album was special because he also, within his vision for the album, wanted to project a clean image, a more mainstream image. So I was very clear that the title of Barrio Fino was very powerful. I was clear that Raymond was an artist in every aspect, and I knew that we were going to have a release like no other album just because of the fact that we were integrating everything into one. I was very clear when starting Barrio Fino that I was working with the Jordan of reggaeton. That was clear from the beginning. Very clear.
What do you think is essential for a video to become unforgettable?
A good song. You can have all the money in the world, all the creativity in the world, and if the song is s–t… the video is going to be s–t.
Music is the essence of our business. Many people forget that nowadays. There is a lot of talk about algorithms, TikTok and hooks, but there is no longer talk about great songs and great artists. So it is a very saturated industry. Unfortunately, I think there is a saturation of junk music. I still try to be selective.
You often return to work with the same artists over the years, including Daddy Yankee, Ricky Martin, Marc Anthony and others. How important is it to you to create that connection?
The thing is that the creative artist relationship is a relationship like any other: there are people who can see love with a temporary eye, and others who see it in the long-term. I get so involved, and take it so personally for the projects that I get involved in, that it seems to me that it is very important not only to be selective about the song and the music but to be selective about the chemistry that exists and the vision that the client, the singer, or the group have, and how compatible we are. So I have always said that when I sit down with a client or an artist for the first time, I always share with them that I like marriages. I am not a big fan of “one-night stands,” because they are very problematic.
Halsey is asking some big questions on her upcoming album The Great Impersonator, which the pop star announced Tuesday (Aug. 27) alongside an introspective, decades-spanning trailer previewing some of the new music. Dropping about two months after Halsey confirmed they’d been diagnosed with Lupus and a rare T-cell disorder, the trailer opens with the “Without […]
MTV and TelevisaUnivision will partner for the second consecutive year with a live, hosted simulcast of the 2024 VMAs on Wednesday, Sept. 11 at 8 p.m. ET/PT on Univision, the most-watched network among U.S. Hispanics. An encore presentation of the awards show will air on UniMás at 11:30 p.m. ET/PT.
This is a reversal of what transpired last year, when the live simulcast aired on UniMás at 8 p.m. ET and the encore presentation aired on Univision at 11:30 p.m. ET. This platform flip portends a much bigger live audience this year, given Univision’s greater reach.
Univision will bring exclusive show access to its audience, with original, in-show commentary from entertainment host and reporter Alejandra Espinoza throughout the three-hour broadcast, live from New York’s UBS Arena.
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“We’re excited to build on last year’s unique and enormously successful partnership with TelevisaUnivision,” Bruce Gillmer, president of music, music talent, programming & events, Paramount and chief content officer, Music, Paramount+, said in a statement. “Together, we were able to reach the largest live Spanish-speaking audience in VMAs history and deliver +29% [year-over-year] ratings growth. We look forward to celebrating the world’s top artists, including some of the biggest Latin superstars, with our fans around the globe.”
“TelevisaUnivision is excited to partner with Paramount for the second consecutive year to bring the VMAs to our audience,” said Ignacio Meyer, president of U.S. Networks at TelevisaUnivision. “Latin music’s rising influence on mainstream culture is undeniable. We’re proud to be the exclusive Spanish-language home in the U.S. for this year’s award show, offering viewers an in-language, front-row seat to this celebration.”
MTV calls this year’s show the “most global VMAs in show history.” The show will have three Latin performers — Anitta, Karol G and Rauw Alejandro, plus Camila Cabello, who has Latin roots. (The show has also booked K-Pop star LISA.)
Latin and Latin pop crossover music has been an important part of the performance mix on VMA broadcasts since 2018. Last year, four Latin artists performed on the show – Shakira (as part of her Video Vanguard award presentation), Karol G, Peso Pluma and Anitta (the latter both solo and in tandem with K-pop stars TOMORROW X TOGETHER).
Prior to that, in 2022, J Balvin (with Ryan Castro), Anitta and Bad Bunny performed. In 2021, Ozuna, Cabello and Tainy (in tandem with Shawn Mendes) represented Latin music. In 2020, Maluma, CNCO and Nicky Jam (in tandem with Black Eyed Peas and Tyga) did the honors. In 2019, CNCO (in the pre-show), Cabello (with Mendes), Rosalía and Ozuna (in a joint performance) and J Balvin and Bad Bunny (also in a joint performance) all performed. In 2018, Jennifer Lopez (receiving a Video Vanguard award) and Maluma performed.
Anitta is this year’s top Latin nominee, with three nods – best Latin and best editing for “Mil Veces” and another nod for best Latin for “BELLAKEO.” Bad Bunny and Alejandro each have two nods. Bad Bunny is nominated for artist of the year and best Latin for “MONACO” Alejandro is nominated for best Latin and best cinematography for “Touching the Sky.” Karol G, Shakira, Cardi B and Myke Towers each have one nod.
Bruce Gillmer and Den of Thieves co-founder Jesse Ignjatovic are executive producers of the 2024 VMAs. Barb Bialkowski is co-executive producer. Alicia Portugal and Jackie Barba are executives in charge of production. Wendy Plaut is executive in charge of celebrity talent. Lisa Lauricella is music talent executive.
Warner Chappell Music has renewed their partnership with the Mon Laferte, signing a worldwide administration deal.
“I’m really excited for what’s ahead. They were the first ones to have faith in me,” said the Chilean-Mexican singer-songwriter in a press release.
This reunion marks a significant homecoming for the artist, who previously collaborated with Warner Chappell in the early 2010s when her early albums like Desechable (2011), Tornasol (2013), Mon Laferte, Vol. 1 (2015), and La Trenza (2017) were released.
“It’s great to have Mon back at WCM,” added Gustavo Menéndez, president or U.S. Latin & Latin America at Warner Chappell Music. “We initially signed her back in 2013 when she had just moved to Mexico, and it was perfect timing — an opportunity to understand her dreams and aspirations from the start. I admire her for the incredible artist, songwriter and performer that she is and am personally very happy to have her back – this return signifies a beautiful full-circle moment for us.”
The announcement of this deal follows the release of a Netflix documentary about her life, titled Mon Laferte, Te Amo, which premiered earlier this month. The Latin Grammy-winning artist is currently on her Autopoiética World Tour, produced by Live Nation, in support of her latest 2023 album of the same name. The tour has taken her through Europe, North, Central and South America.
“Mon’s artistry is unforgettable in every sense of the word,” said Carlos Ruíz, managing director of Warner Chappell Music México. “She’s a passionate songwriter, an incredible performer, and an even more remarkable human being. With a fearless approach, she has stayed true to her art while constantly evolving, surpassing labels. Our entire team is really looking forward to supporting her in this next phase of her career.”
For the time being, Universal — whom she was previously with — will still administer her albums Norma (2018), 1940 Carmen (2021), Seis (2021) and Autopoiética. In May, Mon Laferte signed a record deal with Sony Music Latin. In October and November, she is poised to perform a few more dates in Mexico City and Ciudad Juárez as well as Chile’s Viña Del Mar.
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