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Following his very public fallout with Cam’ron and Ma$e, Jim Jones has been hard at work promoting his latest album At The Church’s Steps, and has basically released a new visual in support of the album every week since its release last month.
Continuing to stay on his grind, Jim Jones drops off some new visuals to the ALLSUMMERLONG-assisted “Fashion Killa” in which Capo delves into the world of fashion and shows how spiffy he can get with the attire but aside from walking the runway, Jones styles on the streets and in basically anywhere he lays his hat as he treats his entire life as one big fashion show. Can’t be mad at that.
From Harlem to LA, YG takes us on a trip down memory lane, and in his Buddy & The Gang featured “2004,” YG reminisces about his life growing up with flashbacks about his youth and interesting experiences.
Check out the rest of today’s drops and some joints you might’ve missed over the weekend, including work from NEMS, Redman, Method Man, and DJ Premier, along with more.
JIM JONES ft. ALLSUMMERLONG – “FASHION KILLA”
YG FT. BUDDY & THE GANG – “2004”
REDMAN & METHOD MAN & DJ PREMIER – “LALALA REMIX”
NEMS – “GOD’S HANDS”
GINO MONDANA FT. FIVIO FOREIGN – “CRASH OUT”
G. DEP – “CHARGED WITH WINNING”
B.G. FT. FREDO BANG – “BEEN A DOG”
G PERICO & DJ DRAMA – “LA TAKEOVER”
CJ FLY – “GRIND”
The inaugural MUSIC AWARDS JAPAN ceremony, the largest music awards in the country, is set to take place in May in Kyoto. Embodying the theme of “Connecting the world, illuminating the future of music,” the brand-new international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), an association jointly established by five major organizations in the Japanese music industry.
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This year’s MAJ will recognize works and artists in more than 60 categories, including the six major awards for Song of the Year and Artist of the Year and more, which have gained significant attention and recognition from Jan. 29, 2024 to Jan. 26, 2025. The entries for each category were announced on March 13 and the selection by domestic voting members is currently underway to narrow down the list to five nominees for each category.
Let’s take a look at the 256 songs that are up for the high-profile Song of the Year category, as compared against Billboard Japan‘s all-genre Japan Hot 100 song chart (hereafter BBJ), and delve deeper into the trends and characteristics unique to MAJ based on data.
Comparison with BBJ Chart Metrics
Billboard Japan
First, we’ll compare some of the differences between the MAJ and BBJ metrics. The chart above shows the point share of each metric for the 256 songs entered in the Song of the Year category. The figures for BBJ show the point share of the top 256 songs in the Japan Hot 100 chart during the same tallying period as MAJ.
The entries for Song of the Year is based on an original chart that combines the six metrics of the Japan Hot 100 (rounded up in two-month segments) and UGC data (click here for details). The system is structured in a way that makes it easier for songs with short peak periods to be eligible.
One feature MAJ and BBJ both have in common is that streaming accounts for the largest proportion of both. This shows that both are strongly aware that streaming is the main way people listen to music today.
CD sales account for 10% of MAJ, but only 2% of BBJ. Japan’s CD sales market is still large when viewed globally, and MAJ places importance on this unique Japanese user trend. Downloads are 7% of MAJ while 4% for BBJ, indicating that the former places a relatively higher value on ownership-type metrics.
While streaming is the main focus for MAJ, they are clearly also conscious of achieving a balance with a wider range of metrics. Its most distinctive feature is that its system is designed to take into account the characteristics of the Japanese market.
Analysis of the Songs’ Properties
Billboard Japan
The gender ratio of the MAJ entries is 61% male artists, 30% female artists, and 9% mixed acts. Compared to BBJ, the ratio of male artists is slightly lower, and the ratio of female artists is higher. BBJ has more mixed acts, mainly because many songs by male-female duo YOASOBI have charted.
84% of the entries were by Japanese artists. Compared to BBJ, MAJ has slightly more songs by South Korean artists (MAJ 14%, BBJ 10%). The only artists from outside Japan and South Korea were Mariah Carey, OneRepublic, and Taylor Swift, all of whom are from the U.S. There were also two entries for collaborations between artists from different countries: Rosé & Bruno Mars and BE:FIRST X ATEEZ.
Billboard Japan
The ratio of member composition of the acts entered in MAJ is highest for groups (37%), followed by bands (27%) and solo artists (26%). Dance and vocal groups, which have strong CD sales, are pushing up the ratio of groups. Meanwhile, BBJ has the highest proportion of bands (36%), influenced by the long-running hits of popular bands such as Mrs. GREEN APPLE and back number. Of the 256 songs, there are 124 acts in MAJ and 103 in BBJ, so the former has a greater variety of acts.
Billboard Japan
The genres with the largest number of songs for both MAJ and BBJ are pop and rock. Notably, K-pop accounts for 14% of MAJ, and idol performers account for 9%, indicating the major influence of dance and vocal groups. Hip-hop and Vocaloid account for less than 10%, but these genres have their own categories, such as the Best Japanese Hip-Hop/Rap Song and the Best Vocaloid Culture Song.
Billboard Japan
43% of the entries weren’t tie-ins, but songs connected to anime (19%), drama series (13%), and commercials (11%) were also prominent. BBJ shows a more continuous tie-in effect, while MAJ can be said to have a diverse collection of songs that are relatively independent of tie-ins.
These data show that MAJ incorporates a good balance of diverse metrics to reflect a wide range of mainstream music in Japan. The fact that the awards also places weight on metrics reflecting the unique characteristics of the Japanese music market, such as CDs and downloads, is a major difference from the BBJ charts.
It’ll be interesting to see how MAJ’s design will impact the future of the music market and the promotion of Japanese music worldwide. The nominated songs will be announced on Apr. 17, and the awards ceremony will take place on May 21 and 22.
Billboard Japan will continue to publish features on MUSIC AWARDS JAPAN. In the second installment, we’ll compare MAJ’s Song of the Year with BBJ’s Top Global Hits from Japan chart.
Miley Cyrus is continuing to create Something Beautiful with her next album era, and the superstar announced on Monday (March 31) that the project’s next single, “End of the World,” is arriving this week. Explore Explore See latest videos, charts and news See latest videos, charts and news In the 19-second teaser video for the […]
Where the f–k the function? Drake released the highly-anticipated music video to his $ome $exy $ongs 4 U hit “NOKIA” on Monday (March 31). Directed by Theo Skudra and shot in IMAX, the black-and-white clip finds Drake hosting a couple of different parties, which he orchestrates from his clunky flip phone. First, he invites a […]
Following aespa‘s biggest year yet — in which they became the first K-pop girl group to have six projects reach the Billboard 200 top 50 and won song of the year at the MAMA Awards for their single “Supernova” — the quartet accepted Group of the Year honor at the 2025 Billboard Women in Music […]
On Saturday night, Billboard Women In Music returned to YouTube Theater in Inglewood, California, to celebrate some of the biggest, brightest names in the industry, including high-profile executives and superstar artists across genres.
This year, Gracie Abrams was honored with the inaugural Songwriter of the Year award, which was presented to her by Victoria Monét. “This incredible artist is, at a minimum, a quadruple threat,” Abrams said about her presenter, who was honored at last year’s Women in Music event as the Rising Star. “She’s an insane writer, unparalleled vocalist, inventive producer and amazing dancer. I’m just in awe of you every day.”
Prior to being presented with the honor, Abrams performed her emotive hit “I Love, I’m Sorry,” off her second album, The Secret of Us. Abrams wrote the album with her best friend, Audrey Hobert, who was in attendance seated at a table alongside Abrams’ mom and her manager (and fellow Women in Music honoree) Alex DePersia.
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“To my best friend and the most clever Audrey Hobert — for every single reason, I am me because of you,” said Abrams. “And our album is what it is because of you. Having never written a song prior to The Secret of Us, you helped me translate every single feeling I was itching to articulate on this album.”
Abrams also thanked songwriter Sarah Aarons and, of course, “the incomparable Miss Taylor Swift,” with whom she earned a Grammy nomination for their collaboration “Us.” from the same album. “I will never stop thanking her for the gift of her pen,” said Abrams, “which very much raised me.”
Megan Moroney brought a decidedly upbeat vibe to her usual “emo-cowgirl” candidness, performing her love song “Am I Okay?” at the 2025 Billboard Women in Music event held Saturday night at the YouTube Theater in Inglewood, California.
Clad in a silver dress covered in fringe and sparkle and confidently commanding the stage, Moroney offered up a peppy rendition of the title track to her second studio album, which was released in July 2024, debuting at No. 9 on the all-genre Billboard 200 and at No. 3 on the Top Country Albums chart.
During the ceremony, Moroney was honored with the Billboard Women in Music Rulebreaker award.
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Taking the stage to accept her honor, Moroney said, “Thank you, Billboard, for this. This is so cool. And I’m just really grateful to be here. When I found out I was getting the Rulebreaker award, I thought it was kind of funny, because if you know me in real life, I’m like an avid rule follower. I stole a piece of gum when I was 10 from a ballpark, and I still think about it sometimes. So it’s just ironic that I get the Rulebreaker award, but I’m just so grateful for it.
She continued, “I’m grateful to be here in a room with such talented, confident, amazing women in music. And I wouldn’t be up here if it wasn’t for my team. Thank you to my managers [Punchbowl Entertainment’s] Julie Griffith and Hayley Corbett, my [UTA] agent Elisa Vazzana, Stephanie Self. I’ve just got like so many bad bi—es [on my] team, I could go on and on. But my record label, Columbia Records and Sony Nashville, I’m just really grateful to be here and it’s awesome to see so many amazing women all in the same room tonight. So cheers. Let’s have margaritas. Thank you. Thanks, Billboard.”
Moroney was honored with a recent Women in Music feature, in which she opened up about her approach to her music and career, branding, working on her upcoming album, staying connected with her fanbase and more.
Upon being presented with this year’s Icon award at Billboard Women in Music 2025 by next-gen R&B star Summer Walker, Erykah Badu didn’t waste any time drilling down to the heart of the occasion.
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“Sisters, how y’all feel?” drawled the Dallas native as she scanned the YouTube Theater audience. Then to resounding applause, she declared, “This night is for us! It’s a night to celebrate the womb of the world, the womb of life, the womb reverse of all things. The smartest creature on planet Earth. The wisest, the most invincible, sexiest, purest, finest. The woman. I want to thank God for giving me the opportunity to be born a woman!”
The five-time Grammy Award winner had just delivered an exuberant performance of her funky 2007 non-album track “Annie Don’t Wear No Panties” to the delighted audience of fellow music stars, industry executives and music fans. And she did so in keeping with the inimitable and eclectic style that’s made her such an influential singer-songwriter, performer and musical visionary for multiple generations since breaking through in 1997 with her debut album, Baduizm.
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Badu wore a black-hooded capelet atop a tan-colored oversize pants outfit (think Teletubbies) featuring exaggerated breasts, feet and booty — the latter of which she shook to full effect at one point during the song, eliciting rowdy audience laughter. That was just one of several memorable moments during Badu’s award presentation segment.
Saluting Badu’s “fearless artistry,” Walker shared that her idol and mentor has been her “fave artist” since she was 12. And that it was also the multifaceted Badu, in her role as a doula, who delivered Walker’s twin sons.
During the remainder of her acceptance speech, Badu went on to thank all mothers. “I want to thank my mother and all the mothers,” she continued. “Miss Tina [Knowles], you said it well. I see Doechii’s mama out there, all the mothers. Thank you so much for giving us so much inspiration and examples of what it means to be resilient, what it means to take charge, what it means to be courageous, what it means to be authentically ourselves. And that’s all we gonna be. That’s all I want to be.”
Then she concluded with an anecdote involving her youngest daughter. “I don’t really have a lot of things to say,” said Badu, “but I want to end with this story. My daughter is out here. Her name is Puma … My sister Joy is out there. This is for both of y’all … I was bathing my youngest daughter Mars, and Mars was about four. I was washing her up. You know, you teach them while you’re washing them up. And I said, ‘This is the vagina.’ And she said, ‘Oh, vagina.’ I said, ‘Yes, it’s the vagina. It’s the most important thing on the planet.’ And Mars said, ‘Really?’ Then she looked at me with those big brown eyes and she said, ‘Where is the planet’s vagina?’”
After noting that she may have paused too long between the setup and the punchline, Badu repeated the final part of her anecdote. And on the second go-round, the Billboard Women in Music icon had the whole theater laughing.
The main suspect in the Sauce Walka shooting that killed rapper Sayso P (real name Letorian Hunt) has been found dead, according to Memphis Police.
The Memphis Police Department announced Monday (March 31) that 21-year-old Jayden Dandridge was found deceased in Houston. However, a second suspect, 22-year-old Kevin Brown, remains at large, and an investigation is ongoing.
A warrant was issued for Brown, charging him with first-degree murder, attempted murder, employment of a firearm during the commission of a dangerous felony and theft of property. Dandridge’s warrant is no longer active.
Sauce Walka was the victim of a shooting outside the Westin Hotel near the FedEx Forum in Memphis on March 22. Walka was transported to a nearby hospital with a gunshot wound to his leg while his artist, Sayso P, was pronounced dead at the scene. He’s expected to make a full recovery.
TMZ obtained footage that appeared to show Dandridge in the stolen 2021 Dodge Challenger that was used in the drive-by shooting of Walka and Sayso P.
TMZ also reported that Dandridge was found executed with multiple gunshot wounds in an abandoned Houston warehouse on March 27. No arrests have been made.
Last week, Sauce Walka said he didn’t have any plans of avenging Sayso P’s murder.
“If I wanted to, I could have mother—-ing four or 500 different men — good men — down here from different cities and states, including mine, around here ready to do whatever by snapping my finger in retaliation to what happened to me and my little brother,” he told Wikid Films.
Walka continued: “But as much as it hurts my soul, and it really break me down — I’m damn near getting emotional about the sh– — I can’t retaliate because that’s not righteous. My brother had his own dealings as a man that a n—a got to respect and a mother—-er had an opportunity to make me 100 percent accountable for the same thing… and took my life for no reason.”
Sauce Walka posted a heartfelt tribute to Sayso P to social media in the days after his murder while reflecting on some of the good times they enjoyed together. “Words or tears can’t explain the loss I feel!” he began.
Muni Long had an incredible 2024. The Florida singer’s fourth solo album, Revenge, not only ranked high on the Billboard staff’s Best R&B Albums of 2024 list, it was also nominated for four Grammys, with her single “Made for Me” winning for best R&B performance. And for her breakthrough efforts, Billboard presented her with the Rising Star award at Saturday night’s Billboard Women in Music event.
During her speech, she touched on her journey and the importance of Black women in popular culture. “I stand before you tonight in awe of the incredible journey that has brought me to this moment,” she began. “It is a testament to the power of perseverance, dedication and the unwavering belief in the artistry that courses through my veins. But as I stand here, I know this moment is not just about me. It’s about the shoulders. I stand on the culture that shaped me and the people who continue to push the boundaries of what is possible.”
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She added: “I want to acknowledge Black women … the bedrock of not only the music industry, but the very heart of the culture itself. Black women have always been the architects of innovation, resilience and power. From the soulful tones of Patti LaBelle and Aretha Franklin to the boldness of Beyoncé and Miss Lauryn Hill, we have seen our brilliance shape the world in ways that transcend music and art. To the artists before me, those who dared to dream, to break barriers, to challenge the status quo, the Tina Turners, the Sister Rosetta Tharpes, and Janet Jacksons, Mariah Careys and Whitney Houstons, their influence echoes through every note I sing.”
Muni then acknowledged the community of Gifford, Florida, where she grew up and fell in love with singing, as she thanked “the aunties with four rings on every finger and a mouth full of slugs. The unpaved, unincorporated Florida streets, the communities that birthed the soul of modern music, the hood which is the genesis of pop culture. A place where the creativity of the people screams back into the mainstream.”
She also blessed the Women in Music attendees with a soulful performance of her song “Superpowers.”
Video of Muni Long’s performance and speech will be live here at 7 p.m. ET on Monday night (March 31).
