Music
Page: 7
Lizzo is speaking out amid her ongoing lawsuit accusing her of harassment.
The “About Damn Time” singer joined Keke Palmer on the latter’s Baby, This Is Keke Palmer podcast on Thursday (Dec. 19), where she discussed the harassment lawsuit brought by three of her former dancers in August 2023.
The lawsuit, filed in Los Angeles by dancers Arianna Davis, Crystal Williams and Noelle Rodriguez, accuses Lizzo (real name Melissa Jefferson) and her Big Grrrl Big Touring Inc. of a wide range of legal wrongdoing and included dozens of pages of detailed allegations. Lizzo denied the claims in a response shared to Twitter, calling them “false allegations” and “sensationalized stories.”
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
During her interview with Palmer, Lizzo reflected on the busy year that started out with her first arena tour. “I was literally living in my dream, and then the tour ended, and three ex-dancers just completely, like, blindsided me with a lawsuit,” she said. “I was very deeply hurt because these were three ex-dancers, so they weren’t on the tour. They didn’t, like, finish the tour out with us. But even regardless of that, these were people that I gave opportunities to.”
She added, “These were people that — I liked them and appreciated them as dancers, respected them as dancers. So I was like, what? But then I heard all the other things like sexual harassment, and I was like, they’re trying well, I don’t know what they’re trying to do, but these are the types of things that the media can turn into something that it’s not.”
Trending on Billboard
Lizzo said that she’s learning from the experience moving forward, but concluded by noting, “Let’s be clear, I did nothing wrong.”
The plaintiffs’ attorney Ron Zambrano responded to Lizzo’s comments in a statement to Billboard, writing, “There is an utter lack of awareness by Lizzo failing to see how these young women on her team who are just starting their careers would feel pressured to accept an invitation from their global celebrity boss who rarely hangs out with them. There is a power dynamic in the boss-employee context that Lizzo utterly fails to appreciate. We stand by the claims in the lawsuit and are prepared to prove everything in court with Lizzo on the stand under oath before a jury of her peers, not spouting nonsense and lies rationalizing a failure to take accountability on a podcast.”
Taylor Swift‘s friends and family made her feel extra bejeweled at her recent birthday party, which apparently came as a “giant surprise” to the pop star, longtime friend Ashley Avignone revealed. Sharing photos from the blowout on Instagram Thursday (Dec. 19), the stylist shared that the “Anti-Hero” singer “thought she was going to a small, […]
The holidays are here, which means Christmas music has fully infiltrated the charts, radio and mall speakers alike. Most of that music precedes this year, from traditional classics sung by Bing Crosby, Nat King Cole and Brenda Lee to contemporary hits from Mariah Carey, Kelly Clarkson and Michael Bublé — all names that regularly appear […]
Billie Eilish and Finneas may be a Grammy-winning musical duo, but can they bring those talents to the classroom? Julian Shapiro-Barnum sets out to find out in a new episode of his Celebrity Substitute series released on Thursday (Dec. 19), where the siblings drop by a first grade class at Garvanza Elementary School in Los Angeles. […]
When Cuban actor Héctor Medina read the script for Los Frikis, he immediately knew he wanted the leading role of Paco. Initially contacted as a sort of consultant for the film, Medina was familiar with the story about a group of punk rockers in early ’90s Cuba who, in search of freedom, deliberately injected themselves with HIV to live in a government-administered rural treatment retreat and create their own utopia.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“I was born in 1989. It was the year the socialist wall fell and in 1990, what is called in modern Cuban history the Special Period, began, which is a deep energetic, economic food crisis,” explains the actor in an interview with Billboard Español. Additionally, it was forbidden to listen to rock and roll and having long hair could get you arrested, he adds. “So, the Frikis were very marginalized. It’s a story that even in Cuba is very little known.”
Written and directed by American filmmakers Tyler Nilson and Michael Schwartz, Los Frikis, an independent film inspired by true events, arrives this week in theaters in the United States after making the rounds in the festival circuit, where it has received a variety of awards.
Trending on Billboard
Medina, who left the island about eight years ago and lives in Miami with his wife and two children, not only ended up landing his dream role, but also a credit as a co-producer thanks to his contributions to the film, which was shot in the Dominican Republic (as it could not be done in Cuba).
The movie also stars Eros de la Puente as Gustavo, Paco’s younger brother; and Adria Arjona (daughter of Guatemalan singer-songwriter Ricardo Arjona) as María, the sweet caretaker at the retreat. The cast also includes Luis Alberto García and Jorge Perugorría, among others.
Produced by Academy Award winners Phil Lord and Christopher Miller, Los Frikis received an R rating from the Motion Picture Association of America for language, sexual content, some graphic nudity and drug use. It premieres on Friday, Dec. 20 in New York and Los Angeles, and on Dec. 25 in markets including Atlanta, Boston, Chicago, San Francisco and Miami.
Below, Medina details his rigorous physical and emotional transformation process to bring Paco to life, the role music plays in the film and the reception this work has had so far.
Los Frikis
Courtesy of Wayward/Range
How did this project come to you?
The project came to me through producer Rebecca Karch Tomlinson, who contacted me to ask some questions about the dialogues and some events that happen in the script. It was more or less something like a review. Of course, I read the script and I [was] totally impressed by how two Americans have written a script about Cuba, such a believable story about my country, and how they want[ed] to do it — and also want to do it with Cubans. And of course, I also fell in love with the story and my character, Paco. From there, I said: “I want to be here, and I want to be Paco.”
Did you have to audition for the role?
Well, yes. They told me, “If you want to be Paco, you have to fight like everyone else and do the casting.” I remember that I did the last scene in the movie, and as soon as they saw the scene, they called me and said, “Are you ready? You’re going to be Paco.” From there began a very tough process of character construction and transformation that was truly a most beautiful experience, because Michael and Taylor have a very particular and very strong method of working with the actors and creating this atmosphere, and get to the point that you are not trying to play the character, but you are the character. And that allows you, once you are on set, to feel confident, to be able to improvise, because they also give you that freedom. It is a very substantial work process; there are many scenes in the film that were not in the script.
You completely disappear into the role, to the point that at the beginning of the film I was looking for you, I didn’t recognize you. How was your transformation, physically and emotionally, into this character? I know you lost weight, you have the mohawk, you lose a tooth in a scene…
It was a very intense, rigorous process. From the first day I had to give up everything gluten and sugar; I only had seltzer water as a reward and one meal a day, which was a little bit of chicken and a little bit of spinach. It included heavy training, running and walking more than four or five miles a day. Then came the process of learning to play music. Mike and Taylor are so specific that they knew every detail. For example, at that time in Cuba there were no American electric guitars, there were only Japanese guitars, Russian amplifiers, Russian basses, and the drums were made with what was found, sometimes even drawers, and they had those specific types of instruments sent to us so we [could] learn how to play them. We got to a point where we even started playing our own music and putting lyrics to it and giving concerts, like in the movie.
Music plays a fundamental role in this story, with Paco as the guitarist in his rock band. Did you play before or did you have to learn for the film?
I played acoustic guitar, but I remembered like two or three chords that they taught me in my neighborhood, back in Cuba, when I was a child, so I didn’t remember very well. In other words, working with the guitar was the most difficult for me, because on top of that, I have no musical ear, I admit. What I do have is a rock and roller spirit and being bold. And also this thing [where] I don’t like to give up, I like obstacles and I like to transform and work hard. I like a challenge.
Did you know about the real Frikis story before getting involved in this project?
Yes, I knew vaguely. I was born in 1989. It was the year the socialist wall fell and in 1990, what is called in modern Cuban history the Special Period, began, which is a deep energetic, economic food crisis. There were shortages of all types of products. In addition, there were also prohibitions: listening to rock and roll music was frowned upon, and for having long hair you could be imprisoned. So, the Frikis were very marginalized. It’s a story that even in Cuba is very little known.
I had an uncle who was a rock and roll lover, and when I was a teenager he took me to a place called Pista Rita, where they played exclusively rock and roll. Going to those places with him at 13, 14 years old, I was able to see Nelson, who was like an urban legend that we had in that town, of course with the spiked mohawk, black boots, tattoos — a very transgressive image. And yet, when I got to know him well, I remember that he handed me a cigarette and he had a great sense of protection with all the boys there. In other words, he greatly encouraged that family spirit, not a gang spirit, but music and family spirit. There was nothing illicit or illegal. It was a feeling that united us with a passion for music, for rock and roll.
From what you say, he sounds a lot like Paco, doesn’t he?
Yes. Paco’s character is not specifically based on a real character, but on several, like all the characters in the film. Paco has a lot of Papo La Bala, one of the leaders and singers of the punk rock band Eskoria in Cuba, who has since died; and he has a lot of that from my personal side, having known him [Papo La Bala].
What made you say “this role has to be mine” when you read the script?
First, the transformation I had to undergo. Second, that he was a difficult character and had a lot of energy; I wanted to do something like that, different. And also, perhaps most importantly, that as a Cuban artist I wanted to say many things that Paco also says — and feels. Feeling that almost kamikaze spirit of freedom above all else, I wanted to share that. I think that was what drove me the most.
You’re not only the leading actor, you are also credited as co-producer. What was your role in that regard?
I think what I did the most was contribute. I mean, I wanted this movie to happen so badly, I wanted this dream to come true so much, that without realizing it I began to contribute to the casting, to writing the lyrics of the songs, changing them and a little bit [of] the scenes. I got involved a lot. In fact, I even designed the logo that appears at the beginning, the Lord Miller logo. I have done so many things. And I feel so grateful and so good that I have always done that. Every time I go into a project I give my all, but the truth is that it is the first time that they have recognized me not only for doing my job as an actor. I think it says a lot about the producers and directors of this film. I am very grateful to them.
Now that Los Frikis will reach a wider audience after its festival run, what do you hope people take away from it?
I really don’t expect anything. I have a very nice feeling about this film through the different screenings we have been to. It is a tremendous delight to turn around and see people’s faces. I believe that it is not an educational film or one that has a specific verbal message for people, but rather a management of a bundle of emotions, a journey of various emotions that in the end stirs your soul and leaves you thinking and perhaps doing what I call the movie after the movie. I think that is the greatest achievement of this film. More important than a verbal message, is that of an emotion, and it shows.
Héctor Medina
Carlos Eric Lopez
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.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
___
Trending on Billboard
We’re at the last stop of the six city Get Up Anthem’s tour: Los Angeles—quintessential for the city of dreams. Inside a Glendale studio, adorned with moodiness and odes to the city’s star quality, hip-hop heavyweights The Game and D Smoke sat alongside Billboard editor Carl Lamarre. Hosted by Rocsi Diaz, the roundtable celebrated LA’s storied musical legacy, with “It Was a Good Day” serving as the focal point. Over glasses of Tres Generaciones Tequila, the group delved into the song’s enduring impact, debating its place within the pantheon of West Coast classics and its role in shaping the cultural identity of Los Angeles.
Ice Cube’s “It Was a Good Day” distills the essence of West Coast hip-hop into a singularly iconic track. Released in 1993 on The Predator, its smooth production, vivid storytelling, and cultural resonance immortalize it as a cornerstone of Los Angeles’ musical legacy. Over a soulful, nostalgic beat, Ice Cube captures a rare day of peace and joy amidst the turbulence of South Central LA, embodying the broader West Coast aesthetic of the era.
The track’s production, helmed by DJ Pooh, achieves emotional depth through masterful simplicity. Built around a sample from The Isley Brothers’ “Footsteps in the Dark, Pts. 1 & 2,” the beat reimagines its dreamy guitar riffs in a hip-hop framework, exuding nostalgia and serenity. Understated elements—a mellow bassline, restrained drum programming, and sparse melodic keys—amplify Cube’s narrative, letting his words drive the track. The relaxed tempo and sunlit vibe epitomize G-funk’s laid-back yet resonant sound, placing it firmly in the lineage of West Coast greats like Dr. Dre while maintaining Ice Cube’s unique identity.
More than a song, “It Was a Good Day” offers a snapshot of early ’90s Los Angeles, blending realism and escapism. Ice Cube’s lyrics chronicle a dreamlike day—basketball games, favorite fast food, cruising the streets—untainted by violence or adversity. The specificity of his imagery, from local radio shoutouts to South Central landmarks, grounds the track in LA’s cultural fabric, rendering it both personal and universal. This fusion of optimistic storytelling and authentic detail makes the song a heartfelt ode to the city.
The cruising imagery and relaxed beat capture LA’s sun-soaked, car-driven ethos, cementing the track as a sonic emblem of West Coast life. It contrasts sharply with gangsta rap’s grittier portrayals, providing a moment of respite that resonated deeply with audiences and expanded the emotional scope of hip-hop.
Decades later, “It Was a Good Day” remains a benchmark for storytelling and production in hip-hop, inspiring countless artists. Its iconic status has led to numerous samples and references, from Beyoncé’s “Partition” to Kendrick Lamar’s “DUCKWORTH.,” which mirrors its narrative focus on transformative moments. Beyond direct interpolations, the track’s introspective yet celebratory tone continues to influence music across genres, solidifying its place as a timeless masterpiece.
The song’s genius lies in its balance of realism and aspiration. Ice Cube’s vivid storytelling invites listeners into a world where, for one day, everything aligns perfectly. Its production—a perfect marriage of G-funk’s smoothness and hip-hop’s grit—encapsulates Los Angeles’ essence. As both a personal narrative and cultural artifact, “It Was a Good Day” stands as a testament to hip-hop’s power to encapsulate time, place, and emotion, securing its legacy as a cornerstone of West Coast music and one of the most beloved tracks in Ice Cube’s storied career.
Some songs have the rare ability to define eras, celebrated for their infectious beats, groundbreaking production, vivid storytelling, and timeless appeal, earning them the status of true classics. In partnership with Tres Generaciones Tequila, a brand that champions the journey and not just the destination, we continue our exploration to round up the top Get Up Anthems over this next year from six iconic cities: Houston, Atlanta, New York, Chicago, Los Angeles, and Miami. Guided by curated panels, we dive deep into each city’s vibrant sonic history, highlighting tracks that embody resilience, authenticity, and innovation while celebrating the power of music to inspire listeners to rise and chase their passions.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Los Angeles’ music scene is the heartbeat of West Coast hip-hop, defined by G-funk grooves, cinematic storytelling, and a celebration of street culture, freedom, and pride. From the smooth funk-infused beats of “It Was a Good Day” and “Nuthin’ But a G Thang” to the anthemic energy of “California Love” and “Still D.R.E.,” these songs capture the soul of LA—a city where ambition meets artistry, and struggle gives rise to triumph. LA’s playlist reflects a rich legacy of innovation and influence, blending the grit of South Central with the sunny vibes of the West Coast.
Trending on Billboard
The Top 10 Get Up Anthems from Los Angeles were crafted through a blend of editorial expertise, data-driven analytics, social impact, and personal sentiment to create a ranked list of songs that have inspired, captivated, and energized the City of Angels. Spanning decades from 1992 to the present day, LA’s playlist [click HERE to play] features tracks that represent the city’s vibrant cultural history and unmistakable sound, hand-selected by local icons The Game and D Smoke, Billboard editors Carl Lamarre, and moderated by Rocsi Diaz.
Did they get it right? Or were they off the mark?
Check out the Top 10 Get Up Anthems from Los Angeles:
10. “BPT” – YG (2014)
“BPT” from YG’s debut album My Krazy Life is a raw, unapologetic tribute to his roots in Bompton (a nickname for Compton). Produced by DJ Mustard, the track features a minimalist, hard-hitting beat driven by claps and menacing synths. YG’s aggressive delivery and vivid storytelling capture the reality of gang life and his rise in the rap game. The song’s unfiltered depiction of LA street culture resonated deeply within Compton and other parts of Los Angeles, while commercially, it helped establish YG as one of the leading voices of West Coast hip-hop’s new generation.
9. “Regulate” – Warren G feat. Nate Dogg (1994)
“Regulate” is a storytelling masterpiece that combines Warren G’s vivid narrative with Nate Dogg’s melodic hooks. Produced by Warren G, the track samples Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near),” giving it a smooth, soulful feel. The lyrics recount a night of danger and triumph on the streets of Long Beach, showcasing the duo’s chemistry. Released on the Above the Rim soundtrack, the song became a massive commercial hit and a defining moment for G-funk. Locally, it solidified Warren G and Nate Dogg as pillars of the West Coast sound, while globally, it introduced a broader audience to the genre’s laid-back yet gritty appeal.
8. “We Can Freak It” – Kurupt (1998)
Kurupt’s “We Can Freak It” is a smooth West Coast anthem that blends G-funk with soulful production by Battlecat. The track features atmospheric synths, a hypnotic bassline, and Kurupt’s laid-back delivery, creating a vibe-perfect for cruising through LA. Lyrically, it explores themes of nightlife, relationships, and escapism, capturing the essence of West Coast living. Though not as commercially successful as other G-funk hits, it resonated deeply within LA, becoming a staple in local hip-hop circles. Its mellow yet infectious sound remains a favorite among fans of ’90s West Coast rap.
7. “Nuthin’ But a G Thang” – Dr. Dre feat. Snoop Dogg (1992)
“Nuthin’ But a G Thang” is a definitive G-funk anthem that introduced the world to the chemistry between Dr. Dre and Snoop Dogg. Built around a sample of Leon Haywood’s “I Want’a Do Something Freaky to You,” the production features lush synths, a funky bassline, and a laid-back groove. Snoop’s effortless flow and Dre’s polished delivery made the track an instant classic. Released as the lead single from The Chronic, it became a commercial juggernaut, bringing West Coast hip-hop to mainstream audiences. Locally, it encapsulated the essence of LA’s party culture and street life, while globally, it redefined the sound of hip-hop in the early ’90s.
6. “Last Time That I Checc’d” – Nipsey Hussle feat. YG (2018)
“Last Time That I Checc’d,” from Nipsey Hussle’s Grammy-nominated album Victory Lap, is a celebration of independence and success. Produced by Mike & Keys, the track features an infectious, hard-hitting beat that complements Nipsey’s assertive delivery and YG’s fiery guest verse. The lyrics emphasize self-made success and maintaining authenticity, a recurring theme in Nipsey’s music. The song resonated deeply within Los Angeles, highlighting the city’s entrepreneurial spirit and gang unity, as Nipsey and YG represented rival factions coming together. Commercially, it solidified Nipsey’s rise as a major force in hip-hop, while locally, it became an anthem of empowerment and pride for the streets of LA.
5. “Not Like Us” – Nipsey Hussle feat. YG (2018)
“Not Like Us,” one of Nipsey Hussle’s reflective tracks, exemplifies his dedication to empowerment and authenticity. Produced by Mike & Keys, the beat features soulful undertones and crisp percussion, allowing Nipsey’s motivational lyrics to take center stage. Released during a pivotal moment in his career, the track underscores his focus on self-reliance, entrepreneurship, and community upliftment. While it didn’t achieve widespread commercial acclaim, its message resonated deeply within Los Angeles, particularly in South Central, where Nipsey was a hometown hero. The song’s themes reflect Nipsey’s broader cultural impact, inspiring a generation of artists and entrepreneurs to prioritize legacy over fame.
4. “Still D.R.E.” – Dr. Dre feat. Snoop Dogg (1999)
“Still D.R.E.” marked Dr. Dre’s triumphant return to the forefront of hip-hop after a brief hiatus. Produced by Dre and Scott Storch, the track’s minimalist piano riff and crisp drum pattern became instantly recognizable. Snoop Dogg’s laid-back hook complements Dre’s confident verses, reasserting his dominance in the rap game. Released as the lead single from 2001, the song was both a critical and commercial success, signaling the resurgence of West Coast hip-hop at the turn of the millennium. Locally, it reinforced Dre’s status as an LA legend and pioneer of G-funk, while its sleek production and enduring appeal cemented it as a global hip-hop classic.
3. “California Love” – 2Pac feat. Dr. Dre and Roger Troutman (1995)
“California Love” is an iconic West Coast anthem that captured the grandeur and diversity of California’s culture. Produced by Dr. Dre, the track samples Joe Cocker’s “Woman to Woman” and features Zapp frontman Roger Troutman on the talkbox, adding a funk-driven, futuristic flair. Lyrically, the song celebrates the vibrant lifestyle of California, from the streets of LA to the Bay Area, with 2Pac’s fiery verses contrasting Dre’s cool, confident delivery. Released as 2Pac’s comeback single after his release from prison, it became an instant commercial hit and an enduring cultural staple. Locally, it was a rallying cry for West Coast pride during the height of the East Coast-West Coast rivalry, while globally, it solidified California’s place as a central hub for hip-hop culture.
2. “Gin and Juice” – Snoop Dogg (1993)
Snoop Dogg’s “Gin and Juice,” produced by Dr. Dre, is a cornerstone of West Coast G-funk. Its funky bassline, lush synths, and signature high-pitched whines, combined with Snoop’s smooth, laid-back delivery, create a quintessential party anthem. The lyrics reflect a carefree lifestyle centered around drinking, smoking, and enjoying life with friends—a sharp contrast to the gangsta rap narratives dominating the scene at the time. Released as the second single from Doggystyle, the track was both a commercial success and a cultural phenomenon. Locally, it represented the quintessential LA party vibe, from house parties in Compton to BBQs in Long Beach, while nationally, it introduced mainstream audiences to G-funk’s irresistible groove and Snoop’s effortless charisma, marking a new chapter in hip-hop.
1. “It Was a Good Day” – Ice Cube (1992)
“It Was a Good Day” is a quintessential track that perfectly encapsulates the relaxed yet gritty essence of Los Angeles in the early ’90s. Produced by DJ Pooh, the smooth, soulful sample of The Isley Brothers’ “Footsteps in the Dark” provides a mellow, nostalgic backdrop for Ice Cube’s reflective lyrics. The track’s narrative vividly describes a rare, violence-free day in South Central LA, showcasing the stark contrast between everyday struggles and moments of peace. Its debut on the The Predator album resonated deeply with audiences, both commercially and culturally, offering a rare positive perspective amidst the turmoil of the post-Rodney King riots era. Locally, it became an anthem for LA residents, a celebration of fleeting joys in a city plagued by systemic challenges, while nationally, it solidified Ice Cube’s status as a master storyteller.
Well, 2024 is quickly drawing to a close. And what an eventful year it was in R&B/hip-hop and African music.
No doubt still uppermost in the minds of many is the epic feud between Drake and Kendrick Lamar that exploded in March. Captivating the music industry and fans alike, the beef laid bare a rocky relationship dating back to 2013. However, it simultaneously injected a needed jolt of creative energy into a genre whose mainstream success had rendered it formulaic and uninspiring in the minds of fans and cultural pundits alike. With Lamar set to headline the global stage, which is the 2025 Super Bowl halftime show, hip-hop’s impactful presence can’t be denied.
Also in March, Beyoncé sparked a different debate with the release of the No. 1-debuting Cowboy Carter. Her full-length foray into country drew critical praise — and also its share of negative dismissals. But the album shined a deserving spotlight on Black country pioneers like Linda Martell (the first Black woman to play the Grand Ole Opry) and newcomers working to wedge their boots in the door, such as Shaboozey. The latter is up for a best new artist Grammy after a historic 19-week run at No. 1 on the Hot 100 with “A Bar Song (Tipsy),” tying Lil Nas X’s “Old Town Road” featuring Billy Ray Cyrus. Not to mention, Cowboy Carter scored 11 Grammy nominations for Queen Bey herself.
On both the chart and touring fronts, the women of hip-hop — Nicki Minaj, Megan Thee Stallion, GloRilla and Doechii, among them — made major breakthroughs this year. As did female African music artists like Tyla and Tems. And in the R&B realm, current three-time Grammy nominee Chris Brown added several more career milestones to his account, including tying with Lil Wayne for the second-most No. 1 on the Mainstream R&B/Hip-Hop Airplay chart and first RIAA diamond certification for “No Guidance” featuring Drake. Meanwhile, Muni Long notched back-to-back No. 1s on the Adult R&B Airplay chart with “Make Me Forget” and “Ruined Me” from her Grammy-nominated album, Revenge.
It’s also been a year marked by several high-profile legal cases involving hip-hop artists. Those include Young Thug’s recently settled YSL RICO trial, Drake’s surprise legal petition filed against Universal Music Group and Spotify, Sean “Diddy” Combs set to go on trial for sex trafficking and racketeering and, most recently, Lil Durk’s indictment — along with several members of his Only the Family crew — on a federal murder-for-hire charge for allegedly trying to kill rapper Quando Rondo.
All the while, the music industry continued to shrink — kicking off the year with Universal Music Group’s restructuring into East Coast and West Coast operations and Warner Music Group’s reorganization of Atlantic Music Group. The ensuing layoffs included the departures of 300 Entertainment chairman/CEO Kevin Liles and Atlantic Records’ president of Black music Michael Kyser; layoffs at iHeartMedia and other radio chains plus SiriusXM and other companies further stoked talk about the industry’s growing lack of diversity and equity in the wake of George Floyd and #TheShowMustBePaused.
And speaking of losses, R&B/hip-hop paid homage to the legacies of Quincy Jones, Frankie Beverly and other revered members of the Black music community who passed away this year. Now, before R&B/hip-hop and African music close the door on 2024, here’s a look at this year’s top 10 stories.
Kendrick Lamar: Man of the Hour
Nogizaka46’s “Hodoukyo” tops the Billboard Japan Hot 100 chart released Dec. 18 tallying the week from Dec. 9 to 15.
The popular girl group’s 37th single dropped on Dec. 11 and launched with 609,776 CDs to hit No. 1 for sales, while also coming in at No. 11 for downloads and No. 6 for radio airplay.
Rosé & Bruno Mars’ “APT.” holds at No. 2. The pop-punk hit continues to rule streaming and video views with slight gains in both metrics, while radio is up to 114% compared to last week (moving 6-4) and karaoke to 125% (67-60). Rosé’s first solo album rosie, which includes this track, debuted at No. 3 on the Billboard 200 this week.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
LE SSERAFIM’s “CRAZY” follows at No. 3. The title track off the group’s fourth mini-album was released in August and debuted at No. 67 on the chart released Sept. 4 and shot to No. 8 the following week. The CD version sold 142,223 copies to power the single to No. 3 this week.
Mrs. GREEN APPLE’s “Bitter Vacances” drops to No. 5 after topping the tally last week. The track is down in downloads (64% week-over-week), streaming (82%), radio (42%), and video (66%).
Trending on Billboard
back number’s “Christmas Song” (released Nov. 18, 2015) climbs eight notches to hit No. 7 this week. The seasonal favorite by the three-man band has returned to the top 10 every year since 2021 near Christmas, but the only time it’s been in the top 10 outside of the week including Dec. 24th was in Jan. 2016. Looking at the number of streams for the track from Dec. 1 to 14 since 2021, using Luminate’s analysis tool CONNECT, streams have been increasing every year, indicating that this yearning love song has taken hold as a holiday season staple in Japan. Streams for the track during the Christmas period have also increased in other Asian countries, with South Korea at 103% compared to last year and Taiwan at 108%.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Dec. 9 to 15, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
They say time heals all wounds. Once upon a time, Snoop Dogg wasn’t messing with Eazy-E’s “Real Muthaphuckkin G’s” diss track against him and Dr. Dre, but now it’s part of his weekly routine.
Explore
See latest videos, charts and news
See latest videos, charts and news
Snoop hopped on The Bootleg Kev Podcast earlier this week, where he admitted that “Real Muthaphuckkin G’s” gets plenty of spins over at his Cadillacc Music radio station studio.
“We was busting them upside the head, but when they dropped that motherf–ker, we felt that one,” Snoop said. “Like, the other s–t, we didn’t — but that motherf–ker right there — Eazy was going in on a n—a.”
Trending on Billboard
He continued to hearing it today: “And that s–t be knocking and you hear me singing it. Motherf–k Dre, motherf–k Snoop, motherf–k Death Row.”
Alongside B.G. Knocc Out and Dresta, Eazy unleashed “Real Muthaphucckin G’s” in 1993, attacking Dre and Snoop for the repeated disses throughout The Chronic and mainly the explosive “F–k Wit Dre Day.”
Snoop admitted “that s–t is so hard,” but he was initially in denial of the record’s status. “F–k them n—-s,” he said of his initial mentality when hearing it.
Unfortunately, Eazy-E would end up dying less than two years later in March 1995 due to HIV/AIDS, one month following his diagnosis.
As for Snoop’s 2024, it’s a busy close-out to the year for the Death Row legend, who reunited with Dr. Dre for their first full-length project since 1993’s Doggystyle, as Missionary arrived Dec. 13. The joint album features a star-studded cast of 50 Cent, Eminem, Sting, Jelly Roll and more.
Listen to the full interview below.