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Rihanna recently said that she wants to collaborate with Billie Eilish — and according to the 22-year-old pop star, she’s waiting by the phone for the Fenty mogul’s call.
In a new cover story interview with Complex published Thursday (Dec. 5), Eilish gushed about the moment RiRi shouted her out in October — “If I could only do a song with Billie Eilish, she’s so good,” the superstar said at the time — which the two-time Oscar winner said she “literally thought … was AI.”
“I’ve never met Rihanna,” Eilish continued to the publication. “She’s literally my idol. She’s the greatest of all time. She’s my complete dream collab.”
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“I don’t even answer that question when people are like, ‘Who would you like to collab with?’” she added. “But I always think Rihanna. I’m not going to say that, though! Why would I say that?! It’s not real. I would think, like, ‘She probably doesn’t even like me.’ I’ve never heard from her, and I’ve never had any interaction with her, so why would I have ever even thought about it?”
When the “Umbrella” singer first sang Eilish’s praises, the latter simply wrote in disbelief on Instagram Stories, “what in the absolute f–k.”
A few weeks later, the “Birds of a Feather” artist says she finds the whole thing funny. “I was like, ‘Well, b—h, I’ve been sitting here this whole time!’” Eilish told Complex, laughing. “What the f–k is she even talking about? Like, as if I’ve been saying, ‘No.’ Rihanna! Riri!? I’ll literally do anything you want. That’s insane.”
The interview comes about six months after Eilish released her third studio album, Hit Me Hard and Soft, which reached No. 2 on the Billboard 200. The star — who is currently on tour in support of the LP — also recently sat down with CBS News Sunday Morning and spoke about how she came into her own as a songwriter while working on the project with her older brother and producer, Finneas.
“My passion has never been songwriting,” she said in a video snippet from the interview airing Dec. 8. “My passion is music, and performing, and singing. And songwriting is something that I do so that I can then sing it and perform it … I did way more writing on this album than anything ever.”
Watch the clip from the upcoming episode of CBS Sunday Morning below.
Superstar singer-songwriter and two-time Oscar winner Billie Eilish opens up about her evolving view of songwriting. While her brother Finneas has always had a deep passion for it, Ellish saw songwriting as a means to perform and express herself. pic.twitter.com/CsnVg1NtAa— CBS Sunday Morning 🌞 (@CBSSunday) December 5, 2024
Ice-T is a multi-hyphenate already, but the gangsta rap legend might want to consider adding diplomat to his extensive resumé. On The Tonight Show on Wednesday (Dec. 4), Ice sat down with Jimmy Fallon to explain how he managed to get two of the most bitterly divided men in rock to finally agree on something.
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Falllon noted that the new Body Count album features a cover of Pink Floyd’s iconic 1979 song “Comfortably Numb,” which Ice-T somehow got clearance to record despite the rock band never granting such clearance due to the long-running animosity between former singer/lyricist/bassist Roger Waters and singer/guitarist David Gilmour.
“Not only David Gilmour, but David Gilmour and Roger Waters,” Ice-T confirmed. “Who haven’t agreed on anything in 20 years!” Explaining that rappers are always listening to old tracks to find something they can sample or rap over, Ice-T said he always loved Waters’ rumbling bass part on the original, so he wrote new lyrics to rap over the song from the landmark The Wall album.
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“We lay it out and then I just don’t think about the politics. So they go, ‘Okay, you gotta send this to Pink Floyd to get it approved,’ and everybody’s like, ‘That’s not gonna happen,’” he said. So, he sent it to the band’s publishers, who immediately said no, explaining that Pink Floyd doesn’t allow samples or covers. “So it was dead in the water, I was ready to trash the song,” he said of the update that features his new narrative about his fears for humanity’s future amid perpetual war and strife.
But then his manager found a way to reach Gilmour’s manager, who sent it along to his client, who was “blown away” by the new lyrics. “He said, ‘I totally approve it’” Ice-T told Fallon of the unexpected thumbs-up. Then, they had to get Waters’ approval, with Ice-T admitting that he had no idea what the origin is of the decades long beef between the two men.
So, Waters listened and asked who was singing on the track, and when he heard it was the rapper, he approved it as well. “So now you’ve got two people on opposites sides that approved the song, which made me feel really good, ’cause that means that the song is honest and real,” Ice-T said. Then came the cherry on top: Gilmour said he wanted to perform on the cover and appear in the video as well.
“Body Count’s version of ‘Comfortably Numb’ is quite radical, but the words really struck me,” said Gilmour, 78, in a statement about the new version featuring his guitar work when the single was released in September. “It astonishes me that a tune I wrote almost 50 years ago is back with this great new approach. They’ve made it relevant again. The initial contact from Ice-T was for permission to use the song, but I thought I might offer to play on it as well. I like the new lyrics, they’re talking about the world we’re living in now, which is quite scary.”
The rapper also told Fallon about celebrating daughter Chanel’s ninth birthday on Thanksgiving and described how his wife Coco “does all” the planning for the Christmas holiday. “If it wasn’t for her there wouldn’t be no holidays as far as Ice-T is concerned,” he said. Ice then dropped a stone cold fact that might get him in trouble with the Recording Academy.
“I won a Grammy recently and I’m like, ‘It didn’t come with no money, right? It’s just a Grammy,” he said of his 2021 best metal performance award for “Bum-Rush” from Body Count’s Carnivore album. “And then all my boys were like, ‘I want a Grammy!’ So I had to actually go make duplicate Grammys — I don’t even know if that’s okay, but I did it — and it cost me money to win the Grammy!”
The long-running Law & Order: Special Victims Unit co-star later returned for a performance of Body Count’s metal-edged cover of “Comfortably Numb,” filling the Tonight Show studio with the strains of their ominous take on the Pink Floyd classic. Bathed in green light, his eyes obscured behind black wrap-around shades, Ice sang/spoke the iconic “hello, hello, is anybody out there/ can anybody hear me?” over pealing guitars and down-tuned, rumbling bass.
Body Count’s cover appears on their eighth studio album, Merciless, which features collaborations with death metal howler Corpsegrinder, Light the Torch singer Howard Jones and Soulfly vocalist/guitarist Max Cavalera.
Watch Ice-T talk “Comfortably Numb” and perform on The Tonight Show below.
From controversial awards show performances to community-affirming song releases, the last 25 years saw LGBTQ+ music move from the fringes to the forefront of pop culture.
Bad Bunny is once again Spotify’s most streamed Latin artist worldwide, the streaming service announced in its 2024 Spotify Wrapped unveiled on Wednesday (Dec. 4). In fact, Bad Bunny was among the top 10 artists that dominated the platform globally. Following Taylor Swift in first place and The Weeknd in second, Bad Bunny took the third […]
It looks like Drake has given Kendrick Lamar‘s GNX a listen.
Two weeks after the Compton rapper surprise-dropped his new album — and amid an ongoing feud that recently culminated in two legal filings by Drizzy — the “God’s Plan” artist poked fun at one of the LP’s most viral lyrics. On “TV Off,” Lamar barrels onto the track with a loud “MUSTARRRRRD!” battle cry to honor producer Mustard, and while watching a recent Los Pollos TV livestream, Drake put his own spin on it.
After commenting “We need a donut emoji in the chat,” according to XXL and multiple other outlets, the Canadian hip-hop star wrote, “CUSTAAAARRRRRD.”
The trolling comes amid Lamar’s reign over the Billboard charts in GNX‘s opening week, with the album debuting at No. 1 on the Billboard 200 and launching seven of its tracks to the top 10 of the Billboard Hot 100. With “Squabble Up” at the top, “TV Off” occupies the No. 2 spot, while “Luther” featuring SZA, “Wacced Out Murals” and “Hey Now” sit at Nos. 3-5, respectively.
The LP dropped Nov. 22. Three days later, Drizzy’s Frozen Moments LLC filed a legal action against his and Lamar’s shared publisher, Universal Music Group, and Spotify over allegations that the two companies conspired to artificially boost the popularity of K-Dot’s Drake diss track “Not Like Us” through bots, payola and other methods. UMG quickly denied the accusations, calling them “offensive and untrue” in a statement to Billboard, adding, “No amount of contrived and absurd legal arguments in this pre-action submission can mask the fact that fans choose the music they want to hear.”
The next day, Drake initiated a second action, this time alleging iHeartRadio accepted payments from UMG to promote Lamar’s song on air. The second filing also accused UMG of defamation for allowing the release of “Not Like Us,” despite its lyrics “falsely” branding Drake a “certified pedophile” and “predator.”
The filings mark an unprecedented escalation of the two musicians’ ongoing beef, which exploded into the court of public opinion in the spring when Drake and Lamar began lobbing rapid-fire diss and response tracks at one another. The former kicked things off with “Push Ups” and “Taylor Made Freestyle,” to which Dot fired back with “Euphoria,” “Meet the Grahams,” “Not Like Us” and more.
As for the Mustard of it all, the producer is celebrating his successes on the charts this week. “I’m just getting started,” he wrote on Instagram Dec. 2 while highlighting the high positions of “TV Off” and “Hey Now” on the Hot 100.
Jelly Roll is set to perform on the 2024 Billboard Music Awards. The genre-bridging performer joins SEVENTEEN, Teddy Swims, Tyla and Coldplay, who were previously announced as performers on the show.
Hosted by actress and comedian Michelle Buteau, the 2024 BBMAs presented by Marriott Bonvoy is set to air on Thursday, Dec. 12, at 8 p.m. ET/PT on FOX and Fire TV Channels, and on-demand on Paramount+, with performances also rolling out across Billboard.com and via @BBMAs and @Billboard social channels.
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Jelly Roll is nominated for three BBMAs: top song sales artist, top rock artist and top hard rock song, the latter for his featured role on Falling in Reverse’s “All My Life.”
Jelly landed his first No. 1 album on the Billboard 200 in October with Beautifully Broken. He has amassed eight top 40 hits on the all-genre Billboard Hot 100, including “Need a Favor” (No. 13), “I Am Not Okay” (No. 14) and “Save Me” (with Lainey Wilson, No. 19).
As previously announced, Zach Bryan, Taylor Swift, Morgan Wallen and Sabrina Carpenter are the leading finalists for the 2024 Billboard Music Awards.
This marks the show’s return to FOX, which carried the show from its 1990 inaugural broadcast through 2006. In addition, Paramount+ will provide on-demand streaming of the show, while the free Fire TV Channels app will provide one-click access to fans using Amazon devices (Fire TV smart TVs and streaming media players and Fire Tablets).
The BBMAs will celebrate music’s greatest achievements with exclusive original performances, artist interviews, and award celebrations taking place from global locations and in the midst of sold-out tours. Shaboozey will deliver a special performance from W Hollywood, part of the Marriott Bonvoy portfolio. Additional performers and special guests will be announced soon.
The BBMAs honors the year’s biggest artists, albums, songs, producers and songwriters across multiple genres, as determined by year-end performance metrics on the Billboard charts. The eligibility dates for this year’s awards are aligned with Billboard’s Year-End Charts tracking period, which measures music consumption from the charts dated Oct. 28, 2023 through Oct. 19, 2024.
The Billboard Music Awards are produced by Dick Clark Productions, which is owned by Penske Media Corporation. PMC is also the parent company of Billboard.
The show is presented by Marriott Bonvoy, Marriott International’s travel program and portfolio of more than 30 hotel brands. For more information, visit MarriottBonvoy.com
In March, Tennessee became the first state to modernize its laws for the age of artificial intelligence. The ELVIS (Ensuring Likeness, Voice, and Image Security) Act — which updates the state’s right of publicity and likeness rights to prevent AI companies from creating unauthorized deepfake vocal imitations — represented the culmination of efforts from across the industry, including those of record labels and music publishers. But it was Todd Dupler, Recording Academy vp of advocacy and public policy, who gave the law its distinctly rock’n’roll name.
Coming up with catchy titles for laws is something of an extreme sport in legislative circles — think of the DREAM Act (for Development, Relief and Education for Alien Minors), or, in music, the CLASSICS (Compensating Legacy Artists for their Songs, Service, and Important Contributions to Society) Act, which became part of the Music Modernization Act. Like these subjects, AI is complicated, so getting positive attention helps. And “in Tennessee, there’s no better way to capture attention than Elvis,” says Dupler, who has worked in the academy’s policy department since 2012 and was promoted to his current position in September 2023.
Dupler’s role in pushing for the Tennessee law is just one prominent example of how the Recording Academy is increasingly taking its lobbying work for music creators beyond Washington, D.C., to various state capitals. “The ELVIS Act became a model that state legislators and members of Congress looked at,” Dupler says. (Sometimes state laws lead to change in D.C.) “Our focus is to be a high-impact organization, to be a thought leader on issues that matter.”
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Right now, AI is the biggest issue of all. “It’s the issue that most of the community feels the most concern about,” Dupler says. It also involves a range of laws, including both federal copyright law (under which the major labels are suing generative AI companies Suno and Udio for using their recordings to train their software) and state law likeness rights (the legality of creating a “Fake Drake” or a similar vocal imitation). That’s why the academy, along with other music rights-holder organizations, is pushing for stronger statutes in statehouses, plus backing the federal NO FAKES (Nurture Originals, Foster Art, and Keep Entertainment Safe) Act. (The bill, which has been introduced in both the Senate and the House of Representatives, now has widespread support; there will be attempts to attach it to must-pass legislation in the current “lame duck” session before Christmas, but it seems more likely that it will be reintroduced next year.)
By the beginning of this year, AI loomed so large that the House Judiciary Committee had a “field hearing” about it in Los Angeles two days before the 2024 Grammy Awards, where country singer Lainey Wilson and Recording Academy CEO Harvey Mason Jr. testified. “We wanted to use the spotlight of the show to draw attention to the issue,” Dupler says. “We embraced this idea of protecting human creativity.” The hearing helped raise the visibility of the Tennessee law, which in turn became a model for other bills around the country.
In February, Mason spoke at a House Judiciary Committee field hearing in Los Angeles on artificial intelligence.
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The academy’s other two advocacy priorities are banning the use of rap lyrics as evidence in criminal trials and regulating the secondary ticketing market, especially to mandate transparency. Unlike copyright law, which is federal, both of these issues involve a mix of federal and state legislation. The admissibility of lyrics as evidence can be a matter of federal or state law, depending on the charges; ticketing laws have come from statehouses, as well as Washington, D.C.
The academy launched its advocacy division in the late ’90s, and what began as a modest attempt to help shape policy for the digital age has grown into a significant operation that lobbies for creators, often along with the RIAA and the National Music Publishers’ Association, which represent the recording and publishing businesses, respectively. The academy now runs an annual Grammys on the Hill event to recognize artists and legislators (including, this past year, Sheryl Crow and Sens. Amy Klobuchar, D-Minn., and John Cornyn, R-Texas), and a Music Advocacy Day in which academy members visit the regional offices of national legislators to talk to them about their policy ideas. (This year drew 2,100 members.) In 2024, the academy also organized seven State Capitol Advocacy Days, twice as many as in past years, reflecting the importance of state law to its priorities.
Although the nature of procedural rules for criminal cases isn’t a core issue for the music industry, the academy and other music organizations have pushed to limit the use of lyrics as evidence on free expression grounds. “We engage in issues that affect the music business,” Dupler says, “and members and local chapters bring issues to us.”
In September 2022, California became the first state to limit the use of lyrics as evidence in its Decriminalizing Artistic Expression Act, after the practice gained attention in Young Thug’s RICO trial. But bills in other states have stalled, and the federal RAP (Restoring Artistic Protection) Act, which would apply to trials for federal offenses, has yet to pass. “That has to be reintroduced,” Dupler says. “And we’ll continue to focus on both AI and lyrics on a federal level.”
Ticketing — the other big issue for the academy — has become controversial and seems likely to remain so, especially now that Donald Trump’s election has thrown into doubt the future of the Department of Justice’s antitrust case against Live Nation. (The new attorney general will decide if and how to continue that case.) The state ticketing bills the academy is lobbying for are simpler and have more to do with requiring secondary sellers to disclose extra charges and refrain from offering tickets they do not yet own. There’s similar federal legislation, known as the Fans First Act in the Senate and the TICKET (Transparency In Charges for Key Events Ticketing) Act. Dupler didn’t come up with that name — but he’s prepared to spread the word once the bill is reintroduced in 2025.
This story appears in the Dec. 7, 2024, issue of Billboard.
Stepz’s “Rock” lifts a spot to No. 1 on the TikTok Billboard Top 50 chart dated Dec. 7, becoming the rapper’s first leader on a Billboard ranking.
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Nov. 25-Dec. 1. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
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“Rock” bowed on the TikTok Billboard Top 50 dated Nov. 9 at No. 29 before spiking to No. 2 on the Nov. 30 survey. It lifts to No. 1 on the continued strength of a dance challenge.
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Stepz himself has contributed to usages of “Rock,” though his participation extends to other songs within the chart’s top 10; earlier in the week, he also contributed a dance to the trend for Adele’s “Send My Love (To Your New Lover),” which concurrently blasts 22-8 for its first week in the ranking’s top 10. Adele returns to the top 10 of the chart for the first time since January, when “When We Were Young” reached No. 8.
“Rock” concurrently jumps to 1.3 million official Billboard U.S. chart-eligible streams in the week ending Nov. 28, up 18%, according to Luminate. “Send My Love,” which peaked at No. 8 on the Billboard Hot 100 in 2016, rises 17% to 1.8 million streams.
Gia Margaret’s “Hinoki Wood” lifts 3-2 on the TikTok Billboard Top 50, while GloRilla and Sexyy Red’s “Whatchu Kno About Me,” the previous No. 1, drops to No. 3. “Hinoki Wood” is tied to the chill guy meme/trend, with creators using the song to upload content showcasing how much of a chill person they are, either using their own likenesses or the cartoon dog itself.
“Hinoki Wood” sports a 132% leap in streams to 720,000. It’s her second appearance on a Billboard chart, after the album Romantic Piano spent six weeks on the Classical Crossover Albums list in 2023.
“Bound 2” by Ye (formerly Kanye West) re-enters the TikTok Billboard Top 50 at No. 4 – its highest rank yet, following an appearance at No. 10 last December. Its return at the same time as last year (Dec. 2) is no coincidence; yet again, creators highlight the 2013 song’s “We made it to Thanksgiving/ So maybe we can make it to Christmas” lyric” (the chart’s latest tracking week includes the Nov. 28 Thanksgiving holiday in the U.S.).
Ole 60’s “Thoughts of You” soars into the chart’s top 10 for the first time, vaulting 41-6 in its second week. The country band’s recently released tune (it came out in September) surges via a timely lyric “Oh, eyes in line and hands together/ We almost made it through the weather/ Looked up, laughed and said, ‘Where’d November go?’” The trend then features users comparing their November 2023 to their November 2024. Some have begun applying the trend to December as well.
“Thoughts of You” rises to 2 million streams in the week ending Nov. 28, up 40%. The song represents the first country entry in the top 10 of the TikTok Billboard Top 50 since Johnny Cash’s “Folsom Prison Blues” in October.
One other song reaches the top 10 for the first time, and it’s also the week’s top debut: Silento’s “Watch Me,” which bows at No. 9. Released in 2015, the song fits TikTok perfectly, as the track had a corresponding series of dances instructed by the rapper in its lyrics. The latest trend includes the original dance, albeit with some additional flourishes when it features more than one person.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
Five years ago, the Recording Academy put forth a new membership model committed to “fostering diversity and inclusion while encouraging the music industry to reexamine and reinvent their own long-standing practices.” Its recently released membership report revealed just how far it’s come in meeting that goal — adding 3,000 women voters (a 27% increase since 2019) and seeing a 65% increase in voting members who identify as people of color.
The record 2,800-plus new members who accepted invitations to join the academy in 2024 — including the artists and creatives interviewed here — exemplify that transformative, ongoing shift.
Kaash PaigeSinger-rapper, 23
What sparked your interest in becoming a Recording Academy member?
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I think what sparks a lot of interest in the Recording Academy is boom, you see the Grammys. Then you really get involved and see it’s a community of creatives that are excited to build their career and network. I think that sparked my interest more when I started to be part of email threads and got invited to stuff. I realized this isn’t just the Grammys — this is a whole thing.
What was your opinion of the academy before joining?
I thought about it in a sense of “If you join, you’re going to win a Grammy.” I was really naive. It’s not about that at all. As you build and grow within the community, you’re like, “This is family.” I plan on staying with the Recording Academy for the rest of my life.
Why did you ultimately accept the invite?
It’s kind of like, who wouldn’t accept the invite to be a part of it? Leaving Def Jam last year and coming back out to Los Angeles this year, I needed to dive deep into what I want in my life right now. Being accepted felt like affirmation to me of like, this is where you need to be and these are going to be the rooms that you’re put in to help facilitate growth in your life, because you never know who you might meet.
Shirley SongComposer, 34
Why did you accept the invite?
When you’re a composer for film and TV, you’re immersed in that and don’t always get to hang with the songwriters, composers, and mixing and mastering engineers on the pop side. I think more and more inspiration [for film and TV scores] is drawn from the pop and hip-hop worlds — it’s no longer just your typical John Williams orchestral score. To be able to meet more musicians, songwriters and engineers from that world, I am able to learn and improve my production chops.
Prior to being invited to join, what if any experience did you have with the academy?
Honestly, I didn’t know much. I just thought they did the Grammys. I realized it was a lot more. They are always offering invaluable learning opportunities — panels, discussions — and these experiences keep me informed and inspired. The academy has given me a deeper sense of purpose within this industry and motivates me to also want to contribute meaningfully and advocate for changes.
When it comes to diversity, what do you hope to see the academy improve in the future?
What they are doing now is the biggest step — mentoring, opening this up and inviting people who look like me. Fostering this sense of community is what is going to help champion diversity and support emerging talent.
I am just excited to be able to vote and have my little voice heard. Voting allows me to champion work that pushes boundaries and ensure genres and voices from often underrepresented [communities] get the acknowledgment that they deserve. I know the countless hours and creativity that were put into making this music. It’s nice to be able to support that.
Tara FineganCOO of Cutting Edge Group, a Grammy-winning music financier, record label and publisher, 37
Tara Finegan
Madeleine Farley
Why did you want to join?
I felt really motivated to learn more about the Recording Academy when it added a category to recognize video-game soundtracks a few years ago. [That] has had a big impact — already, all kinds of video-game companies across the board are more focused on music because they want to run a Grammy campaign and receive that accolade. It actually does have a ripple effect where it brings more focus and resources to video-game composers.
I was even more motivated to take a role in the Recording Academy’s year-round community of professionals when [artificial intelligence] innovations, and dangers, started to come up. I straddle the line between film, television, video games and music, so AI is something that has been very, very present in what we’ve been thinking about over the last year or so. It was one of the central points in the Hollywood strikes last year, and that just really highlighted to me how important these types of organizations are. The Recording Academy is an important advocate for making sure that whatever happens next is done thoughtfully and with real consideration to the human beings behind the art.
If you could create a new Grammy category, what would it be?
There’s been a real resurgence in pop culture of film soundtracks, with these unbelievable soundtracks that have been put together from scratch, and in my dream world we would have an all-original-music soundtrack [category], like for something like Barbie, in a separate category than a compiled soundtrack of preexisting songs, like Guardians of the Galaxy.
What are your Grammy week plans?
My label is nominated in the [best score soundtrack for video games and other interactive media] category for Pinar Toprak’s score for Avatar: Frontiers of Pandora. She’s absolutely phenomenal. Up until voting closes, we will be campaigning for her. Then, come Grammy week, hopefully enjoy the week, attend the awards and try not to get too anxious.
Andre MerrittSongwriter (Chris Brown, Kelly Rowland, Rihanna)
Andre Merritt
Remy
What if any experience did you have with the academy, and why did you join?
I did a few meet-and-greets [with them] where I would come and speak to people about what I did [in] music. I wanted to be around my peers and around people who feel and think about music the way I do.
What does the recognition that comes with a Grammy mean to you?
You put so much into being an artist and working on ways to get yourself seen and heard — to be rewarded with a Grammy, it lets other people know, “Oh, this guy really means business.”
What do you hope to see the academy help improve in the industry?
I would like them to get [further] involved in the pay for streaming. The biggest thing is creating a livable wage for people to continue to create and give us new art. When you have an organization like the academy that’s backing you, it gives you a lot more to fight with.
Do you have go-to Grammy-watching plans?
I get with some of my fellow songwriters because we like to talk crap about everything, like who we think is going to win. We get some food and drinks. I enjoy that.
Lil Mexico BeatzLatin Grammy-nominated producer (Roddy Ricch, Arcángel, Marshmello), 25
What if any experience did you have with the Recording Academy before joining?
I had a lot of friends who were part of the academy and they told me about it. But the thing was that the past couple of years, it seemed more like a closed circle to me. I never really heard how you were able to get signed up to join or be a part of it. I had no idea how to get involved. From the outside, it seemed like it was only a select couple of people. [But] now they’re expanding to more musicians, producers, songwriters.
How did the invitation to become a member come about, and why did you decide to join?
My friends who were in the academy were telling me things like, “Honestly, you’ve done a lot already in the music industry. You should join the academy. They’re looking for new people.” One of those friends was Paul Wall. He’s been a member for a while now, and he told me that I had to join. “It’s a big thing to be a part of this,” he said. So that’s part of the reason I was motivated to join. I grew up watching the Grammys, and it really had an influence on me. Now someone like me talking about being part of the academy, that will light a fire in the new generation.
As a producer, you’ve worked in the trap scene with both Latin and non-Latin artists. Do you think that duality will shape your role as a member?
Definitely. The one thing I really wanted to push, especially this year, was to get more spotlight on the Latin genre. English and Latin trap share similar issues, including getting overlooked constantly, mainly if you’re an indie artist. And I know we have Latin Grammys, but to be on a global stage like the Grammys, even in the Latin categories — that’s huge.
Joshua MosleyComposer-producer, 44
Why did you accept the invite to join the academy?
The [recommendation to be a member] came from Justin “Henny” Henderson. He was the president of the Atlanta chapter; now he’s a national trustee. We’re old friends from sixth grade, and we had a rap group back in 1991 at school. We both loved music then, and it’s really cool to see where our paths have led us to this point in our lives. To have that recommendation coming from him, and then also from a good friend, Gilde Flores — who has done work with me on a lot of film scores and productions — just made it really special.
The best score soundtrack for video games and other interactive media category is still a recent addition to the Grammys. As someone with plenty of experience crafting music for video games, why do you think the category is important?
Some of the greatest music is written for video games. It’s long overdue for it to be recognized; there are a lot of great writers. It exposes music to a different type of audience. It was really cool to see Gordy Haab win [with Stephen Barton in February for Star Wars Jedi: Survivor], a friend of mine and extremely talented gentleman that deserves recognition.
A best score for an animated feature or series [category] would be cool. I would start with connecting with the film and TV parts of the L.A. chapter, get people talking there and see if we can push it out there and get people exposed to that [idea].
What do you hope to see the Recording Academy improve in the future?
I think [the academy] is on a good track with making sure different voices are being heard. I’m a fairly new member, and so far, I’m liking what I’m seeing. I know [the academy] is a big advocate, too, in Washington [D.C.], as far as music rights, publishing and all that stuff goes, forging ahead with making sure that artists are taken care of and represented.
Sarah SchachnerComposer, producer and multi-instrumentalist, 36
Sarah Schachner
Moog Music
What issues are most important to you right now within the Recording Academy?
The work the academy does on Capitol Hill to protect artists’ rights is so crucial. If no one is out there fighting for us, music-makers could lose ownership and sustainable income. The Grammy Museum’s work in keeping music education in schools is super important, and if we’re going to encourage kids to pursue music as a career, we need to continue to find ways to protect artist rights.
Any thoughts on the video-game music composers nominated in 2025?
It’s awesome to see my peers get recognition. Game music is truly a unique and intricate art form, and it’s about time it gets acknowledged.
Alana LinseySinger in R&B duo GAWD, 29
Alayna Rodgers and Alana Linsey of GAWD
Mancy Gant
How did you feel about the academy prior to joining?
I felt a sort of distance, [like] there was a veil over the process of how people win Grammys. Who votes? Who’s in the community that’s making these decisions? Then I [performed at] two Grammys as a background vocalist. It really felt like a community, and it lifted the veil. [Since] joining, I’m starting to see that it really is the people deciding.
Why did you accept the invitation?
It was an honor to be invited. I also noticed that my friends who were members had different resources, and they were more involved and connected to the community that makes decisions. It was important for me to help broaden the scope of what a Recording Academy member looks and sounds like because I know sometimes, historically, [Black artists] have been or felt left out of a lot of these conversations and moments.
How do you two feel about how the academy is handling R&B?
I think that R&B is really growing, and they’re leaving room for that growth in places like the progressive R&B category. There’s room for different types of R&B artists to exist, which I really appreciate. We’re R&B artists mainly because we sing, but our music is [more similar to] OutKast or Teezo Touchdown. It’s very nuanced where people get inspiration from. To be categorized as R&B is an honor and a blessing, but the progressive moments create a whole other space for people to be free in their art.
This story appears in the Dec. 7, 2024, issue of Billboard.
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Yung Miami and JT Reunite on JT’s Birthday After Public Feud: City Girls Back Together
After months of speculation and drama, City Girls’ Yung Miami (Caresha) and JT have officially squashed their beef and reunited.
The pair, who have been inseparable since their rise to fame, appeared together yesterday to celebrate JT’s 31st birthday, signaling the end of their public fallout earlier this year.
Earlier this year,the duo revealed that they were parting ways to focus on solo careers. Yung Miami opened up in a Complex interview about their decision, citing creative differences and the lack of connection during the rollout of their October album RAW.
Miami shared that both she and JT were in different places professionally and personally, with JT based on the West Coast and Miami in Miami, leading to a natural separation in their work.
Source: Prince Williams / Getty
Tensions between the two came to a head in April when they exchanged heated words on X (formerly Twitter). Miami accused JT of “sneak dissing” her in solo tracks, while JT defended herself, claiming Miami was enjoying seeing her dragged on social media.
However, both artists quickly reconciled online, with each professing their love and respect for the other.
Fast forward to JT’s birthday, and the two were seen together, laughing and showing affection. Their reunion marks the end of the tension that had been brewing for months, and fans are thrilled to see them back on good terms.
While City Girls have temporarily paused as a duo, both artists are thriving individually. Yung Miami has expanded into television, while JT continues to push boundaries with her solo music.
Regardless of whether they’re collaborating or going solo, it’s clear that both Yung Miami and JT are destined for success in their careers.
RELATED: We Are Obsessed With JT’s Kick-Off ‘City Cinderella’ Tour Looks
Source: Prince Williams / Getty
Are the The City Girls Getting Back Together?
was originally published on
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