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Charleston White has become a popular, if controversial, media figure due to his outlandish comments about Black entertainment and culture. An old video of Charleston White recently surfaced featuring him testifying against a friend, prompting some online to harken back on White’s comments regarding snitching.
Charleston White was trending on X, formerly Twitter, over the weekend after the @rebootjays account shared a 1993 news report from a Texas outlet featuring a teenage White testifying in court. The case appears to involve a murder case involving one Antoine Dolittle, who shot and killed Michael Levy, who tried to stop White and Dolittle from stealing from a department store. The actual crime occurred in 1991
https://x.com/rebootjays/status/1900933462724350261 – The video mentioned above.
White, 216 at the time, is seen telling the court how the shooting was carried out and the clip immediately hit viral status on the X network with fans adding that this is nothing new for him as he’s made snitching part of his ethos.
As is custom, White welcomed the criticism from observers and dropped a video on social media explaining that he doesn’t think the video will stop his current speaking engagement and tour stops, nor will it have any effect on his earnings. White has been explicit in stating that he would gladly snitch on anyone, and the video below highlights his stance.
https://x.com/charlestonwhyt/status/1900996053014401313 – a response video from White.
Gillie Da Kid reacted to the news in his usual outspoken fashion and White replied via video, appearing to address the podcast host and Philadelphia native that had the “no snitching” street code been pushed aside, Gillie would find justice for his slain son, Devin “YNG Cheese” Spady.
https://x.com/batnarc573511/status/1901652025236140278 – The video comment in question.
So far, it doesn’t appear that Gillie Da Kid is going to go back and forth with Charleston White over the matter.
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Photo: Instagram
In a changing of the guard at one of Hollywood’s biggest talent agencies, UTA says that David Kramer will take over as CEO in June, succeeding longtime leader Jeremy Zimmer.
Zimmer, the UTA co-founder who has been CEO of the talent agency since 2012, is shifting to a role as board member and executive chairman. Paul Wachter will remain chairman of the board of UTA.
“We are thrilled to announce David as UTA’s next CEO. He is stepping into this role at an exciting time of growth, with UTA at the center of some of the most pivotal cultural moments across media, sports, and entertainment. We are confident that his leadership and client-centric approach will position the Company for continued success,” said Wachter in a statement. “I’ve known Jeremy and UTA for almost 30 years and have been impressed with Jeremy’s entrepreneurial nature and vision. It’s been remarkable how much the Company has grown and succeeded over that period. Jeremy’s years of dedicated service have left a strong and dynamic foundation for the Company’s future.”
The new role for Kramer is not completely unexpected, with the company describing the move as part of a long-planned succession process. Kramer was elevated to president of UTA in 2022.
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“These 35 years at UTA have been so incredibly rewarding,” said Zimmer in a statement. “While transition is never easy, this particular moment feels very right. David has been my chosen successor for many years and I’m certain that he will continue to uphold our great culture, support our amazing colleagues, and honor the privilege of serving our clients.”
“I am honored to be named UTA’s next CEO. We are all deeply grateful to Jeremy for his passion and dedication to this team and for helping to make UTA into one of the premier global talent agencies in the world,” Kramer added. “His vision and guidance were key to building our foundation and broadening our business to offer clients world-class capabilities across filmed entertainment, music, sports, the creator economy, and advisory services.”
Zimmer led UTA through a significant expansion period, completing some 19 acquisitions, per the company, and partnering with companies like Klutch Sports Group. UTA also secured private equity investment from EQT, in a bid to further turbocharge its growth.
In a note to staff obtained by The Hollywood Reporter, Kramer indicated that he intends to continue following that path.
“UTA has consistently taken chances, entered into new spaces, and defined categories with our work,” Kramer wrote in a memo to staff Monday. “Our focus will continue to be on nurturing and empowering that entrepreneurialism, and the unique strengths and capabilities that have allowed us to win in each category. Together, we will make sure that we foster real collaboration across our platform so that we can leverage our ability to see what’s next in culture to unlock greater opportunity for both our clients and the company as a whole.”
As for Zimmer, he will continue as executive chairman through 2025, telling employees in a note that “for the next several months I will be completely available to help transition divisions and relationships to the colleagues who will assume new responsibilities. I will also be available for lunches, laughs, and any sort of questions or concerns that I can be of help with.”
Though he added that he won’t be leaving the entertainment business entirely.
“I have been an agent for 45 years, and it’s now or never to see what else I will do. I’ve always been a builder, and I want to take the time to create something meaningful in this next chapter of my career,” he wrote. “Let’s be honest, the chances that I’m going to start an aluminum company in Alaska or a cement company in Cleveland are pretty slim. So this is not goodbye. I will remain on the board, and I will always be a friend, a supporter, and a fiercely loyal champion of this great company we’ve built together and that I love.”
You can read Kramer’s full email to UTA staff below.
TO: All Employees
FROM: DK
SUBJECT: Leadership Update
Team,
I’d like to start by saying that I am honored to be named UTA’s next CEO. We are all deeply grateful to Jeremy for his passion and dedication to this team and for helping to make UTA into one of the premier global talent agencies in the world. His vision and guidance were key to building our foundation and broadening our business to offer clients world-class capabilities across filmed entertainment, music, sports, the creator economy, and advisory services.
There is a reason that UTA has been my home for my entire career – I am incredibly fortunate to work alongside such a talented and dedicated team, and experience the impact our work has for our clients.
UTA has consistently taken chances, entered into new spaces, and defined categories with our work. Our focus will continue to be on nurturing and empowering that entrepreneurialism, and the unique strengths and capabilities that have allowed us to win in each category. Together, we will make sure that we foster real collaboration across our platform so that we can leverage our ability to see what’s next in culture to unlock greater opportunity for both our clients and the company as a whole.
UTA’s greatness isn’t just defined by the strength of our individual contributions or our ever-expanding scale; it’s our shared commitment to putting clients first and our relentless pursuit of discovering, creating and sustaining opportunity for great talent and brands. This will always be the foundation of our success and what differentiates us.
I’m excited to collaborate with each of you as we leverage the strength of the businesses we’ve built and guide this company into a new era of growth and innovation.
I look forward to spending time over the following weeks meeting with all of you and talking further about priorities ahead.
Please join me once again in thanking Jeremy for his incredible vision and leadership. And thank you for all you do to make UTA the company it is today.
Regards,
DK
This story was originally published by The Hollywood Reporter.
If the “I am music” tag isn’t playing on a loop in your head, clearly you missed one of the year’s buzziest album drops over the weekend. In the wee hours of Friday morning (March 14), Playboi Carti finally unveiled his highly anticipated third studio album, Music, after five years of seemingly endless teases, standalone singles, guest appearances, and festival performances. Shortly after its release, the Atlanta rapper’s new LP became Spotify‘s most-streamed album in a single day in 2025 so far. Needless to say, Carti is on top right now.
Outside of King Vamp staking a strong claim to the rap throne, Ye delivered yet another head-scratcher of a moment when he dropped a new song via X on Saturday (March 15). Titled “Lonely Roads Still Go to Sunshine,” the new track apparently features vocals from Diddy and North West, much to the chagrin of her mother (and Ye’s ex-wife) Kim Kardashian.
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On the legal side, UMG filed a scathing motion to dismiss Drake‘s lawsuit over Kendrick Lamar‘s “Not Like Us” on Monday (March 17). The motion reads that Drake “lost a rap battle that he provoked and in which he willingly participated. Instead of accepting the loss like the unbothered rap artist he often claims to be, he has sued his own record label in a misguided attempt to salve his wounds. Plaintiff’s Complaint is utterly without merit and should be dismissed with prejudice.”
The new filing comes the same day Lamar’s SZA-assisted “Luther” enjoys a fourth week atop the Hot 100, the longest-running chart-topper for both artists.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Lil Nas X’s new Neptunes-esque banger to JayDon’s ode to ’00s R&B. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Rexx Life Raj feat. Mick Jenkins & BLK ODDYSY, “Take Me to the Sunlight”
“Sometimes I write and start to follow my feelings/ Could play the victim but these views will make me a realist/ I’m a Black man but still I understand I got privilege/ Bro, look at Rafah, where Israelis dropping bombs on a village,” Rexx spits to kick off the first verse of his poignant new collaboration with Chi-Town MC Mick Jenkins and Austin-based act BLK ODYSSY. Starting a song with a commentary on the intricacies of positionality and privilege between people of color is already ambitious, but “Take Me to the Sunlight” assembles three artists who are unwaveringly committed to that lyrical exercise. Over a simple, pensive beat, Rexx and Mick deliver verses that temper political commentary with relatable, personal narratives, while BLK ODYSSEY delivers a haunting hook. “Where is heaven for the ones who look like me?/ Tryna believe in something that I can’t see/ Take me to the sunlight,” he coos. — KYLE DENIS
V Don & Boldy James, “Split the Bill”
I know Boldy has been flooding the market over the last year or so, but I can’t ignore him linking up with the criminally underrated V Don who makes some of the hardest beats out. You can say Boldy’s subject matter is repetitive, but that’s like saying you get tired of Pusha’s coke raps, or Picasso’s Cubism era. There aren’t too many rappers that spit as effortlessly as the Detroit and when you couple him with a producer like V Don, you can expect high-quality rap music like the lead single from their upcoming tape Alphabet Highway. — ANGEL DIAZ
Aminé, “Familiar”
Aminé isn’t going to be told what to create. He’s always going to be a trailblazer — and that’s not only because he’s from Portland. It’s nearly springtime, so the 30-year-old is out of hibernation and has a new album on the way. Aminé taps into some of his toxicity while exploring more of an electro-pop sound on “Familiar.” The rapper grapples with the internal tug-of-war of knowing he has to let a former flame go, but there’s a part of him refusing to come to grips with the reality. It’s a strong single to kick off his rollout, and we only wish the sub-two-minute sprint had more distance before crossing the finish line. — MICHAEL SAPONARA
Jazlyn Martin & TheARTI$t, “Have It Your Way”
Jazlyn Martin is kicking off 2025 with “Have It Your Way,” a soulful duet featuring The ARTI$T that dives deep into themes of love, trust and devotion. The smooth, heartfelt track captures the essence of surrendering to love — letting go, following each other’s lead and embracing the emotional depth of a committed relationship. Martin’s verses glow with admiration, as she describes her partner as her guiding force, someone she trusts completely. The ARTI$T counters with raw vulnerability, admitting that while opening up isn’t easy, their partner provides the reassurance they need. “Have It Your Way” is a soulful declaration of selfless love, proving that sometimes, the strongest connections come from simply letting go. — CHRISTOPHER CLAXTON
Zyah Belle feat. Ben Reilly, “About Time”
Between Madness’ pulsating synths and snares, Zyah Belle’s flirtatious timbre, and the song’s general focus on finally making your move after a heated night on the town, “About Time” is tailor-made for summer rooftop functions — and they can’t come soon enough. Canadian rapper Ben Reilly effortlessly rides the beat, making for a welcome male counterpart to the perspective Zyah presents throughout the sultry track. — K.D.
Diany Dior, “Thick”
Diany Dior is an emerging rapper hailing from The Bronx, and if there’s anything about BX residents, it’s that they don’t need a proper outside introduction, just press play and you’ll see what they’re about really quickly. Dior isn’t resting on her laurels with a solid Big Dior debut project in 2024, as she’s right back to work before Q1 expires. The 23-year-old returned with a catchy single for the ladies sporting a more voluptuous figure. Dior shrewdly interpolates Missy Elliott’s “Work It” anthem and repeats the track’s title on an earworm of a chorus that bounces off the blaring production, which is sure to get listeners’ hips gyrating toward an Uptown dancefloor — just in time for the warmer weather coming. — M.S.
Wiz Khalifa, “Aerials Freestyle”
This column is usually for less established acts like Wiz, but this recent run he’s been on is taking us back to the days when the only way you could hear new music was on YouTube, Soundcloud, and rap blogs, so we must keep acknowledging it. The Pittsburgh rapper’s bringing the feeling back, and even sampling the titular System of a Down banger from 2001. Let the bong rip and hit play on some real stoner music. — A.D.
4batz, “Mortal Kombat”
4batz’s “Mortal Kombat” explores the intense, toxic cycle of a tumultuous relationship marked by constant arguments. This couple fights frequently but can’t seem to stay apart, with the chorus emphasizing the recurring nature of their battles—one partner always returns, despite the conflict. Ultimately, “MORTAL KOMBAT” is a track about the struggle to navigate love and conflict in a toxic relationship, choosing to fight for something real despite the challenges — a message we can all relate to in one way or another. — C.C.
JayDon, “I’ll Be Good”
With a melody and structure that screams ’00s Ne-Yo, “I’ll Be Good” is an instant earworm. The track, which samples Usher’s 2001 deep cut “How Do I Say,” arrives alongside the announcement of JayDon’s signing to Ursh and L.A. Reid’s mega label, in partnership with Larry Jackson’s gamma. JayDon — who voiced young Simba in the 2019 photorealistic remake of The Lion King — delivers a terrific vocal performance, intimately capturing the process of taking accountability while asking for forgiveness. At just 17 years old, he sings with the emotional heft of a crooner twice his age: ““Girl, if you find it in your heart/ Then I’ll be good/ I’ma try/ I’ma do better, better,” he pledges. — K.D.
Lil Tecca, “Dark Thoughts”
Lil Tecca is getting in his pop bag. On its face, “Dark Thoughts” feels like it would be more of an ominous tune, but Tecca’s trying to provide the soundtrack to a night out on the rooftop bars. Instead of pushing them away, Tecca embraces his “Dark Thoughts,” but bounces them off a glossier bassline that calls back to The Neptunes’ production on tracks like Hov’s “I Just Wanna Love U” or ‘90s R&B and the shiny suit Bad Boy camp. He assured us there was no plan B with his robust Plan A project in 2024, but the next era is taking his artistry to new heights – just enjoy the ride. — M.S.
Casper Sage & Amindi, “NuDivision”
“NuDivision” reflects on the growth that comes from separation, with the title symbolizing both a divide and the potential for something new. Lines like “switching, blocking light” and “clouds keep moving” embody the obstacles and emotional ups and downs they face. Nonetheless, there’s an underlying hope for rekindling what was once lost, with the repeated refrain of “nu-division” signaling a new chapter. Sage and Amindi’s verses show the balance of pain and optimism, highlighting the complexity of love’s evolution. — C.C.
Lil Nas X, “Hotbox”
Lil Nas X fell victim to “snippet culture” with recent releases, but he absolutely sticks the landing with “Hotbox” — and could have his next hit on his hands, which should springboard him into his Dreamboy era and set the tone for a major 2025. Pharrell’s impact on modern pop music can’t be escaped, with “Hotbox” nodding to P’s classic “Frontin” and a pink-splashed visual is expertly curated to fit Nas X and the track’s aesthetic. Coming up as a faceless member of Nicki Minaj’s Barbz army, even the pink pool feels intentional as a call back to Minaj’s “Super Bass” video. Well played, Lil Nas, well played. — M.S.
Austin’s annual SXSW conference and festival is set to scale back its 2026 edition. Next year, the event will run from March 12-18 — two days shorter than this year’s event — with its interactive, film/TV and music programs running concurrently. The news was first reported by the Austin American-Statesman. “A shorter SX gives attendees […]
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Billboard Women in Music 2025 is streaming on Vizio’s WatchFree+ on March 29 at 10 p.m. ET/7 p.m. PT on channel 1400. Catch up with Billboard’s content on the new platform, streaming now! Tetris Kelly:Billboard Women in Music is coming to your TV screens! Can’t attend the show in person? We’ve got your back with […]
Six months of preparation translated into a 13-minute Super Bowl Halftime Show. The NFL took fans behind the scenes for the first time on Friday (March 14) with a look into how Kendrick Lamar’s Super Bowl LIX Halftime Show took form.
The NFL released a 32-minute mini-documentary on YouTube showcasing how the performance went from an idea to the big stage in New Orleans as more than 133 million fans watched at home.
Bruce Rodgers served as the creative director and production designer for Kendrick’s performance; it was Rodgers’ 19th Super Bowl Halftime Show.
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“This literally will change the way you do halftime. We’ll have to have a full team building the square, same with the diamond, same with the circle,” he said of the video game-themed stage for Lamar.
PgLang creative director Mike Carson was also heavily involved with the performance, and he hopped on countless Zooms and calls with Rodgers while bouncing ideas off him about the stage, lighting and performance.
Before GNX even dropped, one of the early hurdles was finding a pristine 1987 Buick GNX for the performance, which was gutted to have 30 of the 400 dancers emerge from the car.
“The car is the icon of this era for him as far as album covers [GNX], in the video, so it was only right to have it as part of the performance,” Carson said.
Five hundred crew members were involved in the shuttling of the stage on and off the field in eight minutes. Even though the Caesars Superdome is indoors, they opened the vents due to the use of pyrotechnics and had to take measures for possible inclement weather, which ended up working out.
Kendrick impressed with his heavily anticipated performance — including bringing “Not Like Us” to the global stage — which saw an assist from SZA and a Serena Williams cameo.
Lamar drew a 153% bump in streams in the week following his Super Bowl performance in New Orleans on Feb. 9, which pushed GNX back to No. 1 on the Billboard 200.
Over a month later, Kendrick still holds three of the top five slots on the Billboard Hot 100, including his sixth No. 1 hit with “Luther.”
Watch the NFL’s mini-doc below.
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Source: Arnold Turner / Getty
Jonathan Majors was seen as largely shedding some of the bad press that surrounded his name in the wake of the incident between him and ex-girlfriend, Grace Jabbari. Despite the civil lawsuit brought by Jabbari being recently settled, an audio clip has surfaced that appears to highlight Jonathan Majors admitting to strangling Jabbari.
In the audio clip procured by Rolling Stone, Jonathan Majors, 35, can reportedly be heard speaking to Grace Jabbari and seemingly confessing to using physical force against her but it isn’t truly highlighted what the impetus was for that allegedly violent exchange.
In the audio clip, Majors is heard saying “I’m ashamed I’ve ever…I’ve never aggressive with a woman before. I’ve never aggressed a woman, I aggressed you.”
Jabbari is heard firing back saying “You strangled me and pushed me against the car.”
Majors responded “Yes, all those things are under ‘aggressed,’ yeah. That’s never happened to me.”
Jabbari goes on to say that a sarcastic comment she made towards Majors prompted him to violently react to her and she suggested that the actor is contending with deeper issues pertaining to anger management. Majors alluded to the fact that something about Jabbari sparked that side of him before the audio cuts off.
So far, a comment from Jonathan Majors or Grace Jabbari has yet to surface, but on X, plenty of fans have reactions pointing to the actor’s slow climb in rehabbing his image and how this sets those efforts back several paces.
We’ve got the reactions below.
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Photo: Getty
Lady Gaga and Bruno Mars’ “Die With a Smile” continues atop the Billboard Global 200 chart, adding a 12th week at No. 1. It also rebounds for an 11th week atop Billboard Global Excl. U.S. The ballad first led both lists last September.
Meanwhile, two tracks debut in the top 10 of each survey: JENNIE’s “Like JENNIE” and Doechii’s “Anxiety.”
As previously reported, Gaga’s MAYHEM launches at No. 1 on the U.S.-based Billboard 200 albums chart, becoming her seventh leading set, and JENNIE’s Ruby begins at No. 7.
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The Billboard Global 200 and Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“Die With a Smile” leads the Global 200 with 116.9 million streams (up 4%) and 9,000 sold (up 17%) worldwide March 7-13.
Nos. 2-4 on the Global 200 hold in place, with ROSÉ and Mars’ “APT.” at No. 2, after 12 weeks at No. 1 starting in November; Kendrick Lamar and SZA’s “Luther” at its No. 3 high; and Lamar’s “Not Like Us” at No. 4, following four weeks at No. 1 beginning last May.
JENNIE’s “like JENNIE” soars in at No. 5 on the Global 200 with 68.4 million streams and 6,000 sold worldwide. The BLACKPINK member adds her fourth solo top 10 on the chart; the group has likewise collected four top 10s, while fellow members LISA (three top 10s), ROSÉ (two) and Jisoo (one) have also hit the tier as soloists.
Also in the Global 200’s top 10, Doechii’s “Anxiety” bounds in at No. 6 with 56.9 million streams and 9,000 sold, becoming her first top 10. The history of the song – recorded in 2019 – is winding: When it was available only via YouTube, Sleepy Hallow co-opted its hook for the chorus of his own “A N X I E T Y”; billed to Sleepy Hallow featuring Doechii, it was released in 2023. The update experienced a TikTok-led revival in recent weeks, as users have soundtracked the “A N X I E T Y” chorus to a scene of Will Smith and Tatyana Ali dancing from an episode of The Fresh Prince of Bel-Air, the Smith-led sitcom that aired on NBC in 1990-96. “A N X I E T Y” falls 21-27 in its second week on the Global 200, led by 29.6 million streams worldwide (down 2%).
Meanwhile, the new attention for “A N X I E T Y” sent fans to Doechii’s solo, YouTube-only version, prompting the rapper/singer to release her original “Anxiety” wide to digital and streaming retailers on March 4. Her version debuts on the Global 200 following the first full tracking week (March 7-13) reflecting its wider release (and split consumption options with Sleepy Hallow’s take, which, as noted above, dips slightly in streams).
Additionally, “Anxiety” and “A N X I E T Y” prominently sample Gotye’s “Somebody That I Used To Know” (featuring Kimbra), the 2012 smash that topped the Billboard Hot 100 for eight weeks, was that year’s No. 1 Hot 100 song and went on to win two Grammy Awards, including record of the year. That hit vaults 191-130 on the Global 200, up 20% to 16.5 million streams and 27% to 1,000 sold worldwide in the tracking week.
On Global Excl. U.S., “Die With a Smile” rises 2-1 with 92.3 million streams (up 2%) and 4,000 sold (up 17%) outside the U.S. March 7-13.
“APT.” descends to No. 2 after a record 17 weeks atop Global Excl. U.S. beginning in November.
JENNIE’s “like JENNIE” enters Global Excl. U.S. at No. 3 with 61.5 million streams and 4,000 sold outside the U.S. She achieves her fifth solo top 10 on the chart – surpassing the four top 10s that BLACKPINK and the group’s LISA as a soloist have each notched; ROSÉ boasts two solo top 10s and Jisoo, one.
Billie Eilish’s “Birds of a Feather” holds at No. 4 on Global Excl. U.S., after three weeks on top last August, and Gaga’s “Abracadabra” magically reappears in the top five (8-5), after reaching No. 4.
Plus, Doechii’s “Anxiety” debuts as her first Global Excl. U.S. top 10 at No. 7, with 36.9 million streams and 4,000 sold outside the U.S.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated March 22, 2025) will update on Billboard.com tomorrow, March 18. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Additional reporting by Trevor Anderson.
Anne Murray, who has received more Juno Awards than anyone else in history, will pick up one more at the 2025 ceremony — the Lifetime Achievement Award presented by the National Arts Centre. Murray will become just the second recipient of that award, following Pierre Juneau, a Canadian film and broadcast executive, who received the award in 1989. Juneau, for whom the Juno Awards were named, died in 2012 at age 89.
Murray will be present at the Rogers Arena in Vancouver, B.C., on Sunday, March 30, to receive the award, which is her second career-spanning honor at the Junos. She was inducted into the Canadian Music Hall of Fame in 1993.
This year’s award brings Murray’s Juno collection to 26. She is followed on the Juno leaderboard by The Weeknd (22), Bryan Adams (21), Celine Dion (20), Orchestre Symphonique de Montréal (19), The Tragically Hip (17), and Michael Bublé and Alanis Morissette (15 each).
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Murray, 79, received her first Juno Award — top female vocalist — at the second Junos ceremony in 1971. Murray’s collection of Junos includes back-to-back awards for both album of the year and single of the year for 1980-81. She took the album awards with New Kind of Feeling and Anne Murray’s Greatest Hits, and the single prizes with “I Just Fall in Love Again” and “Could I Have This Dance” (the latter from the Urban Cowboy soundtrack).
In addition, Murray hosted the Junos in 1996.
Murray was one of the top pop/country crossover artists of the 1970s and ’80s. She topped the Billboard Hot 100 once (with “You Needed Me” in 1978) and the Hot Country Songs 10 times. She won a Grammy for best female pop vocal performance with “You Needed Me” and for best female country vocal performance three times, with “Love Song,” “Could I Have This Dance” and “A Little Good News.” She is one of just four women to win Grammys in both pop and country solo vocal performance categories. She followed Olivia Newton-John and Linda Ronstadt in accomplishing the feat, and preceded k.d. lang.
Murray made the top 10 on the Hot 100 with her first charted hit. “Snowbird” reached No. 8 in September 1970.
In 1984, she won both album of the year and single of the year at the CMA Awards. She won for “A Little Good News” and the album of the same name. She won vocal duo of the year the following year in tandem with the late Dave Loggins (who was a second cousin to Kenny Loggins). In addition, she co-hosted the CMA Awards three times.
Murray is a Companion of the Order of Canada — the highest honor that can be awarded to a Canadian civilian. She has been inducted into the Canadian Country Music Hall of Fame, The Canadian Songwriters Hall of Fame, the Canadian Broadcast Hall of Fame, and in 2008 received the Howie Richmond Hitmaker Award from the Songwriters Hall of Fame. Murray has a star on Canada’s Walk of Fame, the Hollywood Walk of Fame and Nashville’s Walkway of Stars.
Murray has also received three American Music Awards and three Canadian Country Music Association Awards.
Boi-1da and Sum 41 are also set to receive special honors during this year’s Juno Awards. Boi-1da will receive the International Achievement Award (to be presented by Jessie Reyez). Sum 41 will be inducted into the Canadian Music Hall of Fame (with Joel and Benji Madden of Good Charlotte doing the honors).
Bublé is set to host this year’s Juno Awards, which will broadcast and stream live across Canada on Sunday, March 30, at 8 p.m. ET/5 p.m. PT on CBC TV, CBC Gem, CBC Radio One, CBC Music, CBC Listen, and globally on the CBC’s website and CBC Music’s YouTube page. The show will be produced by Insight Productions (a Boat Rocker company).