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On The Radar Latin: Jimmy Rodriguez, Maura Nava, & More Artists to Discover

Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.

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Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered by scrolling on social media, networking, or coming across their music at a showcase, for example. See our January 2024 recommendations below.

Artist: Jimmy Rodriguez

Country: Mexico

Why They Should Be On Your Radar: I first heard Rodriguez when he auditioned for Telemundo’s La Voz second season. Like all the participants, he presented himself with great emotion and was full of dreams. But something that made him stand out, besides his impeccable voice, was that he arrived wearing a Carlos Vives shirt as a gesture of manifestation (Vives indeed becomes his coach). The Mexican-born, Miami-based artist, also known as “El Mexicano Salsero,” is a combination of cheerful energy, creativity and distinctive vocals. Forming part of a new generation of salsa stars, Rodriguez brings his Mexican roots and tropical fusions together when he’s performing live, where often times you’ll see him rocking his handlebar mustache, traditional “pantalones de charro” pants, and the Mexican flag proudly hanging around his microphone. Along with his live band, it becomes an experience, not just a typical show. — INGRID FAJARDO

Song For Your Playlist: “El Rumbón” feat. Motiff & Tony Succar



Artist: Lara Project

Country: Venezuela

Why They Should Be On Your Radar: Composed by Venezuelan-born brothers Manuel and Félix Lara, the Lara Project duo brings retro dance sounds from the ’70s and ’80s to the forefront. Using synths, pulsing beats and live instrumentation, the siblings effortlessly navigate and intertwine diverse musical genres, casting a wide net for potential listeners. The head-bobbing “Comme des Garçons,” released earlier this month, thrives on an irresistible funk rhythm and a captivating mid-tempo beat. The duo is set to drop their upcoming new album, Sobrenatural, in March via Interscope. — GRISELDA FLORES

Song For Your Playlist: “Comme des Garçons”



Artist: Maura Nava

Country: Mexico

Why They Should Be On Your Radar: Nava is a rare hidden gem, one who has a story of admiration and resilience and who’s captivating vocals live to tell it. The Mexican-born, Miami-based rising act first gained exposure thanks to her cat — yes, her cat — via a TikTok video where she was flaunting her opera-singing skills and her furry pet crashed the video, only to perform with her. The video, which was blessed as “opera cat,” has garnered nearly 10 million views. But beyond her viral stint, it’s Nava’s enchanting aura and effortless soprano vocal range that ultimately got her into award-winning producer’s Julio Reyes Copello’s ArtHouse Academy, a deal with Universal Music Latin, and her own track on the soundtrack to Prime Video’s Zorro series. — JESSICA ROIZ

Song For Your Playlist: “Encontrarme” (Carla Morrison cover)



Artist: RENEE

Country: Mexico

Why They Should Be On Your Radar: There are few times when a streaming platform gets its recommendations right, but in this case, it led me to a musical treasure with RENEE. Hailing from Monterrey, Mexico, the singer-songwriter (whose full name is Sofía Renee Jiménez Alvarado) gives a new air to pop with her soulful voice, introspective lyrics, and sonic mix of jazz, soul, bossa nova and folk. Her lyrics address topics from the complexity of romantic relationships to her emotional state, while in her musical career she has reinvented herself on several occasions — both in her music and in her hair style.

She debuted in 2019 on Universal Music Mexico with RENEE, a three-song EP that goes from pop-soul and bossa-nova (and includes the single “Esperándote”), followed by the EP Viaje al Amanecer the same year, where she also showed her folk side. In 2020, she released her debut LP Breve Espacio. Highlights from her discography since include the bright funk “Quiero quedarme para siempre” with La La Love You, released in 2022, as well as the moving ballad “Extraños de nuevo,” and her 2023 album NMDQH, which includes her hit song “Nunca Tristes (Me Vale Madre).” RENEE started 2024 with the song “El Disfraz,” also showing her acting skills in the music video. With such an eclectic and captivating musical persona, it is certain that none of her songs will go unnoticed. — LUISA CALLE

Song For Your Playlist: “El Disfraz”



Artist: Ximena Guzmán

Country: Colombia

Why They Should Be On Your Radar: A natural born singer and songwriter, Ximena Guzmán began her formal music training at the age of 11 at the Conservatorio del Tolima, before studying lyrical singing at the Universidad Nacional de Colombia in Bogotá. After collaborating and performing with national orchestras, mariachi ensembles and llanero groups, both nationally and internationally, she made her solo debut in October with the single “Duele,” showing a powerful, melodic voice with a contemporary style. She followed that in December with the infectious mariachi trap fusion “A Solas,” part of an upcoming EP produced by JC Karo (who has worked with stars such as Pedro Capó, Ricky Martin and Anuel AA), to be released this year by Ditto Music. — SIGAL RATNER-ARIAS

Song For Your Playlist: “A Solas”



The Taylor Swift Deepfakes Were Awful. How Do We Stop the Next One?

When fake, sexually-explicit images of Taylor Swift flooded social media last week, it shocked the world. But legal experts weren’t exactly surprised, saying it’s just a glaring example of a growing problem — and one that’ll keep getting worse without changes to the law and tech industry norms.

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The images, some of which were reportedly viewed millions of times on X before they were pulled down, were so-called deepfakes — computer-generated depictions of real people doing fake things. Their spread on Thursday quickly prompted outrage from Swifties, who mass-flagged the images for removal and demanded to know how something like that was allowed to happen to the beloved pop star.

But for legal experts who have been tracking the growing phenomenon of non-consensual deepfake pornography, the episode was sadly nothing new.

“This is just the highest profile instance of something that has been victimizing many people, mostly women, for quite some time now,” said Woodrow Hartzog, a professor at Boston University School of Law who studies privacy and technology law.

Experts warned Billboard that the Swift incident could be the sign of things to come — not just for artists and other celebrities, but for normal individuals with fewer resources to fight back. The explosive growth of artificial intelligence tools over the past year has made deepfakes far easier to create, and some web platforms have become less aggressive in their approach to content moderation in recent years.

“What we’re seeing now is a particularly toxic cocktail,” Hartzog said. “It’s an existing problem, mixed with these new generative AI tools and a broader backslide in industry commitments to trust and safety.”

To some extent, images like the ones that cropped up last week are already illegal. Though no federal law squarely bans them, 10 states around the country have enacted statutes criminalizing non-consensual deepfake pornography. Victims like Swift can also theoretically turn to more traditional existing legal remedies to fight back, including copyright law, likeness rights, and torts like invasion of privacy and intentional infliction of emotional distress.

Such images also clearly violate the rules on all major platforms, including X. In a statement last week, the company said it was “actively removing all identified images and taking appropriate actions against the accounts responsible for posting them,” as well as “closely monitoring the situation to ensure that any further violations are immediately addressed.” Sunday to Tuesday, the site disabled searches for “Taylor Swift” out of “an abundance of caution as we prioritize safety on this issue.”

But for the victims of such images, legal remedies and platform policies often don’t mean much in practice. Even if an image is illegal, it is difficult and prohibitively expensive to try to sue the anonymous people who posted it; even if you flag an image for breaking the rules, it’s sometimes hard to convince a platform to pull it down; even if you get one pulled down, others crop up just as quickly.

“No matter her status, or the number of resources Swift devotes to the removal of these images, she won’t be completely successful in that effort,” said Rebecca A. Delfino, a professor and associate dean at Loyola Law School who has written extensively about harm caused by pornographic deepfakes.

That process is extremely difficult, and it’s almost always reactive — started after some level of damage is already done. Think about it this way: Even for a celebrity with every legal resource in the world, the images still flooded the web. “That Swift, currently one of the most powerful and known women in the world, could not avoid being victimized shows the exploitive power of pornographic deepfakes,” Delfino said.

There’s currently no federal statute that squarely targets the problem. A bill called the Preventing Deepfakes of Intimate Images Act, introduced last year, would allow deepfake victims to file civil lawsuits, and criminalize such images when they’re sexually-explicit. Another, called the Deepfake Accountability Act, would require all deepfakes to be disclaimed as such and impose criminal penalties for those that aren’t. And earlier this month, lawmakers introduced No AI FRAUD Act, which would create a federal right for individuals to sue if their voice or any other part of their likeness is used without permission.

Could last week’s incident spur lawmakers to take action? Don’t forget: Ticketmaster’s messy 2022 rollout of tickets for Taylor’s Eras tour sparked congressional hearings, investigations by state attorneys general, new legislation proposals and calls by some lawmakers to break up Live Nation under federal antitrust laws.

Experts like Delfino are hopeful that such influence on the national discourse — call it the Taylor effect, maybe — could spark a similar conversation over the problem of deepfake pornography. And they might have reason for optimism: Polling conducted by the AI thinktank Artificial Intelligence Policy Institute over the weekend showed that more than 80% of voters supported legislation making non-consensual deepfake porn illegal, and that 84% of them said the Swift incident had increased their concerns about AI.

“Her status as a worldwide celebrity shed a huge spotlight on the need for both criminal and civil remedies to address this problem, which today has victimized hundreds of thousands of others, primarily women,” Delfino said.

But even after last week’s debacle, new laws targeting deepfakes are no guarantee. Some civil liberties activists and lawmakers worry that such legislation could violate the First Amendment by imposing overly-broad restrictions on free speech, including criminalizing innocent images and empowering money-making troll lawsuits. Any new law would eventually need to pass muster at the U.S. Supreme Court, which has signaled in recent years that it is highly skeptical of efforts to restrict speech.

In the absence of writing new laws that make deepfake porn even more illegal, concrete solutions will likely require stronger action by social media platforms themselves, which have created vast, lucrative networks for the spread of such materials and are in the best position to police them.

But Jacob Noti-Victor, a professor at Cardozo School of Law who researches how the law impacts innovation and the deployment of new technologies, says it’s not as simple as it might seem. After all, the images of Swift last week were already clearly in violation of X’s rules, yet they spread widely on the site.

“X and other platforms certainly need to do more to tackle this problem and that requires large, dedicated content moderation teams,” Noti-Victor said. “That said, it’s not an easy task. Content detection tools have not been very good at detecting deepfakes so far, which limits the tools that platforms can use proactively to detect this kind of material as it’s being posted.”

And even if it were easy for platforms find and stop harmful deepfakes, tech companies have hardly been beefing up their content moderation efforts in recent years.

Since Elon Musk acquired X (then named Twitter) in 2022, the company has loosened restrictions on offensive content and fired thousands of employees, including many on the “trust and safety” teams that handle content moderation. Mark Zuckerberg’s Meta, which owns Facebook and Instagram, laid off more than 20,000 employees last year, reportedly also including hundreds of moderators. Google, Microsoft and Amazon have all reportedly made similar cuts.

Amid a broader wave of tech layoffs, why were those employees some of the first to go? Because at the end of the day, there’s no real legal requirement for platforms to police offensive content. Section 230 of the Communications Decency Act, a much-debated provision of federal law, largely shields internet platforms from legal liability for materials posted by their users. That means Taylor could try to sue the anonymous X users who posted her image, but she would have a much harder time suing X itself for failing to stop them.

In the absence of regulation and legal liability, the only real incentives for platforms to do a better job at combating deepfakes are “market incentives,” said Hartzog, the BU professor — meaning, fear of negative publicity that scares away advertisers or alienates users.

On that front, maybe the Taylor fiasco is already having an impact. On Friday, X announced that it would build a “Trust and Safety center of excellence” in Austin, Texas, including hiring 100 new employees to handle content moderation.

“These platforms have an incentive to attract as many people as possible and suck out as much data as possible, with no obligation to create meaningful tools to help victims,” Hartzog said. “Hopefully, this Taylor Swift incident advances the conversation in productive ways that results in meaningful changes to better protect victims of this kind of behavior.”

Afrobeats Fresh Picks: Asake, Black Sherif, Highlyy, Fave, Yung D3mz, PsychoYP & More

While 2023 represented a year of remarkable growth for African music, 2024 is already shaping up to be a year where multiple new stars are discovered. Singer-songwriter-producer Yung D3mz was selected as Apple Music’s Up Next artist in Ghana at the end of last year, and new fans can discover his recent EP Before the Sun Comes Down. And after scoring high-profile features on Davido and Olamide‘s albums, Nigerian singer-songwriter Fave is making a name for herself, especially with her new single “Belong to You.”

And 2024 will also be the year that the superstars will receive higher honors than ever before. On Sunday (Feb. 4), the Recording Academy will give out the Grammy award for best African music performance for the first time. Nominees in the category include Mr. Money Asake, who doesn’t stop getting after the money in his new single “Only Me,” and Davido, who reunited with Kizz Daniel for the first time since their 2018 collaboration “One Ticket” on the remix of “Twe Twe.”

We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Get into our first Fresh Picks of 2024, and start off the new year with some new tunes in our Spotify playlist below.

Chssom & Crayon, “Chemistry Luv”  



Chssom and Crayon capture the intense pull of “Chemistry Luv” with high-pitched piano chords that could be transposed for the woman of their dreams to walk down the aisle to. “Girl, I’ve never felt like this before!” Chssom exclaims in the hook, demonstrating the potency of the spell he’s under.  

Yung D3mz & Tera Kòrá, “Futuristic”  



Yung D3mz recruits Curaçaoan producer Tera Kòrá for the sun-soaked penultimate track of his latest EP, Before the Sun Comes Down. Kòrá’s “soulswing” sound – which he describes as “a warm and moving, loungey vibe” that’s inspired by his “sunny Caribbean roots” – breathes new life into D3mz’s Afro-fusion. From the dizzying flute melodies to the bubbling bassline, it’s impossible not to sway your hips to this song.  

KJ Spio, Oxlade & Sarkodie, “Undress You”  



Ghanaian music executive and self-proclaimed “culturepreneur” KJ Spio taps Oxlade and Sarkodie for this slinky, sensual track. With a swoon-worthy melody inspired by T-Pain’s 2005 smash “I’m Sprung,” “Undress You” paints a lascivious picture of how they plan on letting the night unfold, with Oxlade crooning “Time to have sex” in the chorus (a la Mad Cobra’s 1992 dancehall hit “Flex”) and Sarkodie rapping, “More sex less talk we waking up to the sunset.”  

Highlyy, “Honest” 



The Essex-born Congolese breakout sensation bares her soul on the “Honest” cut from her debut EP +243. The twinkling keys and pensive pitter-patter of the percussion give listeners a glimpse of the war between Highlyy’s head and heart, as she remains firm in her decision to end things with a lover – even if it’s one of the toughest decisions she’s had to make. “I was talking to a boy, a very toxic situationship. There’s always that person that you say you’re done with but keep running back to them. That song means everything to me because it’s so true,” she told Clash.  

PsychoYP & Jeriq, “Disintegrate”  



No one and nothing can break down indomitable Nigerian rappers PsychoYP and Jeriq on “Disintegrate,” the first track off their joint EP Evil Twin. The two effortlessly feed off of each other’s flows, flexing with lines like “Afum your 12 missed calls during a business meeting, I’m sorry but I won’t call you back unless Inwe ezigbo reason,” because the hustle doesn’t stop for anyone.  

Fave, “Belong To You”



The young Nigerian singer broke out in a big way in the past few years, with high-profile features on tracks by Davido and Olamide and her own single “Baby Riddim,” but this new cut is something different from her — a straight-up R&B-pop cut that showcases her powerful vocals and the emotion in her voice as she relates a relationship seemingly broken, but with deep wells of feeling under the surface. She’s poised for a breakout look.

Asake, “Only Me”



Sometimes it seems like the breakout star of the past two years can do no wrong, and Asake keeps up the relentless pace of his output here with another catchy, melodic hit for the catalog. He has a way of crafting these earworms out of small phrases that give his songs a lasting quality, and his inclination to always incorporate choral backing vocals gives his songs a cinematic feel that others just can’t match.

Black Sherif, “January 9th”



Celebrating his 22nd birthday, the Ghanaian takes time to reflect on his position and the weight of the pressure on him, while seeming to take a very zen point of view on the matter. The production is deeply soulful and his lyrics rise to the occasion, making this single a mission statement of sorts — with everything he’s got going on, everything is still alright. It’s a good sign for his forthcoming album.

Kizz Daniel & Davido,” Twe Twe”



The remix to Kizz’s latest single features one of Africa’s biggest stars, and has fun playing with and overlaying different rhythms and syncopation, which helps it stand out from many of its contemporary songs on the scene right now. The lush production propels it forward and the duo — together on a track for the first time in several years — brings it home.

Ckay, “Is It You?”



Afrobeats’ resident emotional loverboy returns with another entry in the genre, with a wistful hook and verses that see him pining over a woman he’s just met. His melodies and vocals have continually set him apart, and while we wait to see what else he’s got in store, he keeps hitting his sweet spot with songs that recall some of his biggest hits, though with a bouncier beat behind him here.

Adam Sandler to Receive People’s Icon Award at 2024 People’s Choice Awards

Adam Sandler will receive the People’s Icon Award at the 2024 People’s Choice Awards. The comedy star is the sixth recipient of that award, following Melissa McCarthy, Jennifer Aniston, Jennifer Lopez, Halle Berry and Ryan Reynolds.

As previously announced, Lenny Kravitz will receive the Music Icon Award at the 2024 People’s Choice Awards. The show, hosted by actor Simu Liu, will air Sunday, Feb. 18, at 8 p.m. ET/PT from the Barker Hangar in Santa Monica, Calif.

Sandler, 57, has enjoyed phenomenal success as a comedian, actor, writer, producer and musician. His films, including such box-office hits as Grown Ups, Happy Gilmore, The Wedding Singer, Big Daddy and The Longest Yard, have grossed more than $3 billion worldwide. He has also proven to be a versatile actor with acclaimed dramatic roles in Uncut Gems, Hustle and his upcoming Spaceman. His films on Netflix are some of the most-watched on the platform, including the recent You Are So Not Invited to My Bat Mitzvah.

Sandler’s work has been recognized over the years with nine People’s Choice Awards, six MTV Movie Awards and 12 Kids’ Choice Awards. Sandler was the 2023 recipient of the prestigious Mark Twain Prize for American Humor. Those who honored Sandler on the program included Dana Carvey, Idina Menzel, Ben Stiller, Jennifer Aniston, Judd Apatow, Drew Barrymore, Conan O’Brien, Chris Rock, Pete Davidson and David Spade.

“Adam Sandler has been a fixture in the industry for decades, entertaining us since he got his start on Saturday Night Live more than 30 years ago,” Jen Neal, executive vice president, live events and specials, NBCUniversal Entertainment, said in a statement. “From Billy Madison to Mr. Deeds, his unforgettable characters have endured the test of time and left their mark on audiences for generations. We’re excited to honor him with this year’s People’s Icon Award.”

The 2024 People’s Choice Awards will air live Sunday, Feb. 18, at 8 p.m. ET/tape-delayed at 8 p.m. PT on NBC, Peacock and E! from the Barker Hangar in Santa Monica, Calif. Den of Thieves is producing the show. Jesse Ignjatovic, Evan Prager and Barb Bialkowski will executive produce.

Megan Thee Stallion Announces New Album & Hot Girl Summer Tour Is On The Way

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Megan Thee Stallion Dropping Album & Going On Tour In 2024

Source: Arturo Holmes / Getty / Megan Thee Stallion

Megan Thee Stallion is putting her head down and getting busy in 2024.

Fresh off the heels of her record “Hiss,” which got one rapper reacting for numerous days just off one bar, Megan Thee Stallion is keeping the momentum going and will be dropping a new album and going on tour.

Now on the independent tip, Megan Thee Stallion continues to strike while the iron is hot. She revealed to Good Morning America that she is prepping her third studio album and will hit the road for her Hot Girl Summer Tour later this year.

“Oh, we’ve having the tour this year. The Hot Girl Sumer tour is going to be 2024, summertime,” the Houston rapper said during her GMA appearance. “I feel like I’ve never been able to be outside doing my own thing during the summer, since like 2019. So this is going to be the first time that I drop an album on time for the summer. I do want to give the hotties the Megan Thee Stallion experience.

Megan Thee Stallion Dropped “Hiss” & Kept It Moving

Both the album and tour have no solid dates, but Thee Stallion already dropped two singles in “Cobra” and, most recently, the scathing record “Hiss.”

Speaking of “Hiss,” the news of her upcoming moves comes on the heels of her feud with Nicki Minaj. In the record, Megan Thee Stallion didn’t say Minaj’s name. Still, many believe her bar referencing Megan’s Law was a shot at the Queen’s rapper and her decision to marry Kenneth Petty, a convicted sex offender.

While Minaj has been hollering and pushing her diss track “Big Foot,” which landed with a thud as far as being a response record according to social media, don’t tell Minaj or her fans that Megan Thee Stallion has seemingly moved on and is just focusing on her next move.

Vanessa Bryant SportsExclusive Nike Kobe 8’s Made Just For Her & The Family

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Vanessa Bryant Kobe 8

Source: @vanessabryant / Instagram

Over the past year and change the popularity of the retro Air Jordan sneakers have been in decline thanks to over-saturation and just horrible colorways of popular silhouettes. But at the same time the demand for the Nike Kobe sneaker line has skyrocketed and heads have been thirsting for more versions the new classics.

Over the past few days Vanessa Bryant has had Kobe fans buzzing on social media as she’s been showcasing a few new color ways of the Nike Kobe 8’s made just for her and her family including some Valentines Day specials and a leopard print exclusive. Though fans are torn on the color ways of the scarce pairs of Kobe 8’s with some loving them and others shaking their heads, it’s not like anyone will have a chance to copp these exclusives as there are no plans for any of these iterations of the Kobe 8’s to hit commercial shelves at all.

But fret not Kobe fanatics for there are a few Kobe 8’s set to release later this year including the Kobe 8 “Court Purple” which will be a must-have for any diehard Lakers fan and the Kobe 8 “Mambacita” which sports a butterfly pattern all over the sneaker. There’s even talk of a Kobe and Nike SB collaboration that’s supposed to go down later this year.

Check out pics of the exclusive Vanessa Bryant Kobe 8’s below and let us know if you’d copp any of these joints if they dropped in the comments section below.

Usher Teams With the NFL for a ‘One-of-a-Kind’ Collaboration: Here’s How Fans Can Shop the Capsule Collection

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Just in time for the Super Bowl. The NFL and Usher are teaming up to release a capsule collection in celebration of the Grammy-winning singer’s highly anticipated Super Bowl Halftime Show.

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Announced on Thursday (Jan. 31), the Usher Super Bowl LVIII collection features pieces from Mitchell & Ness, New Era, Wilson Sports and other brands.

“I can’t wait to hit the stage at the Apple Music Super Bowl LVIII Halftime Show for a 30-year celebration of my music in Las Vegas,” Usher said in a press release. “There is no better way to get fans pumped about the performance than with a one-of-a-kind merchandise collaboration with the NFL, with designs that embody my style. I hope to see all my fans decked out in pieces from the collection.”

Usher co-designed the capsule collection, which features Mitchell & Ness jerseys, New Era headgear, Riddell helmets and a limited-edition Wilson football designed in purple and pink – the official color theme of Super Bowl LVIII.

The “U” emblem, inspired by Usher’s diamond-studded “U” necklace, is featured throughout the collection, which will be available on Feb. 7 at the Super Bowl Experience presented by Toyota in Las Vegas. Fans can also shop the collection at NFLshop.com/Usher, NewEra.com, Mitchellandness.com and Wilson.com.

The Kansas City Chiefs and San Francisco 49ers will face off in the 2024 Super Bowl on Sunday, Feb. 11, at 3:30 p.m. PT. The game will broadcast live on CBS and stream on Paramount+ with Showtime. Click here for tickets.

See the Usher Super Bowl LVIII collection below.

Usher Super Bowl LVIII Collection

Courtesy of NFL

Usher Super Bowl LVIII Collection

Courtesy of NFL

Usher Super Bowl LVIII Collection

Courtesy of NFL

Trial For Alleged Killers Of Jam Master Jay Finally Begins

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US-CRIME-ENTERTAINMENT-RAP-RUNDMC

Source: CHARLY TRIBALLEAU / Getty

The trial of two men accused of murdering Hip-Hop icon and Run-DMC member Jam Master Jay over a drug deal began in a federal court in Brooklyn.

On Monday (Jan. 29), the anticipated trial of two men accused of the murder of former Run-DMC member Jam Master Jay began at the U.S. Federal Courthouse in Brooklyn, New York, with opening statements from the prosecution and the defense. Ronald Washington, 59, and Karl Jordan Jr., 40, are alleged to have killed Jam Master Jay aka Jason Mizell inside of a recording studio in Queens, New York, on Oct. 30, 2002. In opening statements, Assistant U.S. Attorney Miranda Gonzalez stated that the two men did so after being cut out of a drug deal that Jam Master Jay was involved in.

“They were left with nothing,” Gonzalez said, according to Reuters. The deal was estimated to pull in $200,000 after Jam Master Jay had met with a cocaine distributor from the Midwest with the narcotics slated to be sold in Baltimore, with Washington and Jordan set to take part – until they were told they were out. “It was an ambush. An execution. And you will learn that it was motivated by greed and by revenge,” Gonzalez continued, promising jurors they would hear from witnesses who claimed that the men bragged about the shooting as well as Tony Rincon and Lydia High who were also in the studio that night.

“Why bite the hand that feeds you?” argued Ezra Spilke, the attorney for Washington in his opening remarks, citing “aging memories” as the reason for his client being in that position. If convicted of the charges, both men face a maximum life sentence in prison with a mandatory minimum of 20 years. The courtroom audience was filled with Jam Master Jay’s loved ones, including DJ Hurricane. The trial is expected to last four weeks.

The murder of Jam Master Jay had been unsolved until authorities in 2020 arrested Washington and Jordan with a 10-count federal indictment. Both men pleaded not guilty. A third man, Jay Bryant, was arrested last year after DNA evidence collected from the scene and surveillance video captured him entering the studio at the time. His trial will take place in 2026.

REZZ, Zedd, ISOxo & Knock2 & More to Headline Lunar New Year Party Series

The Lunar New Year — encompassing Chinese New Year, Seollal in Korea, Tet in Vietnam and more — starts on Feb. 10, bringing two weeks of festivities celebrating the year of the dragon.

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For those in the New York City area, the party options include Lunar Eclipse, a three-week run of dance/electronic shows at The Brooklyn Hangar being thrown in honor of the holiday.

Headliners include Alesso Feb. 2-3, Tiësto Feb. 8-9, REZZ Feb. 10, ISOxo and Knock2 Feb. 15, RL Grime Feb. 16 and Zedd Feb. 17-18. Support acts include Mersiv and Daily Bread for REZZ, Dubvision for Alesso, Luis Torres for Tiësto and Rossy and Deadcrow for RL Grime.

The shows are being produced by Ignite Group, Apollo ID and DEG Presents, and tickets are on sale now. (The night featuring San Diego-based bass producers ISOxo and Knock2 is currently sold out, as is the Feb. 17 show from Zedd.)

“After years of discussing we finally decided to make Lunar Eclipse a reality,” Eddie Dean, founder of DEG presents, tells Billboard. “The Asian community has always supported DEG, and now we are working together.  If you go to any dance music show in NYC, you will always see a strong showing from the Asian community, so it makes so much sense to have an Asian-focused festival here in New York City. I’m really excited to help my friends at Ignite and Apollo by producing this impactful event. Lunar Eclipse has such great potential featuring such massive names in our first year.” 

A 2023 DEG Party, lunar eclipse poster

Courtesy of DEG Events

Grammy Host Trevor Noah on Why He’s Glad Travis Kelce Won’t Attend

As Trevor Noah prepares to return to the host the Grammy Awards for the fourth time on Feb. 4, he finds himself facing a new situation; not only is he the host, he’s a nominee for the 66th edition of the awards as his album, I Wish You Would, is nominated for best comedy album. 

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Noah is the fifth Grammy host to also be a nominee in the same year, but Kenny Rogers is the only host who heard his name called as a winner, when “The Gambler” won best country vocal on the 1980 telecast. Noah has been nominated for best comedy album before, when Alicia Keys hosted in 2020. 

Even though he is a hosting veteran, Noah tells Billboard he still gets nervous beforehand, and feels tremendous relief once the show is over and realizes he’s successfully eluded “the lion that was chasing us.” 

In addition to his Grammy duties, Noah also helms the Spotify podcast What Now? With Trevor Noah, which he says has allowed him to flex different muscles from when he hosted The Daily Show. “It’s having a conversation,” he says of the podcast. “The difference between a conversation and an interview is that an interview is one way, and a conversation is bi-directional, and you’re trying to create a conversation that other people want to listen to and can derive something from. I’m really reveling in the experience of creating something new that I hope can contribute to fostering conversations amongst people.” 

Below, Noah talks about his Grammy chances, what he’s learned about hosting “one award show at a time” and his feelings about Travis Kelce’s possible attendance at the ceremonies. (This interview has been edited for space and clarity.)

Do you know if best comedy album is going to be given away on air or during the pre-telecast? 

I don’t know of that right now because the running order hasn’t been completely finalized because new acts keep coming in. But either way, I’m just ecstatic to be in that category with that level of comedians. Are you kidding me? These are my idols and my friends. I’m really lucky to be amongst that ilk.

Does that make you more nervous to also be a nominee, as opposed to just host? 

It’s going to be an interesting one because I’ve never been nominated and hosting at the same time, so I don’t know if the one feeling will overcome the other way or if the two will combine into one. I only hope that I slip into the zone of hosting and then by the time my award comes, I have either completely zoned in. I just I just hope I’m in the right place.

What does that mean to slip into the zone of hosting? 

When I speak about getting into the zone, it’s a combination of remembering all of the preparation, thinking hard about what we’re there to do and then remembering how many people have worked hard to make the show what it is. So I’m in my head, I’m preparing for every contingency that I cannot prepare for and just trying to be ready for anything that could possibly go wrong in any possible moment. And then I’m also reminding myself to have fun. I’m thinking about being present in the room because I think you can miss things if you’re not present. So, it’s a lot of conflicting emotions that you’re trying to manage, but when you hit it is when you’re in the zone. 

That sounds exhausting.

Can I tell you — it is. It is. I have yet to go to an afterparty for the Grammys. My record was I think seven minutes when we were in Vegas [in 2022]. I sat down at a table at the after party and then I went back to my hotel room and I slept. I am exhausted after the Grammys. It’s an adrenaline dump. As soon as you say “good night,” your whole body goes, “Okay, have we successfully run away from the lion that was chasing us?” And then then your body collapses.

This is a year where women lead the nominations. SZA has nine nominations. Victoria Monet has seven; Boygenius, Brandy Clark, Miley Cyrus, Billie Eilish, Olivia Rodrigo and Taylor Swift all have six nominations. It varies from year to year, but there have been years that aren’t so hospitable to women artists. What do you think about this year? 

I think it’s really fantastic. I remember many Grammy Awards, where women just really swept everything, like the year [1999] Lauryn Hill took home so many and the year [2020] where Billie Eilish completely dominated. I find in time things ebb and flow. This is definitely a year where it isn’t just about women running the biggest category, but it’s also the breadth of talents that’s pretty amazing. You have all these different genres, you have all these different points of view, you have all these different styles, you have all these different stories, all the possibilities of history being made.

I honestly appreciate and applaud that, because it’s not just about women being dominant in the category, — it’s how broad women are able to be in the music industry, I think that’s a fantastic achievement for music and something we should keep pushing for in any category. However you want to make your music, make your music, and your gender doesn’t define how that music is or isn’t received. I think that’s a wonderful message.

How much do you feed off of the energy of the opening performance? 

It completely sets the tone for the night. It sets the tone for the people in the room. It’s like, “All right, let’s go.” And what it does for me as a performer is it makes me feel like I’m part of an ensemble, so I can’t come in there after a performance that has just raised the roof and step in with languid energy. It makes me feel like I’m part of an army that is marching into this performance battle and I have to play my part. 

The record for hosting belongs to Andy Williams, who’s hosted seven times. Do you want to break his record?

I host one award show at a time. They surprise me and call me back a few months before and that’s how I live my life. 

This interview is happening before the Kansas City Chiefs play the Baltimore Ravens for the AFC championship, but if the Chiefs lose, we may have the first outing of Travis Kelce and Taylor Swift together at an awards show. How are you planning for that?

Well, I’m hoping that the Chiefs don’t lose because I really like Travis. He’s like one of the sweetest human beings I’ve ever met. He’s a really lovely guy. I met him years and years ago in the summer [in] upstate [NY]. He was just like this sweet guy. We talked about comedy and football. He was really wonderful to everyone around him. I had no clue who he was in that way. Ever since then his star has only risen. So I’m rooting for him 1000 times over. So I actually hope that I don’t see him because he’s still in the mix and he’s still doing well. But if anything changes, I’ll be ready. And that’s what being a host is all about.

As you go into the fourth year as host, how much more are you participating in the writing and in the whole process? 

I’m really lucky that under [executive producer] Ben Winston’s umbrella, he’s always trusted me when it comes to the writing, so we’re a wonderful team. It’s like dancing with a partner who knows exactly where your hips are at all times. I’m really grateful to be in such fantastic and skilled company. I collaborate as much as I can. I’m responsible for everything that comes out of my mouth. I’m responsible for everything that I write in and around the moments with my team. We’ve always been given complete leeway and I think it’s because the producers and I guess the [Recording] Academy trust me that I’m not there to spoil anybody’s night.

And, most importantly, I’m not there to make the night about me. A good Grammys is a night where you don’t remember me, but you go, “That was a great show.” A great Grammys is where you remember me and you think it was also a great show.