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Lorde Shares Painful Truths in Emotional Letter to Fans: ‘I’m Living With Heartbreak Again’

Lorde has always kept it 100 with her fans, and in a brutally honest letter posted to her Tumblr on Wednesday (Sept. 20), she opened up about what she said has been a very challenging year. The long note delves into the physical and emotional pain the 26-year-old singer said she’s endured recently, including that she’s is “living with heartbreak again.”

Though Lorde didn’t go into specifics about the cause of the heartbreak, she explained, “It’s different but the same. I ache all the time, I forget why and then remember. I’m not trying to hide from the pain, I understand now that pain isn’t something to hide from, that there’s actually great beauty in moving with it. But sometimes I’m sick of being with myself. I eat chocolate to try and manipulate the endorphins, bring back the sweet happiness of Easter morning. I sit in the time machine and wait for it to move, but it hasn’t been invented yet.”

Lorde said she’s been in London since May, where “things feel clear,” despite her describing not seeing her friends and mostly spending her time swimming, working, taking the train, walking and eating meals in her kitchen, alone with her thoughts. “I go to bed thinking about what I’m making. I’m starting to miss my friends and family, like a vitamin I’m deficient in. Soon I’ll be going back to New York, and then home,” said the New Zealand-bred star.

She shared that her pain is also physical, detailing that her body is “really inflamed,” and that she thinks it is “trying to tell me something and I’m trying to support it but nothing seems to help and I get frustrated. My gut isn’t working properly, my skin is worse than ever, I’ve gotten sick half a dozen times. I realised earlier this year that listening to my body is hard for me, it’s something I never really learned how to do. I’ve been trying to teach myself that this year, but it’s been hard actually, pretty confronting, has made me fully aware of all the times I ignored it or didn’t give it what it needed, shamed it for a fight or flight response, took a handful of pills and pushed through.”

Lorde said that she had “grand plans” to attend next week’s Paris Fashion Week festivities, but pulled out because, “I promised myself I’d never be one of the people in the light smiling if it wasn’t real.” The note revealed that earlier this year the singer “ate two handfuls of mushrooms” that she said gave her a lot of information “about what my body had been through in our time so far, what it needed, where God was and where God wasn’t; I felt in my bones how destabilising it is to leave home and start a new life the way I did. I also saw that my body is completely magnificent, and that hating it is as futile as hating a tree; that I truly, truly love doing my job, and that my life is like a beautiful tapestry, and every inch of it is precious and has meaning.”

And though she said she enjoyed her recent run of European tour dates — and the cool way fans seemed to notice how she had changed up the shows’ setlists and arrangements — Lorde also admitted that doing the things she loves is sometimes painful.

“It might seem funny or be easy to forget, but I make records because I need to,” she said. “The songs are spells; a spell to let go of something, a spell to unlock a door. Every time I put something into words just as I see it, set it to the right music, a knot comes loose in me. But it hurts too, confronting the knots. I’ve made enough records to know that this feeling of my skin coming off is part of it. I know I’m gonna look back on this year with fondness and a bit of awe, knowing it was the year that locked everything into place, the year that transitioned me from my childhood working decade to the one that comes next — one that even through all this, I’m so excited for. It’s just hard when you’re in it.”

Lorde teased two new songs during a headlining gig at the Boardmasters Festival in the U.K. last month, which fans have suggested are titled “Silver Moon” and “Invisible Ink,” signaling the first fresh tracks since her third studio album, 2021’s Solar Power.

Check out Lorde’s note below, including some luminous pictures from the European shows.

Bun B Says Serving Trill Burgers To Yankees, Dodgers or Cowboys Might Be A “Problem”

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Bun B Trill Burgers

Source: Houston Chronicle/Hearst Newspapers via Getty Images / Getty

Bun B’s Trill Burgers have become the hottest menu item in the Hip-Hop culture since Popeye’s introduced their chicken sandwich (that actually led to violence out in the streets), but unfortunately the now famous hamburger is hard to come by and if you’re in Houston, Texas representing a sports team that rivals that of Bun B’s hometown heroes, good luck getting served a patty.

In a recent interview with The Houston Chronicle, Bun B admitted that though he loves serving his famous Trill Burgers to any and everyone who wants to take a bite of his creation, it might be a problem if you’re on a visiting sports team such as the New York Yankees, Dallas Cowboys or LA Dodgers. Keeping it a buck and showing loyalty to his Houston Texans and Houston Astros teams, Bun made it clear that though he’s a business man, he’s a full-blown Houstonian first and foremost.

The Houston Chronicle reports:

“First thing, I did was, ‘Hey, do you guys mind if we feed the Dolphins?,’” Bun said inside NRG Stadium about an hour before Sunday’s kickoff.

Trill Burgers was delivered to the Dolphins players without any issues. Bun admits that might not always be the case, but that has more to do with him being a die-hard Houston sports fan than anything to do with the Texans’ wishes.

“I’ll just be very honest, if we’re playing the Cowboys, that could present a problem. If the Astros are playing the Yankees or the Dodgers, that could present a problem,” Bun said . “So, we have to take all that kind of stuff into consideration, but I am not trying to spoil this beautiful relationship that I have with the Texans to feed anybody.”

We can’t even be mad at that. This is what diehard sports fan are supposed to feel.

That being said it looks like players from the Yankees, Dodgers and Cowboys might have to send assistants or something to the Trill Burgers brick-and-mortar spot if they want to get a taste of what Bun B’s been cooking on the grill. Small price to pay for what’s considered the best burger in America if you ask us. If anything they can just go to any old Burger King in Houston and have it their way if they wish.

What do y’all think of Bun B’s assertion that serving some of his famous burgers to rival sports team might be problematic? Let us know in the comments section below.

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Jimmy Buffett Leads Rock Digital Song Sales With New Track ‘Bubbles Up’

Jimmy Buffett’s posthumously released single “Bubbles Up” debuts at No. 1 on Billboard’s Rock Digital Song Sales chart with 8,000 downloads sold in the U.S. Sept. 8-14, according to Luminate.

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Buffett, who died Sept. 1 at age 76, replaces himself atop Rock Digital Song Sales, where his signature song, 1977’s “Margaritaville,” led the Sept. 16-dated ranking (16,000 sold, up 8,415%, Sept. 1-7). The latter ranks at No. 3 on the latest list with 3,000 sold.

“Bubbles Up” is Buffett’s second career No. 1 on a Billboard songs chart as the only credited artist on a newly released song: “Margaritaville” led the Adult Contemporary chart dated May 28, 1977. He last topped Billboard album charts with new music thanks to his most recent LP, Life on the Flip Side, in 2020.

“Bubbles Up” is joined by “My Gummie Just Kicked In” (No. 5; 3,000 sold) and “Like My Dog” (No. 6; 2,000) as new Buffett tunes on Rock Digital Song Sales. All three songs arrived Sept. 8 and are set to be on Equal Strain on All Parts, Buffett’s 32nd studio album, due Nov. 3.

Buffett music accounts for eight of the Rock Digital Song Sales chart’s 25 positions. In addition to the four tunes noted above, classics “A Pirate Looks at Forty” (No. 12; 1,400 sold), “Changes in Latitudes, Changes in Attitudes” (No. 16; 1,100), “Cheeseburger in Paradise” (No. 18; 1,000) and “Son of a Son of a Sailor” (No. 22; 1,000) also place on the Sept. 23 tally.

“Bubbles Up” additionally begins at No. 2 on Country Digital Song Sales and No. 4 on the all-format Digital Song Sales chart, while its sales and 908,000 official U.S. streams send it to a No. 47 debut on the multi-metric Hot Rock & Alternative Songs survey.

Fans flocked to the icon’s trademark feel-good sound following his passing of complications from skin cancer. In the Sept. 1-7 tracking week, his song catalog surged by 1,476% to 78.6 million official on-demand streams and 7,022% to 103,000 paid downloads in the U.S.

Shakira Looks Back on Her Career, Talks No. 1 Songs, Collaborations & More | My Chart History | Billboard Cover

Global superstar Shakira takes a look back at her chart history and talks through some of her most iconic musical moments, from No. 1 songs to her most memorable collaborations in her Billboard cover video.

Shakira:

Hey everyone, I’m Shakira and this is my Billboard Chart History.

“Donde Estás Corazón” was my international hit. It brought me to many different countries other than my own country and I was only 18 so that was a very exciting moment of my life.

“Ciega, Sordomuda,” I think it was my homage to Mexican music. I came up with the horn line and the lyrics and I co-wrote the music with Estéfano. It was super exciting at the time because not too long after the song was published, we did the MTV Unplugged, and we brought in a mariachi group, so I got to sing that song in its purest form, Mexican style.

“Whenever, Wherever” is definitely one of my most beloved songs and personally represents a big deal because it was the first single off Laundry Service. It was the album that allowed me to cross over to general markets in the U.S. It was like my biggest hit until that date in the U.S. and still to this day it’s one of the highlights of my shows when I’m on tour.

On “Underneath Your Clothes”:

It was my first ballad in English. It was a very personal song that I wrote when I was very much in love. Yeah, it’s one of those very iconic songs that when I perform it live, people sing along from beginning to end. Never gets old and never fails. It’s one of those songs that puts a big smile on my face when I perform.

Watch the full video above.

Hits Don’t Lie: Shakira Bares Her Soul on Turning Pain Into Pop Gold

Shakira walks into a luxurious upstairs suite at Miami Beach’s Versace mansion wearing high-waisted jeans, a loose T-shirt and a baseball cap pushed low over her forehead, her hair pulled back in a tangle of dirty-blonde braids. Far from cameras, her face is practically devoid of makeup save for mascara, and her eyes are wide over prominent cheekbones. Clear-skinned, barely over 5 feet tall in her sneakers, she looks young and almost fragile — a far cry from the powerful, wrathful woman she has played in her recent, hugely successful songs and music videos.

“I’m still in a reflective period,” she says pensively. “I’m still exorcising some demons. The last I have left,” she adds with a hearty laugh.

One of the most recognizable and celebrated stars on the planet, Shakira is also notoriously meticulous, a perfectionist known for leaving little to chance. But in the past 14 months, the 46-year-old has thrown convention, expectations and her own personal brand of allure-driven celebrity to the wind following her infamous split from Spanish soccer star Gerard Piqué, her partner of over a decade and the father of her two children, Milán, 10, and Sasha, 8. Covered ruthlessly by Spanish tabloids, the separation amid allegations of infidelity on Piqué’s part was immortalized when Shakira recorded “Bzrp Music Sessions, Vol. 53” with Argentine DJ Bizarrap, an incendiary track in which she made a proclamation that became a global feminist mantra: “Women don’t cry; we make money.” The song hit No. 2 on the Billboard Global 200.

But lost amid the tabloid coverage, the four Guinness World Records that “Sessions” set and multiple Billboard milestones (including becoming the first female vocalist to debut in the top 10 of the Billboard Hot 100 with a Spanish-language track) was the fact that between motherhood and marital bliss in Barcelona, it had been nearly a decade since Shakira had achieved anywhere near the success she has had in the past year; her last No. 1 on the Hot Latin Songs chart was “Chantaje,” with Maluma, back in 2016.

This year, she has already landed two No. 1s on the ranking: “Sessions” and “TQG,” with Karol G. (Both also reached the Hot 100’s top 10, and “TQG” topped the Billboard Global 200.) And in the past 12 months, she has placed six hits on the chart, all of them alluding to her separation and the range of emotions it has generated, from intense rage to deep sorrow to faint hope.

However torturous the process of setting those emotions to music has been, the result is that the now-single mother of two is once again one of the world’s hottest artists in any language, with 2024 plans for a new album and a global tour, respectively her first since 2017’s El Dorado and its corresponding 2018 trek.

The irony of the most tumultuous period of her personal life fueling a mid-career renaissance isn’t lost on Shakira.

“I feel like a cat with more than nine lives; whenever I think I can’t get any better, I suddenly get a second wind,” she says. “I’ve gone through several stages: denial, anger, pain, frustration, anger again, pain again. Now I’m in a survival stage. Like, just get your head above water. And it’s a reflection stage. And a stage of working very hard and when I have time with my children, really spend it with them.”

Shakira photographed on August 22, 2023 at The Villa Casa Casuarina in Miami.

Iris van Herpen dress and headpiece.

Ruven Afanador

Shakira has always been remarkably eloquent, both in her native Spanish and in the English she learned as an adult when she crossed over into mainstream pop. In conversation, she bounces between languages almost reflexively as she searches for just the right word, bilingually expressing a wicked, sometimes self-deprecating sense of humor — and a sincerity that’s startling for such a scrutinized artist.

At the Versace mansion, she settles cross-legged into a big, blue armchair. She asks for black coffee; it has been a long night at the studio, followed by an early morning getting the kids ready for school. She has a craving for chocolates, and soon, a tray is delivered loaded with a variety of bars and bonbons. She goes for the latter and eats one with relish, then another. She chats freely about children, life and loss, laughing often and pausing to take a call from Sasha, who is in his first week of school after the summer break and at a friend’s house.

“My love, remember to pick up your plate, wash your hands and say thank you after eating,” Shakira reminds him. She sounds like a regular mom — highlighting the earthiness that has won the oft-barefoot performer so many fans.

“Attaining success is of course complicated, but far more complex is maintaining it through time. Shakira has demonstrated in a thousand ways that she belongs to this very select group. Every time she releases a song or an album, her shadow is again gigantic,” says Sony Music Latin Iberia chairman/CEO Afo Verde, a confidante who has worked very closely with Shakira through the years, particularly since May, when the Colombian star relocated from Barcelona to Miami.

Since then, she has been spending most days at 5020, Sony’s state-of-the-art recording studios and rehearsal space in Miami, working with a steady flow of creatives that includes top producer-songwriter Edgar Barrera, who has collaborated with Maluma, Peso Pluma and Grupo Frontera, among others.

“Of all the artists I’ve worked with, she’s the most perfectionist, the most meticulous,” says Barrera, who worked on several songs with her, including “Clandestino,” with Maluma. “She knows exactly what she wants and what she doesn’t want. She’ll request things like a change of frequency in a kick. After working with her, I understand why she’s where she’s at and why she has been at No. 1 so many times.”

Shakira photographed on August 22, 2023 at The Villa Casa Casuarina in Miami.

Iris van Herpen headpiece.

Ruven Afanador

For Verde, Shakira’s proximity has helped him support her creative process in a way that has hugely accelerated her output. “She’s one of those few cases in the world who, despite the passage of time, continues to work with the same excitement, quality, respect and attention to detail as she did in the beginning. She works with whoever makes sense for her artistic pursuit. She doesn’t care if they’re established or up and coming. For her, art comes first.”

Case in point: Fuerza Regida, the Southern California Mexican quintet that has scored five Hot 100 entries in the past year with its brash, homegrown take on norteño music but remains far from a household name. When Shakira’s team reached out to lead singer JOP in July to ask if he was interested in collaborating on the recently released “El Jefe” with her, the 26-year-old got on a flight to Miami the next day without having heard a note of the proposed track.

“It’s Shakira! Do you understand what I mean?” JOP says. “There isn’t anything else to say. I grew up listening to Shakira, and after all the challenges to reach where I am now, to collaborate with one of the greatest artists in the world… It’s crazy! It had me mind-blowed.”

In May, Billboard honored Shakira as its first ever Latin Woman of the Year; in July, Premios Juventud gave her its Agent of Change Award; and on Sept. 12, she received the Michael Jackson Video Vanguard Award at the MTV Video Music Awards, where she also performed a dazzling, 10-minute medley of hits.

Still, she admits, for the past seven years, she has been sidetracked by family matters and life in Barcelona, far from music industry action. That changed a little over a year ago, when she split with Piqué and began cathartically pouring her heart into her songs. Several milestones followed in quick succession. “Te Felicito,” with Rauw Alejandro, reached No. 10 on Hot Latin Songs and No. 67 on the Hot 100 in May and June of 2022, respectively; in November, “Monotonía,” with Ozuna (its video shows Shakira’s heart literally torn from her body and squished by a shoe on the sidewalk), climbed to No. 3 on Hot Latin Songs; and earlier this year, “Sessions” and “TQG” surged in popularity.



Suddenly, Shakira was no longer a distant celebrity, but one of the most streamed stars on the planet. (At press time, she was Spotify’s most streamed Latin woman artist ever.)

Simultaneously, Shakira — who essentially pioneered the concept of global touring in the Latin realm and made history when she co-headlined the 2020 Super Bowl halftime show with Jennifer Lopez — revived conversations about hitting the road. While details remain under wraps, her upcoming tour, says WME music partner Keith Sarkisian, will include arena and stadium shows in nearly two dozen countries across Latin America, North America, the United Kingdom, Europe and the Middle East.

“Shakira has established herself as a remarkable and influential artist over the past 20-plus years,” says Live Nation Entertainment CEO/president Michael Rapino, whose relationship with the singer dates back to her 2007 Oral Fixation tour. “She has grown a massive global fan base through her captivating performances and unique blend of pop, rock, Latin and world influences. We can’t wait to see her on stages around the world for her biggest tour yet.”

Shakira agrees. “I think this will be the tour of my life. I’m very excited. Just think, I had my foot on the brakes. Now I’m pressing on the accelerator ­— hard.”

First order of the day: Are the kids happy in school?

They’re doing very well. They love it. In Barcelona, they carried the weight of being “the children of…,” and the media situation was hard on them. We had paparazzi at our doorstep every single day. Here, they’re normal children who enjoy normalcy, which is what school should be: a safe haven where they can be themselves. And because they’re sociable and pretty open, it was easy for them to adapt.

Have you adapted?

I’m still in the process! (Laughs.) I’ve lost a bit of my mental plasticity with time. The last time I lived here, I was 21 or so. Miami has changed. There wasn’t as much traffic before.

Do you still enjoy driving?

Yes. I still drive myself. I drive a total soccer mom car: a Toyota Sienna. Not sexy at all. There are no sexy cars in my house. The only sexy thing in my house is me. (Laughs.)

I’ve seen you going out a lot. I didn’t know you were such a social butterfly.

Me either! I didn’t know it because I really was lazy about going out [before]. My favorite outfit is my PJs. But my kids are big Miami Heat fans. Milán is a fan of all sports. So I have to take him to all the baseball games, all the basketball games, all the hockey games. Never in my life have I gone to so many sporting events. And then, when they’re with their dad, I work from morning to night, and then I have a margarita with my friends.

Did your lifestyle change dramatically over the last year?

Dramatically. Aside from the fact that it’s been a drama, the time I have with my children, [I] really spend it with them. For example, this summer, the time they spent with me, I devoted entirely to them. I didn’t work, and they didn’t go to camp. They went to Camp Shakira. If I can only have them half the time, I’m going to make the most out of my half.

Shakira photographed on August 22, 2023 at The Villa Casa Casuarina in Miami.

Versace dress and gloves, Giuseppe Zanotti boots.

Ruven Afanador

How does this affect your music?

Now that I spent a week in Los Angeles, for example, I put in everything: studio, work, meetings, work, work, work, work until late, then meet up with my girlfriends that I haven’t seen in a while and go out at night like in the old days. (Laughs.) I put everything, leisure and pleasure, in the same week but very compacted because then I have to come back and be a mom again, the head of the household, and then I can’t do anything because I have the children with me all the time. As far as the music, it still comes from a very reflective place.

But the upside to all you’ve been through seems to be that you’ve produced some of your most successful music in years. Would you agree?

Well, the thing is, I was dedicated to him. To the family, to him. It was very difficult for me to attend to my professional career while in Barcelona. It was complicated logistically to get a collaborator there. I had to wait for agendas to coincide or for someone to deign to come. I couldn’t leave my children and just go somewhere to make music outside my house. It was hard to maintain the rhythm. Sometimes I had ideas I couldn’t lock down. Right now, I have an idea and I can immediately collaborate with whomever I want to. Something inescapable about Miami, Los Angeles, the U.S. in general is I have the logistical and technical support, the resources, the tools, the people. Living in Spain, all that was on hold.

I hadn’t thought about it that way…

That’s why my career was a third priority. The last time I released an album was six years ago. Now I can release music at a faster clip, although sometimes I think being a single mom and the rhythm of a pop star aren’t compatible. I have to put my kids to bed, go to the recording studio; everything is uphill. When you don’t have a husband who can stay home with the kids, it’s constant juggling because I like to be a present mom and I need to be there every moment with my children: take them to school, have breakfast with them, take them to play dates. And aside from that, I have to make money.

It’s so complicated to be a working mom ­— we’re taught we can do everything, but something always suffers. What do you think?

I haven’t been to the gym in a year. Well, I’ve gone a couple of times. I don’t know how long it’s been since I got a massage. I have torticollis! Something’s got to give. My neck. My traps. That’s what gives. It’s hard to do everything.

Before all this happened, were you concerned about releasing new music, or were you happy in your Barcelona state of mind?

My priority was my home, my family. I believed in “till death do us part.” I believed that dream, and I had that dream for myself, for my children. My parents have been together, I don’t know, 50 years, and they love each other like the first day, with a love that’s unique and unrepeatable. So I know it’s possible. My mom doesn’t leave my [sick] father’s side. They still kiss on the mouth. And it has always been my example. It’s what I wanted for myself and my children, but it didn’t happen. If life gives you lemons, you have to make lemonade. That’s what I’m doing: making lemonade.

Shakira photographed on August 22, 2023 at The Villa Casa Casuarina in Miami.

Gaurav Gupta dress.

Ruven Afanador

Tell me about your upcoming singles. You’ve been collaborating with all Latin artists lately. Is that a calculated decision?

It has all been very organic. I’m coming out with something in September and maybe in November. The new single is a collab with Fuerza Regida. It’s a Mexican ska, and it sounds very fresh, very original, very punk in a way. It has tons of energy. The song is called “El Jefe” [“The Boss”], and it’s about abuse of power. We had the song and thought, “Oy, who could we get for this?,” and we thought of Fuerza Regida. JOP’s voice is very special. We wrote him, and he flew in the following day from Los Angeles and we recorded it in three days.

[Regarding “TQG” with Karol G], Karol is going through a good moment, plus we were both going through [public breakups] that have a common denominator. That inspired the song, which we both worked on. It was a project I believed in from the onset, and that’s why I invested so much time in it.

This was a highly anticipated and very successful collaboration. Would you say you devoted more time and resources to “TQG” than other recent singles?

Well, the Ozuna video [for “Monotonía”] was also my idea. Most videos I end up co-directing, co-writing, even designing the objects with the art department. I really get involved all the way because I feel the audiovisual world [also] expresses a very oneiric side and connects with the song from the subconscious. It allows the subconscious to speak. When I’m making a video, I close my eyes and dream.

With that in mind, why have a siren in your new music video for “Copa Vacía” with Manuel Turizo?

Because the siren is a symbol that represents that part of me that was abducted and taken from a world where she belongs to a world where she doesn’t belong. A world she had to make enormous sacrifice to be in. A world where perhaps she lacked oxygen. But in the end, she returns to the sea because it’s her destiny, just like I returned to Miami. (Laughs.) This siren was first abducted and then, for love, is next to this man, captive and locked up in a way. Sacrificing her own well-being and what is natural for her for love. And then she ends up thrown in the trash and surrounded by rats.

That’s intense.

Right? And I don’t know if you knew this, but there are real rats around me in the video. Because believe me, I’m still surrounded by rats. But every time less and less. That has been a big part of what I’ve been doing this past year: cleaning the house, exterminating the rats.

But your music returned. That’s the silver lining.

There’s always a silver lining. Life always manages to compensate somehow. In one year, I lost what I loved most, the person I most trusted, my best friend: my father. He has lost many of his neurological functions as a result of the accident he had in Barcelona [a fall in June 2022]. And he went to Barcelona precisely to console me, to support me at the time of my separation. I thought, “How can so many things happen to me in a year?” But that’s life.

From there, my music has also taken new flight, and I suppose that’s the way life compensates. You subtract on one end and add on the other. It’s pure mathematics. In my ninth life, I’ll tell you what the total is. Sometimes I think happiness isn’t for everyone. Happiness is a luxury, a commodity. Some people are born to be happy, and some people are born to do things, serve the community. I don’t know.

Are you happy now?

It’s a very short question for a very long answer. I don’t think everyone has access to happiness. It’s reserved for a very select number of people, and I can’t say I’m part of the club at this moment. There are moments of happiness, distraction, moments of reflection. There are also still moments of nostalgia, and my music right now feeds off that cocktail.

Shakira photographed on August 22, 2023 at The Villa Casa Casuarina in Miami.

Iris van Herpen headpiece.

Ruven Afanador

You obviously didn’t plan any of this. You weren’t looking for a No. 1, but for a creative outlet, correct?

Exactly. I was trying to work out and understand my emotions in search of a catharsis.

In 2021, you sold the music publishing rights to your catalog of 145 songs at the time to Hipgnosis. Why?

I’m very friendly with Merck [Mercuriadis]. He’s a musicology expert who knows my catalog intimately from the very first song I wrote when I was 8 years old. I know my compositions are in the best hands with him as the custodian for them, and I’m very happy. They’re doing a really good job. If you sell your catalog, you want to know it’s to someone who values your music and knows about music.

Are you at all worried about artificial intelligence?

I was shown how I sound with AI. But I don’t think they got it right yet. I don’t hear myself there. The letter E, for example, sounds like my voice, but not the other four vowels. I think it’s going to be hard for AI to imitate me. And I have bigger fish to fry right now. My biggest concern is figuring out how Milán can practice American football, soccer and baseball in the same week.

I know you’re planning to tour next year, and I saw photos of you at Beyoncé’s tour. It looked like you were having fun.

Oh, no. I was working! (Laughs.) I definitely can’t tour with as many trucks as Beyoncé, but I was taking notes.

Something I’ve always loved about your tours is that they are ­pretty much all you. That you don’t need…

So much stuff? In a way, I wanted to prove to myself that I could support the entire weight of a show. In fact, many of my tours had no dancers and a limited production. In the [2002-03] Tour of the Mongoose, which was one of my most successful tours, with the biggest production, I traveled with that serpent that rose at the beginning of the show, remember? That serpent cost $1 million and, transporting the serpent, several million more. When the tour ended, my manager asked for his commission, and I said, “Aha, and how much did I make from the tour?” He said, “No, you lost $6 million. Didn’t you want to travel with that cobra?” You live and learn.

Putting a tour together is fun, but it’s a great effort and you have to put everything on the balance and decide what the fans really want to hear, what songs you want to hear and how much production you want. In the end, the more production you have, the higher the ticket price. I want the tickets to be affordable. But to me, the most important thing is the repertoire. That’s why I think [my next tour] will be the tour of a lifetime, because I have so many songs.

Shakira photographed on August 22, 2023 at The Villa Casa Casuarina in Miami.

Versace dress and gloves, Giuseppe Zanotti boots.

Ruven Afanador

Do you think that in five years, when you look back, you’ll see this moment in a more positive light?

Like a blessing in disguise? I think that nothing can compensate for the pain of destroying a family. Of course, I have to keep going for my children’s sake; that’s my greatest motivation. But my biggest dream, more than collecting platinum albums and Grammys, was to raise my sons with their father. Overcome obstacles and grow old together. I know I’m not getting that now.

What did you learn about yourself in this process that surprised you?

My strength. I thought I was much weaker. I used to crumble before the stupidest problems. I’d create a drama because I chipped my tooth or that kind of stuff. But maturing, going through truly difficult things, gives you a sense of perspective and empathy. You learn how to value the good moments and how not to amplify the bad ones.

Before, when I didn’t have real problems, I was a true drama queen. I remember one time, Gerard bought me a diamond ring because I chipped a tooth on The Voice and I was crying so much. I was inconsolable. I was also pregnant, so I was highly hormonal. Now I chip a tooth, and it doesn’t go beyond being a little inconvenience that you fix with a visit to the dentist. I wouldn’t cry over it for two days in a row like I used to back in the day when I used to be happy.

At a time when there seems to be no taboos left in Latin music in terms of content and image, do you think a lot about what you want to say or portray in your music?

I’ve always been very conscious of the fact that what a public person expresses or says has an echo and an impact over others. And I am convinced that we have to serve the community through our work and help the world become a better place. As a woman, I feel I have a responsibility. I also think music is a tool, a platform for validation as a woman and to validate my own ideas, but there isn’t a calculated intent behind what I do. But I do understand the responsibility that comes with what I have and with being a public person and being able to do music for such a long time and reach several generations. I know little girls see me, go to my concerts, listen to my music. That’s always in the back of my head.



“Bzrp Music Sessions, Vol. 53” generated a lot of controversy. People were divided over whether you should have spoken out. Was that a difficult decision?

When I did that session, people on my team were saying, “Please change this. Don’t even think about coming out with those lyrics.” And I said, “Why not?” I’m not a diplomat in the United Nations. I’m an artist, and I have the right to work on my emotions through my music. It’s my catharsis and my therapy, but it’s also the therapy of many people. I know I’m the voice of many people, and I’m not being pretentious, just realistic. I lend my voice to many women who maybe also wanted to say the same things I said and perhaps haven’t had the validation to do so. I think songs like the Bizarrap session or like the one I did with Karol have given many women strength, self-empowerment, self-confidence and also the backing to express and say what they need to say.

And without the need to be vulgar or graphic?

No, but going straight to the jugular. I don’t know how to go anywhere else.

Michelle Yeoh, who is 61 years old, won the Academy Award for best actress this year. In her speech, she said, “Ladies, don’t let anybody tell you you are ever past your prime.” Ours is a very ageist industry. What do you think of those words?

When the year started and I got that first No. 1, then the other, back-to-back, I thought, “This can’t be happening to me at 46 years old.” It was so exciting to break the mold or reinvent the paradigms, and also, because that’s how you change things. I feel I have more energy now than at many other times in my life. Now the studio is one of my happy places. In the past, it wasn’t so much like that. There were moments where I had a love/hate relationship. There was a bit of a fear factor in the studio, at the prospect of being before a blank canvas. But now, when I’m about to start a song, my feelings are more of anticipation. Maybe because I’m not such a control freak as I used to be?

Really?

I’ve let go a lot! I still control, but I’m not a freak. Who doesn’t like control in a way? You want to realize your vision. But I’ve let go a lot. If I were to chip my tooth now, I’d probably spill a tear or two, but I wouldn’t cry the whole day.

Shakira Billboard Cover September 23, 2023

This story will appear in the Sept. 23, 2023, issue of Billboard.

Shakira: Photos From the Billboard Cover Shoot

Shakira walks into a luxurious upstairs suite at Miami Beach’s Versace mansion wearing high-waisted jeans, a loose T-shirt and a baseball cap pushed low over her forehead, her hair pulled back in a tangle of dirty-blonde braids. Far from cameras, her face is practically devoid of makeup save for mascara, and her eyes are wide over prominent cheekbones. Clear-skinned, barely over 5 feet tall in her sneakers, she looks young and almost fragile — a far cry from the powerful, wrathful woman she has played in her recent, hugely successful songs and music videos.

“I’m still in a reflective period,” she says pensively. “I’m still exorcising some demons. The last I have left,” she adds with a hearty laugh.

One of the most recognizable and celebrated stars on the planet, Shakira is also notoriously meticulous, a perfectionist known for leaving little to chance. But in the past 14 months, the 46-year-old has thrown convention, expectations and her own personal brand of allure-driven celebrity to the wind following her infamous split from Spanish soccer star Gerard Piqué, her partner of over a decade and the father of her two children, Milán, 10, and Sasha, 8. Covered ruthlessly by Spanish tabloids, the separation amid allegations of infidelity on Piqué’s part was immortalized when Shakira recorded “Bzrp Music Sessions, Vol. 53” with Argentine DJ Bizarrap, an incendiary track in which she made a proclamation that became a global feminist mantra: “Women don’t cry; we make money.” The song hit No. 2 on the Billboard Global 200.

Read Leila Cobo’s full Billboard cover story on Shakira here.

Why Willie Nelson’s Farm Aid May Be the Nation’s Most Crucial Music Festival Right Now

It has been one hell of a summer.

Fires sweeping across thousands of acres of dry Canadian wilderness sent apocalyptic clouds of smoke across East Coast cities. Hurricane Idalia, powered by rising ocean temperatures, raged across the Southeast causing widespread flooding and an estimated $12 billion to $20 billion in damage. Heatwaves sent temperatures soaring above 110 degrees from Portland to Puerto Rico. Drivers in Phoenix were burned by the seat belt buckles of cars left in the sun.

The climate crisis is real. 

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“Our planet has just endured a season of simmering — the hottest summer on record. Climate breakdown has begun,” U.N. Secretary-General António Guterres said in a statement Sept. 6, marking the release of the latest data from the European Union’s Copernicus Climate Change Service by the World Meteorological Organization.

For more than three decades, one music event has been singularly focused on a piece of American life that holds at least part of the answer to this crisis — family farming. For that reason, Willie Nelson’s Farm Aid may well be the nation’s most important music festival right now.

“Climate change is the most important issue we face today,” says Dave Matthews, who is a member of the board — along with Nelson, John Mellencamp, Neil Young, and Margo Price — of Farm Aid, which Nelson launched in 1985, to help keep family farmers on their land. Since it began, through its annual benefit concerts, Farm Aid has raised more than $64 million to support programs that help family farmers.

Now in its 38th year, Farm Aid takes place Sept 23 at Ruoff Music Center in Noblesville, Indiana—Mellencamp’s home state — with the organization’s guiding artists joined by the Grateful Dead’s Bobby Weir & the Wolf Bros. featuring the Wolfpack, Lukas Nelson, Nathaniel Rateliff & the Night Sweats, Allison Russell, The String Cheese Incident and Particle Kid. Also on the bill: Clayton Anderson, The Black Opry featuring Lori Rayne, Tylar Bryant and Kyshona, the Jim Irsay Band, featuring Ann Wilson of Heart, Native Pride Productions and the Wisdom Indian Dancers.

“Farm Aid’s mission raises awareness around the importance of a national system of agriculture that values family farmers, good food, soil and water, and strong communities,” continues Matthews. “The mission is important because the industrial agriculture practiced on large corporate farms is contributing to the climate crisis. We need to continue to focus on solutions and agriculture methods that help mitigate climate change.”

Billboard first reported on the link between Farm Aid’s support of family farmers and the fight against climate change in 2011. “We started out to save the family farmer. Now it looks like the family farmer is going to save us,” Nelson said at the time.

In a comment he shared recently with Billboard, Nelson said: “We all eat and we all live on this one planet together. If your food is grown by corporate farmers with unhealthy practices, that’s what you’re putting into your body. Along with the fact that it had to travel several thousand miles to get to you, when local farmers mostly have better farming practices and a better carbon footprint.”

Carbon is the key to understanding how Farm Aid’s support for family farms is helping to address the climate crisis. Carbon dioxide (CO2) accounts for nearly 80 percent of the greenhouse gasses that trap heat in the atmosphere, according to the U.S. Environmental Protection Agency. The dramatic rise in CO2 levels in the atmosphere is the cause of the climate crisis. But carbon dioxide is removed from the atmosphere —or “sequestered”— when it is absorbed by plants as part of the biological carbon cycle, the EPA notes.

And that’s where farming enters the equation — but not just any kind of farming. 

In recent years, there has been an increasing awareness that industrial agriculture practiced on large corporate farms is contributing to the climate crisis. In an August 2021 report, the National Resources Defense Council stated that industrial agriculture is a “significant source” of carbon in the atmosphere.

“Industrial agriculture is a large contributor to [greenhouse gas] emissions around the world,” writes Jennifer Fahy, communication director of Farm Aid, in a blog entry titled “Farmers and Climate Change: Myths vs Facts,” that was posted on the organization’s website in July.

“But family farmers have tremendous capacity to not just decrease emissions, but to actually sequester carbon dioxide in the soil with climate-resilient agricultural practices like organic production, cover crops, rotational grazing, agroforestry and more. These and other innovations mean family farmers and ranchers are leaders at the forefront of climate mitigation,” writes Fahy.

The farming techniques that Fahy describes are, in fact, deeply rooted in the nation’s history. “These methods originally come from Indigenous, Black, Brown and People of Color traditions that pre-date industrial agriculture, which is characterized by large-scale monoculture, intensive use of chemical pesticides and fertilizers, and concentrated animal feeding operations,” she writes. 

Farm Aid’s advocacy is not only for family farms, but also racial and social justice and the broader communities fed by good food.

“Even as the people practicing these methods have endured genocide, land theft and loss, racism and discrimination, and the pressures of industrial agriculture, they have kept these traditions alive. Regenerative agriculture is not new; it’s been on the margins of our dominant industrial agriculture system. It’s time for it to come to the fore,” Fahy writes.

Farm Aid is one of many advocacy organizations that have called on the federal government to support regenerative farming to combat climate change, through funding in the Farm Bill. A multi-part, multibillion-dollar piece of legislation that is passed by Congress about every five years, the Farm Bill has a massive influence on how the nation’s food is grown. The most recent Farm Bill was passed in 2018 and expires this year.

In September 2022, Farm Aid joined more than 150 organizations in co-signing a letter asking President Biden “to weigh in on the next Farm Bill and demand that Congress build even further on the administration’s actions to date to reduce economic inequality; bridge the nation’s racial divides; end hunger; confront the climate crisis; improve nutrition and food safety; and protect and support farmers, workers, and communities,” wrote Fahy at that time.

In March, representing Farm Aid, Mellencamp went to Washington, D.C. to support and sing at The Rally for Resistance: Farmers for Climate Action. The event was organized under the umbrella of the National Sustainable Agriculture Coalition and involved some two dozen activist organizations and more than 30 delegations of farmers from across the country who converged on Washington to make their voices heard.

“We’ve been slugging since 1985 and let’s keep slugging,” Mellencamp told the crowd. “Let’s try to improve the quality of the food that we eat, the air that we breathe and the people that we are.”

Farm Aid’s organizers say this year’s Indiana festival will highlight the work of family farmers to address climate change through regenerative, organic and sustainable farming practices. It will showcase these climate champions on the Farm Aid stage and throughout the event. As farmers and farm and food advocates converge from across the country for the annual festival, Farm Aid will host additional pre-festival events to spotlight their work.

This year also will see the return to the Farm Aid stage of Neil Young, who did not attend in 2021 or 2022 due to the COVID-19 pandemic. (The 2020 event was presented online.)

In previous years, Young has spoken on stage about the ability of family farms to sequester carbon in the soil. “We need soil, with carbon in it, good strong soil,” he told the crowd during Farm Aid in Hartford in 2018. And he called on the audience to make deliberate choices when buying their food: “So what are you going to do the next time you see a farmer’s market?” he called out. “Say hello to a farmer. Buy something! Buy something good — something that’s good to the earth.”

Margo Price has echoed Young’s view that consumers must make choices to support sustainable agriculture — to save the farmers who will help save the planet. “The climate crisis and the food crisis are unfortunately, one and the same,” says Price. “Everybody’s gotta eat, and every time you spend a dollar, you are casting a vote. 

“We are on the brink of living in an oligarchy, where three billionaires own more wealth than the rest of America.,” she continues. “Politicians’ greed is unquenchable and they don’t seem to care about the world we are leaving behind for future generations… We are facing uncertain times ahead, and it’s more important than ever for organizations like Farm Aid to educate the public, nurture agriculture, and preserve the precious few family farms that we have left.”

Watch Ed Sheeran Play a New ‘Autumn Variations’ Song Inspired by ‘Friends’ For Courtney Cox

Ed Sheeran provided another preview of his upcoming Autumn Variations album on Thursday morning (Sept. 21), posting a video on his socials in which he gives a command performance of the track to one of its A-list Hollywood subjects.

“Courtney, Courtney, Courtney. I wrote this song inspired by Friends, the show that you were on,” Sheeran explained in a shaky hand-held video to his longtime pal and former Friends star Courtney Cox. Hanging with Monica Geller in a kitchen, Sheeran then proceeded to play a bit of the track, “American Town,” on his acoustic guitar.

“We’re a long way from home/ Haven’t seen you in so long/ But it all came back in one moment/ And the year started cold/ But I didn’t notice at all/ When we found there’s a room we’re both in,” he crooned as Cox smiled along to the lyrics from the song that will appear on the Aaron Dessner-produced album due out on Sept. 29.

The lyrics in the pre-chorus really hinted at the ties to the beloved NBC sitcom that was a launched in 1994 and became a ratings juggernaut in the years before its final episode aired in May 2004. “We ate Chinese food in small white boxes/ Live the life we saw in Friends/ Your room it barely fits the mattress/ Wake up, leave for work again/ The wind it seems to blow right through us / Down jackets are the trend,” Sheeran sang before diving into the chorus about an “English girl in an American town,” an elevator that doesn’t go to the fifth floor, ringing the buzzer to let someone in and “dungarees over the hoodie.”

“Wait, that was really about the show Friends?,” Cox asked after the performance. Well, inspired by it, Sheeran clarified. “Cuz you eat Chinese food in small white boxes.” Cox said she loved it, but also, she wondered, “do I get paid?”

The “American Town” preview came just days after Sheeran revealed that he will also release a surprise secret live version of Variations that he recorded in fans’ living rooms across the country; no release date has been announced for what will be Sheeran’s third new album of 2023. Sheeran will perform Variations in full during two shows at London’s Royal Albert Hall on Nov. 18-19; the North American leg of his Mathematics tour will wrap on Saturday (Sept. 23) at SoFi Stadium in Inglewood, Calif.

Listen to “American Town” below.

Breaking Down the ‘Jaw-Dropping’ Lawsuit That Has All of Reggaeton in Its Sights

Even if you don’t know the name or the backstory, you probably know the sound: Boom-ch-boom-chick, boom-ch-boom-chick, boom-ch-boom-chick. Listen to pretty much any reggaetón song, and you’ll hear that infectious percussion — dubbed the dembow rhythm — playing underneath. That single key element, a historian of the genre once wrote, “underpins the vast majority of reggaetón tracks as an almost required sonic signpost.”

There was nothing controversial about that fact until 2021, when lawyers for the Jamaican duo Steely & Clevie — Cleveland “Clevie” Browne and the estate of the late Wycliffe “Steely” Johnson — filed a copyright lawsuit over the origins of dembow. In it, they argued that the rhythm was ultimately derived from a single song, called “Fish Market,” that the pair wrote in 1989.


https://youtube.com/watch?v=_Hxx_56Cy_o&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

When it was first filed, the lawsuit targeted only two tracks and a few artists. But the implication was clear: if their argument was valid, hundreds of artists across reggaetón — a genre that has risen from an underground fusion of rap, dancehall and reggae in the clubs of San Juan, Puerto, Rico, to the very apex of the music industry in the past decade — would also have infringed Steely & Clevie’s intellectual property.

Now, two years later, those stakes are no longer theoretical. The duo’s lawyers are suing more than 150 different artists, including Bad Bunny, Karol G, Pitbull, Drake, Daddy Yankee, Luis Fonsi and Justin Bieber, plus units of all three major music companies. They claim that over 1,800 reggaetón songs featuring iterations of the dembow rhythm were, at root, illegally copied from “Fish Market” — and that their clients deserve monetary compensation for them.

If that sounds both unusual and potentially disruptive to you, music law experts would agree.

“This case is jaw-dropping — the plaintiffs are suing over a hundred artists for over a thousand songs, 30 years after the release of their song,” says Jennifer Jenkins, a professor at Duke University School of Law who has written a history of musical borrowing and regulation. “If they win, this would confer a monopoly over an entire genre, something unprecedented in music copyright litigation.”

Musical pioneers

Legal claims aside, nobody really disputes that the genealogy of dembow leads back to Steely & Clevie, a legendary duo who are widely credited with playing an influential role in the evolution of Jamaican music. When Steely died in 2009, The New York Times said he had perhaps “participated in more sessions than anyone else in the history of reggae.”

According to most experts, the story goes like this: Aspects of Steely & Clevie’s “Fish Market” were incorporated into a 1990 song called “Dem Bow” by the artist Shabba Ranks, which itself was then re-used by producer Dennis “The Menace” Thompson in another 1990 song called “Dub Mix II.” It was this track that was then heavily sampled and interpolated in the early days of reggaetón, providing an essential rhythmic element to the nascent genre. According to an article by Wayne Marshall, a historian of Caribbean music and a professor at Berklee College of Music, that portion from “Dub Mix II” has since “provided the basis for hundreds if not thousands of other tracks.”

Over the decades that followed, reggaetón blossomed into a global sensation. With roots in the Panamanian “reggae en espanol” movement and then evolving with Puerto Rican trailblazers like Ivy Queen and DJ Nelson, reggaetón exploded onto the world stage with Daddy Yankee’s 2004 breakout single, “Gasolina,” which spent 20 weeks on the Hot 100. The genre then rose to new heights in 2017 with Luis Fonsi’s mega-hit “Despacito,” which topped the Hot 100 for a record-tying 16 weeks. And last year, Bad Bunny’s Un Verano Sin Ti became the first Latin album to finish as the No. 1 Billboard 200 album of the year after ruling the chart for 13 nonconsecutive weeks. According to Billboard Boxscore, he also grossed a record-setting $435 million across two tours — El Último Tour del Mundo and World’s Hottest Tour — cementing his place as one of pop’s biggest stars.

All of it, according to Steely & Clevie’s lawsuit, on the backs of their intellectual property.

A growing case

The duo first headed to federal court April 2021, accusing Panamanian reggaetón artist and producer El Chombo of infringing “Fish Market” with his “Dame tu Cosita,” a 2018 hit that reached No. 36 on the Hot 100. The suit also named Karol G and Pitbull, who later released a remix of the track.

In their complaint, the lawyers for Steely & Clevie said the “primary rhythm and drum sections” of “Dame tu Cosita” were pulled directly from the earlier song: “At no point did defendants seek or obtain authorization from plaintiffs to use ‘Fish Market’ in connection with the infringing works.”

When the case was first filed, few people took notice. But the lawsuit quickly grew. In October 2021, Steely & Clevie added 10 more songs to the case, including Fonsi’s “Despacito.” In May 2022, they alleged that an additional 44 songs had infringed “Fish Market,” including Daddy Yankee’s “Gasolina.” By September 2022, the lawsuit had ballooned: More than 150 total defendant-artists, including Bad Bunny, accused of releasing a staggering 1,800 infringing songs.

The newer versions of the lawsuit also claimed broader intellectual property rights. In the original, Steely & Clevie claimed only to own a copyright to “Fish Market” itself; as the case evolved, they claimed they also owned rights to “Dem Bow” and “Dub Mix II,” the later songs that utilized “Fish Market.”

In the most recent version of the complaint, filed in April, it takes a full 25 pages to list out all of the defendants, which also include units of Universal Music Group, Warner Music Group and Sony Music Entertainment. Other notable defendants include Anitta, Becky G, Maluma, Tainy, Rauw Alejandro, and Enrique Iglesias, as well as companies BMG Rights Management, Hipgnosis and Kobalt.

Over a whopping 228 pages, the document lays out how each song, like “Despacito,” allegedly infringed what it calls “groundbreaking” drum and bass patterns in the earlier songs.

“The rhythm section of ‘Despacito’ and the ‘Despacito Remix’ copies original elements of the ‘Fish Market’ rhythm section,” Steely & Clevie’s lawyers wrote. “The musical backbones of ‘Despacito’ and the ‘Despacito Remix’ are substantially similar, if not virtually identical, to ‘Fish Market.’”

“Monopolistic”? Or “sensationalist”?

A trial on all those allegations is still years away, even in the fastest scenario. But this past summer, the attorneys representing the artists and labels have been trying to make sure it never gets there.

In a motion filed in June, Bad Bunny’s lawyer Kenneth D. Freundlich demanded that the case be dismissed immediately, calling it a “transparent” attempt by Steely & Clevie to “stake monopolistic control over the reggaetón genre.”

“Plaintiffs’ [lawsuit] impermissibly seeks to monopolize practically the entire reggaetón musical genre for themselves by claiming copyright ownership of certain legally irrelevant and/or unprotectable, purported musical composition elements,” Freundlich wrote for his superstar client.

When the lawsuit’s allegations are “defrocked” of their “façade,” Bad Bunny’s lawyer wrote, all that is left is a simple rhythm itself — and “courts have been consistent in finding rhythm to be unprotectable.”

The majority of the other defendants named in Steely & Clevie’s lawsuit (including Anitta, Pitbull, Karol G, Ricky Martin, Daddy Yankee, Fonsi, Bieber, units of all three majors and more than 70 other defendants) are represented by a single team of lawyers from the law firm Pryor Cashman. That’s the same firm, and some of the same lawyers, that won Ed Sheeran’s big copyright trial in May.

In their motion, the Pryor lawyers echoed Bad Bunny’s genre-monopoly arguments, but they also claimed that the size of the case had turned it into a procedural disaster — a confusing mess in which nobody knows exactly what they’re accused of doing wrong. They said Steely & Clevie had failed to satisfy “the fundamental elements of a copyright infringement claim.”

“The [complaint] is a ‘shotgun pleading’ filled with conclusory allegations that lump defendants together, making it impossible for defendants to determine what each is alleged to have done, what works are at issue and what in those works is allegedly infringing,” the attorneys wrote.

In their own response filings, Steely & Clevie remained undeterred. In an August filing, they argued that the gripes about the size and complexity of the case were unfounded — and that the scale of the lawsuit actually underscored the central point of their allegations.

“While the copyists are legion here, they certainly did copy, and the sheer amount of copying proves the creative and original nature of plaintiffs’ work,” wrote the duo’s lawyers from the Los Angeles-based law firm Doniger/Burroughs. “Defendants want to exploit plaintiffs’ creativity to build careers and reap financial success while denying plaintiffs their just credit and compensation.”

And in a separate response to Bad Bunny’s filing, Steely & Clevie’s attorneys blasted the accusation that they were aiming to own an entire genre of music.

“In the end, Bad Bunny’s motion boils down to a sensationalist, unsupported suggestion that this case somehow ties up the reggaetón genre. Not so,” the duo’s lawyers wrote. “To be sure, the unauthorized copying of the Fish Market pattern now is widespread — copying that necessitated this case. But Bad Bunny cites no authority for the proposition that widespread copying of an original work somehow renders that work unprotectable.”

A hearing before a federal judge, where those arguments will be tested in open court, is set for Friday. Attorneys for both sides declined to comment.

“A pretty wild claim”

With just about every artist in one of the industry’s hottest genres now facing the possibility of copyright liability over a core part of their music, Steely & Clevie’s case could pose something of an existential problem for reggaetón. Artists who want to make songs in the future featuring a similar rhythm would need to ask (and pay for) permission to do so for decades to come — that is, if the case is ultimately successful.

Some copyright experts are skeptical. “This is a case that zeros in on a particular beat that characterizes an entire genre, and they’re basically saying, you can trace it all back to our song, and a piece of everything that flows from that belongs to us,” says Peter DiCola, a professor at Northwestern Pritzker School of Law who has written extensively about music sampling. “I think that’s a pretty wild claim.”

Part of what makes the “Fish Market” case unusual is the long delay. Steely & Clevie waited 30 years to sue, as an entire world of music built up around a rhythm that they now claim to own — no doubt leading some reggaetón artists to think, perhaps reasonably, that dembow was fair game.

But even if that delay seems vaguely unfair, it’s probably not a great defense. In a 2014 case over the movie Raging Bull, the U.S. Supreme Court ruled that there are essentially no time limits to bringing a copyright suit. That decision directly sparked a battle over Led Zeppelin’s “Stairway to Heaven” decades after it was released, as well as many other lawsuits over years-old allegations of infringement.

Instead, the harder questions posed by Steely & Clevie’s case concern the dividing line between historical acknowledgment and exclusive legal ownership. Music historians don’t doubt that Steely & Clevie played a key role in reggaetón’s evolution, but does that entitle them, decades later, to control a crucial part of an entire genre? Put another way, the real question — and it’s potentially a multi-billion-dollar question — is whether they can claim a copyright on the dembow rhythm.

In the abstract, sure. Rhythms are just collections of sounds arranged creatively, like the melodies and lyrics that are clearly covered by copyrights. But in reality, U.S. courts have been hesitant to extend protection to musical elements like rhythms, chord progressions and song structures. Earlier cases have declared them either simply too unoriginal for copyright coverage, or ruled they are “scènes à faire” — a copyright law term for stock elements of a given genre that anyone is entitled to use.

Recent legal battles over music have been dismissed with rulings that the accuser could not claim a monopoly on basic “building blocks” of songs. Led Zeppelin won a case involving “Stairway to Heaven” in 2020, followed by a similar decision in 2022 on Katy Perry’s “Dark Horse.” In May, a federal judge dismissed a lawsuit that accused Ed Sheeran’s “Thinking Out Loud” of infringing Marvin Gaye’s “Let’s Get It On” saying the case — over a chord progression and harmonic rhythm – was seeking an “impermissible monopoly over a basic musical building block.”

Legal experts wonder if the claims about dembow may face similar limitations.

“All credit to them for being really talented musicians,” DiCola says. “But this thing that they’ve created, this common element that runs through as kind of the DNA of these reggaetón tracks — is that really something anyone can own? To me, it seems very much like a basic building block.”

Taylor Swift’s Get Out the Vote Plea Drives Record Registration Traffic to Vote.Org

Taylor Swift can fill stadiums, is about to flood the zone in movie theaters and, we found out this week, she can also seriously get out the vote. Just days after Swift urged Swifties to register to vote on National Voter Registration Day in an Instagram Story, shocker, they listened and signed up to do their civic duty in record numbers.

On Wednesday (Sept. 20), Vote.org’s communications director, Nick Morrow, wrote on X (fka Twitter) that Swift’s plea resulted in a tidal wave of new registrations. “Fun fact: after @taylorswift13 posted on Instagram today directing her followers to register to vote on @votedotorg, our site was averaging 13,000 users every 30 minutes. 13!” he revealed, noting the cosmic coincidence of the bump coalescing with the singer’s favorite number.

“Let’s just say her reputation for being a mastermind is very well-earned,” he added.

Swift stayed mostly mum on the political front until 2018, when she endorsed Democrat Phil Bredesen for Senate in her home state of Tennessee. After that she began speaking up loudly and often, urging support for the Equality Act during Pride month, dubbing twice impeached former president Trump’s term an “autocracy” and released the call-to-arms anthem “Only the Young,” fueled by her frustration after the 2018 midterm elections.

In her note to fans on Tuesday, Swift wrote, “I’ve been so lucky to see so many of you guys at my US shows recently. I’ve heard you raise your voices, and I know how powerful they are. Make sure you’re ready to use them in our elections this year!” She urged Swifties to take a few minutes to visit vote.org/nvrd and, considering she has 272 million Instagram followers, it’s no surprise the organization saw such a massive uptick in registrations.

See Morrow’s tweet below.