Pride
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He came back like “J Christ” — now Lil Nas X wants to figure out what happens next. On Friday (Jan. 26), the pop singer unveiled his latest song “Where Do We Go Now,” a poignant slow-jam that poses its titular question to remarkable effect. Stepping away from his signature tongue-in-cheek braggadocio, Lil Nas X […]
Over the course of a few years, Lil Nas X went from a college kid scared about his future to an internationally-acclaimed, record-breaking star. His fans know him as the funny, terminally online, occasionally controversial pop-meets-rap-meets-country artist next door. They even know a bit about Montero Lamar Hill, the man behind the moniker, thanks to more than a few revelatory lyrics on his debut album.
But with Lil Nas X: Long Live Montero, the new documentary debuting on HBO this Saturday (Jan. 27), the “Industry Baby” singer is done trying to prove anything — he’s simply letting the audience see him in all lights possible.
The 95-minute feature follows Lil Nas X over the course of 60 days as he embarks on the North American leg his first-ever headlining tour in late 2022. Unlike Renaissance: A Film By Beyoncé and Taylor Swift: The Eras Tour before it, the documentary gives fans only a peek into the star’s live show, occasionally showing off minute-long snippets of the titular concert before cutting away to backstage footage.
The rest of the movie, though, serves as a glimpse inside the mind of a blossoming artist looking to manage his impact on a career he crash-landed into. Hill opens up about everything from his upbringing, to his start in the industry, to the grueling process of putting together a tour . But most of all, Lil Nas X: Long Live Montero watches Hill learn, in real time, what it means to be one of the most publicly visible members of the LGBTQ+ community, and how that public perception impacts his own search for meaning.
“Some people think my music is dope, but they think I do too much as far as videos and the things I do online go. And some people think the things I do online are cool, but they don’t like my music. Some people still see me as the kid-friendly artist, and some people see me as this Satanic devil that’s gonna ruin the world, or who’s part of some big agenda,” he says at one point in the documentary. “People feel a lot of things about me. But me? Boy, do I love this kid.”
Below, Billboard takes a look at five of the biggest revelations throughout Long Live Montero, from the rapper opening up about his relationship with his family, to a tribute for the music icon that continues to inspire him to this day.
Lil Nas X: Long Live Montero premieres on HBO Saturday, January 27 at 8 p.m. ET.
The ‘Ghost’-ly Sample Haunting ‘Old Town Road’
It’s only been two weeks since Lil Nas X officially returned with his first single in over a year “J Christ.” But now, he’s making it clear that the drought is officially over with yet another new track. On Tuesday (Jan. 23), the rapper took to Instagram to let fans know that his next single […]
After a promotional frenzy filled with plenty of controversy, Lil Nas X is officially back like “J Christ” on the Hot 100. Lil Nas X’s latest single “J Christ” debuted at No. 69 on the chart dated Jan. 27, and the rapper is taking that particular ranking as a milestone achievement in his career. “we […]
After three episodes filled with about five thousand new twists, RuPaul’s Drag Race season 16 finally sent its first queen packing.
On Friday’s episode (Jan. 19), the now-united cast of 14 queens were tasked with throwing The Mother of All Balls on the main stage. Cycling through three looks on the runway, the contestants showed off their best Mother Goose looks (themed after nursery rhymes) and their best Significant Mother (themed after famous moms), before finally revealing their Call Me Mother/Father Eleganza, which they crafted one day prior in the work room out of nothing but menswear.
But of course, in this season of twists, Ru couldn’t just let the girls off that easily — the hostess revealed that the girls would be using the show’s newly-introduced Rate-A-Queen system one last time to determine the week’s tops and bottoms. After 14 rounds of voting from the contestants and classic judges’ critiques, Nymphia Wind was crowned the winner for her inspired look using men’s ties.
The news was not so good for Geneva Karr and Hershii LiqCour-Jeté, who wound up in the bottom for their lackluster looks. Performing in a high-energy, all-out lip sync to Ava Max’s “Maybe You’re the Problem,” both queens gave it their all, but only Geneva was permitted to stay.
Below, Billboard catches up with Hershii about performing in the ball challenge, speaking about being a queer parent on national television, and why she felt that the Rate-A-Queen system lended itself to “more shade than fairness.”
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You made it to Drag Race, queen! How are you feeling after watching your run on the show?
I don’t feel bad at all — I genuinely feel like I gave it all I could, and I did the best that I could, and I did not quit at any point. I feel like nobody wants to be the Porkchop, but the best I could do is what I gave. I’m pleased!
I wanted to say, before we get into the episode, that it was so cool to see you talking about being a parent and how that affects your view on anti-LGBTQ legislation trying to limit children’s interactions with queerness. How have you been dealing with the ongoing release of these bills?
Honestly, I’m queer, so it’s not anything new with everything that’s going on. This has been happening. I do my best to actually try to not focus on it too much, because when I dwell on that stuff, it makes me sad and I don’t want to put that on my children.
I want them to have the most normal life that they could possibly have — whatever you consider “normal” being. They remind me every day that this normal is just fine for them, too; they don’t look at me as a queer person, they don’t look at me as a drag queen, all they see is Baba. They wanna make sure they get their cereal in the morning and their hugs at night. They are my focus; when it comes to everything else, I do my part in the voting booth, and I do my part being as visible as I possibly can. I mean, even just being a parent who is also a drag queen, even just being visible is political for me.
Did your kids get to watch you on the show?
So, they’ve seen it, but I don’t think they realize that it’s actually on TV. As far as they know, that’s just me at work!
Let’s get into the work, then! This season, we were introduced to the new Rate-A-Queen system — what did you think of this twist when it was first introduced to you on the show?
Oh, I hated it! [Laughs.] I did not like it at all! I just knew that, to an extent, it was going to mess up some chances for me. I knew that people were either going to play the game and be shady, or they were going to be fair — and there was going to be a lot more shade than fairness! I feel like I could’ve potentially gone further had a few of the girls played it a little more on the fair side.
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What did you make of Plane Jane’s “best are bottoms, worst are tops” tactics she used in your premiere episode?
Girl, I saw her wheels turning in the work room! I don’t know if the other girls caught it, but the second she said, “I’m going to make sure I play fair,” I gave her a look, like, “Yeah, sure you will, girl.” She turned out being exactly the girl I knew she was. But, that’s part of the game! The fandom wants TV, they want some mess, they want somebody to come in and shake things up — Plane Jane is your girl!
If you had the opportunity to go back, do you think you would’ve done your Rate-A-Queen picks differently?
Absolutely! I went in there trying to be all integral and nice to everybody and fair — no, if I could go back, I would mess everybody’s placement up. [Laughs.]
It’s episode three, and we’re already at the ball challenge, which is easily one of the hardest challenges on the show. What was your immediate reaction when you found out the ball was happening this early in the show?
I love the ball challenge, because it’s the one challenge where you really get to show the most of yourself and your style on the runway, so I actually really like that they put it this early. My problem was with the design element — I can use a machine, but if you’re asking me to be a Q or a Sapphira or a Nymphia, I’m not that girl!
Completely, and I feel like we always have the same discourse around the ball challenges, where people are shocked that some girls can’t sew. Where do you fall on that debate — do girls need to know how to sew when they go on Drag Race?
Oh, interesting. I don’t think it’s about knowing how to sew, because being a designer is a different type of talent. Everyone can know how to sew or not; I didn’t have to ask for any help with the machines, I didn’t need any glue guns, I could put an outfit together. But I’m not a designer, I cannot see fashion in that way. My drag is heavy on the performance side. It’s about being able to design, not being able to sew — like, when I saw what Q had wrapped around her neck, my jaw dropped.
Sadly, you wound up in the bottom this week, lip synching to Ava Max’s “Maybe You’re the Problem” against Geneva Karr, and I was obsessed with the unhinged, church-lady energy you brought to this lip sync. What was your strategy going into that performance?
To be completely honest with you, I already felt like everybody had decided that I was going home. There was no need to ask Sapphira or Jane for immunity, because nobody was coming to save me. Plus, if you know me, you know that Ava Max is so far outside my wheelhouse — I love her as an artist, but that is not my wheelhouse. My thought process was, “If I’m leaving, I’m going to have the best time of my life on that stage.” So, the second the music hit, and that one camera swung in front of me, that was all I needed. I was just living my life on that stage.
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Well, before we let you go, I wanted to ask — is there any music you’ve been obsessing over lately?
Actually, yes there is! I just ran into this artist, his name is Dre Scot, and he is so good. I cannot listen to club music in my downtime, I need some relaxing, good vibe music, and Dre Scot’s voice is so relaxing, I love him. Oh, and Victoria Monét! Both of them are on constant repeat in the Hershii household.
With West End sensation Rob Madge heading to the Great White Way to perform their show My Son’s a Queer (But What Can You Do?), it makes sense that they would partner with Mother Monster herself to spread their message as far as they can. Explore Explore See latest videos, charts and news See latest […]
With the weather getting colder, warm up your ears with a few new tracks from your favorite queer artists. Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.
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See latest videos, charts and news
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From Aurora’s stunning new single to Green Day’s bisexual anthem, check out just a few of our favorite releases from this week below.
Aurora, “The Conflict of the Mind”
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Norwegian pop star Aurora is firmly in her empath era. With “The Conflict of the Mind,” the singer pushes every emotion she’s felt to the forefront, and embraces the feelings of those she loves dearly in a gorgeous, sharply-crafted melody. The production of her latest track retains all the dainty aspects of her past projects, while simultaneously pushing her sound forward into new sonic territory. Her voice, meanwhile, remains her strongest instrument, evoking pain and pleasure and love and heartbreak and every other emotion she’s left unspoken for this long.
Green Day, “Bobby Sox”
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Leave it to Green Day’s Billie Joe Armstrong to pen a grungy pop-punk song that doubles as a much-needed bisexual anthem. “Bobby Sox” plays as a punchy-yet-sweet love song, with the romantic lyrics asking if the song’s subject wants to be his girlfriend while sitting around and watching TV, while the chorus’ chunky guitars and pounding drums throw long-time fans back to the band’s Dookie days. But from the second verse on, Armstrong switches up the game, intermittently switching out “girlfriend” for “boyfriend,” giving everyone a new celebratory single to jam along to.
Adrianne Lenker, “Sadness as a Gift”
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Big Thief frontwoman Adrianne Lenker has always thrived at transforming complex emotions into revelatory pieces of songwriting. That trend shows no sign of ending on “Sadness as a Gift,” the singer-songwriter’s latest solo single. The spare indie-folk song pairs Lenker’s inimitable vocal with a simple guitar-and-violin combo, as she embraces the ending of a relationship. She wants it to be simpler than it is, but knows that nothing will make it easy right now; “We could see the sadness as a gift and still/ Feel too heavy to hold,” she sings.
Maggie Lindemann, “Hostage”
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For anyone who’s ever felt trapped in their own psyche, alt-pop singer Maggie Lindemann has just the song. “Hostage,” the singer’s volatile new single, follows Lindemann into the recesses of her own mind, as she explains the various ways her brain places her in a constant state of panic, even when the world around her does nothing to arouse those fears. Over a torrent of gothic synths, Lindemann begs the listener to “hold me close when my voice gets shaky, be patient with me.”
Sleater-Kinney, Little Rope
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When you live in a world where catastrophe is the new normal, how do you learn to keep going? That’s a central question posed on Sleater-Kinney’s phenomenal new project Little Rope, an LP that revels in its elusiveness at every given opportunity. Carrie Brownstein and Corin Tucker masterfully craft each song on the LP with enigmatic shifts in sound and theme, all while providing emotive new tracks for fans to dive deep into. Whether foreboding (“Hunt You Down”), fatalist (“Dress Yourself”), or frenzied (“Needlessly Wild”), Little Rope is an execellent ode to finding meaning — or the lack thereof — in pain.
Shygirl feat. Boys Noize, “Tell Me”
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Get ready to rave, because Shygirl and Boys Noize are here to heat up your next party. “Tell Me,” the latest single off of Shygirl’s forthcoming Club Shy EP, delights in it’s early-2000s Eurodance aesthetics — Boys Noize amp up every ounce of the song with out-of-this-world synths and a relentless beat. But Shygirl’s vital voice centers the track in the here-and-now, begging a lover to stay with her.
Gossip, “Real Power”
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Just when we need them, Gossip is back, baby. With their latest anthem “Real Power,” the alt-rock trio is calling on people to seize their own means of self-actualization, even in the face of controlling systems that would try and stop them. Inspired by frontwoman Beth Ditto’s hometown Portland and the city’s Black Lives Matter protests in June 2020, “Real Power” brings everything that makes Gossip great — advocacy-focused writing with infectious melodies and stratospheric vocals — into one glorious song.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
Nostalgia for the ’90s can be found all throughout today’s music, but when Green Day leans into penning a ’90s-style punk track, it just hits different. On Friday (Jan. 19), the legendary rock trio shared the music video for their new song “Bobby Sox.” The single unveiled off of their just-released album Saviors, “Bobby Sox” […]
For the last few years, Lil Nas X has carefully built up his public persona as a pop provocateur, master marketer and hilarious internet troll. But in a new clip, the rapper is stripping away all the facade and letting fans get to see the person underneath. On Thursday (Jan. 18), Lil Nas X unveiled […]
In 2023, a number of rock icons decided to talk about transgender kids and why they disapproved of giving them access to best-practice healthcare to help with their transition. In 2024, Green Day frontman Billie Joe Armstrong would like to break that trend.
In a new interview with The Los Angeles Times, the 51-year-old singer called out the conservative-led moral panic surrounding trans kids having access to gender-affirming care, criticizing those who would stand in the way of progress. “I just think they’re f–king close-minded,” he told the publication. “It’s like people are afraid of their children. Why would you be afraid? Why don’t you let your kid just be the kid that they are?”
Armstrong elaborated elsewhere, saying that seeing kids get to celebrate their identities earlier in life is a net positive, especially considering that his generation didn’t have that same luxury. “Nowadays it’s more common for kids to be LGBTQ, and there’s more support,” he said. “But for us, back in the day, that was like the beginning of when people were able to openly say things like that.”
When speaking about the band’s forthcoming song “Bobby Sox” (in which he nods to his own bisexuality by singing both “Do you wanna be my boyfriend?” and “Do you wanna be my girlfriend?”), Armstrong said it felt “liberating” to be in a place where he could sing about his sexuality. “It became more of a queer singalong.”
While 2023 was a record-breaking year for anti-LGBTQ legislation in the U.S., 2024 is already on track to break that record yet again. As of press time, the ACLU is already tracking more than 200 anti-LGBTQ bills in the 2024 legislative session, with 71 of those such bills aimed focused on “healthcare restrictions.”
Green Day, meanwhile, is gearing up for the release of the 14th studio album Saviors on Friday (Jan. 19). In its interview, the band said that the new album centers more plainly on America’s current political strife ahead of the 2024 election, returning to the socially conscious themes of some of their past albums such as American Idiot and Revolution Radio.
“We purposely stayed away from politics [on 2020’s Father of All…] just because everything was such an easy target,” Armstrong said. “We didn’t want to be like this CNN band. And I think in the back of our minds, we knew that MAGA and the divisiveness was gonna be there four years later anyway.”