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Five Finger Death Punch extends its record streak of No. 1s on Billboard’s Mainstream Rock Airplay chart, while featured artist DMX achieves a posthumous leader, as “This Is the Way” tops the June 15-dated survey.
The song is Five Finger Death Punch’s 11th straight Mainstream Rock Airplay No. 1, lengthening the longest streak of leaders in the chart’s 43-year history. The Ivan Moody-fronted band’s run began in 2018 with “Sham Pain.”

In all, Five Finger Death Punch boasts 15 No. 1s. That gives the band sole possession of the third-most in the chart’s history, breaking out of a tie with Foo Fighters and Metallica. Five Finger Death Punch first led in 2012 with “Coming Down.”

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Most No. 1s, Mainstream Rock Airplay:

19, Shinedown

17, Three Days Grace

15, Five Finger Death Punch

14, Foo Fighters

14, Metallica

13, Godsmack

13, Van Halen

12, Disturbed

As for DMX, “This Is the Way” is the late rapper’s first No. 1 on Mainstream Rock Airplay, logged in his first appearance on the tally. The track is a mashup of two songs, mixing vocals from his “The Way It’s Gonna Be,” released in 2009, and Five Finger Death Punch’s “Judgement Day,” from the band’s 2022 LP AfterLife.

DMX now sports two No. 1s on Billboard airplay charts. His previously ruled Rap Airplay for six weeks in 2000 with “Party Up (Up in Here).” He died of a heart attack on April 9, 2021.

Concurrently, “This Is the Way” holds at its No. 9 high on the all-rock-format, audience-based Rock & Alternative Airplay chart with 3.3 million audience impressions, up 24%, in the week ending June 6, according to Luminate. On the most recent multimetric Hot Hard Rock Songs chart (dated June 8, reflecting data over May 24-30), the single ranked at No. 14, after reaching No. 4 in April; in addition to its airplay, it earned 576,000 official U.S. streams and sold 1,000 downloads.

“This Is the Way” is on the deluxe reissue of AfterLife, released April 5.

“The idea of collaborating with DMX had been in discussion for years, and it was a long and winding road to turn this particular item on our wish list into reality,” Five Finger Death Punch guitarist Zoltan Bathory said in a press release announcing the song. “He was a lyrical warrior, a true original who spoke his mind incorruptibly. We have always viewed DMX as the metalhead of hip-hop because of his aggressive, raw and untamed style. He growled and snarled, aiming to rattle some cages – an attitude we share, as Five Finger Death Punch has always been drawn to the fearless and the real. It made all the sense in the world, but today this is more than just a song; it’s a salute to a legend, a way to honor DMX’s memory.”

AfterLife debuted at No. 1 on the Top Hard Rock Albums chart in September 2022 and has earned 276,000 equivalent album units to date.

Five Finger Death Punch is on tour in Europe through July, ahead of a return to the U.S. beginning in August.

All Billboard charts dated June 15 will update on Billboard.com Tuesday, June 11.

It’s pretty easy to imagine that by now Rihanna is sick to death of people asking her when R9 is coming. After dropping albums at a furious, nearly one-a-year pace through 2012’s Unapologetic, the singer has kept her Navy in dry dock since releasing 2016’s Anti. Which is why every time RihRih steps out to […]

Eminem and Jelly Roll linked up for a surprise performance of Slim Shady’s Aerosmith-sampling “Sing for the Moment” at the Live From Detroit: The Concert at Michigan Central show on Thursday night (June 6).
Prior to hitting the stage together, the Detroit legend and country star linked up outside the Michigan Central Station venue for a heartwarming interaction, which was shared by Bunny XO, who is married to Jelly Roll. She posted the exchange between Em and her husband on TikTok for the world to see. “When the goat meets THE GOAT,” she captioned the clip soundtracked by Eminem’s “My Name Is” anthem.

The exchange finds Jelly Roll in awe as Em approaches him, and he takes his hat off out of respect for the rap icon before they dap up.

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Their voices can’t be heard in the clip, but it looks as if Jelly Roll was giving Eminem his flowers as a longtime fan. They dap up again before going their separate ways, with Em in a black hooded jacket and sunglasses.

Fans really enjoyed seeing Em and Jelly Roll connect prior to making magic on stage, and let it be known in Bunnie’s comment section.

“I saw someone say ’eminem helped us get through our childhood and jelly roll is helping us get through adulthood’ so true,” one person wrote. Bunnie responded to the comment with the bawling and “100” emojis.

Another noted, “He took his hat off to shake Eminem’s hand hes so respectful even though he is a celebrity too.”

Some are hoping this could eventually lead to a collaboration between Em and Jelly. “Can we get a Jelly Roll featuring Eminem song soon, please,” they asked.

Eminem, who co-produced the concert with his manager Paul Rosenberg, sent the crowd into a frenzy when he performed a surprise four-track mini-set that included the live debut of his new “Houdini” single, which fans are hoping will be earning a lofty debut on the Billboard Hot 100.

Em was joined by the Detroit Symphony Orchestra, and also performed the aforementioned “Sing for the Moment” with Jelly, along with the Trick Trick-assisted “Welcome 2 Detroit” and “Not Afraid.”

Watch the moment Eminem and Jelly Roll met below.

Roc Nation has spearheaded plenty of philanthropic initiatives in the past, and Jay-Z’s company’s latest campaign hones in on improving youth education for students in Philadelphia. Explore Explore See latest videos, charts and news See latest videos, charts and news The Roc announced an initiative on Friday (June 7) that will assist students with about […]

Coinciding with its Black Music Month celebratory focus on jazz this year, Apple Music and award-winning artist/producer Robert Glasper have partnered for the exclusive release of his latest album Let Go. (The Grammy- and Emmy-winning artist’s latest project is available on Apple Music now.)

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In a release about the new partnership, Apple Music global editorial head of hip-hop and R&B Ebro Darden said, “At Apple Music, we understand that jazz is not only foundational to Black music, but all popular music. So making sure we lean in and do more with jazz had to be a priority.”

As its title implies, Let Go is intended to help people recalibrate mentally in a world rife with challenges. Among the album’s few vocal moments is the track “Breathing Underwater,” which features a guest turn by artist/bassist Meshell Ndegeocello. Moving forward, the exclusive partnership between Apple Music and Glasper will include additional albums, a radio show and a live performance by the musician.

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“My whole career, everybody’s been saying my music is meditative,” Glasper said of Let Go in Apple Music’s announcement. “People say they study to my music, pray to my music, do yoga to my music; they just zone out. People have wanted me to do this for a long time. I wouldn’t call it the ‘meditation project’ or nothing like that, but it’s something you can put on that helps you find your center. It’s just something that quiets the world and allows you to see what’s within.”

Among the musicians who worked on the album’s instrumental tracks are drummer Kendrick Scott, bassist Burniss Travis and guitarist Chris Sholar, of whom Glasper noted, “The musicians are very, very important because they have to have that same flow and that same center. [For example], the drummer is a water sign. Everything he plays is water. He feels like water. And that’s what I wanted for this. I wanted it to be liquid.”

In honor of Juneteenth (June 19), Apple Music’s jazz focus will be supplemented by Freedom Songs 2024. The playlist of original songs and covers is performed by next-gen jazz musicians such as Lakecia Benjamin, Theo Croker, Savannah Harris, J. Hoard, Alexis Lombre, Endea Owens, Joel Ross, Cisco Swank, Kamasi Washington and Immanuel Wilkins. Apple is also offering curated collections of music spotlighting the role that jazz has played – and continues to play – in other genres like hip-hop, rock, R&B/soul, dance and electronic music through albums, playlists and radio episodes saluting the heroes of jazz then and now.

Glasper’s last formal release was 2022’s Black Radio III. The set featured a diverse mix of artists from R&B, hip-hop and jazz such as the aforementioned Ndegeocello, Esperanza Spalding, Killer Mike, Q-Tip, H.E.R. and Gregory Porter. The album won the Grammy for best R&B album last year.

Latto got the girls in the booth with her as she recruited Megan Thee Stallion and Flo Milli for the remix of “Sunday Service,” which arrived Friday (June 7). They teased the remix a day prior, with Meg posting footage of her, Latto and Flo twerking backstage during her Hot Girl Summer Tour with GloRilla. […]

When Snowd4y, a Toronto parody rapper, released the track “Wah Gwan Delilah” featuring Drake via Soundcloud on Monday (June 3), it instantly went viral.
“This has to be AI,” one commenter wrote about the song. It was a sentiment shared by many others, particularly given the track’s ridiculous lyrics and the off-kilter audio quality of Drake’s vocals.

To date, the two rappers have not confirmed or denied the AI rumor. Though Drake posted the track on his Instagram story, it is hardly a confirmation that the vocals in question are AI-free. (As we learned during Drake’s recent beef with Kendrick Lamar, the rapper is not afraid of deep-faking voices).

Trending on Billboard

To try to get to the bottom of the “Wah Gwan Delilah” mystery, Billboard contacted two companies that specialize in AI audio detection to review the track. The answer, unfortunately, was not too satisfying.

“Our first analysis reveals SOME traces of [generative] AI, but there seems to be a lot of mix involved,” wrote Romain Simiand, chief product officer of Ircam Amplify, a French company that creates audio tools for rights holders, in an email response.

Larry Mills, senior vp of sales at Pex, which specializes in tracking and monetizing music usage across the web, also found mixed results. He told Billboard the Pex research and development team “ran the song through [their] VoiceID matcher” and that “Drake’s voice on the ‘Wah Gwan Delilah’ verse does not match as closely to Drake’s voice…[as his voice on] official releases [does], but it is close enough to confirm it could be Drake’s own voice or a good AI copy.” Notably, Pex’s VoiceID tool alone is not enough to definitively distinguish between real and AI voices, but its detection of differences between the singer/rapper’s voice on “Wah Gwan Delilah” and his other, officially released songs could indicate some level of AI manipulation.

A representative for Drake did not immediately respond to Billboard’s request for comment.

How to Screen for AI in Songs

There are multiple types of tools that are currently used to distinguish between AI-generated music and human-made music, but these nascent products are still developing and not definitive. As Pex’s Jakub Galka recently wrote in a company blog post about the topic, “Identifying AI-generated music [is] a particularly difficult task.”

Some detectors, like Ircam’s, identify AI music using “artifact detection,” meaning they detect parts of a work that are off-base from reality. A clear example of this is seen with AI-generated images. Early AI images often contained hands with extra or misshapen fingers, and some detection tools exist to pick up on these inaccuracies.

Other detectors rely on reading watermarks embedded in the AI-generated music. While these watermarks are not perceptible to the human ear, they can be detected by certain tools. Galka writes that “since watermarking is intended to be discoverable by watermark detection algorithms, such algorithms can also be used to show how to remove or modify the watermark embedded in audio so it is no longer discoverable” — something he sees as a major flaw with this system of detection.

Pex’s method of using VoiceID, which can determine if a singer matches between multiple recordings, can also be useful in AI detection, though it is not a clear-cut answer. This technology is particularly helpful when users take to the internet and release random tracks with Drake vocals, whether they’re leaked songs or AI deepfakes. With VoiceID, Pex can tell a rights holder that their voice was detected on another track that might not be an official release from them.

When VoiceID is paired with the company’s other product, Automatic Content Recognition (ACR), it can sometimes determine if a song uses AI vocals or not, but the company says there is not enough information on “Wah Gwan Delilah” to complete a full ACR check.

Parody’s Role in AI Music

Though it can’t be determined without a doubt whether “Wah Gwan Delilah” contains AI vocals, parody songs in general have played a major role in popularizing and normalizing AI music. This is especially evident on TikTok, which is replete with so-called “AI Covers,” pairing famous vocalists with unlikely songs. Popular examples of this trend include Kanye West singing “Pocket Full of Sunshine” by Natasha Bedingfield, Juice WRLD singing “Viva La Vida” by Coldplay, Michael Jackson singing “Careless Whisper” by George Michael and more.

Most recently, AI comedy music took center stage with Metro Boomin‘s SoundCloud-released track “BBL Drizzy” — which sampled an AI-generated song of the same name. The track poked fun at Drake and his supposed “Brazilian Butt Lift” during the rapper’s beef with Lamar, and in the process, it became the first major use of an AI-generated sample. Later, Drake and Sexyy Red sampled the original AI-generated “BBL Drizzy” on their own song, “U My Everything,” lifting “BBL Drizzy” to new heights.

In celebration of Black Music Month, Andra Day will be bringing her luscious vocals to Los Angeles for a concert, which will be broadcasted live courtesy of Amazon’s Rotation. Explore Explore See latest videos, charts and news See latest videos, charts and news The powerful singer will hit the Warwick stage on Friday night (June […]

After netting his first No. 1 record with “Not Like Us,” Mustard is dropping his first album since 2019’s Perfect Ten. The Los Angeles producer announced his new album Faith of a Mustard Seed on social media where he posted a trailer along with the message, “FAITH OF A MUSTARD SEED SUMMER 2024 A GIFT […]

In the fifth episode of Billboard Unfiltered, Billboard staffers Damien Scott, Trevor Anderson and Carl Lamarre break down Cardi B & Bia’s beef from verses to allegations made. They also discuss Eminem’s return to rap with “Houdini,” the backlash he’s receiving with the Megan Thee Stallion reference, and how his career has evolved with age. The trio also dives into Drake’s music post Kendrick feud and more!

Damien Scott:Cardi is so big. To me, her going on live and doing all this is like, it’s, like, so messy.

Carl Lamarre:Are you guys checking for an Eminem album 2024?

Damien Scott:Yeah. I listen to every Eminem album. 

Carl Lamarre:Wow!

Trevor Anderson:Drake jumped that thing into the top 10.

Carl Lamarre:It slid pretty …

Trevor Anderson:We’re not talking about slides.

Carl Lamarre:We are back with a fresh episode of Billboard Unfiltered. We have Mr. Trevor Anderson back with us. 

Damien Scott:Welcome back, Trev.

Trevor Anderson:Yo, what’s up? It’s pretty good to be back.

Carl Lamarre:How was Paris? 

Damien Scott:Was it a vacation? 

Trevor Anderson:Yeah, it was. 

Damien Scott:Passport on pivot?

Trevor Anderson:Yeah, you know.

Damien Scott:As they used to say. 

Trevor Anderson:

Yeah, but it was nice. It was a good time. I appreciate y’all. Yeah.

Carl Lamarre:This week, pretty formidable. You know, in terms of what we got going on. First off, Cardi B versus Bia. Cardi B last week, she jumped on GloRilla’s and Megan Thee Stallions remix for “Wanna Be,” had, you know, some things to say about Bia, which she threw a little bit of shots.

Damien Scott:Can you break down this beef? Do you understand how this beef started?

Carl Lamarre: So, I think, this is just like, guilt by association type s–t, because, you know, Bia’s team Minaj right? Team Nicki. So you know.

Keep watching to learn more!