Watch Latin American Music Awards When Anycia sauntered onto the stage during her sold-out headline show at SOB’s in New York City (March 30), a star had very clearly entered the space. And with a buzzing crowd packed shoulder to shoulder, mingling and vibing through clouds of marijuana smoke, the venue was ready to welcome her like the star she is.  From fan-favorite “BRB” to buzzy collabs like “Splash Brothers” (with Karrahbooo) and the Latto-assisted “Back Outside,” the crowd rapped along to every word of Anycia’s growing catalog, effortlessly emulating the Atlanta emcee’s raspy, blasé tone. At one point, Anycia gave her microphone to a fan, who happened to be a law student traveling from out of state, and she rapped an entire verse bar-for-bar as Anycia looked on in humble shock and glee. A little bit later, another fan surprised Anycia with a bouquet of flowers, which she tearfully and gratefully accepted. [embedded content] “They was blowing my mind,” she says of her fans. “It just made me realize like, You really got fans, girl!”  With her debut full-length projects hitting DSPs on Friday (April 25), the ascendant rapper is gearing up for the next phase of her career. Princess Pop That – which features collaborations with Luh Tyler and Cash Cobain – finds Anycia branching out from the Detroit-type beats that characterized her earlier output while still maintaining her authenticity. When Anycia raps, “Beat up the cat ’cause he know I’m a dog/ I turn a prince to a frog/ I turn a frog to a prince/ I’ll leave a n—a on missed call,” on Princess Pop That standout “ATM,” he laid-back tone is somehow both menacing and inviting, a truly intoxicating mixture.  She knows she can take anybody’s man and walk them like a dog, but she doesn’t necessarily feel the need to shout that from the rooftops. If you know, you know – and when it comes to Anycia, everyone will know whether they were seeking that knowledge or not.   After opening up for Veeze last year and kicking off 2024 with her most-viewed music video yet in “Back Outside” (three million hits on YouTube in just three months), Anycia is ready to take her moody e-girl-meets-ATL baddie aesthetic all the way to the top.  In an illuminating conversation with Billboard, Anycia breaks down her three essential Princess Pop That tracks, details how she’s adjusting to her rising fame and reveals what really makes her emotional.  What are three songs that you think are must-listens from Princess Pop That?  “Squeegee,” just because I like the sample on it. I picked it out, it’s “Let’s Get Away” by T.I., it’s very nostalgic for me. It’s already a song that I always listen to, so [I knew I wanted to sample it]. I like to incorporate the s—t that I listen to in the beat or some type of way.  “EAT!” is just a bop to me. Love that song. And working with Kenny [Beats] is always cool. [In the studio], we were just vibing. I had some tacos – I get the same s—t, I had my lil carne asada, some guac with a lil rice and beans and stuff like that – mess my stomach up a lil bit, but I did what I had to do and I made my song and everything was tea! I [also] had some wine, I love cabernet! [Laughs.]  [This] one’s growing on me only because I did an interview and it made me realize, “Wait, I really have never seen no b—h at the bank before for real.” It used to be my least favorite, “ATM,” but it’s growing on me. Chile, I did not like that song. It’s grown on me because I really ain’t never seen nobody that I don’t like at the bank. They be everywhere else in the world: Popeyes, the grocery store, the mall, I ran into a b—h at the damn doctor’s office. I ain’t never run into no b—h that I don’t like at the ATM withdrawing something. I ain’t never seen a b—h inside the bank, I never even drove past no b—h in front the bank! I ain’t never seen them nowhere near no money!  [The studio session for “ATM”] was turnt. I was drunk. I had just went out to eat, I was having a time, chile! Sometimes I freestyle, it depends on how I feel. I had some shots, so a b—h was freestylin’, you know how we get, chile.  You’ve said that you’ve always been doing music in your life, but you tried to take it seriously in 2022. What are your earliest musical memories?  I used to go to a Christian School, and it was a concert – now that I think about… it might’ve been a little racist! Because why did y’all make me the rapper? Then I had to think about it, like, Maybe it’s not racist. I was always singing and doing stuff in class, so they made me the rapper. They had me in a puffer jacket with the fur on it in Atlanta around Easter time! It was pretty hot!   So, I just rapped about God. It was like my own little solo. That’s why I feel like… he know that I made that song for him! That’s why I’m getting all the blessings I’m getting.  What do you remember listening to in the house?  I grew up with girls, my mom and my grandma, and they both are completely different. My grandma would be listening to Sam Cooke and Luther Vandross and Teena Marie, stuff like that. My mom would be listening to Crime Mob, Bone Thugs-N-Harmony, Field Mob, Ciara, Cherish, so I grew up on that. My mom’s from California, so she got a West Coast vibe and the girl’s just cultured, she’s musically inclined.  How do you thinking growing up in a household of women shaped you into who you are today?  With the women that I was brought up around, they really just taught me to embrace myself 100%. No matter the situation, always be comfortable with yourself. Like I said, my grandma and my mama are the complete opposite, so I get completely different opinions on s—t and we still like that now. They’ve always taught me to remain in tune with myself, really just how to be a f—king woman, how to stand your ground, how to understand every dynamic of a woman, how to enjoy your woman experience no matter what the f–k is going on. And no matter what, just to give it 100%.  Have they ever given you notes or advice on music or your career at all?   No. Even if they did, I’d take it with a grain of salt — because I’ve always been one of those people that got to bump my own head to figure some s—t out. Can’t nobody tell me what the f—k because I feel like it’s different strokes for different folks, your story is not the next person’s story. I do take advice. I’m learning to take advice from people that have actually been in those [situations]. You know parents love to put their 1-2 in! You tryna give me a 1-2 and you ain’t even had that 1 yet. Just let me do what I do, and you just support.  Nobody really sounds like you. How did you develop your rap voice and your flow?  In the beginning, I used to be trying to do little melodic type s—t. Just dibbling and dabbling in some bulls—t. But, at one point in time, I just realized… B—h, just talk.  Last winter you put out your debut EP, Extra. How would you describe your growth from that project to Princess Pop That? What are some of the biggest lessons you learned since putting out your first project?  Nothing really musically. I just be doing my lil thing. I get into different bags with myself. I learned how to adapt to different s–t. Let me learn how to get in different bags and step out my element but still be myself. Before, I felt like people was putting me in a box: Detroit type beats. That’s not a problem, but my biggest thing is I want to be just me. I just want to be in my own lane. I don’t want nobody on the same street with me. This is my street, I’ll come over there when I come over there. It’s private, gated community. [Laughs.] [embedded content] We got Kevin Durant, Drake, and Latto — you’re entering your debut album era with some massive co-signs. Which one meant the most to you and who’s given you the best advice about this whole music thing?  Ain’t nobody gave me no advice. Everybody’s given me support. I don’t really look for advice. I’m not vulnerable with people unless we’re close. I don’t make you feel like I need any advice. If anything, I want you to be looking to me like, “B—h what can I do to be like you?” I don’t give a damn who it is!  I’d say Latto is my favorite [co-sign]. She’s such a girl’s girl, and we had fun shooting the [“Back Outside”] music video. I met her at her birthday party prior to that. The girls really be my favorite to me.  You recently toured with Veeze, who had his own breakout moment last year. What did you take away from that experience?  Before [the Veeze tour], I would be so nervous. I still do be a little nervous, but now it’s better because I know people are starting to get the gist of what’s going on. Like [at] SOB’s, people are coming to see me. For the Veeze tour, I was still fresh. It was different states that we were going to, that I literally was finna s—t bricks backstage — like, Is these people gonna boo me? I used to worry about that.  I learned that no matter what room we step in, no matter what performance I do, even if they don’t know me, the whole goal is to make sure that they know me before they leave.  What was it like when you got that call to open for him?  It be certain s—t that hit me like, “OK, this is really going on!” But, for the most part, I was just thinking about… where we was finna be at. Like responsibility s—t. I was nervous about performing, but I wasn’t [screaming] or anything like that.  Is there ever a moment where something happens and you are screaming and jumping?  Not screaming and s—t, [but] I got emotional at SOB’s. All this s—t is very intimate to me. A lot of stuff excites me, but not for real. The smallest things mean so much to me. I cried at SOB’s because I was surrounded by people [who] have been with me a while. Them flowers? Chile, that was the lead for the first tear. One of the women that work with me, she got me a custom lil letterman jacket with “sold out show” on the back, I just bust out in tears, chile, I was so emotional. But I cleaned it up real good after that!  How do you stay grounded with all of these big career changes?  It’s not easy at all. I wouldn’t even sit here and be like I’m all the way around it. It’s s—t that irritates the f—k out of me every day. Business s–t, you know what I’m saying? I get overwhelmed, I won’t say aggravated or irritated. I have a lot to do. This is what I decided to do, you ain’t really going to get no sleep like that. But it’s definitely tea!  It’s [less] being grounded and [more] learning how to do what you got to do and go with that and still incorporate being you and not losing sight of what the f—k the bigger picture is. Like if I don’t want to do something, I’m not gonna do it. If I don’t like something, I’m gonna say I don’t like it. I’m open to how the f—k you feel, or why you think I should do it, but if I don’t want to do something, it’s always myself first.  When it comes to creating your stage show, do you have anybody you look up to?  Sometimes I don’t even know what the f—k I’m going to do before I get on that motherf—ker! I don’t know what it is. Truth be told, I go to rehearsal, I get up by the stage, I get the bubble guts and then everything just goes out my mind. I’ll step on the stage and see the people and my stomach starts hurting. I be like, Oh, s—t, they really pulled up. I feel like a scary b—h that didn’t really want to fight for real. The scary b—h that dopped the addy and didn’t think they was really gonna come. I be backstage like, They gon beat my a— bro!  And then you gotta go out there, cause your mom in the back, like, You brought these b—hes to my house! They just paid gas money and s–t, I got to get out there. So, it just clicks. Sasha Fierce! I get up out there and something takes over and we just start rocking out.   [At] Rolling Loud, I had a mental f—king breakdown on the plane. I got mad when I got to the to the damn hotel room. I was being a b—h, then I just broke down. See, that’s what happens with me. I’ll be a b—h, and then I turn into a b—h for real. I’ll be a b—h, and after all the bulls—t, all it takes is one person around me to be like, “What’s up?” and I’ll break down in tears. Then we have a nice little pep talk and we back into action. But I was on that plan laughing and crying with the f—king wine taking pictures. I took selfies of me crying!   How was performing at Rolling Loud?  It was cool.  My mom got to see me, that was her first time ever being able to see me before. I had to make sure it was a special show because she is a hard cookie to crumble, baby. I couldn’t just bring her to a regular show. I had to bring her to Rolling Loud. She was excited, she got a shirt and everything. That was the best part for me, my mom seeing me.  And the people out there, I didn’t think that they would be there for me. I underestimate myself in some circumstances. It just hasn’t completely clicked all the way. It’s clicking, don’t get me wrong, but it’s crazy because I’m literally being myself.  What are those moments where it really started to click for you?  It be the most random times, like when I’m doing some s—t where I didn’t expect nobody to see me. I was in the flea market getting one of my grills made, and there was a young woman with her mother. First of all, I was going to pass out, period. I am anemic and I hadn’t ate. I was waiting on the lady to change my phone case, and I was getting really lightheaded. I had on a damn windbreaker jogger suit! [Laughs.]   So, I’m leaning on the damn stool and this lady come over like, “Hey, are you Anycia?” And I’m still adjusting [to fame]! Normally, a b—h ask you what’s your name or who you is at 285 Flea Market, I don’t know whether to say yes or no! So, I’m like… this b—h finna beat my a–. She gon knock me clean the f—k out. Then she like, “My daughter over there, and she shy!” I look over and the daughter over there [hiding]. She wanted to take a picture, so I [got myself together]. All of that was random!  But for real, I be forgetting I can’t go outside with my wig all the way back. I can’t go outside with a bald cap on no more!  When it comes to fan interaction like how do you navigate that? How’s that relationship developed over time?  It really wasn’t a development thing! I’ve always been a person that likes to break the ice and command a room. I’ve always felt [that with] being a leader, you determine the room. Whoever tags along, tags along. Whoever don’t, is not meant to be in my world. I’ve always been a people person, but I don’t like who I don’t like.   Who’s on your Mount Rushmore of rap?  1, me. 2, me. 3, me and 4, me. But the way it has to be set up, it’s different styles that I done did. Some cute braids, cornrows, 30-inch bust down straight down the middle — and then the next one just gon be me being the baddest b—h I can possibly be.  What’s your favorite rap album?  Probably Princess Pop That.  What are your top five songs ever?  “Big Body” by Anycia. “BRB” by Anycia. “Back Outside” by Anycia. “EAT!,” it’s also by Anycia too. And “Squeegee” by Anycia. 

Watch Latin American Music Awards Taking a regional Mexican music route has led Thalia — often referred to as the Queen of Latin Pop — back to her roots, as she embraces the resurgence of música mexicana on her latest EP, A Mucha Honra. “This album was created at the source from which this [new corridos] movement comes and emanates,” the superstar tells Billboard Español. In collaboration with Jimmy Humilde of Rancho Humilde and music producer Edgar Rodríguez of Yellow Room, the singer dives deep into the musical heritage of her beloved home country. She reflects on the power of songs like the timeless “Amor a la Mexicana” as a key inspiration for this project. “It’s the perfect circle of why I’m singing regional [Mexican] right now,” says Thalia about the classic 1997 Mexican cumbia-pop hit. “[This genre] evokes a nostalgia in me. It gets into the Mexican DNA and provokes a catharsis in you, this style, this sound, these chords.” The 9-track EP, released on Friday (April 26) under Sony Music US Latin, includes the corridos tumbados of “Bebé, Perdón,” “Para Qué Celarme” and a remake of “Amor a la Mexicana.” There’s also the sierreño pop jam “Choro” featuring Estilo Sin Límite, the norteño song “Silencio,” and a nor-techno remix of “Te Va a Doler,” courtesy of Deorro, which she premiered last night at the 2024 Latin American Music Awards; the original version features Grupo Firme. “For me it has been a pleasure to be able to create this music for such a long time, to be able to perform it”, the artist explains. “It has been incredible for me to release A Mucha Honra little by little. I always try to experience different things, new things, things that challenge me and add to me.” Below, Thalia breaks down five essential songs from her new EP, in her own words. “Te Va a Doler” (with Grupo Firme) “Te Va a Doler” is a song that despite being regional [Mexican], has a little bit of both worlds. It has a little more of the Thalia universe, of my musical and interpretative style, but it still has the power and sonority of the new regional Mexican. For more than a year we have been talking with Eduin Caz [of Grupo Firme] about doing something, about working together, and for me this song was the perfect ring for this union. The truth is that our styles merged well, his voice sounds very powerful in this story, and it was spectacular. [embedded content] From the same song, “Te Va a Doler,” a more electronic version was done with Deorro, who since I heard his work I loved it, so I said: “You have to do something for me.” I love Deorro’s work, and he did the remix version of this song. “Amor a la Mexicana” It’s the perfect circle of why I’m singing regional right now. For me, singing to Mexico and singing in the styles of our musical [heritage] has been a constant in my discography. If you look for songs, videos and hits by Thalia that have a regional or Mexican sound, there are many, and the classic of my entire career is “Amor a la Mexicana.” So, it could not be missing in this album called A Mucha Honra. I feel honored to be Mexican, to celebrate what is happening with culture, with music globally at this time. And what more than with the icing on the cake, which is to sing a new version of “Amor a la Mexicana”, which really turned out spectacular. Without a doubt, it is one of my best versions of “Amor a la Mexicana.” “Troca” (with Ángela Aguilar) It is a song that has such beautiful lyrics, so pure, so simple, so much love, that I needed. It resonated with me to sing something with beautiful, with delicate lyrics of love. It made me feel good to pronounce these words and these lyrics. It was also a great opportunity to bring together two generations, two Mexicans, singing at this time. I feel that our voices came together very cool, and very velvety, like a cozy blanket around you. And that makes me very happy to be able to say how cool it is that two Mexicans from different generations coexist in a love song. We made an animated video which is also something new and different for me. It’s super cute. [embedded content] “Choro” (with Estilo Sin Límite) “Choro” features Dania from Estilo Sin Límite, an emerging artist who has incredible talent, and is a great songwriter with a very special voice. When I heard her, I said, “Let’s do the song, let’s work”, and we recorded “Choro.” The interpretation is super cool. I feel a responsibility, of someone who has already come a long way [in my career] to extend a hand and support new talents. [Choro] is a very Mexican thing to say. I thought it was a good title, a good concept for a song. Later it made me laugh because in other countries it has different connotations. “Para Qué Celarme” I think it’s my favorite of the album. The arrangements are nostalgic, it does something to my heart. I love the lyrics, the story is so awesome, and it allows me as an actress to sing it and get into character. And that’s what I really like about this song. It’s a ballad with pride, with strength. It reminds me a little bit of that song of mine, “Equivocada,” in the subject matter. My fans likes to see the party Thalia, the Thalia who sings irreverent songs, dance songs, but also the romantic one, the one who sings songs of broken hearts, and intense ballads. This is the ballad of this album.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Watch Latin American Music Awards It’s time to refresh your sneaker collection for spring. On Friday (April 26), Nike released the Air Jordan 3 Retro in a new colorway, and the sneaker is already out of stock in select sizes. The Air Jordan Retro 3 ($200) — available in white with cement gray, cosmic clay and the classic “elephant print” crafted by designer Tinker Hatfield — boasts the classic silhouette with a leather upper, foam midsole and rubber outsole. Most of the larger sizes are sold out at Nike.com, but the Air Jordan 3 is currently stocked in women’s sizes 5-10 and men’s sizes 3.5-10.5, while supplies last. Air Jordan Retro 3 in Cosmic Clay Want free shipping? Become a Nike member to get free shipping on orders over $50, plus you’ll save an extra 20% off select Jordan styles. (Use code FAMDAYS to redeem the discount.) Nike released the original Air Jordan 3 in 1988. It was Hatfield’s first collaboration with Nike, and launched a partnership between the shoe designer and sneaker brand that not only stretched decades, but helped solidify the Air Jordan legacy.   Hatfield discussed the creation of the Air Jordan 3 in an interview with Hypebeast in 2018. “We had some models made up and I put it on some apparel to go along with it,” he recalled of Jordan. “Michael was not in a great mood when we arrived. He said, ‘Show me what you got.’ I had the shoe there under a black cloth, like a shroud. You couldn’t really see very well what the design was like, but he had already seen some of the stuff in the two previous meetings.” “When I picked the AJ3 up, Michael grabbed it from me and started looking at it. Within a few minutes he was smiling and asking all kinds of questions,” he continued. “Within 20 minutes, the meeting was pretty much over.” Michael Jordan wore the Air Jordan Retro 3 in the 1988 Slam Dunk Contest, which he won against Dominique Wilkins.  

Watch Latin American Music Awards Doja Cat isn’t here to run a day-care center or host your family outings. The Scarlet rapper discussed the explicit nature of her music on X Friday (April 26), and pointed out that the lyrics she writes aren’t necessarily for children’s ears. “idk what the f–k you think this is […]

HipHopWired Featured Video Source: Schomburg Center / Schomburg Center The Schomburg Center is buzzing as its annual Black Comic Book Festival takes place this weekend featuring some of the best of the industry. Harlem is once again playing host to The Black Comic Book Festival this weekend, which will be held at The Schomburg Center for Research in Black Culture. This year marks the 12th time that the festival that celebrates comics, anime, films, and more will be held at the venerable institution. The two-day festival which begins Friday (April 26) will feature panel discussions, workshops, a marketplace for attendees to purchase items from established and independent Black creators, and a cosplay showcase to close out the festival that’s held across two floors of the center. “Our creators are telling remarkable stories you often don’t see on TV or get to read when you’re in the classroom,” said Kadiatou Tubman, the curator and executive producer of the event at the Schomburg. “The event is critical because it provides representation, it provides the liberation of imagination.” She also stressed that promoting literacy among the young is the key goal. “The event was really founded to encourage young people to read, to see themselves in the books and enjoy literature,” she said in an interview with Gothamist. “It’s a great entry point for young people and for all types of readers.” The “SchomCom” panel discussions include a look at the upcoming IYANU animated series based on the “Iyanu: Child of Wonder” graphic novel series set in West Africa. The team behind the series will share details about it ahead of its upcoming premiere on Cartoon Network and Max. Another discussion will focus on Black women creators who are making strides in the resurgence of Black horror and fantasy. Attendance for the Black Comic Book Festival is free, but pre-registration is highly recommended – last year, the Schomburg reported that the festival had 8,000 in attendance. More details and registration can be found on their website.