HipHopWired Featured Video Source: @JustInMyView / R1 Digital Ever since snitching on half of Brooklyn and getting himself sprung from prison, Tekashi 6ix9ine’s career has been in the toilet. But still, the Hip-Hop pariah has been living it up as if he’s still got cash rolling in by the millions—but it at least seems like he doesn’t. With that being the case, he may owe Uncle Sam a pretty penny. According to TMZ, IRS agents paid Tekashi’s Florida home a visit and promptly took away all kinds of items from his home including a couple of his hot wheels. The sudden repo operation went down Wednesday (April 17), when IRS agents and Palm Beach officers went to Tekashi’s Lake Worth home and went to work while Tekashi is stuck in the Dominican Republic awaiting his day in court for an assault charge he caught a few months back. Per TMZ: Eyewitnesses tell us that these agents ended up confiscating multiple items from Tekashi’s house — where other people could be seen talking with the agents outside — and it looks like they even towed away some of the vehicles at the property, too. We’ve been told that several different cars of his were hauled off, but we’ve obtained photos of at least two that look like they were for sure seized. You can even see they have his name right there on a sticker on the windshield of one of the rides. In terms of what exactly this is all about, it’s still unclear. Of course, the fact the IRS is in the mix — ya gotta figure it’s tax-related… but the IRS hasn’t gotten back to us yet. Tekashi must be tight, but everyone knows that if you try to jerk the IRS they’re gonna come for you. That being said we doubt anyone feels bad for the embattled rapper as he’s done everything in the book to alienate the culture, fans and anyone who might’ve supported him in the past. What do y’all think of the IRS taking Tekashi Snitch9ine’s belongings? Let us know in the comments down below.

It’s hard to believe that Sheila E. had not released a salsa album until only a couple weeks ago. As the daughter of American percussionist Pete Escovedo, the “Queen of Percussion” grew up surrounded by Latin music royalty — including the “King of the Timbales” Tito Puente, who was her godfather, and the “Queen of Salsa” Celia Cruz — before becoming a star in her own right. Explore Explore See latest videos, charts and news See latest videos, charts and news “Everyone thinks I’ve done a salsa record already, but I have not,” she says on a Zoom call from her home in Los Angeles about Bailar (released April 5 under Stiletto Music), for which she recruited Latin legends such as Gloria Estefan, Rubén Blades and Gilberto Santa Rosa. Her famous dad plays in one song, also featuring José Alberto “El Canario”, and its stunning big band orchestration and arrangements are a testament to her love for the genre. Trending on Billboard “I mean, I grew up listening to that music and it’s just so inspiring,” explains the Oakland-born singer and percussionist of Mexican and French Creole ancestry, who has performed, recorded, and toured with renowned artists from a multitude of musical styles — from her close friend and collaborator Prince, to Whitney Houston, Mariah Carey and more. “And then when I really got into listening to Fania All Stars and all the other groups that were part of that,” she continues, “I was just in love.” Sheila E. started playing drums at the age of 5 — although she admits she doesn’t fully remember that — and made her professional debut at 15, playing the congas for her father’s Latin-rock-funk band Azteca. Active in the industry ever since, this year she also appeared in the Netflix documentary The Greatest Night In Pop, about the historic night in January of 1985 when many of the biggest stars in music gathered to record “We Are the World.” “That was one of the biggest nights in my career,” she recalls.   During the interview, the artist spoke endearingly about her role models, the new generation of female percussionists, the simple joys in life, and what she misses most about Prince. 1. Congratulations on Bailar, your first salsa album. What took you so long!? I don’t know! [Laughs.] Everyone thinks I’ve done a salsa record already, but I have not. But you know, it was on my bucket list a while ago. When I started thinking about doing it, it was 2015 and it took me this long to really get it together … I’m really excited. I grew up listening to salsa music, it’s so important to me, and I thought, “Man, this is the time to do it! Why haven’t I done this yet?”   2. Many of the songs have a very classical salsa sound. Where did you find the inspiration? Listening to my dad rehearsing when I was younger at the house every day, he would practice to vinyl and he would play Latin jazz music, but he also listened to Tito [Puente], to Mongo [Santamaría], Celia [Cruz], Eddie Palmieri, Tito Rodríguez, Fania All Stars. You know, so many people. Ray Barreto. I mean, I grew up listening to that music and it’s just so inspiring. And then when I really got into listening to Fania All Stars and all the other groups that were part of that, the whole scene back then, I was just in love. 3. You dad actually plays in your album on the song “Descarga,” also featuring José Alberto “El Canario.” How was this experience for you? It was so much fun! When I told him, “Daddy” — oh, I call him Papi some times — “Papi, I want you to play in one of the songs on the record and we’re gonna write it especially for you,” he’s like, “You better ask me to play on this record!” So he came to my studio, and we recorded him here, and then something happened to the track, which is crazy, so my brother had to record him while I was out of town. They recorded him in the Bay Area, at another friend’s studio, so we finally got it. But it was just awesome to have him playing on the record […] He was really excited. And my mom also played guiro on the same song.     4. What’s your first salsa memory? Do you remember any particular song or artist that captivated you? My dad was 18 when he met Tito, and Tito would come San Francisco, to the Bay Area, to play, and they would go see him play. Later on, after I was born, [when I was] a little bit older, meeting Tito and see them play, I mean, it was just amazing. [Later] my dad and I went to New York to see Tito play at the Palladium and the Corso, all these clubs that, you know, there are like four different bands playing. We didn’t have something like that in the Bay Area! And when you’d go to New York you’d hear these 10, 15-piece bands, playing multiple clubs in one night till 5 in the morning — you just go, “What is this?!” … I was about 15. 5. What’s the biggest lesson you learned from your dad? My dad has taught me to be on time and learn your craft, learn your music, practice. If there’s a situation where you’re going to perform live or in the studio, if you have the music ahead of time to learn it, understand it — so when you walk into the room you’re gonna feel good about yourself, which gives you confidence, and it helps you to enjoy what your craft is, what your gift is. Preparation means everything … And to treat others respectfully. I just watched him respect his musicians, and how he was a leader and treated his musicians as family. That’s what I’ve done my whole life. 6. You were actually very close to Prince and you played with him for years. What do you miss the most about him?   HIM! [Laughs.] Which encompasses a lot. The times that we had. And being in the studio, just hanging out, playing music, making up music, you know, writing, jamming, parties, playing for parties. Just having fun. And competing against each other! Teaching each other, sharing new music. Just everything about him.   7. You were also Tito Puente’s goddaughter. How do you remember him? He was hilarious! He was so much fun, he was always a jokester. If you didn’t know him, you thought he was stern, but he would do that on purpose, just messing with people. […] Some of the funnest times where when he and Celia [Cruz] where together and they make each other laugh. He picked on her all the time, and they were just funny together, like brother and sister, fighting all the time. 8. Any particular anecdote with him? I just remember when we were going to New York and my dad and I would go to sit with him, […] we never saw any other young girls playing at the time. It was different for me as a woman, to sit with these guys [in the band], and he would always tell them, “Just leave her alone, she’s gonna play what she’s gonna play.” You know, even if I didn’t understand the music completely, he understood what my heart felt about the music, because I didn’t read [music]. And then he would tell me, “Don’t listen to those guys, they don’t know what they’re talking about. You just go play and you just be you.” 9. As a young Latina musician, who did you look up to growing up? Basically my dad, and my mom. My parents were just — and still are — amazing. Actually, right when I just got on [this Zoom call], they just knocked on the door and came to my house, so I get to see them often, I talk to them constantly, they’re always with me. They were my role models and my inspiration, and still are. You know, for them to still be alive and doing well and healthy, still in love with each other and married — they’re going on 68 years in October — it’s a big deal! They mean everything to me.     10. What’s your first memory playing drums? Well, the first time I played with my dad I was 5 years old. I remember the process of getting dressed at my grandmother’s house, dressing up really pretty, and then I remember waking the stairs [to the club] and hearing my dad’s band — he was playing with his brothers. This is in Oakland and I can hear the music. We got to the door, he saw my mom and he said, “I wanna introduce my wife and my daughter Sheila. She’s gonna come up and play.” So we walked to the stage, and I remember all the audience partying and clapping. I remember literally just my dad picking me up on the stage and standing me on a stool to play the congas. I just remember everything up to that point. He said that I played well, but I don’t remember. 11. Do you play every day nowadays? No. When I was living at home [with my parents], in my teenage years, I was playing a lot. But no. I mean, I have drums in my home and my studio, and when someone comes over and I have to record, a lot of times I don’t touch my instrument until I get on stage. 12. What do you like doing besides music? What do you enjoy? Oh, I enjoy life! I love being outside and nature. Walking, bike riding. I used to skate all the time, playing basketball outside, swimming. I love sports, I love going to the basketball games, professional, NBA, WNBA, football. Anything having to do with sports! I love playing ping-pong, pool. My whole family, we’re all into sports, and we love competing against each other. And I love going to other countries and learning about the food and the community. 13. What was the last country that you visited?   Spain. I was in Gaucin, Spain. 14. Favorite food? It’s simple. I love making fresh juices in the morning, green drinks to start my morning with something really good. Later on in the day my food changes and I want potato chips and popcorn. It’s a balance. But I love Japanese food and I love all kinds of food! I really do.       15. Do you like cooking? I do — I love grilling outside. Sometimes, even if it’s cold and it’s raining, I’ll still go outside and grill. I make amazing steaks, fish. I [also] make great gumbo. 16. Any young female musician you admire and are rooting for? Oh my Gosh, there’s so many it would be unfair for me just to mention a few. What I do, when I have a couple of minutes, I’ll go on social media and I’ll look to see — you know, because of the algorithms it will tend to steer you away to find other people. So I’m always trying to encourage young women playing not just drums, but any instrument. I just reached out to another young girl last night and she D.M. me this morning and she was just like, blown away. “Oh my God, you have no idea,” she said. “I started playing percussion and drums because of you. I started at 9 years old and you are my idol.” And I just love hearing that. “Thank you for your gift,” it’s what I said to her. But there’s so many.          17. What does it feel like to be called the Queen of Percussion? There are so many amazing queens playing percussion right now that I have seen that can outplay me for sure, and I can’t wait for them to be discovered, because they’re so amazing. So it’s a blessing and I’m humbled by it, but there are so many others that can play as well and should be called Queen of Percussion.    18. If you weren’t a drummer, what would you would be? I would be an athlete! I was training to be in the Olympics when I was younger in school. I did track and field, I was a sprint runner, I was very fast. And I also played soccer for 5 years.    19. I saw you recently in the documentary The Greatest Night in Pop. What did you think about it? I thought it was really good. I mean, I didn’t know who was going to be in it, they just said, “We want to do an interview,” and I was like, “Sure!” After I left later at 4:00 in the morning [the night of the recording of “We Are The World” in 1985,] I didn’t know what transpired after, so it was nice to see. And it brought back wonderful memories of what I had accomplished that night [when I also played at the American Music Awards right before]. That was one of the biggest nights in my career.     20. If there was a movie about your life, who should play you? There are women that have come out to me to say, “I’m gonna play you if you ever do a movie.” [Laughs.] [Actress] Nicole Parker, she was one a long time ago […] and I was like, “Absolutely!” And Nicole Scherzinger, from the Pussy Cat Dolls, we talked to her a long time ago. She’s amazing, and she’s like, “I would love to do it.” And I said, “Well, I will have to teach you some timbales!” And then early on, when we were thinking of doing something, my nieces played percussion and they of course look related to me, so that was a good find for playing me when they were younger.  

HipHopWired Featured Video Source: Rolling Stone / Getty Music by The Notorious B.I.G. and Slick Rick are among those on this year’s selections list for the National Recording Registry. On Tuesday (April 16), the National Recording Registry announced its list of inductees for 2024, and music from The Notorious B.I.G. and Slick Rick are included. The registry, which the Library of Congress administers, picked the late rapper’s debut album Ready to Die from 1994 to be among the list of 25 inductees for the year along with the Slick Rick and Doug E. Fresh classic 1985 hit “La-Di-Da-Di”. “The Library of Congress is proud to preserve the sounds of American history and our diverse culture through the National Recording Registry,” said Librarian of Congress Carla Hayden in her statement announcing the news. “We have selected audio treasures worthy of preservation with our partners this year, including a wide range of music from the past 100 years, as well as comedy. We were thrilled to receive a record number of public nominations and we welcome the public’s input on what we should preserve next.” This year’s list now brings the total number of recordings in the registry to 650. The inclusion of Ready to Die speaks to the significance of The Notorious B.I.G.’s impact not only on Hip-Hop but on American music culture overall, with its gritty and powerful lyricism backed by timeless production capturing life in the eyes of the Bedford Stuyvesant, Brooklyn native. “La-Di-Da-Di”, which was first released as a B-side where Slick Rick was billed as MC Ricky D, is one of Hip-Hop’s most influential songs – according to the Library of Congress, it has been referenced in over 1,000 other songs and recordings. Other songs and albums that were on this year’s list include Bobby McFerrin’s “Don’t Worry, Be Happy”, Bill Withers’ “Aint No Sunshine”, and Blondie’s Parallel Lines album along with Green Day’s Dookie album and ABBA’s Arrival album. The Library of Congress said it had received 2,889 nominations from the general public for this year’s list, which is a record for the institution. Nominations for the 2025 list can be submitted by October 1 through their website. 

Alek Olsen’s “Someday I’ll Get It” ties Flo Milli’s “Never Lose Me” for the most consecutive weeks at No. 1 on the TikTok Billboard Top 50 chart, reigning for a fourth straight frame on the April 20-dated survey. Explore See latest videos, charts and news See latest videos, charts and news The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity April 8-14. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50. As previously noted, titles that are part of Universal Music Group’s catalog are currently unavailable on TikTok. The reign of “Someday I’ll Get It” continues to mostly revolve around its previously discussed loss-based trend featuring deceased pets or family members, though more recent clips – still featuring animals – might also end on a decidedly happier note, too. Trending on Billboard The song concurrently accrued 3.2 million official chart-eligible U.S. streams toward the April 20 Billboard rankings (April 5-11); it falls to No. 25, after hitting a new peak of No. 18 the previous week, on the multimetric Hot Rock & Alternative Songs list. Each of the weeks the song has ruled the TikTok Billboard Top 50, it’s had a different song at No. 2. That trend continues on the latest tally, with YG Marley’s “Praise Jah in the Moonlight” leaping 14-2. That’s a new peak for the reggae song, after a previous best of No. 7 on the April 6 chart. The dog that’s the subject behind the TikTok account vikingo606 helps spur some renewed interest in “Praise Jah in the Moonlight” on the latest chart thanks to an April 11 upload asking, “y cuantos likes se gana mi carita? (and how many likes does my face earn?),” referencing other POV-style videos uploaded to the sound that have racked up big numbers on the platform (vikingo606’s boasts 9 million favorites so far). G-Eazy’s “Lady Killers II,” No. 2 on the April 13-dated survey, falls to No. 3, followed by Artemas’ “I Like the Way You Kiss Me” at No. 4, a new peak after reaching No. 7 a week prior. That’s concurrent with a continued increase in chart-eligible U.S. streams, jumping 12% to 18.8 million listens (enough to boost it into the top 20 of the Billboard Hot 100, leaping 23-16). The biggest debut of the week on the TikTok Billboard Top 50 belongs to Lay Bankz’s “Tell Ur Girlfriend,” which debuts at No. 11. The song was released in February but lands on the ranking via a dance trend incorporating its chorus. The viral dance helps the song balloon in chart-eligible U.S. streams, skyrocketing 94% to 5.7 million April 5-11. As a result, it debuts at No. 45 on the Hot R&B/Hip-Hop Songs list, her first appearance there. The April 8 solar eclipse seen across North America boosts Bonnie Tyler’s “Total Eclipse of the Heart” onto the chart, bowing at No. 13. A four-week No. 1 on the Hot 100 in 1983, Tyler’s classic was oft-used during the eclipse on social media, with TikTok videos using it to soundtrack footage of the phenomenon, memes and more. See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.

Seeker Music has acquired the publishing rights to Marcos “Kosine” Palacios’ catalog, including his share of hits like “Anaconda” by Nicki Minaj, “Birthday Cake” by Rihanna, “DANCE (A$$)” by Big Sean as well as the soundtracks he wrote for FOX’s Empire and Star and his work as half of the production duo Da Internz. Additionally, Kosine has been named Seeker’s first-ever Samplémoose ambassador. The Samplémoose platform is a key part of the company’s strategy to boost the profile of its catalog by offering select producers, artists and songwriters access to an easy-to-clear, curated selection of loops, beats and flip-starts made out of the company’s songs. Already, Samplémoose efforts have led to the creation of Coco Jones’ song “Double Back,” which flips “Rain” by SWV. Other flips from Seeker’s catalog include Shaboozey’s “A Bar Song” (flipped from J-Kwon’s “Tipsy”), Chris Brown’s “Freak (from Nelly’s “Air Force Ones”), Teyana Taylor’s “Freak” (from Adina Howard’s “Freak Like Me”), and IVE‘s “All Night” featuring Saweetie (from Icona Pop’s song of the same name). Trending on Billboard Through his new ambassadorship, Kosine will spearhead the expansion of more Samplémoose initiatives. Last week (April 10-12), the producer put together a songwriting camp with Seeker called Samplémoose Sessions, which brought together nearly two dozen music creators to flip songs from Seeker’s catalog. Some of the songs used at the camp included Christopher Cross’ “Sailing” and “Arthur’s Theme”; The Go-Go’s‘ “We Got The Beat,” Whitney Houston’s “Million Dollar Bill” and Fantasia’s “When I See U.” Seeker Music, which was founded in 2020 by songwriter and entrepreneur Evan Bogart, takes a creative and active approach to catalog management, treating older songs with the same approach as its new, frontline releases. To date, the company has acquired catalogs from artists such as Run The Jewels, Teddy Geiger, Jon Bellion, John Ryan, Plested and MoZella. Its frontline publishing roster includes Kito, Robopop, Sofía Valdés and K Sotomayor, while its frontline label roster includes Kareen Lomax, CARR, Dead Pony, Latroit, ONR and Fourth Daughter. “In joining forces with Seeker Music and the Samplémoose initiative, I feel a profound sense of alignment with a team that not only values the legacy of music but also pioneers new pathways for creativity and innovation,” said Kosine in a statement. “This partnership marks a significant milestone in my career, offering a unique platform to reimagine the classics while nurturing the next generation of talent. I’m thrilled to embark on this journey, blending tradition with innovation, and to contribute to the music industry in a way that resonates across generations.” Evan Bogart added: “When we started acquiring catalogs at Seeker, I only was interested in songs I wish I wrote, or projects I wish I had worked on, and that’s hands-down, undeniably Kosine’s body of work. Me and Kos go way back and have been collaborating on music for almost 15 years. Now, we get to write our next chapter together, working closely on Samplémoose, and investing in each other, in ways a publishing company and producer haven’t before. It’s a major honor to have this opportunity to build with him.”