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Iván Cornejo’s ‘Baby Please’ Makes Top 10 Debut on Hot Latin Songs

After “Está Dañada” earned Ivan Cornejo his first top 10 on Billboard’s Hot Latin Songs in 2021, the Mexican-American singer-songwriter is back in the upper region as “Baby Please” debuts at No. 8 on the list dated March 30. “Baby Please” splashes into the top 10 on the multimetric Hot Latin Songs chart mainly on […]

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‘SNL’ Promises Travis Scott’s Episode Will Be ‘In Sicko Mode’ — And Host Ramy Youssef Wishes They Hadn’t

When Travis Scott returns to Saturday Night Live this weekend as the musical guest, castmember Marcello Hernandez promises the show will be in “Sicko Mode” — just like Scott’s Billboard Hot 100-topping Drake collab from 2018. But first-time host Ramy Youssef isn’t having it in new SNL promos, released late Thursday (March 28) ahead of Saturday’s new episode. “I told you not to do that in front of him,” the Poor Things actor/comedian tells Hernandez of the song-title pun. Trending on Billboard “Sorry, I just get these goosebumps every time,” Hernandez replies with a smirk, name-dropping yet another Scott song: “Goosebumps,” a top 40 Hot 100 solo hit in 2017 that led to the No. 47-peaking HVME remix in 2021. “It’s just not a good look,” Youssef says. “Sorry, Trav.” Things don’t get any better for Hernandez in a second promo, when he launches into an ill-fated joke setup. “A Latino guy, an Egyptian guy and a Black guy walk into a bar…” he begins, before Scott and Youssef cut him off. “You guys are probably right, because the punchline was bad,” Hernandez admits, before Youssef says, “The setup was too.” Scott will take his second turn as SNL musical guest this weekend, following his October 2018 debut. For his first performance, he brought out John Mayer on guitar and Kevin Parker of Tame Impala on bass for a mash-up of “Skeletons” (which features Mayer) and “Astrothunder” (a collaboration with Tame Impala) from his Astroworld album, before pulling out “Sicko Mode” sand Drake for his second song. Youssef will host SNL for the first time after co-starring opposite Emma Stone in the awards-season darling Poor Things. The stand-up comedian also took home the best actor in a television series – musical or comedy Golden Globe in 2020 for his Hulu series Ramy. Watch the new SNL promos below, and catch the new episode at 11:30 p.m. ET/8:30 p.m. ET on NBC or streaming on Peacock. [embedded content]

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Lyft Offers 50 Percent Off Rides For ‘Act II: Cowboy Carter’ Listening Parties, The Beyhive Is Pleased

HipHopWired Featured Video CLOSE Lyft, a major player in the rideshare market, proved that someone on its marketing team is most certainly a part of the Beyhive in classic fashion. After another rideshare social media account offered a discount on rides for fans going to Act II: Cowboy Carter listening parties, Lyft upped the ante in a major way. With us being a neutral party, we won’t say the other rideshare company’s name although it won’t be hard to figure out as this story goes on. As it stands, the company in question offered a 16 percent discount on rides for fans on X (formerly Twitter) who wanted to attend listening parties for the latest album from Beyoncé, Act II: Cowboy Carter. Lyft, taking note of the offer replies under the tweet from the other company writing “crumbs were left,” a nice little jab that we’ve seen in times past between major companies via their social media accounts. After a fan suggested that Lyft sweeten the pot, the company responded by offering 50 percent off rides for those going to those aforementioned listening parties. Now how is that for customer satisfaction? While we don’t know if the other company is going to fire back just yet, for now, Lyft is the grand champion of the people AND the petty but the true winners are fans of Beyoncé who get to hear Queen Bey shift the culture once again with her latest album. The singer recently suggested that while country music influences Act II: Cowboy Carter, this is still very much a Beyoncé album. We heard that. Also, we have to score a win for Lyft’s marketing team. To take advantage of the 50 percent off rides with Lyft, use this code: SPAGHETTI24. Check out the reactions to the playful back and forth on X and don’t forget, Act II: Cowboy Carter drops Friday, March 29. — Photo: Getty 10. Okay, let’s not get carried away LOL

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50 Cent Denies Daphne Joy Sexual & Physical Abuse Allegations

50 Cent has denied allegations of sexual and physical abuse from his ex-girlfriend Daphne Joy. “The disturbing allegations in the sworn pleadings recently filed in a court case related to Daphne Joy the mother of my twelve year old child, has required me to take all necessary legal actions to protect my son Sire,” the […]

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Little Big Town, Sugarland to Collaborate During CMT Music Awards

Little Big Town and Sugarland are the latest performers who are set to collaborate on a world-premiere performance during the upcoming CMT Music Awards, when the awards show airs from Moody Center in Austin, Texas, on April 7 on CBS. Little Big Town and Sugarland last shared the CMT Music Awards stage 15 years ago, when they were joined by Jake Owen for a rendition of “Life in a Northern Town.” Explore See latest videos, charts and news See latest videos, charts and news The performance coincides with Little Big Town’s 25th anniversary as one of country music’s most successful groups. The group made their Grand Ole Opry debut in May 1999, and were inducted in October 2014. They released their debut, self-titled album in 2002; that same year, they issued their debut song “Don’t Waste My Time,” which reached No. 33 on the Hot Country Singles & Tracks chart (now Hot Country Songs). They earned their first No. 1 on that chart in 2012 with “Pontoon,” and have earned two more No. 1s on that chart: “Better Man” and “Girl Crush.” Trending on Billboard The performance will mark four-time CMT Music Awards winners Little Big Town’s 13th CMT Music Awards performance. Their previous performances have included “Macon” with Jamey Johnson in 2010 and premiering what would become a signature summertime anthem, the two-week Billboard Hot Country Songs No. 1 “Pontoon,” in 2012. The group teamed with Keith Urban in 2013 to cover Fleetwood Mac’s “The Chain,” offered up “Day Drinking” in 2014 and teamed with Pharrell Williams in 2016 for “One Dance,” among other performances. Additionally, the performance also marks Sugarland’s Jennifer Nettles and Kristian Bush reuniting for their first CMT performance together since 2011. Since the release of Sugarland’s debut album (the outfit initially launched as a trio) in 2004 with Twice the Speed of Life, they have earned five Billboard Hot Country Songs chart No. 1s: “Want To,” “Settlin’,” “Already Gone,” “All I Want to Do: and “It Happens.” Four-time CMT Music Awards winners Sugarland earned their first CMT Music Awards accolade in 2005, for breakthrough video of the year for “Baby Girl.” In 2011, they offered up a rendition of “Stand Up” to draw attention to American Red Cross Tornado Relief efforts, and honored victims of devastating tornadoes that struck earlier that year. Jennifer Nettles and Kristian Bush, as a duo, offered up a rendition of their hit single “Babe” in 2018. Nettles has also been honored for her advocacy work and championing of women in the music industry, LGBTQ+ community and other unrepresented groups, and thus received the inaugural CMT Equal Play Award at the 2020 CMT Music Awards. Little Big Town and Sugarland join previously-announced CMT Music Awards performers including Bailey Zimmerman, Cody Johnson, Jelly Roll, Keith Urban, performer and host Kelsea Ballerini, Lainey Wilson, Megan Moroney, Jordan Davis (who teams with group NEEDTOBREATHE), as well as Old Dominion, Sam Hunt and Trisha Yearwood. As well as airing on CBS, the CMT Music Awards will also be available to stream live and on demand via Paramount+. As previously announced, CMT Storytellers: Little Big Town will premiere on Friday, April 5 at 8 p.m. ET as part of “CMT Awards Weekend.”

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Jumbo Returns to U.S. Stage After 10-Year Hiatus: ‘It’s a Great Reason to Celebrate’

After a decade-long absence, Jumbo, a cornerstone of Latin alternative rock, are making their return to the U.S. stage, joining forces with genre peers División Minúscula. Their much-anticipated comeback follows years of setbacks due to a “critical error” that led to visa complications, preventing them from touring stateside despite the release of three albums brimming with tour-worthy material. Explore Explore See latest videos, charts and news See latest videos, charts and news Now, armed with renewed vigor and passion, the Mexican rock band — consisting of frontman Clemente Castillo, guitarist Jorge “Flip” Tamez, bassist Carlos Castro, drummer Alberto Ramos, and producer Iñigo Rizo — are ready to captivate audiences once again as they crisscross the United States, hitting major cities from coast to coast. Promoted by Live Nation, the tour kicks off in Chicago on April 17, followed by a show in New York City the next day. The tour route includes stops in Salt Lake City, San Francisco, Los Angeles, Dallas, and culminates in Houston, Texas on August 14. Celebrating 25 years since the release of their debut album, Restaurant, in 1999, Jumbo’s significance extends beyond mere longevity. This album not only marked a milestone in the band’s career but also played a pivotal role in shaping the Mexican music scene of its time, particularly the musical boom known as La Avanzada Regia scene of that era in Monterrey. Trending on Billboard “The grand merit of that generation was to be able to break [barriers] and show that in a city where there was no music scene suddenly thundered and became so big,” Flip (real name Jorge Tamez Chapa) tells Billboard Español. “Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued being original, and I think that created a very rich movement. Thirty years later it is beginning to be romanticized a lot. I feel very proud to be from that generation”. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno “División Minúscula and Jumbo are two bands with different backgrounds but equally important in the alternative rock genre. They belong to an era that defined many fans on both sides of the border,” adds Manuel Moran, vp of Latin touring at Live Nation. “We are proud to be part of this great celebration and we are very grateful for the trust they have placed in us to surprise their fans in the United States with a comeback tour and an unexpected collaboration like this one.” Jumbo’s latest release, Manual De Viaje A Un Lugar Lejano (En Directo), earned them a Latin Grammy nomination for best pop/rock album in 2019, further solidifying their status as stalwarts of the Latin alternative rock scene. In this interview, Flip delves into the band’s journey, from the highs of success to the challenges they’ve faced along the way, shedding light on their experiences and aspirations for the future. And yes, he explains why they could not enter the U.S. for over a decade. What does it mean for you to take the stage again in the United States, and how did the opportunity to collaborate with División Minúscula for this tour come up? We are very happy to tour the United States and celebrate 25 years of our career. We had an issue, a very serious mistake we made that kept us away from the United States for more than ten years. During the first albums Restaurant (1999), D.D. y Ponle Play (2001), and Teleparque (2003), we had great tours over there. We were building a market early in our career. Saúl Hernández from Jaguares invited us to be openers along with Julieta Venegas and La Gusana Ciega. I remember they were incredible tours, and suddenly there’s this break. Many years went by — and fortunately we managed to overcome this — and now we have the opportunity to share the stage with División Minúscula. Although they are from Matamoros, most of them have been living here in Monterrey for many years. They are very good friends. It’s the first time we do a tour as such and we are very happy; I think it’s going to be very fun. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno As you celebrate these 25 years, what do you consider has been the key to staying together as a band? It’s very difficult. The other day I read a report by Sting that said, “I don’t think any grown man can be in a band.” He said it had to do with this youth gang dynamic that gets a little lost as you get older. And you notice that the relationship does change — you change as a person, you are no longer that youth [from before] — but I think we are still united by the desire to make music. Jumbo is a band that from day one, we set out to make songs that would go beyond the barrier of time. We were never very attached to any fashion — although when we came out, we sounded like what was going on in the early 2000s. In our journey, we have seen many things come and go. We’ve had to change formats, first digital, then streaming. Many things have happened to us that I think the love of making music has brought us back into alignment. Fortunately, we have never fought or disrespected each other, but we have an admiration for each of the members. And although at times we do have different artistic goals and visions, it always ends up falling in the same place. Many of us in the band are producers of other projects, we have other activities, but all related to music. As long as there are people who lend us their ears, there is no reason to stop. The 25 years was a number that hit us like a motherf–ker. It’s a great reason to celebrate. Being one of the pioneers of La Avanzada Regia movement in Monterrey, how do you see the impact of this movement on today’s music, and what do you think has been your most significant contribution to this legacy? I always say that I’m very proud to be from that generation. I grew up playing in many bands, and it didn’t cross my mind to dedicate myself professionally to this, or to be signed by a record label or go on tour. And suddenly the scene was big enough, the Monterrey scene. There were like 10 to 15 bands playing in four or five places, and the rest was the audience. This is before the internet — I mean, we took our flyers to the show and handed them out to perform the following week. La Avanzada, we were very united as bands; there was the same hunger to go out and dream, to take this to the next level. Monterrey, being the industrial capital of the country, had a very rigid scheme of opportunities. You had to study, work in one of the big companies, and make your life. It was very difficult to dream of a profession outside those schemes. The great merit of that generation was to be able to break [barriers] and demonstrate that in a city where there was no professional music scene it could become so big, and in a few years permeate the Latin market so strongly. [embedded content] When Control Machete came out, it a huge boom that the rest of Latin America turned to see what was happening in Monterrey. They were looking for a hip-hop movement, but they found something very different. Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued very much being original, not looking like anybody else and I think that created a very rich movement. Thirty years later this scene is beginning to be romanticized a lot. What’s next after the tour? Any final thoughts? One goal that we had for many years was to get back to the United States in some way. I think the next thing after this tour is to get into the studio. There are no concrete plans yet. I’ll tell you the anecdote so that there is no mystery; I think it’s something that new [foreign] bands learn from. We made the very serious mistake of going to a show with a tourist visa. The work visa has a shorter amount of time. It happens to [foreign] bands that the work visa has a short period of time. Suddenly there is an isolated show, and even though we had an arrangement with the promoter that could be for promotion, we got too close to the line and fell into a problem. So, it doesn’t matter if you’re going to play a free show, it doesn’t matter if you’re going to tour very casually. Playing in the U.S. is work, and that cost us to stay away for many years. If it’s any moral for bands, don’t make that mistake. We learned the hard way and fortunately we are back. We are really excited. We had a hard time having three albums and not being able to tour there. So we bring all that accumulated energy and we are sure you will notice it in the shows. Check out Jumbo and División Minúscula’s full tour dates below, second slide:

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