Gloria Estefan to Feature In Online Celebration of Latino Impact on Media

Gloria Estefan, Alex Rodriguez and Eva Longoria will be among the participants in a monthlong online celebration of Latino contributions to television.

The Paley Center for Media’s tribute to the work of actors, journalists and other notable Latinos begins Wednesday and will be held virtually because of the coronavirus pandemic. It’s the first such event by Paley to coincide with Hispanic Heritage Month, which runs Sept. 15 to Oct. 15.

The inaugural celebration will feature “conversations and events that spotlight critically acclaimed, groundbreaking, and culturally influential Hispanic personalities and rising stars who demonstrate the power of the community” and its cultural impact, the center said in its announcement Tuesday.

Maureen J. Reidy, the center’s president and CEO, called it a “a must-see celebration for the whole family that informs, educates, and entertains.”

A bilingual component with education programs, interactive trivia and other elements is available at through Oct. 15.

“A Tribute to Hispanic Achievements on Television,” 8 p.m. Wednesday on Yahoo Entertainment. Estefan, Longoria, Edward James Olmos, Jimmy Smits and George Lopez are among those participating, with Soledad O’Brien as moderator.

“Alex Rodriguez in Conversation,” 8 p.m. Thursday, Yahoo Entertainment and Yahoo Sports. The baseball great discusses his career in and out of sports, with Natalie Morales as moderator.

“Telemundo’s ‘La Reina del Sur’: A Conversation with the Stars,” Oct. 2, Yahoo Entertainment and Yahoo en Español. Series lead Kate del Castillo and cast members Isabella Sierra and Alejandro Calva join in a Spanish- and English-language panel about the hit telenovela and its upcoming third season.

“Hispanic Voices in Media,” 8 p.m. Oct. 8, Yahoo News. Journalists Ana Cabrera, Ilia Calderón, Jose Diaz-Balart, Tom Llamas and Juan Williams discuss TV’s role in informing Hispanic Americans and issues including politics, the pandemic and immigration. Mariana Atencio is the moderator.

Ava Max Had Doubts About Her Pop Career: ‘I Never Thought I Would Make It Through’

A little over a year after Ava Max’s breakthrough single “Sweet But Psycho” peaked at No. 10 on the Billboard Hot 100 in June of 2019 — she’s coasting up the chart again with her new hit, “Kings & Queens.” The track’s success comes at the perfect time, as the pop singer/songwriter’s debut album, Heaven & Hell, will be released on Sept. 18.

What’s it been like for Max to see “Kings & Queens” climb up the charts? (The track also rises 24-22 on the Pop Songs airplay chart dated Sept. 19.)

“I feel so grateful to even be releasing music and people are listening! Especially during a pandemic!” Max tells the Billboard Pop Shop Podcast (listen below).

“I know that a lot of people are struggling right now. Music, for me, is medicine. And I just couldn’t hold it back anymore and I’m just very happy people are responding to it. Again, I’m just grateful for people that can relate to this song.”

While “Kings & Queens” is Max’s second Hot 100 hit, she’s been swiftly racking up massive streaming numbers of the past few years. Collectively, her songs have garnered 1.17 billion on-demand streams in the U.S., according to Nielsen Music/MRC Data. “Sweet” unsurprisingly accounts for 692 million of that sum, but she’s also racked up big totals for “Kings” (94 million), “So Am I” (158 million), “Not Your Barbie Girl” (73 million) and “Salt” (50 million). All of those tunes, save for “Barbie,” are included on the 15-track Heaven & Hell album.

Below are some highlights from Max’s chat with the Pop Shop Podcast, including how she is “living proof that it can take over 15 years to make it any industry,” what she thinks a tour in support of Heaven & Hell might look like (“it’s gonna be wild”) and why there aren’t any ballads on the new album.

Can you talk us through how “Kings & Queens” came together?

The song actually came together in a lot of different ways. It came in parts. Like, Madison Love and I, we — I mean, if you wanna get technical — (wrote) the verse and the pre-chorus, and wrote that part. And then the chorus we kind of got from (co-producer and co-writer) RedOne, but it was completely different than what we have now. So it wasn’t called “Kings & Queens.” It was nothing to do with anything you hear right now. It was just the melody. (sings “da da da da da.”) And we were like, ‘Oh, that’s cool.’ But then we kind of just made it our own and (co-writer) Leland, Madison Love and I, and (co-writer/co-producer) Cirkut, we got in the studio and we kind of just made it what it is now — “Kings & Queens.”

We saw that you have Desmond Child listed among the songwriters and that threw us for a loop for a second but then we realized about the (interpolation of the Child-written song “If You Were a Woman [and I Was a Man]”). How did that add into the song and melody?

You know, Cirkut and RedOne got in the studio and they did their magic. And after we all heard it, we just loved it. I mean, it was just more so a production thing.

“Kings & Queens” has this empowerment vibe to it — it’s very fierce. You talked about how the song morphed over time. Was that kind of always your goal to have a song where it was kind of fitting into the “I’m a fierce woman” theme going on?

I think for me, as you can see, it’s a theme throughout my songs… I think you can tell that I definitely have been told “no” a lot of times. And I’ve gotten to the point where I look back now, and I’m like, “look who’s laughing now?” Like, for instance, the new song I just released (titled “Who’s Laughing Now”). And it really means a lot to me as well. These anthems, I think can help someone else whose going through something I went through. And also, I’m living proof that it can take over 15 years to make it any industry, and for me, it was the music industry. But, you can make it in the end. And there is a light at the end of the tunnel. And I know that, you know, there has been moments in my past that have been dark, and I never thought I would make it through. And now, you know, I look back and I just am so happy I kept going and didn’t pick a different career.

Your new album (Heaven & Hell) has been in the works for a while, so how does it feel that (it’s almost out)?

It feels surreal… now it’s starting to feel real. It wasn’t feeling real up until now. (Editor’s note: This interview was recorded in August.) Like, OK, here we go, it’s coming out. And there’s nothing I can do about it. It’s coming out. (Laughs.) People are gonna hear it, and people are gonna judge it, and people are gonna love it, hate it. You know, I tend to be very polarizing, and I’m aware of that. And I’m OK with that. And I’m excited to see what songs are people’s favorites.

Are you feeling that type of anxiety of like, “what are people going to think about this song?”

You know… there are a couple songs on the album that people are not going to expect from me. They’re a little bit cooler, vibier sounds. Like, not so like upbeat and dance. There’s two that are a little bit softer and I feel like people are definitely going to be like, “oh, OK, not every song is like super upbeat.” But there’s no ballads. It’s like a mid-tempo. The only mid-tempo. (Laughs.)

That’s interesting. Why did you go anti-ballad on this album?

‘Cause I’m all or nothing. It’s like, I really feel like that. I really am. And I couldn’t just have one ballad. If I’m gonna have an album with a ballad, I need at least four solid ballads. And we just didn’t want to take out the dance and anthems that were already on there. So I think maybe I’ll have an album full of ballads one day, we’ll see. (Laughs.)

The last time you were on the podcast, a year or so ago, you talked about the hopes of getting a tour together. Do you still have a vision in your mind of taking the music on the road next year, post-COVID? Have you already thought about what a tour could look like?

I have. It’s gonna be very, very theatrical. And it’s gonna be wild. Wild is the word. Like, it’s gonna be really wild ’cause I’m a visionary — I really see things before I finish a song. I know exactly what I want the video to be like, what the colors I want in the video (to be). It’s very strange. I’ve been that way my entire life — how I kind of see it in my head playing out. So, I’m really excited to do a tour. We had one planned for the U.S., actually, in September and October (2020). But we couldn’t announce it, so we cancelled it, because, you know. So I was excited about that, but you know, a thing called the pandemic hit. (Laughs.) … I just know that I’m excited to get back on the road and I just can’t wait to have my first official world tour for Heaven & Hell.  

Elsewhere in the new episode of the Pop Shop Podcast, hosts Jason and Keith discuss the launch of Billboard’s two new charts – the Billboard Global 200 and the Billboard Global 200 Excluding U.S. Plus, there’s a chart stat of the week about Queen landing its first, and so far only, No. 1 album on the Billboard 200 with 1980’s The Game.

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard’s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard’s senior director of charts Keith Caulfield and senior director, music, Jason Lipshutz every week on the podcast, which can be streamed on or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on

Janelle Monae Shares Powerful ‘Turntables’ Video for ‘All In: The Fight for Democracy’ Film

Janelle Monae knows “the table ’bout to turn.”

That’s the message in her empowering new music video for “Turntables,” in tandem with Amazon Studios’ #AllInForVoting bipartisan campaign to inspire viewership for their Stacey Abrams-backed film, All In: The Fight for Democracy.

The video shows the devastating footage of racial oppression and police brutality in protests for justice, before it transforms into an emotional display of Black strength, excellence and achievement. “We kicking out the old regime / Liberation, elevation, education / I said ‘America, yousa lie’ / But the whole world ’bout to testify,” Janelle proclaims in the heartfelt lyrics.

The song, featured in the film, is part of Amazon Studios’ larger campaign to inspire voter turnout during the 2020 presidential election season.

Kaskade Loses Bid to Thwart Financial Subpoena in KAOS Nightclub Lawsuit

A U.S. magistrate judge has rebuked an effort by Kaskade to withhold information on concerts the DJ played in the wake of the closure of the KAOS nightclub is Las Vegas and ordered the performer to pay the hotel’s attorneys’ fees for the cost of enforcing a subpoena.

Ryan Raddon, who performs as Kaskade, is suing F.P. Holdings, a limited partnership connected to the Palms Casino Resort, for breach of contract over his residency deal at the KAOS nightclub, which closed in November after six months of operation. KAOS was supposed to anchor a $690 million renovation of the Palms and host a residency by global superstar Marshmello, but the club lost nearly $50 million, according to a Nov. 6, 2019, quarterly earnings call, and shut down permanently.

Raddon was making $214,000 a night playing the club and had 37 shows left on his contract when it closed, totaling $7.95 million — the amount his lawyers say he’s owned by F.P. Holdings. But lawyers for F.P. Holdings say any damages the DJ expects should be offset by the money he made playing makeup shows at competing clubs and festivals. When F.P. Holdings subpoenaed his financial records for the period he had been contracted to play KAOS, Raddon’s attorney Alex L. Fugazzi called the demand “overbroad and unduly burdensome” and argued the request was not relevant to the lawsuit against the hotel.

U.S. Magistrate Judge Nancy J. Koppe disagreed and ruled against Raddon on Monday, arguing that the DJ’s lawyer must comply with subpoenas even if he disagrees about their importance to the case.

“[A] party is entitled to seek discovery on its theory of the facts and the law, and is not limited in discovery by the opponent’s theory,” Koppe wrote, citing legal text governing evidentiary decisions. “Kaskade having not provided the requisite factual basis or meaningful argument necessary to prevail on such objections, the Court rejects his assertion of overbreadth and undue burden.”

What the judge is telling Raddon’s attorneys, explains attorney Michael Seville with the San Francisco firm Seville Briggs, who is not associated with the case, is that “the defense is given significant leeway when defending against a claim and Kaskade can’t limit the scope of what can and can’t be used in their defense.” He says, “Here the judge is telling Kaskade, ‘You don’t get to decide what evidence is and isn’t discoverable. That’s my job.'”

As part of her ruling, Koppe is also requiring that Raddon pay the hotel’s legal fees associated with the hearing, saying his attempt to avoid handing over details about how much money he made following the closure of KAOS is “not a close call.”

“Whether Kaskade disputes the soundness of the mitigation defense in substance is not pertinent to whether he could appropriately withhold discovery,” Koppe said.

Seville, who often handles civil discovery issues, notes that the decision to award F.P. Holdings attorneys’ fees is a sign that Koppe wants both sides to settle arguments on their own without asking the court to intervene. He says that disagreements over discovery in civil cases are fairly common and part of the push and pull by attorneys seeking to use leverage to their advantage.

Koppe issued a second ruling Monday, ordering Raddon’s attorney to address outstanding confidentiality issues surrounding the case. On Apr. 1, 2020, Koppe signed off on a request to redact details about Raddon’s compensation from the complaint he had filed, but months later, following talks with F.P. Holdings, Kaskade indicated he no longer contended “that such information should be shielded from the public” and didn’t oppose his $214,000 per night fee from being made public. The magistrate judge says she wants an explanation for his change of heart and ruled that his attorney has until Sept. 25 to explain “why the Court should not unseal the unredacted version of the complaint” filed late last year. It’s unclear what, if any, new information would be made available by such a move.

This Is What Kelly Clarkson Was Up to When She Won Her Daytime Emmy

Back in June, Kelly Clarkson accepted the Daytime Emmy for best entertainment talk show host for the first season of her eponymous show–but her big win wasn’t as glamorous as you might think.

The singer joined Seth Meyers on his late night show on Monday night (Sept. 14), where she revealed that she felt “gypped” about her win. “I was called and it was hysterical actually, I found out because I was just with my kids. I was honestly building Legos and it was a masterpiece.”

“I’m used to being at the awards shows, so you never watch them because you’re usually there,” she revealed, before adding that winning the Emmy “was really awesome because we’re still finishing up our first season and, man, what a first season it was.”

Watch the full interview below.

Here Are the Presenters & Performers for the 2020 ACM Awards

Fifteen-time ACM winner Keith Urban will pull double duty tomorrow night (Sept. 16) as host and performer at the 2020 ACM Awards, which will be hosted in Nashville for the first time in the award show’s 55-year history.

Billboard broke the news yesterday (Sept. 14) all five nominees for entertainer of the year — Carrie UnderwoodLuke BryanEric ChurchLuke Combs and Thomas Rhett — will take the stage to perform a medley of their greatest hits.

Taylor Swift also returns to the stage for the first time in seven years to perform her country-leaning fan-favorite track “Betty” off her Billboard 200 No. 1 album Folklore. Urban and P!nk plan to make the world television premiere of their brand new collaboration “One Too Many,” which is from the country star’s forthcoming album, The Speed of Now, Part 1.

Country acts Cam, Lauren Alaina, Darius Rucker, Runaway June, and Clint Black and his wife, Lisa Hartman Black, will stand in as presenters. Some ACM Awards winners have already been crowned, including Rhett for video of the year with “Remember You Young” and Riley Green and Tenille Townes for new male and female artist of the year, respectively. Green and Townes will also perform.

Below, find all the presenters and performers for the 2020 ACM Awards, which will broadcast from three Music City venues, the Ryman Auditorium, the Grand Ole Opry House and the Bluebird Cafe, on Wednesday (Sept. 16) at 8 p.m. ET on CBS.


Bobby Bones


CeCe Winans

Clint Black and Lisa Hartman Black

Darius Rucker

Lauren Alaina

Lily Aldridge

Runaway June


Blake Shelton and Gwen Stefani

Carrie Underwood from the Grand Ole Opry House

Carrie Underwood, Luke Bryan, Eric Church, Luke Combs and Thomas Rhett

Dan + Shay from the Grand Ole Opry House

Eric Church from the Grand Ole Opry House

Florida Georgia Line from the Grand Ole Opry House

Gabby Barrett from the Ryman Auditorium

Jimmie Allen from the Bluebird Cafe

Kane Brown from the Grand Ole Opry House

Keith Urban and P!nk from the Grand Ole Opry House

Kelsea Ballerini from the Ryman Auditorium

Luke Bryan from the Grand Ole Opry House

Luke Combs from the Bluebird Cafe

Maren Morris from the Ryman Auditorium

Mickey Guyton from the Grand Ole Opry House

Miranda Lambert feat. Natalie Hemby and Luke Dick from the Bluebird Cafe

Morgan Wallen from the Grand Ole Opry House

Old Dominion from the Ryman Auditorium

Riley Green from the Ryman Auditorium

Taylor Swift from the Grand Ole Opry House

Tenille Townes from the Ryman Auditorium

Thomas Rhett feat. Jon Pardi from the Ryman Auditorium

Tim McGraw from the Bluebird Cafe

Trisha Yearwood

The Players Behind The Weeknd’s ‘Blinding Lights’: See the Full Credits

This week, The Weeknd’s smash single “Blinding Lights” spent its 27th week in the top five of the Hot 100, tying a record for most weeks spent in the top five in the chart’s 62-year history. The track previously spent four weeks at No. 1.

“Blinding Lights” already broke records on both the Radio Songs and Hot R&B Songs charts, where it has now spent 23 weeks and 26 weeks, respectively, in the No. 1 spot.

Explore the team of musicians, producers, engineers and more behind the track with recording credits provided by Jaxsta below.

Main Artist – The Weeknd

Composer Lyricist – Ahmad Balshe
Composer Lyricist – Jason Quenneville
Composer Lyricist – Max Martin
Composer Lyricist – Oscar Holter
Composer Lyricist – The Weeknd

Producer – Max Martin
Producer – Oscar Holter
Producer – The Weeknd

Production Team:
Programming – Max Martin
Programming – Oscar Holter
Programming – The Weeknd

Asst. Recording Engineer – Cory Bice
Asst. Recording Engineer – Jeremy Lertola
Asst. Recording Engineer – Sean Klein
Engineer – Michael Ilbert
Engineer – Sam Holland
Engineer – Shin Kamiyama
Mastering Engineer – Dave Kutch
Mastering Engineer – Kevin Peterson
Mix Engineer – John Hanes
Mixer – Serban Ghenea

Background Vocalist – The Weeknd
Bass – Max Martin
Bass – Oscar Holter
Bass – The Weeknd
Drums – Max Martin
Drums – Oscar Holter
Drums – The Weeknd
Guitar – Max Martin
Guitar – Oscar Holter
Guitar – The Weeknd
Keyboards – Max Martin
Keyboards- Oscar Holter
Keyboards – The Weeknd

Distributor – Universal Music Group
Label – Republic Records

Explore the full “Blinding Lights” credits on Jaxsta here.