Authorities in Christian County are investigating a homicide after a body was found east of Sparta.
Sheriff Brad Cole says the body was discovered at the intersection of Highway 14 and Johns Ford Road Wednesday morning.
The victim has been described as a male in his 60s, and a suspect has been arrested and remains in custody.
Investigators say formal charges against the unidentified suspect are expected to be filed later today.
Billboard has more than 200 different weekly charts in its menu, encompassing numerous genres and formats.
While established artists often compete for a spot on the Billboard Hot 100 songs chart and Billboard 200 albums ranking, which track the most popular songs and albums of the week, respectively, up-and-coming talents typically start off on genre-specific lists.
Here’s a look at 10 acts who appear on surveys for the first time on the Sept. 2-dated charts.
The Nashville-based singer-songwriter is officially a Billboard-charting artist thanks to her debut LP, Twenty Something. Released Aug. 18 on Columbia Records, the 18-track set debuts at No. 17 on the Heatseekers Albums chart with 4,000 equivalent album units earned in its opening week, according to Luminate. The collection, which is broken up into three segments (“Messing It Up,” “Figuring It Out” and “Getting It Right”), follows a trio of EPs: her self-titled project in 2019 and the two-part History of Breaking Up in 2021 and 2022, respectively. The album also features collaborations with Chris Stapleton (“Ghost in My Guitar”) and Mitchell Tenpenny (“Goodbye Looks Good on You”; he also co-wrote other tracks on the album).
Earlier this year, Billboard named Springsteen (no relation to labelmate Bruce Springsteen) its January country rookie of the month. “There are songs on here that call out my struggles, areas that I’ve messed it up, which a lot for me has been in the areas of love and relationships. It’s pretty vulnerable,” she said of Twenty Something. “But then there are moments where, if you’re lucky, you start living your purpose and start figuring things out. I think your 20s are a mixture of all of that. I hope that people can just find a little bit of themselves in this record one way or another.”
Springsteen has opened for Tenpenny, Filmore, LANY and Josh Turner, among others. Her first headlining trek, the Twenty Something Tour, is set to kick off this October and run through December.
Russell, from Texas and now based in Los Angeles, makes his first Billboard chart appearance thanks to his viral hit “Lil Boo Thang.” The feel-good song, which interpolates “Best of My Love” by the Emotions, debuts at No. 1 on Rap Digital Song Sales and No. 5 on the all-genre Digital Song Sales chart with 9,000 downloads sold, following its official release. It also starts at No. 9 on the Hot 100’s Bubbling Under ranking, while Russell begins at No. 4 on Emerging Artists and No. 89 on the Billboard Artist 100.
Russell first teased a snippet of the song June 28 in a TikTok post that has garnered more than 5 million views and launched over 55,000 creations from new fans who’ve paired it with other clips. He later repurposed the post on Instagram Reels, where it has generated another 10 million views. The virality helped Russell land a deal with Arista Records. “First and foremost, ‘Lil Boo Thang’ is meant to be a good time,” he told Billboard ahead of the full track’s release. “When I wrote it, I was stressed out on a Thursday afternoon, so I just turned on some of the music that makes me happy and imagined that I was celebrating something. I think what makes the song special is the fact that so many of us are ready to just forget about whatever is happening around us and enjoy the good things in life – not just thinking back to good times in the past but creating new ones in the present day.”
“Best of My Love,” written by Maurice White and Al McKay of Earth, Wind & Fire, spent five weeks at No. 1 on the Hot 100 in 1977. It finished as Billboard’s No. 3 year-end Hot 100 song that year. White and McKay are both credited as co-songwriters on Russell’s song.
Outside of “Lil Boo Thang,” Russell has released two solo LPs: Via Text, with Ruslan, in 2018, and Once in a Dry Season, in 2019.
The New York City-based singer-songwriter from Queens arrives on Billboard’s charts thanks to her featured appearance on Jamila Woods’ “Tiny Garden.” The song, released July 11 on Jagjaguwar/Secretly Group, debuts at No. 37 on Adult Alternative Airplay (up 20% in plays Aug. 18-24). Duendita, aka Candace Camacho, has released one solo LP so far: 2019’s Direct Line to My Creator. In an interview with Pitchfork that year, she said that the project was her college senior thesis for New York University’s Clive Davis Institute of Recorded Music.
The rapper reaches Billboard’s charts for the first time with her song “Yeah Yeah” featuring Lola Brooke. Released June 23 on Quiet Giants Ent./Zone 4, the track debuts at No. 39 on Mainstream R&B/Hip-Hop Airplay (up 18% in plays). The song has been boosted by sped-up and slowed-down versions. Juiicy 2xs, from Cincinnati, has released two solo LPs: Hate. Sex. Love in 2020, and Juiice in 2022.
The Italian band from Milan notches its first Billboard chart appearance thanks to its song “ITALODISCO.” The cut, released May 5 on Warner Music Italy, debuts at No. 181 on the Global Excl. U.S. chart with 9.3 million streams outside the U.S. Aug. 18-24. It also spends an eighth week at No. 1 on the Billboard Italy Hot 100. The group has forged a successful career in Italy, having charted three albums on the Italy Albums chart, including the 12-week No. 1 Out in 2015. The Kolors have released two additional studio albums: I Want (2014) and You (2017). The group comprises Stash Fiordispino (vocals, guitar, synths), his cousin Alex Fiordispino (drums, percussion) and Dario Iaculli (bass, synths)
The Nashville-based artist notches his first Billboard chart entry with his viral hit “The Show Goes On.” The song, which he self-released Aug. 18, debuts at No. 39 on the Digital Song Sales chart with 2,000 downloads sold in its opening week. He also starts at No. 49 on Emerging Artists. Goyette boasts more than 75,000 followers on TikTok and had been teasing the song through snippets leading up to its release.
The rapper logs his first chart appearance thanks to “Money” featuring Finesse2Tymes. The song, released July 7 via Block/Stoner Road Music Empire, opens at No. 40 on Mainstream R&B/Hip-Hop Airplay (up 8% in plays). J. Lock, based in Atlanta, has released four additional songs so far: “Graduation Freestyle” in 2021, “On Deck” with Madmarcc, “Vengeance” (both 2022) and “Selfish” with RL (this February).
The Tennessee-based bluegrass troupe arrives on Billboard’s charts for the first time with its new 11-track sophomore album, Last Chance To Win. The set, released Aug. 18 on Mountain Fever Records, debuts at No. 4 on the Bluegrass Albums chart. The group dropped its first album, East Nash Grass, in 2021. The band is comprised of Maddie Denton (fiddle), James Kee (guitar), Gaven Largent (Dobro), Jeff Picker (bass) and Cory Walker (banjo). East Nash Grass performs at bluegrass night (on Mondays) at Dee’s Country Cocktail Lounge in East Nashville.
The Punjabi rapper based in Brampton, Canada reaches Billboard’s charts with “Cheques.” The song, released in May on his debut seven-track album Still Rollin, enters at No. 197 on the Global Excl. U.S. chart (18.2 million streams, up 34%, outside the U.S. Aug. 18-24). It also rises to No. 3 on the India Songs chart.
The six-member South Korean VTuber (“virtual YouTuber”) group lands on Billboard’s charts for the first time with its song “Kidding.” The track, released Aug. 19, debuts at No. 167 on the Global Excl. U.S. chart (7 million streams outside the U.S.) ISEGYE IDOL is a project owned by Korean Twitch streamer Woowakgood. The group is comprised of members Gosegu, Ine, Jinburger, Jururu, Lilpa and Viichan.
Gospel music star Kirk Franklin lands his 10th leader on Billboard’s Gospel Airplay chart as “All Things” ascends to No. 1 on the survey dated Sept. 2. In the Aug. 18-24 tracking week, the song increased by 7% in plays, according to Luminate.
With the coronation, Franklin ties Tamela Mann for the most Gospel Airplay No. 1s, dating to the chart’s 2005 launch. James Fortune & FIYA follow with eight leaders.
“All Things,” which Franklin penned and produced solo, is the lead single from his album Father’s Day, due Oct. 6.
“‘All Things’ being the first single off my upcoming album is very special to me,” Franklin tells Billboard. “I’m so glad it resonated with the listeners and made it to the top of the Billboard Gospel Airplay chart. This [is my] 10th No. 1, but this one really hits different. Once the full album drops, you’ll see why. Let’s go!”
For Franklin, “All Things” follows “Bless Me,” a collaboration with Maverick City Music that reached No. 26 on Gospel Airplay in March. Before that, “Kingdom” with Maverick City Music and featuring Naomi Raine and Chandler Moore ruled for three frames beginning last October. He most recently reigned solo with “Strong God” for two weeks in December 2020.
Franklin first topped Gospel Airplay with his third chart entry, “Looking for You,” for 18 weeks beginning in November 2005.
The singer-songwriter will embark on The Reunion Tour alongside The Clark Sisters, Israel Houghton, David and Tamela Mann and Tye Tribbett, beginning Oct. 1 in Boston. The trek is set to run through Nov. 24 in Fort Worth, Texas.
Billie Eilish has become the 20th artist to receive a BRIT Billion Award from the BPI. The award is presented to those who have surpassed one billion career U.K. streams as calculated by the Official Charts Company. Eilish’s Grammy-winning smash “Bad Guy” has more than 300 million U.K. streams, with six other Eilish tracks topping 100 million U.K. streams.
Eilish lands her second No. 1 hit on the Official U.K. Singles Chart this week with “What Was I Made For?” from Barbie: The Album. Her first U.K. No. 1 was also a film song, “No Time to Die” from the movie of the same name. Eilish has likewise had two No. 1 albums on the Official U.K. Albums Chart. She was just 17 when she topped that chart for the first time with her debut, When We All Fall Asleep, Where Do We Go?, which made her the youngest female artist to top that chart.
Eilish won BRIT Awards in three consecutive years. She was voted international female solo artist (2020, 2021) and international artist of the year (2022). Eilish, 21, continues to set “youngest” records. Just last week, she became the youngest artist to top the bills at Reading and Leeds festivals.
The first wave of 13 artists to receive the BRIT Billion award, which launched on May 4, consisted of global icons ABBA, Coldplay, Mariah Carey and Whitney Houston; pioneering rap and hip-hop artists AJ Tracey and Headie One; and chart-conquering pop artists and singer-songwriters Anne-Marie, Ellie Goulding, George Ezra, Lewis Capaldi, RAYE, Rita Ora and Sam Smith.
Recent recipients include Olivia Rodrigo (who at 20 is the youngest recipient to date), Lana Del Rey, Queen, Wizkid, Becky Hill and James Arthur.
The award reflects the extent to which streaming has transformed the music landscape over the past decade. More than 85% of the U.K.’s recorded music consumption now takes place through streaming. In 2022, there were a record 160 billion audio streams in the U.K.
2023 has been a packed year for the boys of ATEEZ. The K-pop group — which consists of members Hong Joong, Seong Hwa, Yun Ho, Yeo Sang, San, Min Gi, Woo Young and Jong Ho — recently went No. 1 on Billboard‘s Top Album Sales chart with its Outlaw EP, hit up this year’s KCON LA for a headlining performance and are about to embark on a series of tour dates in Latin America. In between the group’s stacked schedule, the K-pop stars stopped by Billboard News to discuss their latest career highlights.
Host Tetris Kelly kicked off the interview congratulating the group for the Outlaw EP’s success (the set also peaked at No. 2 on the Billboard 200), and asked the members their thoughts on why it had such positive reception.
“I think this era is a whole different ATEEZ, so that why many ATINY [the group’s fan name] and many audience wanna get some new piece of our album,” Hong Joon mused. “After we got a high number on the chart, we had pressure also, but we try to enjoy these days. We try to have a good mindset to make new songs. After debut, we try to put something deeper into it, like a new genre of music.”
K-pop has become one of the most popular genres of music in the last few years, and as a result, ATEEZ’s rise comes at the right time. Min Gi reflected on this shift and noted “there’s a growing change as K-pop is becoming more widely accepted by the general public despite the language differences.”
The shift has also led to the expansion of ATINY. The group recently mobilized across the world to perform flash mobs of the group’s single “Bouncy” in public spaces, with many of the videos going viral across social media.
“I think the only people that can really capture the ATEEZ energy are our ATINY, so seeing them follow along with our dance was really fascinating,” Yun Ho said of the dance videos. “It made me want to set more cool choreographies that we can do together in the future.”
Up next for the group is the continuation of its The Fellowship: Break The Wall tour. The trek continues on Aug. 30 with a stop in Santiago, Chile, and will visit Bogota, Singapore and Manila next month.
Watch ATEEZ’s Billboard News interview above.
Karol G’s “Qlona,” her first collaboration with Peso Pluma, conquers Billboard’s Hot Latin Songs chart as the song ascends 2-1 and ousts her own “Mi Ex Tenía Razón” from the lead, sending it to No. 2 on the Sept. 2-dated list. Both songs are part of her No. 1 album Mañana Será Bonito (Bichota Season).
“Qlona” leads the multimetric ranking powered by streaming activity. During the tracking week ending Aug. 24, it logged 12.6 million on-demand official streams in the U.S., a 7% rise from the previous week, according to Luminate. The sum yields the song to No. 1 on Latin Streaming Songs as the Greatest Gainer of the week and an 18-16 lift on the overall Streaming Songs chart; the only song by a Latin artist in the top 20 there.
With “Qlona,” Karol G captures her eighth No. 1 on Hot Latin Songs. She first led with “Dame Tu Cosita” with Pitbull and El Chombo, featuring Cutty Ranks, for two weeks in 2018. Her second and longest coronation to date arrived a year later as “China” — with Anuel AA, Daddy Yankee, Ozuna and J Balvin — crowned the list for 12 weeks in 2019.
Peso Pluma, meanwhile, secures his second champ after the 19-week ruler “Ella Baila Sola” with Eslabon Armado, the longest leading song on Hot Latin Songs in 2023 thus far.
As “Qlona” exchanges places with “Mi Ex Tenía Razón,” Karol G replaces herself at No. 1 again. She is the last woman with direct successors at the summit, as “Mamiii” with Becky G ceded the throne to her own “Provenza” on the May 14, 2022-dated chart. Among all acts, Bad Bunny did it last, when “Me Porto Bonito” ejected his own “Titi Me Preguntó” from the lead (list dated May 28, 2022).
“Qlona” is the second ruler from Karol G’s Bichota Season to lead Hot Latin Songs. Thanks to nine new debuts from the set on last’s week chart (Aug. 22 dated chart), the Colombian made history, breaking the record for the most songs among female artists on the list’s history, which dates to 1986.
Elsewhere, “Qlona” rallies 29-12 on Billboard Global 200 and flies 55-15 on Global Excl. U.S., to new peaks on both rankings.
This story provided by Ben Gilbert of OzarksFirst.com-
A student-athlete who transferred from Kickapoo High School to Glendale is suing Springfield Public Schools and the Missouri State High School Activities Association. The lawsuit follows a MSHSAA ruling that senior quarterback Kylan Mabins is not eligible to play this season.
According to court documents, Mabins is asking for an injunction that would allow him to play football in this, his senior year.
“It affects his future because, like all student-athletes who participate in their specific sport, their participation in that sport, especially during their senior year, affects their ability to obtain scholarships,” said Jay Kirksey, Mabins’ attorney. “And the ultimate goal of all student-athletes is not playing the sport, it’s to receive an education to better themselves as individuals.”
The crux of the issue is Mabins’ reason for transferring. MSHSAA ruled that Mabins transferred for athletic reasons and because of undue influence from a Glendale coach, whose name is redacted from available court documents. Mabins, meanwhile, claims in the lawsuit that he transferred because of racism and homophobic statements he experienced at Kickapoo. Mabins’ lawyers say he transferred because of a “hardship” at Kickapoo and thus should be eligible to play this season at Glendale.
“He moved and transferred schools because of a hardship, and one of those hardships was an atmosphere that was hostile to him based on race and, and other African American students within the Kickapoo athletic administration,” said Kirksey. “The lawsuit is about MSHSAA making an arbitrary and capricious decision that was absolutely unsupported by the facts and information made available to MSHSAA.”
The lawsuit alleges that Mabins experienced “repeated acts of racial micro-aggressions, acts of racial discrimination, the creation of a hostile environment to African Americans as a race, homophobic statements and other misconduct by the coaches at that were detrimental and harmful to Mabins, and other similarly situated student-athletes at Kickapoo.” Specific examples are not provided.
The lawsuit states that SPS didn’t properly investigate the allegations of racism and provided inaccurate information to a MSHSAA committee that investigated Mabins’ transfer.
“There are numerous student-athletes in the state of Missouri, and you would hope and expect that MSHSAA and their respective school districts would care about the truth,” Kirksey said.
Springfield Public Schools said in a statement it denies the allegations made in the lawsuit and stands by how its employees handled the situation:
“SPS is steadfast in our dispute of the allegations contained within the petition. SPS affirms the actions taken by the Missouri State High School Activities Association. We remain confident that our staff and representatives conducted themselves appropriately in this matter. In all circumstances, we focus on following MSHSAA guidelines in order to provide student athletes and teams with every opportunity to compete at the highest levels in the regular and postseason. Certainly, that commitment has guided every action taken in this situation.”
-SPRINGFIELD PUBLIC SCHOOLS
The lawsuit acknowledges Mabins had a relationship with a Glendale coach going back several years, but Mabins claims that was not the reason for his transfer.
Glendale made a coaching change two weeks before the start of the season, replacing Mike Mauk with Joel Heman. Mabins’ lawsuit does not mention whether his transfer situation had anything to do with the coaching change.
A hearing on the lawsuit is scheduled for Wednesday, Aug. 30 at 2:30 p.m. at the Greene County courthouse.
Got spandex? Tick. Got pyrotechnics? Tick. Got your vote? Wait and see.
Steel Panther isn’t the type of group to simply perform on a stage. When they appeared live on America’s Got Talent on Tuesday night (Aug. 29), they rocked it.
Led by Ralph “Michael Starr” Saenz, the throwback heavy metal band from Hollywood, CA isn’t everyone’s favorite flavor, but here they are, crashing the live qualifiers alongside dance troupes, magicians, comedians, acrobats, singers and more.
For their latest performance, the four-piece blasted “Death to All But Metal” from 2009’s Feel the Steel — and admittedly tweaked some of its provocative lyrics.
Formed in 2000, the band has landed six titles on the Billboard 200 chart, and they’re using their run on AGT to drum-up excitement for their sixth and most recent full-length album On the Prowl, which hit No. 1 on Billboard’s Comedy Albums chart in March of this year.
The big hair, the heavy makeup, the loud everything, it was a hit with the AGT audience – and the judges.
“Look at this room — everyone on their feet, everyone screaming,” Heidi Klum told the band afterwards. “I love how you rocked the stage,” she added, “you sound amazing, especially the high note. Everyone was on it. Well done.”
Sofia Vergara remarked, “I’m super excited for you guys. I think America is going to love you”.
Simon Cowell pulled out his old familiar tune: “I didn’t like it, I loved it.” He then took a more serious tone, remarking, “you take yourselves seriously because you’ve done this for a long time and it shows, and you don’t take yourselves seriously which is what I like (about you).” The Brit continued, “I know we’re early on in the season, this has been my favorite live show act so far.”
Steel Panther was the 10th performer on the night. Only two can progress. It’s a tough equation to crack. Howie Mandel is a fan. “In my books, you guys are top 10.”
Watch below.
Harold Childs, who broke through industry barriers in the ‘70s as a Black man overseeing pop music promotion at A&M Records, died of leukemia in Los Angeles on Sunday, Aug. 27. He was 80 years old. Childs’ death follows that of A&M co-founder Jerry Moss, who died Aug. 16.
Known for his innate business savvy, vibrant personality and dapper style, Childs spent more than 50 years in a music career that included tenures with RCA Victor, Qwest Records and Warner Bros. Records.
“He was a consummate ‘Record Man,’” Direct Management co-founder Martin Kirkup tells Billboard of Childs, a longtime friend and fellow A&M alumnus. “I was vp of artist development from 1975-85 and worked with Harold for most of that decade. He was passionate about the wide range of music that A&M embraced, with great instincts for the tactics and strategy of breaking records. But what really made him special was his personal warmth, good humor and his endless interest in other people. That’s why people were so devoted to him.”
Ray Harris, founder and chairman emeritus of the Living Legends Foundation, worked with Childs at Warner Bros. where the former served as the label’s senior vp of Black music promotion. Sharing his memories of Childs with Billboard, Harris says, “They say your name and reputation will reach a stranger’s door before you do. It was such with Harold Childs. When I entered the music business in the ‘70s, Harold was one of the people I would constantly hear about. He worked at one of the hottest independent labels [A&M] as vp of promotion in charge of the pop department as well as other genres of music.
“That was unique,” adds Harris, “because Harold was an African American male navigating through a pop world normally carved out for our white counterparts. There was very few African Americans moving in that world during that period. Childs not only moved in it, he was a dominant part of that company’s success. I got to know Harold and found him to be classy, fashion-forward, professional and a nice guy. Sleep well my friend, you’ve made your mark.”
Born May 8, 1943 in Philadelphia, Childs was a student at the city’s Dobbins High School when he began working in the stock room at Marnel Record Distributors. He later segued to RCA Victor as regional promotion manager where he worked with artists such as Peter Nero and Henry Mancini. Then in 1969 he joined A&M as national sales and promotion director for its CTI (Creed Taylor International) imprint, based in New York.
Relocating to Los Angeles in 1971, Childs retained his same role for A&M solely after CTI became independent. During his subsequent appointments as vp of promotion in 1974 and senior vp of promotion and sales in 1978, Childs played an integral role in A&M’s evolution as one of the industry’s leading independent labels in the ‘70s and ‘80s. He and his team broke projects from the Carpenters, Cat Stevens, Captain & Tennille, Peter Frampton, Supertramp, the Brothers Johnson, Styx, Joe Jackson, the Police, the Human League and George Harrison’s A&M-distributed Dark Horse label.
Leaving A&M in 1984, Childs joined PolyGram as senior vp and then served as president of Quincy Jones’ Qwest Records at the latter’s request. During a later stint at Warner Bros. Records, Childs headed the label’s jazz promotion department, working with a roster that included Al Jarreau, David Sanborn and George Benson, who began his career at CTI.
Ed Eckstein, former president of Mercury Records, described being mentored by Childs as “a godsend and a blessing to say the least. I got to see firsthand — during my years working with Quincy Jones — [Childs’] unique field general, fearless-leader style of leadership; the level of respect he received from his troops and associates, coupled with the results he accrued, was awe inspiring. Harold was smart, incisive, sharp, demanding, funny, fair and the Essence of Sartorial Splendor at all times.”
Childs’ resumé includes serving as senior consultant for Soundboard Marketing. The Los Angeles-based company has collaborated with brands such as Paul Mitchell Salons as well as Timothy B. Schmidt of the Eagles, Ray Parker Jr. and producer Patrick Leonard. Childs was also a consultant for Japanese-based Alpha Records, working as its U.S. liaison in a sales and promotion capacity. The Living Legends Foundation presented Childs with its Lifetime Achievement Award in 2000.
Donations in memory of Harold Childs may be made to The United Negro College Fund.
Till Lindemann, frontman of incendiary German metal act Rammstein, is a free man after the Berlin public prosecutor’s office dropped its sexual assault investigation, citing a lack of evidence.
The probe was initiated in June, when several women came forward with claims they were plied with substances at pre- or after-show parties, and recruited to engage in sexual activity.
One of those accusers, Shelby Lynn, from Northern Ireland, told the BBC she was recruited and “groomed” for sex with the singer after a May concert in Vilnius, Lithuania. Lynn claimed her drink was spiked at the show, but says she wasn’t sexually assaulted.
Lindemann always denied the allegations, and lawyers for the 60-year-old singer called them “without exception untrue”.
Now, Lindemann has been cleared on suspicion of committing sexual offenses and violations of German’s Narcotics Act.
“The statements made by witnesses in the press reports have not been confirmed by the investigations,” reads a press release issued Tuesday (Aug. 29) by the public prosecutor’s office.
Afterwards, Lindemann posted a brief message to his social channels, reading: “I thank all those who have waited impartially for the end of the investigation.”
When the allegations emerged earlier this month, the band members issued a statement to say they took them “extremely seriously” and condemn all forms of abuse, adding that fans should feel safe “in front and behind the stage” at shows. Also, the rockers asked that they “not be pre-judged.”
Politicians weighed in. German Families Minister Lisa Paus called for an “alliance against sexism” and safety from abusive behavior, telling the AFP news agency, “young people in particular need to be better protected from attacks here.”
Formed in 1994, Rammstein has consistently been one of Germany’s most popular — and controversial — rock music exports.
The band’s explosive concerts have landed them on festival headline slots around the world, and, at times, put them at loggerheads with health and safety. A planned 2001 concert at former London venue Astoria was scrapped “due to significant restrictions to their stageshow and pyrotechnics” — in other words, authorities were worried the inner-city venue would light up.
The group has also courted controversy with its lyrical content and music videos, which have included a hardcore pornographic promo for the 2009 single “Pussy”, and the clip for 2019’s “Deutschland” which was blasted as tasteless and unacceptable by Jewish organizations for its depiction of band members as concentration camp inmates.
Their success as a touring juggernaut and record-seller is in no doubt. In 2019, Rammstein’s untitled seventh studio LP debuted at No. 1 on the album charts in 14 countries, according to Universal Music.