For years, musicians pretty much had just one artistic outlet for dissing their enemies: through song. That would all change for good circa 1981, however, when the modern music video was born — bringing with it a whole new way for singers and rappers to creatively dunk on their haters, exes, backstabbers, copycats and everyone else in between.
One of the best things about the format is that you can be as subtle or as obvious as you want. On one side of the spectrum, for instance, there’s the Taylor Swift method of hiding cryptic Easter eggs seemingly directed at her nemeses (see: “The Man,” “Look What You Made Me Do,” etc.). But on the other hand, there’s just full-blown pettiness, achieved through nail-on-the-head creative choices such as, say, casting people that you know are going to get a reaction out of someone special (or not so special).
It’s on the latter side of the spectrum where the artists on this list — Katy Perry, Nicki Minaj, Drake, Justin Timberlake, Usher and more — like to dabble. These artists know no fear when it comes to assembling music video casts that are sure to send fans and social media into a tailspin, whether it’s through recruiting an enemy’s enemy or an adversary’s doppelgänger for four-ish minutes of onscreen shade set to music.
Without further ado, here are eight times artists used casting choices to take digs at someone else through their music videos. Bring along a flashlight, though — it’s about to get shady.
Several years ago, Dierks Bentley was taken aback when one of his team members told him his concerts made him the center point in a big party.
He has plenty of fun stuff to draw from in building set lists — “5-1-5-0,” “Somewhere on a Beach,” “Drunk on a Plane” and “What Was I Thinkin’,” for starters — but he’d always thought of himself as a serious musician with something to say. That conversation was one of those moments when the push and pull of his introspective private self and cheerleading public role crystallized, and it’s a dual purpose he continues to balance.
“We’re all looking for the raw emotions, the connection with the singer, the connection with fellow fans, and so that mode’s very real,” he says of his onstage identity. “But off the stage, that’s just not who I am. I’d rather be up on a mountain by myself, just alone. I really do appreciate being alone, or with my wife or my family, but just having real conversations and watching sunsets and sunrises and just looking for those moments that really make you feel like you’re connected to something deeper.”
With his latest single, Bentley found “Something Real” in the mountains of Telluride, Colo., when he hosted a songwriting camp circa 2018 with four fellow writers: HARDY, Ashley Gorley (“Last Night,” “Girl in Mine”), Luke Dick (“Burning Man,” “Settling Down”) and Ross Copperman (“Dancin’ in the Country,” “Gold”). It was early winter, and Bentley engaged in some real-life pursuits during that four-day retreat, including hikes and a trip to a ski slope with Dick, who admits he was challenged.
“What good is being in Telluride if you’re inside the four walls?” Dick asks rhetorically. “I hadn’t been skiing in forever, and he put me in past my comfort zone, which is funny, because he’s pretty much a local up there now. He’s not going to ski with the novices, or even the intermediates. He’s off doing the crazy stuff.”
In the less-dangerous arena, Bentley woke up at his home one morning and worked up a few ideas over French roast coffee. He hopped over to the house where the other writers were staying, with a now-forgotten title built around the word “real.” Whatever that title was, it reconstructed as “Something Real,” and they used it to explore the dichotomies in Bentley’s existence — aiming to do it in a way that could be felt by the audience.
With five A-list writers participating, the process involved some chaos. Copperman and Dick tended to focus more on the music, Gorley and HARDY — who snapped out the chorus’ opening image, “I need a little backbone in my backbeat” — keyed in on the lyrics, though all of them jumped around a bit to different aspects of the song and to different stanzas.
The opening verse found arena-headliner Bentley longing for an easier, less-cluttered lifestyle, which is part of the attraction in Telluride.
“I love living somewhere small, you know, with no stoplights,” he says. “There’s so much accountability living in a small town because you see these people two, three times a day. You can’t be a jerk, you can’t not respond to a text message because you’re going to literally see them at the post office. You have to be responsive, you have to be kind; you have real conversations.”
In one of the most revealing sections, he cited one of the hurdles of commercial music, lamenting that he “can’t really pour my heart out on the FM radio,” adding that deeper songs “won’t fill up the coliseum on the edge of Tupelo,” a line that — once again — was shaped by Mississippi-born HARDY.
Bentley wasn’t complaining in that moment, but actively seeking to be challenged: “Give me something that’ll burn I can turn into something I can feel.” The challenge was to dig deep in life, but also to dig deep in a song and still make something commercial.
“[Songwriter] Tom Douglas said something about songs that make you remember and songs that make you forget,” Dick recalls. “Most of the songs that are hits are songs that make you forget. What is it making you forget? The idea that loneliness exists at all, and it’s rare that a song that is making you remember that loneliness exists and that it’s OK to be in it.”
Dick and Copperman built the demo, which featured HARDY’s voice. Bentley tried to record “Something Real” three different times — the last at Addiction Studios in Berry Hill, Tenn. — before he found what he was looking for, a performance with a distinct U2 vibe, thanks to searing electric guitar work from Jedd Hughes and more intricate notes enhanced by a delay pedal. The track stacks five guitarists total, including Dan Dugmore, better known as a steel guitarist.
“One of my favorite things to do with Dan when we’re in the studio is to ask him to play electric,” says producer-engineer F. Reid Shippen (Toby Keith, Ingrid Michaelson). “He’s fantastic at it. He plays rock electric like a super-enthusiastic 14-year-old who just doesn’t make mistakes.”
Shippen also took some of Danny Rader’s off-the-cuff banjo noodling and fit it into the mix to provide some country texture amid the U2 sonics.
Late in the game, Jon Randall (Parker McCollum, Miranda Lambert) became the track’s fourth producer, along with Bentley and Copperman. He was called in, he says, to “sprinkle the Americana, or the hippie-trippy stuff, or the ear candy.” Randall focused primarily on the bridge, where the song’s deepest message — “I’m just looking for some truth” — provides its apex.
“More than anything, I think I really just came up with some ideas to build that bridge, so the bridge would be really, really huge and hit hard,” Randall says. “There’s some guitars, percussion things, building to this moment.”
At that “truth” climax, the whole thing breaks down with Bentley and HARDY — who came back in to add harmonies — delivering the message with clarity. “I think that really took it over the top,” Shippen says.
Capitol Nashville released “Something Real” to country radio through PlayMPE on June 12 as the second single from Gravel & Gold, providing deceptively thoughtful perspective in an intensely commercial sonic framework. It’s not unprecedented in Bentley’s career: He has enhanced his reputation with such from-the-soul titles as “Home,” “I Hold On” and “Come a Little Closer.”
“I found when I put songs out that are really personal, there’s a deeper connection because we’re all the same,” Bentley says. “We’re all going through the same struggles, and I feel like the song will connect in that way. It’s going to be a little slower rise to get there. I’ve had other songs that might have been quicker out of the gate, but I feel like this one will have a really important impact on people that listen to it and move them in a deeper way.”
Seven children are recovering from injuries following a car crash involving a bus in Lebanon.
Investigators say the crash happened at the intersection of Pierce and Jackson Tuesday morning, when a PT Cruiser driven by a 16-year-old student ran a red light.
The car crashed into the bus at the intersection. Seven of the 39 students on the bus were evaluated for minor injuries, and then released to their parents.
There were no serious injuries reported. The Lebanon Police Department says the investigation is ongoing.
NMIXX traveled stateside once more to perform at this year’s KCON LA, which took place at Crypto.com Arena in Los Angeles on Aug. 18-20. Backstage at the festivities, the girl group — which consists of members Lily, Haewon, Sullyoon, Bae, Jiwoo and Kyujin — caught up with Billboard News to talk about the event, as well as a recent viral incident during which a fan placed a baby onstage during their Seattle showcase concert.
“It looked so dangerous, so I gave the baby back to its mom,” Kyujin recalled of the May incident. Lily elaborated and said that the girls “never had that happen before. It was quite surprising, so we were kinda just likem ‘What should we do?’ But I think Kyujin handled it well.”
NMIXX’s KCON appearance marked their second time performing at the event. “Originally, we went to KCON for the first time last year, and also recently we went to L.A. for our showcase tour and so this is our third time in L.A.,” Lily said on behalf of Jiwoo, who spoke in Korean. “She said that she’s very happy.”
Billboard‘s Tetris Kelly noted how unique it is that NMIXX sings in their filmed dance practices. While it isn’t commonplace, Lily stated there’s a reason for that. “On stage, we’re always with our mics, we always sing live, so I think it’s important for us to also sing offstage just even if we’re practicing dance to do the vocals as well. That way, we can actually do better on stage,” she explained.
As for what’s next for NMIXX, the girls feel the only way they can go is up. “I can feel we’re growing, so I’m looking forward to our future!” Kyujin said.
Watch Billboard‘s full interview with NMIXX in the video above.
The inspiration for “Johnny Dang” came to That Mexican OT (Outta Texas) in an unexpectedly casual manner — while listening to Slick Rick’s flow in “Children’s Story,” the hip-hop legend’s 1989 top 5 hit on the Hot R&B/Hip-Hop Songs chart. For the cowboy hat-donning Texas rapper, creative outbursts arrive with no notice. “Louis Vuitton umbrella when I walk through the rain,” he raps with a familiar lilt while on the phone with Billboard.
“Johnny Dang” is also an ode to the highly sought after Texas jeweler of the same name who appears in the music video. Johnny Dang is arguably hip-hop’s go-to jeweler, designing extravagant chains and grills for artists like Beyoncé, Migos, Nicki Minaj, Travis Scott, Ye and many more.
Another surreal experience for the Bay City, Texas rapper came through enlisting Houston hip-hop legend Paul Wall and rap newcomer DRODi, who is OT’s close friend. “It was cool, it really was. But it’s mostly crazy,” OT says about pulling Wall to the track. “It’s cool to bring it back [home] because my uncles grew up jamming [to his music], you know?… And DRODi is one of my best friends. It’s beautiful watching him grow.”
The results have paid off. The rustic single with a slow-burning trap beat is quickly climbing the Billboard charts, making it That Mexican OT (real name Virgil René Gazca) and DRODI’s first time on the Hot 100. The song — which was released May 26 via Manifest/GoodTalk/Good Money Global — debuted at No. 97 and reached a new high at No. 65 on the Hot 100 dated Sep. 1. It currently boasts 20 million YouTube views, and over 36 million Spotify streams.
He is effortlessly putting Tejano (a Mexican person from Texas) rap on the map by creating a style that’s captivating and truly authentic. Billboard caught up with the artist to talk about making the Hot 100, how lucha libre culture inspired his latest album Lonestar Luchador and why he’s a proud “country boy before anything.”
What went through your head when you found out that you made the Hot 100.
Nothing. I don’t really focus on that. I feel that when I focus on my accomplishments, I get big-headed, and I don’t ever want to have to humble myself, nor do I want to ever get comfortable. I stay in total vision to my music. When they hit Billboard, it’s like, all right, cool. But No. [65] is not good enough. I want to be at No. 1.
How did “Johnny Dang” come together? Talk to me about the inspiration.
We were at my apartment, and I was knocking a beat. I didn’t know that they was recording me. [Producer TobiAli] played the “Johnny Dang” beat [and] I was like, “Bet, I need that one. I don’t even need you to show me no more. I only want that one.” He sent it [and] I thought of a word. You know Slick Rick? You know that tun nun nun nun nu nu nu nu nu nu... It’s also from Inspector Gadget, and the “Children’s Story” [song]: “Once upon a time not long ago…” That flow right there, that’s all Slick Rick’s flow. That was the whole inspiration for that [lyric], “Louis Vuitton umbrella when I walk through the rain…” I got the inspiration from Slick Rick.
You have Paul Wall and DRODi on the tracks. How was it working with a Houston rap legend like Paul Wall?
It’s cool to show off in front of my people about it. It really was an accomplishment for me. I’m very grateful for it, and I’m excited about it. I see bigger things for me; I want to do better. That’s all it is. DRODi is one of my best friends, so it’s always beautiful having him in my music.
You got Johnny Dang in the video. What was it like having him there? Did he design your grills?
No, he actually didn’t design my grill. I already had my grill. I had diamonds when I was just plain old Virgil. It was cool watching him be in the video. You could tell he’ll do a good job of making you feel loved and wanted, but you could tell it was strictly about business.
You fuse your Mexican heritage with Texas rap culture. The tattoos, the grill, but also the cowboy hat and boots. Tell me about your style.
I’m a country boy before anything. English was my first [language]. I’m a Texan before anything. I definitely have my Mexican culture — I love my Mexican culture — but I’m a country boy. I’m a Texas Mexican. There’s no Mexican like a Tejano.
What would you like an outsider that is not from Texas to know about Texas? What is one of the things that you have the most pride in showcasing about Texas?
Just our whole culture, our steelo, our swagger, the cars we drive, how we talk, the things that we choose to do. You know what I’m saying? Everything about Texas is beautiful.
You draw a lot of inspiration from the luchador culture in your album, Lonestar Luchador. How did the luchador become the star in your album?
It just made sense. I don’t put much thinking into it. God put it in my head without me even knowing, and it just came out naturally.
Did you grow up watching a lot of lucha libre?
Yeah, of course. I watched a lot of WWE. I watched lucha libre for sure. [When I went with] my nanny and my tío in the [Mexican] border towns of Matamoros and Nuevo Laredo, where people pass and all that, every time, I had to go get new masks [from the store stands of the border crossing point] and bring them back over here [to the U.S.]. I was surrounded by it, fasho.
Tell me what else you have underway.
I’m continuing to work on this project. Now that I dropped [Lonestar Luchador], every single song on it has a video to it, so I’m going to be continuing to drop videos for the project. And while I’m doing that, I got a tour coming up. My first show on tour is going to be on September 5th and I’m opening up in Denver — Denver always goes crazy for me. I’m touring my music, really, that’s all I can say. I can’t tell you too much. I wouldn’t want to ruin the surprises.
OT, thanks for taking the time to have this chat.
People like you are making my dreams come true. I love this. I don’t know what else I’d be doing. I got zero patience. I got a horrible temper. I already don’t like dealing with people, so this music had to wait for me. I had no choice [and] I thank God. That’s why I go so hard.
Created by professor Mo Ivory, “the class provides law students with the unique opportunity to gain hands-on legal experience in the practice area of entertainment law by studying the career, contracts and legal transactions of Rick Ross,” according to the press release.
“As a lover of rap music, hip-hop culture, and in celebration of the 50th Anniversary of hip-hop, I could not think of a better time to study the career of a visionary like Rick Ross,” Ivory relays to Billboard. “When I began my research on Ross, I realized early on that my students would learn about a businessman who turned his love of music into an empire that includes massive real estate holdings, food and beverage franchises, investments in the car and bike industry, literary works and corporate equity ownership.”
“The biggest meets the classroom,” Ross tells Billboard. “I’ve always been a student of the game, and I look forward to being able to teach the next generation how to keep hustlin’.”
Students will dive deep into the contracts that built Ross’ business wins, and will receive insight from the lawyers who negotiated them. During the course, they will also gain knowledge in drafting, interpreting and negotiating deals, emphasizing client representation, risk and crisis management.
“Legal Life Of…” was created in 2019 at Georgia State Law. Past subjects for the course have included the legal life of Ludacris, Kandi Burruss and Steve Harvey.
Kelly Rowland couldn’t be happier that Blue Ivy Carter is growing up to be an independent woman, just like her mom. In a recent interview, the Destiny’s Child member gushed over Beyoncé‘s oldest daughter, praising the 11-year-old for the work ethic she’s displayed while assisting her mom on the Renaissance World Tour.
“I’m very proud,” Rowland told E! News. “She works very freaking hard, period. But how could she not, you know? She sees her mother in action and she sees her father in action and how they apply everything, hard work to everything that they do.”
Blue Ivy first graced the Renaissance Tour stage in May, joining Bey and her fleet of dancers for a round of high-energy choreography in the middle of “My Power.” Ever since, the “Break My Soul” singer’s firstborn — whom she shares with husband Jay-Z, along with 6-year-old twins Rumi and Sir — has joined the show on and off throughout the tour’s six-month run, which is expected to wrap in early October.
Rowland got to see her former bandmate in action in June, when she caught a Renaissance show in London. While performing “Break My Soul,” Bey gave an extra special shoutout to her longtime friend from the stage.
The “Motivation” singer has been in Blue Ivy’s life since before she was even born; in fact, it was Rowland who accidentally revealed to the world that Bey and Jay were expecting a baby girl back in 2011, a moment she recently reflected on as “the worst [interview] moment ever.”
“It was bad because it was no one’s business,” she recalled in July of spoiling it for the couple. “I felt terrible because it’s not my news. It was honestly the worst. It wasn’t my news to share, and I didn’t mean it like that. The ‘she’ just kind of slipped out.”
Garth Brooks, who launched his own Sevens Radio Network through streaming platform TuneIn in June, announced the second station under his umbrella today: Tailgate Radio, which will blend music and sports.
Hosted by sports commentator and producer Maria Taylor, Tailgate Radio’s launch is timed to the start of the 2023 college football season. While the station will not air the games — TuneIn provides access to live play-by-play from more than 100 Division 1 colleges and universities on other channels — Tailgate Radio will provide pre- and post-game entertainment for sports fans.
“This is one of those ideas someone says, ‘Why didn’t we do this a long time ago?’” Brooks said in a statement. “This combines everyone’s passion for sports and music. It also allows you to enjoy your tailgate, barbeque or poolside party without doing the work. There’s so much music on this channel, Tailgate Radio will be everyone’s favorite.”
Tailgate Radio, which will air 24/7, is kicking off with specific programming including Tailgate Top 20 with Maria, a weekly countdown hosted by Taylor that will highlight the 20 biggest songs across all genres from a specific year as well as tying them in with the biggest sports stories from that year. Elsewhere, Block Party will be a Saturday night four-hour mixshow featuring contemporary music from artists ranging from Luke Combs to Beyonce to Eminem. And Tailgate Takeover will feature celebrities, artists and athletes as guest hosts, allowing them to talk about the music and playlists that help them set their favorite vibe; Brooks will host the first edition.
Taylor and Brooks previously partnered on her middle school mentoring program for girls, PowHER, which linked with his foundation, Teammates for Kids. “Working closely with Garth and his foundation as we created the PowHER program has been nothing short of amazing,” Taylor said in a statement. “And now, we are embarking on Garth’s extraordinary vision to connect sports and music fans with Tailgate. It’s such an honor to be chosen by greatness to be a partner in the radio space.”
In June, Brooks bowed Sevens Radio with country music channel The Big 615. At the time, he noted that Sevens Radio would, appropriately enough, eventually offer a suite of seven stations. At the press conference for The Big 615, Brooks also stressed the appeal of TuneIn’s international aspect, saying the global reach was his “favorite thing” because it allowed the station to present undiluted country music: “If we go across the water, they ask you immediately to take the [pedal] steel and fiddles off your country music. Ain’t going to happen here.”
TuneIn claims more than 75 million monthly listeners across more than 100,000 stations. Its sports partners include the NFL International, MLB, NHL, NASCAR (Motor Racing Network & Performance Racing Network), Formula 1, IndyCar Radio, US Open, talkSPORT, ESPN Radio and college sports partners (Westwood One, Learfield, Playfly Sports, JMI Sports, Van Wagner and Clemson Athletic Properties).
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