Some songs possess the rare ability to define eras, celebrated for their infectious beats, experimental sounds, poignant lyrics, and enduring appeal, earning them the status of true classics. In partnership with Tres Generaciones Tequila, a brand that champions the journey and not just the destination, we continue our exploration to round up the top Get Up Anthems over this next year from six iconic cities: Houston, Atlanta, New York, Chicago, Los Angeles, and Miami. Guided by curated panels, we dive deep into each city’s vibrant sonic history, highlighting tracks that embody resilience, authenticity, and innovation while celebrating the power of music to inspire listeners to rise and chase their passions.

Miami’s music scene is a melting pot of cultures, defined by the pulsating rhythms of Latin music and the bass-heavy swagger of Southern hip-hop, creating a soundtrack for dreamers, partygoers, and innovators alike, blending genres in ways only this city can.

The Top 10 Get Up Anthems from Miami were crafted through a blend of editorial expertise, data-driven analytics, social impact, and personal sentiment to create a ranked list of songs that have inspired, captivated, and energized the Magic City. Spanning decades from 1979 to the present day, Miami’s playlist [click HERE to play] features tracks that represent the city’s rich cultural history and unique sound, hand-selected by local icons Trina and DJ Alex Sensation, Billboard editors Heran Mamo and Jessica Roiz, and moderated by Rocsi Diaz.

Did they get it right? Or were they off the mark?

Check out the Top 10 Get Up Anthems from Miami:

Tie at No. 10

10. “Get Low” – Flo Rida (2008)

Flo Rida’s “Get Low” (2008), produced by DJ Montay, is a dancefloor juggernaut that captures Miami’s high-energy nightlife. Its booming 808s and repetitive hooks make it impossible not to move. Peaking at #6 on the Billboard Hot 100, the track established Flo Rida as a staple of Miami’s club sound and a global hitmaker.

10. “Act Up” – City Girls (2019)

Produced by Earl on the Beat, “Act Up” (2019) is a sassy, bass-heavy anthem that put City Girls—and Miami’s new generation of female rappers—on the map. The track’s infectious beat and bold lyrics became a viral sensation, peaking at #26 on the Billboard Hot 100. Its success highlights Miami’s evolving hip-hop scene, where women are unapologetically taking center stage.

Tie at  No. 9

9. “Shake Whatcha Mama Gave Ya” – JT Money & Poison Clan (1992)

JT Money’s “Shake Whatcha Mama Gave Ya” (1992) is a Miami bass classic that exudes the city’s unapologetic party culture. Produced by Mike “Fresh” McCray, the track is a thumping celebration of twerking and Southern swagger. Its local success in Miami solidified Poison Clan’s place in the Miami hip-hop canon, where bass-heavy anthems dominated the club scene.

9. “Esa Morena” – DJ Laz (1998)

DJ Laz’s “Esa Morena” (1998) is a Miami freestyle and reggaeton fusion that became a club favorite across South Florida. With its infectious rhythm and bilingual appeal, the track reflects Miami’s multicultural identity. DJ Laz’s production combines freestyle’s melodic charm with reggaeton’s rhythmic punch, making it a timeless Miami anthem.

8. “Bailando” – Gente de Zona feat. Enrique Iglesias (2014)

Produced by Carlos Paucar, “Bailando” (2014) is a Latin pop juggernaut that brought Miami’s vibrant Latin scene to global audiences. The song, with its flamenco-inspired guitars, reggaeton beats, and infectious hook, topped the Billboard Hot Latin Songs chart for 41 weeks and peaked at #12 on the Hot 100. A collaboration between Cuban and Spanish artists, it reflects Miami’s role as a cultural melting pot and remains a celebration of the city’s dance-driven energy.

7. “Hustlin’” – Rick Ross (2006)

Rick Ross’ “Hustlin’” (2006), produced by The Runners, is a gritty ode to Miami’s hustle-and-grind mentality. The track’s hypnotic piano riff and booming bassline became instantly iconic, and its “Every day I’m hustlin’” hook is a cultural mantra. Peaking at #54 on the Billboard Hot 100, “Hustlin’” announced Ross as a major player in the rap game and painted Miami as a city of relentless ambition. Its impact on local culture and music is profound, with Ross becoming one of Miami’s most celebrated hip-hop figures.

6. “Culo” – Pitbull & Lil Jon (2004)

Pitbull’s breakout hit “Culo” (2004), produced by Lil Jon, introduced Miami’s bilingual party culture to the world. Sampling Mr. Vegas’ “Pull Up”, the track is a sweaty, high-energy blend of reggaeton and crunk that became a dancefloor staple. It peaked at #32 on Billboard’s Hot Rap Songs chart and announced Pitbull as Miami’s charismatic ambassador. “Culo” encapsulates the city’s unique ability to merge Latin rhythms with Southern hip-hop, creating a global sound that remains quintessentially Miami.

5. “I Wanna Rock” – Uncle Luke (1992)

A bass-driven masterpiece, “I Wanna Rock” (1992) by Uncle Luke is a Miami bass classic that helped define the city’s unique hip-hop sound. Produced by Luke himself, the track is built around infectious call-and-response vocals, rapid-fire hi-hats, and a pulsating 808 bassline that rattled trunks across South Florida. While it didn’t chart nationally, its local success cemented Uncle Luke’s status as a pioneer of Miami bass and a champion of free expression in music. The song’s legacy lives on in Miami’s clubs and block parties, where its raw energy continues to spark dancefloors.

4. “All I Do Is Win” – DJ Khaled ft. Ludacris, T-Pain, Snoop Dogg, Rick Ross (2010)

Produced by DJ Nasty and LVM, “All I Do Is Win” (2010) is a victorious anthem that embodies Miami’s aspirational energy. Featuring a star-studded lineup, the track’s triumphant horns, booming bass, and T-Pain’s iconic hook make it an unstoppable rallying cry for success. It peaked at #24 on the Billboard Hot 100 and was certified 8x Platinum, becoming a ubiquitous sports anthem and a staple at Miami Heat games. Khaled’s ability to unite heavyweight artists reflects Miami’s collaborative and celebratory nature, further solidifying the city as a hotspot for hip-hop innovation.

3. “Da Baddest B**” / “Pull Over” – Trina (2000/2001)**

Trina’s “Da Baddest B***”* (2000) and “Pull Over” (2001) are unrelenting declarations of female empowerment, sexual agency, and Miami swagger. Both tracks, produced by Derrick “Bigg D” Baker, epitomize Miami’s brash, bass-heavy rap scene. “Da Baddest B***”* set the tone for Trina’s career as the unapologetic queen of Southern hip-hop, while “Pull Over” delivered a twerk-ready anthem driven by booming 808s and provocative lyricism. Neither song dominated the Billboard charts but their influence on Miami’s club scene and their role in solidifying Miami as a hub for raw, female-led rap is undeniable. These tracks remain staples of Miami nightlife and a testament to Trina’s enduring legacy.

2. “Conga” – Gloria Estefan & Miami Sound Machine (1985)

The 1985 hit “Conga”, produced by Emilio Estefan Jr., is a pulsating anthem that put Miami Sound Machine—and by extension, Miami—on the global music map. With its explosive blend of Afro-Cuban percussion, horns, and pop melodies, the song became a universal dancefloor favorite. The relentless energy of its production mirrors the vibrant nightlife of Miami, where Latin rhythms dominate. “Conga” charted at #10 on the Billboard Hot 100, a groundbreaking achievement for a Latin song in the mid-80s, and cemented Gloria Estefan as an ambassador of Latin pop. Its legacy remains deeply rooted in Miami, where it’s celebrated as an unofficial anthem of the city’s multicultural identity.

1. “La Negra Tiene Tumbao” – Celia Cruz (2001)

Produced by Sergio George, “La Negra Tiene Tumbao” is a fiery testament to Celia Cruz’s indomitable spirit and her enduring impact on Latin music. Released in 2001, this salsa-infused anthem blends Afro-Cuban rhythms with reggaeton and hip-hop elements, making it a groundbreaking track for its time. The song’s message of self-confidence and embracing individuality resonated globally, and its vibrant music video showcased Cruz’s iconic flamboyance. While it didn’t chart on the Billboard Hot 100, it topped the Tropical Songs chart and became a Miami favorite, paying homage to the city’s deep ties to Cuban culture. The song’s production features sharp brass, syncopated beats, and a driving tumbao rhythm, embodying Celia’s timeless energy and salsa’s dancefloor appeal.

Early on in their Thursday night (Dec. 5) performance at the Kings Theater in Brooklyn, NY, drag stars Jinkx Monsoon and BenDeLaCreme told their crowd of a few thousand fans that they intended to do things a little differently this year.

The pair have been performing together in various iterations of their annual Jinkx & DeLa Holiday Show for the last seven years, with each successive variety performance becoming more involved, plot-driven and deeply meta than the last. Their 2023 show, as they point out during this year’s production, revolved around their show itself turning on and trying to kill them.

So for 2024, the dynamic duo told their audience that they just wanted to keep things straightforward — some lighthearted fun, some good laughs, and that winning parody combination of “a pop song you heard on the radio all year, plus Christmas,” as DeLa put it. Nothing fancy, just an easy, simple holiday show.

What ensued, while it was of course not at all what the duo described at the outset of their performance, proved exactly why these Drag Race alumni make such a perfect pair on the stage. Across two acts and two hours, Jinkx and DeLa managed to not only encapsulate the manic brilliance of their now-historic run together, but to also deftly (and often bluntly) address and audience still reeling from the political chaos of the last month.

Fans of the The Jinkx & DeLa Holiday Show will have plenty to celebrate with this year’s iteration, as the pair keep on the tradition of building a loose narrative around a Christmas-themed concept. This time around, Jinkx delightfully informs the audience that they’re doing a Nutcracker riff (or “nut-gobbler,” as DeLa accidentally calls it), as the pair get shrunk down to toy-size and participate in the well-loved Christmas ballet. It’s a welcome shift, seeing the usually-grinchy Jinkx getting excited for the holdiays, while the often-optimistic DeLa gets her opportunity to make fun of the centuries-old ballet at every given opportunity.

The song parodies are also back, and arguably better than ever. Jinkx and DeLa once again meld their own original songs with new versions of holiday classics, American standards and a heaping helping of 2024 pop hits. A now Broadway-minted Monsoon flexes both her musical and comedic chops on the early standout performance of “Secular” (to the tune of Wicked‘s “Popular”) as she delights in leaving the more Judeo-Christian aspects of the season behind. Meanwhile DeLa stuns with a rendition of Beyoncé’s “Texas Hold ‘Em” that sees the star crooning about missing snow in a globally warmed winter of unseasonably warm weather — although, when it happens this much, we really shouldn’t call it “unseasonable,” as DeLa points out.

The standout running gag from the show, though, comes in the form of the pair desperately trying to find an appropriately funny (and Christmas-y) Chappell Roan parody. DeLa tries her best early on — conjuring up clunky visions of a “Red Reindeer Place” and attempting to incite a “Femininomenon” in the city of Bethlehem — before Jinkx tells her to just give it up. But the pair finally triumph with their own, double-meta version of Roan’s breakout hit “Hot to Go,” this time singing about the difficulty of coming up with a Chappell parody before settling on spelling out “Hot Coco.”

While the show certainly has plenty of fun songs and hilarious jokes — Jinkx’s ongoing infatuation with and seduction by The Nutcracker had the Brooklyn audience in stitches — the show’s core comes into full focus during it’s second act, when both Jinkx and DeLa partially drop the facade of the show to look at the context they’re performing it in.

In an interview with Billboard back in October, both Jinkx and DeLa expressed their desire to get to the core of our current system of political division, and how those divisions have made the holidays and even harder time of year for everyone, especially in the LGBTQ+ community. “At a hard time of year, a bunch of people get to come together and look at some beautiful visuals, outfits, props and performances from our brilliant cast,” DeLa said at the time.

While I won’t give away the show’s clever plot, I can say that the Act II breakdown from Jinkx & DeLa landed exactly where they wanted it to. As the pair use the structure of their show itself to process Donald Trump’s re-election in November, they dig even deeper to get to the emotional crux that the audience at the Kings Theater was feeling. When Jinkx woefully declared that she — like many of us — was “so tired of caring,” DeLa delivered the needed reality check: “I’m tired of people not caring.”

The fabulous costume design and gifted background performers helped elevate 2024’s Jinkx & DeLa Holiday Show to new heights, that’s for certain. But the thing that always made this zany show work is what worked best for the 150th time on Thursday night; a pair of best friends and talented performers who know exactly how to balance the real with the delightfully absurd.

On today’s (Dec. 6) episode of the Greatest Pop Stars of the 21st Century podcast, we’re finally out of new rankings and pop stars to discuss — so we take a look back at the top 10, and the entire Greatest Pop Stars project, with some help from AJ Marks, moderator of Reddit’s r/Popheads forum and host of the stellar Main Pod Girl podcast. (AJ previously joined the podcast to talk about the list’s first half, find his previous podcast appearance here.)

Host Andrew Unterberger talks with Marks about his big-picture takeaways from our rankings — what parts of the ordering did or didn’t make sense to him, and if he feels like he has a better understanding of the Billboard editorial staff’s definition of pop star greatness than he did when the project started. We also of course talk a little Taylor Swift and Beyoncé — and about the r/Popheads reaction to the entire rollout of the top 10, leading up to our No. 1 reveal — and look forward a little to our upcoming 2024 Greatest Pop Stars rankings, with AJ offering his predictions for some of the most likely artists to be in the mix for the top spot.

We close with AJ by asking him the questions we’ve asked for every pop star on this list so far — making him choose between the total pool of choices for all 25 artists. Then, Andrew closes by offering some much-deserved thanks to the dozens of folks on staff who helped make this entire list possible.

Check it out above, find all our past episodes here, and be sure to subscribe to Billboard‘s Greatest Pop Stars of the 21st Century series wherever you get your podcasts! (And definitely remember to check back next week as we begin the rollout for our Greatest Pop Stars of 2024.)