It would be difficult to describe hip-hop in 1994 without being hyperbolic. Just look at all the albums celebrating its 30th anniversary this year. Without pulling out the clichéd “Golden Age” descriptor, this period was to hip-hop what the Michael Jordan-led 1984 draft class (or even the Kobe-faced 1996 class) came to be for the NBA. So many great debuts arrived that year: There’s Nas’ 10-megaton blast of an introduction, Illlmatic; Outkast’s landscape-shifting Southernplayalisticadillacmuzik; Common’s ascension to the main stage, Resurrection; Pete Rock and CL Smooth’s sonic food for the soul, Main Ingredient; Scarface’s unrepentant opus, The Diary. And then there was Ready to Die.

Released in September 1994, The Notorious B.I.G’s debut album provided a slice of Brooklyn life. But what made it a work of art was its master class showcase of hip-hop’s key elements at play: beats, rhymes, and storytelling. It had a coterie of the genre’s esteemed beatsmiths: Easy Mo Bee, DJ Premier, and Trackmasters, among many others. They all had the greatest voice to lyrically lace up their tough-as-Timbs production. The combination of these ingredients blurred the lines between fiction and documentary, bringing raw vulnerability and behind-the-roving-lens realism to the stories from the underbelly of the beast, or as Big referred to it, “the everyday struggle.”

In this way, you heard the echoes of the cracked out aftermath of the Reagan era (“Things Done Changed,” “Everyday Struggle”), felt the stomach-rumbling reality that forces everyday people to make do with making do (“Gimme the Loot”), and got the fractured interiority of the trauma (“Suicidal Thoughts”) — all told through the lens of the buddha-bellied narrator’s stoop at 226 St. James Place in Bed-Stuy, Brooklyn USA. “My life is real,” a 23-year-old Christopher Wallace told reporters on the red carpet of the 1995 Billboard Music Awards, where he won Rap Single of the Year (“One More Chance”) and Artist of the Year. “I wrote about it.”

Even with his honest calculations on the throes of life on the “crack side,” Big made the “rap side” seem both effortless and flawless, too. Against the backdrop of a volatile minefield of circumstances and emotions, Biggie lightened the mood with his sense of humor, wit, and warmth. For every unflinching depiction of hardships (“Used to sell crack, so I could stack my riches”), his wittiness kicks in to air out the cloudy fog (“Making money, smoking mics like crack pipes”). Whether unleashing his taekwondo flows over the funk of “The What” or outlining the 357-ways he can leave an emcee cooked on “Unbelievable,” his talent was as wide as his belt size. What came as a result was an album that shook up the rap landscape, taking it from the Bed-Stuy corners to the pop charts, and beyond. And to to think, it arrived on Friday the 13th.  

Three decades since its arrival, Big’s bellow from the ghetto debut remains as prevalent as the sound of sasquatch feet. To celebrate, see how we ranked all 17 tracks.

Billboard Canada Women in Music was a star-studded celebration in Toronto last Saturday night (Sept. 7). Rising stars, Canadian legends — and some of their parents — were on hand to honour the myriad achievements of women on stage and behind the scenes in the first-ever edition of Billboard Women in Music in Canada featuring guest of honor Alanis Morissette.

Morissette received the Icon Award, honoring her as one of the country’s all-time greatest artists. Morissette celebrated femininity and emphasized its importance to people of all genders. “Matriarchy takes care of everybody,” she told the crowd, to a round of cheers.

She was introduced by two Canadian stars — broadcaster George Stroumboulopoulos and Woman of the Year Charlotte Cardin, both of whom spoke to her massive influence. 

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Taking the stage to accept the award, Morissette — who has sold over 60 million records, with her breakthrough album Jagged Little Pill widely ranked as one of the best albums ever made — had her own thoughts to share on what it means to be an icon. She joked that even cereal boxes are called iconic these days. For her, though, an icon is someone who serves as a symbol of the safety to explore. Morissette reflected on how icons can inspire fans and listeners to probe the unconscious and to express themselves in new ways.

She also considered what it means to be a Canadian icon, enumerating some Canadian qualities that have helped her to succeed: curiosity and humility. Fame can be an isolating experience, Morissette shared — especially in the ‘90s, when there wasn’t a big girl-squad mindset, but fame has allowed her to also support and connect with people.

The night was filled with highlights, from Jessie Reyez dedicating her Trailblazer Award to her mother, who was in attendance, to performances from artists including Haviah & Omega Mighty, Tia Wood, Anjulie and more. 

One of the most powerful moments came from Jully Black, known as Canada’s Queen of R&B, who took the Billboard Canada SiriusXM stage for a deeply impactful cover of Bob Marley’s classic “Redemption Song,” keeping the audience rapt for her 11-minute rendition.

In an elegant white and yellow gown, she commanded the stage, accompanied by a pianist and guitarist. She began with a moment of silence — no small feat, in a packed room full of industry honourees — reminding the crowd that though this was a celebration, many women around the world don’t get the opportunity to celebrate themselves.

“I stand here as my ancestors’ wildest dreams,” Black told the crowd, before leading a sing-along of “This Little Light of Mine,” bringing the crowd together as a community.

Adding a new lyric into Marley’s song about bondage and freedom, she asked a new question: “how long shall they kill our women?”

She descended into the audience to connect with fans and peers on the floor before returning back to the stage, and reflecting on her own beginning in the industry.”29 years ago I sang a hook called ‘What It Takes,’ by Choclair,” she remembered. “There was no infrastructure, there was no radio, for people, women, that looked like me,” she continued. “Women are paid less, if you don’t have a seat at the table build your own.”

She finished with heartfelt, hard-hitting vocalizations on Bob Marley’s refrain, closing out a performance that emphasized how far Canadian women in music have come, and how much there is left to do.

Watch the whole video here.

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Selena Gomez, The Tragically Hip, Pharrell Williams Make Headlines at the Toronto International Film Festival

Some of the music industry’s biggest names have been descending on Toronto over the past week for the Toronto International Film Festival (TIFF).

The film festival has transformed downtown Toronto into a hub for celebrities, high fashion and red carpet glitz. It’s also brought many of music’s biggest stars to town, including Selena Gomez, Bruce Springsteen, Elton John, Pharrell Williams and more.

Selena Gomez came to Toronto for her new movie Emilia Pérez, a musical crime comedy that follows a Mexican cartel leader who comes out as a trans woman. Gomez plays the title character’s wife.

In an interview on the red carpet, Selena Gomez told Billboard Canada how her pop career actually worked against her for the role as she was learning the dance style of the film.

“I think it was really important that I let go of the pop star thing and kind of focus on more intricate dance that I’ve never really done before,” she said. “So it was really fun.”

Beloved Canadian rockers The Tragically Hip premiered a new four-part docuseries at TIFF, The Tragically Hip: No Dress Rehearsal. The series features new interviews and archival footage of the band, recounting their rise to stardom and the diagnosis of lead singer Gord Downie, who died in 2017 of brain cancer. Outside the screening, local choral collective Choir! Choir! Choir! led a massive sing-along of one of the band’s classic songs, “Ahead By A Century,” reminding attendees that love for The Hip runs deep.

The premiere of Pharrell Williams‘ LEGO-fied animated biopic Piece By Piece on Tuesday night (Sept. 10) was interrupted by an animal rights protester who stormed the stage during a Q&A session waving a sign that read: “Pharrell stop supporting killing animals for fashion” and shouting “Pharrell stop torturing animals!” Pharrell Williams is the creative director of the Louis Vuitton men’s collection.

Rather than move past it, Williams addressed the protester directly and said “You know what? You’re right.” He continued on that it wasn’t the right way to make her point, but that she did have a point. “…We’re actually working on that. And if she would have just asked me, I would have told her. But instead she wanted to repeat herself.”

Elton John was at the festival with his Canadian husband David Furnish, as was Bruce Springsteen and musician K’naan, who made his feature directorial debut. Check out more of TIFF’s top music moments here. – Rosie Long Decter

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Hailey Benedict Signs to Big Loud Records

Rising country artist Hailey Benedict is making some big moves, as she inks a deal with Nashville’s Big Loud Records.

The Alberta singer announced the signing at Billboard Canada Women in Music celebration on Saturday, September 7.

Taking the stage in a sparkling silver fit, Benedict revealed that she’s signed with Big Loud and its Canadian-based imprint Local Hay, helmed by country star Dallas Smith. She followed up the announcement with a performance of her upcoming single “Things My Mama Says,” set to be her first release on Local Hay on October 4.

Benedict has been building to this moment since she was a kid — she first rose to national attention at the age of 14, when Keith Urban invited her on stage at a sold-out show in 2016 to perform an original song.

Since then, she’s released successful singles like 2021’s “Wanted You To,” built up an online fan base including 250K TikTok followers, and performed at major events like the Country Music Alberta Awards. In 2023, she won the SiriusXM Top of the Country competition and she’s heading into this fall’s Canadian Country Music Awards with a nomination for Breakthrough Artist.

All of that makes the timing right for Benedict to shift from an independent artist to working with a label that knows how to navigate the country landscape.

“I’m ecstatic to begin this new chapter with such an incredibly creative and dedicated team that shares my vision for my songwriting, artistry and career,” Benedict said in a statement. “After a decade as an independent artist, it was crucial for me to partner with a record label that aligns with my values and passion for music.”

Nicki Minaj isn’t letting anyone play with her name. After voicing her frustration with the NFL for overlooking Lil Wayne for the Super Bowl LIX Halftime Show performer in favor of Kendrick Lamar, ESPN’s Stephen A. Smith criticized her history of feuding while he defended Jay-Z.

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“Who else you gonna get in a beef with. Lil Kim, Mariah Carey, Cardi B, Gucci Mane, Taylor Swift, Demi Lovato. Every time we turn around it’s something, Nicki,” the sports commentator began on the Stephen A. Smith Show Thursday (Sept. 12). “You disagree with the decision, you disagree with the decision. You got to talk about [Jay-Z] like that? And why are we talking about Jay-Z like he’s some sort of sellout or something?”

The First Take host continued: “You know how hard it is for a Black man to pull off what Jay-Z has pulled off in terms of making sure Black folks get that kinda center stage to promote their brand and build their profile. How unappreciative can you be? It ain’t about you as an individual — it’s about all of us as Black people. And that brother Jay-Z has been front and center pushing envelopes.”

Minaj didn’t waste time getting back on the offensive, sharing harsh words with Smith on X Thursday, when she essentially called him a sellout.

“Oh look yall another paid laughy taffy alien who only comes off his knees to turn around & back dat azz up. LMFAOOOOOOOOOOOOOOOOOO. Stephen, we don’t care. Ima tell u right now. We don’t care. If I say more it’ll be your fault. Sit down ugly,” she replied.

The rapper then appeared to sarcastically mix Smith up with his First Take partner Shannon Sharpe, who accidentally went on Instagram Live while getting intimate earlier this week. She also clowned Smith’s receding hairline.

“Stephen wasn’t you just moanin & groanin on live in your bedroom ? LMFAOOOO. And since we here in women’s business…ladies; when should men just shave their full head,” she added, insult to injury. “Should it take its normal course like SAS Sassy a– or should he look into lace fronts?”

Lamar was announced as the Super Bowl LIX Halftime Show performer Sept. 8, and Lil Wayne publicly spoke out about the NFL’s decision early Friday (Sept. 13), admitting that it “hurt” him to not be selected.

“It hurt a whole lot. I blame myself for not being mentally prepared for a letdown. And for automatically mentally putting myself in that position like somebody told me that was my position,” he told fans in a video posted to Instagram. “So I blame myself for that. But I thought that was nothing better than that spot and that stage and that platform in my city, so it hurt.”

Hurry up, it’s time for supper — order up, because Lizzo is hot to go! In a new post to her Instagram on Thursday night (Sept. 12), the “Good as Hell” singer shared her own rendition of Chappell Roan‘s runaway hit “Hot to Go!”

Dressed in an oversized T-shirt stating that she’s “100% that b—h,” Lizzo sang the song’s earworm chorus of “H-O-T-T-O-G-O/ You can take me hot to go” before offering an impressive riff on the final note.

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“Aaaaand on that note, goodnight!” Lizzo wrote as a caption for the video, adding in separate comment that fans could call her “Usher Roan.”

This isn’t the first time Lizzo has spoken up about the “Pink Pony Club” singer. After Roan posted a series of TikToks setting firm boundaries with her fans, Lizzo responded with a message of support. “We all need a refresh on empathy. It’s very mindful. Very demure,” she said. “I’m gonna ride for Chappell because I see myself in her … She has the right to speak up for herself. She has the right to feel what she’s feeling.”

The news comes a few weeks after Lizzo announced that she would be taking “a gap year” as a means of “protecting my peace.” Staying in Bali, the singer has shared regular updates with her fans of her time abroad, including a comparison video that saw her reflecting on her mental health journey over the last three years.

“I wasn’t gonna post this on IG but 2021 me would be soooo proud of 2024 me,” she wrote. “And I’m NOT only talking about my body if yall only KNEWWWW what I’ve done for my mental & emotional health in the last year… wheeeew don’t worry imma write a album about it.”

Watch the clip of Lizzo’s performance below:

Sean “Diddy” Combs is seeking to overturn a $100 million sexual assault judgment won against him by a Michigan inmate earlier this week, claiming he was never served with the “frivolous” lawsuit.

In an emergency motion filed Thursday, attorneys for the embattled rapper said he had learned about Derrick Lee Cardello-Smith’s lawsuit and massive judgment from media coverage – and that the case would have been easily dismissed if Combs had been given a fair chance to respond.

“This is a frivolous lawsuit against a prominent businessman, based on obvious fabrications, filed by a convicted rapist and serial litigant with an overactive imagination and a thirst for fame,” Combs’ lawyers write.

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The huge award, issued by a Michigan state judge on Monday, was what’s known as a default judgment — a kind of legal award granted when an accused party doesn’t respond to a legal action. Court records show that attorneys for Combs never participated in the case nor filed any kind of response.

But in Thursday’s filings, they say that’s because they were never been legally served with the allegations – a crucial first step in any American lawsuit: “Had Mr. Combs been notified in a timely manner of these outrageous claims, he would have defended himself, as he is prepared to do now. But he did not have that opportunity.”

At a hearing last month, the judge overseeing the case said Cardello-Smith had supplied sufficient proof that he properly served Combs via certified mail, which requires confirmation of receipt. But in Thursday’s response, Combs lawyers say that the letter was not sent to the rapper’s primary residence and it had not actually been signed by him personally.

“Accordingly, the default judgment must be set aside,” lawyers for Diddy write.

Once one of the most powerful men in the music industry, Diddy has been hit with at least eight civil lawsuits alleging sexual abuse over the past year, including claims by ex-girlfriend Cassie Ventura that were later followed by a video showing him assaulting her. The hip-hop mogul is also facing an apparent federal criminal investigation after authorities raided his homes in March.

Cardello-Smith sued Combs in June, claiming the rapper had spiked his drink and sexually assaulted him at a party in 1997. But in Thursday’s filings, the rapper’s lawyers said the inmate’s allegations are “objectively unbelievable” and that “no lawsuit could be more frivolous.”

“Plaintiff alleges that he was sexually assaulted in 1997, but he cannot keep his story straight as to where this supposedly occurred,” Combs lawyers write. “Aside from the purported assault, plaintiff alleges a fantastical conspiracy between Mr. Combs … and numerous high-ranking Wayne County judicial and law enforcement officials.”

As attorneys for Diddy repeatedly pointed out in their filings, Cardello-Smith, 51, is serving multiple, decades-long sentences for a variety of crimes, including first-degree criminal sexual conduct and two counts of kidnapping. The earliest he can be released from prison is 2036.

The lawsuit against Combs is not the first civil action Cardello-Smith has filed from behind bars. Last year, he sued a Detroit-area Catholic archdiocese, alleging he had been sexually abused by a priest and others between 1979 and 1993. The case was dismissed last month by state appeals court, which ruled that Cardello-Smith’s allegations were barred by the statute of limitations.

In their response Thursday, lawyers for Diddy said that same defense would also apply to the current lawsuit: “As ridiculous as the allegations are, if every word of the complaint were true, the action would still be completely nonviable because the statute of limitation on the claims asserted expired almost 17 years before the case was filed.”

Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

This week, The Weeknd brings us back to the dance floor, Playboi Carti is still seeing red, and Charli xcx extends Brat Summer. Check out all of this week’s picks below:

The Weeknd, “Dancing in the Flames”

The Weeknd triumphantly returns with “Dancing in the Flames,” the first single from forthcoming album Hurry Up Tomorrow, that continues the synth-pop fantasia of Dawn FM but offers an even meatier chorus and more vocal fragility; it’s a big swing that would work well in an ‘80s radio block or any collection of modern streaming hits.

Playboi Carti, “All Red”

The hip-hop world has been eagerly awaiting Playboi Carti’s next album, and the release of “All Red” not only suggests that the follow-up to Whole Lotta Red is right around the corner (and a thematic continuation, natch), but that the MC is as locked-in as ever, as he tosses out catchphrases and ad-libs over a combustible beat.

Charli xcx feat. Troye Sivan, “Talk Talk” remix

We may be past Labor Day and beyond the glories of Brat Summer, but Charli xcx is not done gifting us compelling remixes to her lauded full-length — this time, her pal and tour partner Troye Sivan offers perfect balance on a new version of “Talk Talk,” with his soulful tone complementing Charli’s elastic bounce amidst the song’s constant motion.

Tate McRae, “It’s ok I’m ok”

Continuing a breakthrough year in which she’s been able to show off pinpoint choreography and smashing hooks, Tate McRae positions new single “It’s ok I’m ok” as a collection of breathless melodies that work well for dance routines; we’re hearing a pop singer find her sound and style in real time.

Miranda Lambert, Postcards From Texas

For her first album with new label partners Republic and Big Loud — and since entering her forties — Miranda Lambert returns to her roots on Postcards From Texas, with one of country music’s smartest storytellers utilizing her home state as inspiration for stories of singular characters, post-betrayal revenge and women who are underestimated while being experts in their craft.

Katy Perry feat. Doechii, “I’m His, He’s Mine”

One week before unveiling new album 143 and a few days after her Video Vanguard showcase at the MTV VMAs, Katy Perry is lending some of her pop prowess to rising star Doechii on “I’m His, He’s Mine,” who in turn injects the track with ample amounts of confidence, as they play a pair of queens who can beguile any stray man.

Shawn Mendes, “Nobody Knows”

In his rustic return, Shawn Mendes has shrugged off pop bombast in favor of guitar strums and unguarded vocals — and “Nobody Knows,” a swaying new anthem that allows Mendes’ upper register to hoot, holler and fully bloom, sounds like the most naturally rendered track released so far from his upcoming album.

Editor’s Pick: FKA Twigs, “Eusexua”

Like most of FKA Twigs’ hypnotic tunes, “Eusexua,” the title track from her next album, juxtaposes the gentle contours of Twigs’ voice with jarring production elements — this time, skittering beats that grow and threaten to burst before congealing into a dance-floor throb, then unexpectedly evaporating. Breathtaking and accessible, “Eusexua” is a dazzling return from a one-of-a-kind creator.

John Legend has long been open about his political views, as well as his opposition to Donald Trump. But after the presidential debate on Sept. 10 — during which the Republican candidate regurgitated rumors that Haitian immigrants are eating people’s pets in Springfield, Ohio — it got personal for the EGOT winner.

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In a video posted to his Instagram account Thursday (Sept. 12), two days after Trump’s first debate with Kamala Harris, Legend — who is from Springfield — shared his thoughts on the easily debunked claims about his hometown’s immigrant community. “Springfield has had a large influx of Haitian immigrants who’ve come to our city,” he explained. “Now, our city had been shrinking for decades. We didn’t have enough jobs, we didn’t have enough opportunities.”

“Of late, during the Biden administration, there’ve been more jobs that opened up — more manufacturing jobs, more plants, factories — that needed employees and were ready to hire people,” the “All of Me” singer continued. “During the same time, there had been upheaval and turmoil in Haiti. Our demand in Springfield for additional labor met up with the supply of additional Haitian immigrants.”

After outlining how the federal government assisted the Haitian population in legally moving to the United States, Legend compared the situation to other international communities — Polish, Irish, Italian, German, Jewish and Jamaican, to name a few — who’ve also immigrated over the years in pursuit of the American dream. “All of us need to have the same kind of grace that we would want for our ancestors,” he said into the camera.

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“Nobody’s eating cats,” he added. “Nobody’s eating dogs. We all just want to live and flourish and raise our families in a healthy, safe environment. Don’t spread hateful, xenophobic, racist lies about them.”

The post comes as Springfield finds itself thrust into the center of the 2024 presidential race thanks to the false pet-eating rumor, which started with a post in a local Facebook group that alleged a neighbor’s daughter’s friend had found their missing cat hanging from a branch at a Haitian neighbor’s home. With anti-immigration sentiment being a core tenet of Trump’s platform, his campaign was quick to use the rumors as fuel for his third White House bid, as conservative outlets spread the false story online.

“There have been no credible reports or specific claims of pets being harmed, injured or abused by individuals within the immigrant community,” a spokesperson for Springfield recently told CNN, while Mayor Rob Rue said Thursday that the hoax is “hurting our citizens and hurting our community.”

The Springfield controversy is just the latest topic Legend has spoken about amid the 2024 presidential race, with the musician being one of the earliest and most outspoken supporters of President Joe Biden and Vice President Harris’ campaigns this year. In a recent interview with BBC Newsnight, for instance, he opened up about the importance of reproductive healthcare — another hot-button issue in this year’s race — and detailed how it played a crucial role in his family in 2020.

“We were losing a pregnancy we wanted, a baby we wanted — we were losing him,” Legend recalled of Chrissy Teigen’s pregnancy loss four years prior. “We had to have abortion care to resolve that, to make sure that Chrissy didn’t die. She was bleeding profusely, and her life needed to be saved. We had to have abortion care to do that.”

Watch Legend call for peace in Springfield, Ohio, and share his thoughts on healthcare for women below.

Billboard cover star Luis R Conriquez rapidly rose to fame with his corrido “El Buho.” The talented singer opened up a new style of corridos by creating “corridos bélicos.” He shares how he rapidly rose to stardom, working with many of his friends/artists on ‘Corridos Bélicos, Vol. IV,’ including Peso Pluma, Gerardo Ortiz, Ryan Castro and more!

Luis R Conriquez:

Luis R Conriquez, done. The Luis from two years ago is still the same as now because since I started in this, I’ve always been making music. I work hard, I mean, right now we are working, you know? After this, I can go record a video. Then go home and rest. Or I might want to do some vocals. I’m always looking for work. I always want to make music. I always want to try to have a lot of material, I want to create music so that people can listen to it. So I feel that I am still the same Luis R that I was two years ago. Maybe with more experience, and not making the same mistakes, or maybe I’ve just gotten over them. But it is different. I think that when… when I recorded the songs I had at that time, I felt that it was something new, that it was different from everything that was playing. And the day that I recorded it, I felt happy with it. I recorded a video and a new song after I joined Kartel Music, and I told Freddy and Leo, “You know what? I think this song will be a hit.” And it was. That song made me famous. It was called “El Buho.” It’s called “El Buho” and even now, I sang it yesterday, I released it four years ago and it still feels like a new song.

Keep watching for more!

Janet Jackson is opening up about another wardrobe malfunction. In an interview with British Vogue in which the 58-year-old pop icon flipped through a look book of some of her most iconic costumes, Jackson stopped on one of the military-inspired looks from her 1989 Rhythm Nation album.

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“Funny story. I was performing for the Queen of England, and we were doing Rhythm Nation,” Jackson said of the late British monarch who died at age 96 in Sept. 2022. “Sure enough, as soon as I squatted, my pants split right up my booty crack.” Jackson said she “couldn’t believe” her terrible luck before realizing it was worse than she imagined.

“Then I started feeling air back there, so I knew it had really happened,” she said, revealing her quick-thinking fix for the sartorial nightmare. “I never turned my back to her, which, some of the choreography, I was supposed to. I just faced forward.”

The story from the Rock and Roll Hall of Famer is extra poignant given the other wardrobe malfunction she is most commonly associated with. As you may recall, back in 2004 Jackson performed with Justin Timberlake at that year’s Super Bowl halftime show in Houston, during which JT famously ripped off a piece of Jackson’s costume, exposing her nipple for 9/16th of a second.

The moment that was probed in a 2021 New York Times Presents documentary led to a raft of complaints from viewers, as well as fines and significant professional implications for Jackson. For years, many fans and pundits noted that Timberlake appeared to emerge from the pre-social media viral moment with little or no backlash, while Jackson’s career was dealt a blow from the incident after her videos were pulled from Viacom properties including MTV, VH1 and CBS and she was uninvited to that year’s Grammy Awards.

The Super Bowl slip dubbed “Nipple-gate” also introduced the phrase “wardrobe malfunction” into common parlance and, in the wake of the #FreeBritney movement that blew up in 2019, led to Timberlake issuing public apologies to both Jackson and his ex Spears for the way he’d treated them.

“I’ve seen the messages, tags, comments, and concerns and I want to respond,” Timberlake said at the time after the 2021 Framing Britney Spears documentary portrayed the “Cry Me a River” singer as acting callously following his split with Britney in 2002. “I am deeply sorry for the times in my life where my actions contributed to the problem, where I spoke out of turn, or did not speak up for what was right. I understand that I fell short in these moments and in many others and benefited from a system that condones misogyny and racism. I specifically want to apologize to Britney Spears and Janet Jackson both individually because I care for and respect these women and I know I failed.”

Jackson is gearing up to launch her Las Vegas residency with back-to-back performances on Dec. 30 and New Year’s Eve at Resorts World Las Vegas.

Watch Jackson describe her royal de-pantsing below.

@britishvogue

“I started feeling air back there,” says #JanetJackson of splitting her pants.

♬ original sound – British Vogue

Miranda Lambert returns with her 10th studio album today (Friday, Sept. 13), and in the process, she’s revisiting and celebrating her Lone Star State roots even as her career propels forward, as her new album is her first since signing with Republic Records, in conjunction with Big Loud, earlier this year.

For more than two decades, Lambert has been defiantly and triumphantly carving her own sonic territory, setting herself apart by skillfully writing and recording songs that detail life’s idyllic and messy moments, capturing both blazing zeniths of confidence and hazy shadows of doubt — always with a tumbleweed spirit. The result has been seven Billboard Country Airplay No. 1s, and and seven albums that have reached the pinnacle of the Top Country Albums chart.

On previous albums, this three-time Grammy winner has veered from country’s glam-rock edges to its moody, soulful precipices. But on her latest, she’s in classic Lambert form — though the spunky, something-to-prove edge of her early albums has cemented into a surefooted, calm-yet-keen creative spark, as she bends every note and lyric in her distinct Texas twang.

The sounds emanating from this project’s 14 songs are entrenched with stinging wit and shot through with unadulterated frankness, as Lambert worked at Arlyn Studios in Austin, co-producing the album with longtime collaborator Jon Randall. On her latest, Lambert and her collaborators etch detailed imagery of the neon-lit honky-tonks, homey back porches, pastures and stretches of open spaces that embody where the album was created.

Many of the songs here center on loving and leaving, acknowledging free-spirit ways, while it’s understood that allegiances to country music and the Lone Star State are likely to outlast just about everything else.

“I have not made a record in Texas since I was 18, my little independent album, so this is full circle – coming back home to the root, to kind of start fresh with a new label and sound and some new band members I haven’t played with,” Lambert said via a release before the album’s drop. “Being back home and really remembering why I love country music, it’s already leaning way more country which I love.”

Billboard ran through Postcards From Texas upon its arrival on streaming services, ranking all 14 tracks from the project below.