There are several Nike-sponsored billboards popping up around town featuring Long Beach Poly freshman 800-meter runner Laila Kirk, who is a two-time national AAU champion.
It’s setting the stage for her high school debut this spring for the Jackrabbits.
She certainly has lots of ties to track and field.
Her mother, Angelita, ran track at Poly and Washington State. Her father, Lamarr, ran track at Dorsey and Washington State. Her grandmother, Margaret Hemmans-Green, ran track at Manual Arts and El Camino College. Her grandfather, Ted Green, was a long jumper at Manual Arts.
Laila had a best 800 time of 2:07 last spring. She also ran the 400 in 54.72.
Long Beach Poly has a long history of producing outstanding track and field athletes, but few 14-year-olds have appeared on billboards before their first race in high school.
This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].
Madonna’s “MDNA.” Bruce Springsteen’s “The Rising.” Mariah Carey’s “Memoirs of an Imperfect Angel.”
According to the Recording Industry Assn. of America, none of these albums — each the 12th studio LP by its respective maker — has sold 4 million copies in the United States in the decade or more since it was released.
Yet that’s what Taylor Swift just did in a single week with her 12th album, “The Life of a Showgirl,” which Billboard reported Monday had moved 4.002 million copies in the seven days between Oct. 3 and 9.
That figure, which combines sales and streaming numbers, represents the biggest opening week for an album in modern history, breaking the record set by Adele 10 years ago when her “25” moved 3.482 million units in its first week.
Swift marked the achievement on Instagram on Monday with a note to her 281 million followers.
“I’ll never forget how excited I was in 2006 when my first album sold 40,000 copies in its first week,” she wrote. “I was 16 and couldn’t even fathom that that many people would care enough about my music to invest their time and energy into it. Since then I’ve tried to meet and thank as many people as I could who have given me the chance to chase this insane dream. Here we are all these years later and a hundred times that many people showed up for me this week.
“I have 4 million thank you’s I want to send to the fans,” she added, “and 4 million reasons to feel even more proud of this album than I already was.”
The speed with which Swift hit the 4-million mark is undeniably impressive. Morgan Wallen’s “I’m the Problem,” the biggest album of 2025 so far, has sold and streamed the equivalent of 4.2 million copies, according to the trade journal Hits. But “I’m the Problem” has been out since mid-May; “Showgirl” will almost certainly have surpassed Wallen’s LP by the end of this week (if it hasn’t already).
What’s more remarkable is where “Showgirl’s” blockbuster success comes in the arc of Swift’s career.
Madonna and Springsteen were both in their early 50s when they released their 12th LPs; Carey was 40 when “Imperfect Angel” came out. Swift, in contrast, is only 35 — one advantage of starting out professionally as a teenager.
Still, Swift has been a star for nearly two decades, a point at which many pop musicians have shifted the focus of their work to touring even as they continue to make new records generally ignored by all but their most devoted fans. In 2024, according to Pollstar, Madonna’s and Springsteen’s latest road shows — each drawn from a catalog packed with hit songs — were among the year’s 10 highest-grossing tours.
And indeed Swift has been amply rewarded on the road: At No. 1 on Pollstar’s list was her Eras tour, which sold more than $2 billion in tickets across 149 dates on five continents.
Yet unlike virtually every other veteran act in music, Swift’s recording business is growing along with her live business.
“Everything that’s happening here is historic and unprecedented,” said Hits’ editor in chief, Lenny Beer. “Maybe if the Beatles had stayed together, we’d have seen something like it.”
Also worth considering: Nobody seems to think “The Life of a Showgirl” is Swift’s best album. Reviews have been mixed, and even some fans have expressed disappointment with the record on social media — a once-unthinkable development among the fiercely loyal Swifties.
So how did the singer pull off such a feat?
First, a little math: Of “Showgirl’s” 4 million units, approximately 3.5 million were sales of either digital or physical versions of the album (including CDs, cassettes and vinyl LPs); the remaining half-million came from streams of the album’s songs on platforms like Spotify and Apple Music, which the data firm Luminate counts toward what it calls streaming equivalent albums.
“Showgirl’s” 12 songs racked up 681 million streams in all, Billboard said — the fourth-biggest streaming week of all time, behind Swift’s “The Tortured Poets Department” and Drake’s “Scorpion” and “Certified Lover Boy.” But the album’s sales number is the largest ever recorded since Luminate started tracking sales electronically in 1991.
Among Swift’s strategies to get to that number was selling more than three dozen editions of the album, each with its own artwork and bonus material designed to lure collectors. On vinyl alone, “Showgirl” came out in eight so-called variants, which helped drive the album’s first-week vinyl sales to a modern record of 1.3 million copies.
Offering something for sale doesn’t necessarily mean anyone will buy it, of course. Yet Swift was positioning “The Life of a Showgirl” as a juggernaut from the moment she announced it. Appearing with her fiancé, the NFL player Travis Kelce, on his “New Heights” podcast in August, the singer described the album as a return to the hit-making ways of albums like “Red” and “1989” after the relatively experimental “Folklore” and “Tortured Poets Department.”
To make “Showgirl,” she reteamed with the Swedish producers Max Martin and Shellback, with whom she’d collaborated on some of her biggest singles, including “Blank Space,” “Bad Blood” and “We Are Never Ever Getting Back Together.” On “New Heights” she and Kelce talked about the new album as a “180” from the moody confessions of “Tortured Poets,” whetting appetites for the kind of crisply hooky Taylor Swift songs that blanketed Top 40 radio in the mid-2010s.
Promised the football star: “12 bangers.”
Fans visit an activation for Taylor Swift’s “The Life of a Showgirl” at the Westfield Century City mall on Oct. 4.
(Christina House/Los Angeles Times)
Once “Showgirl” was out, Swift jumped into the promotional fray with more gusto than she’d summoned in years, sitting for numerous radio interviews and putting in appearances on Graham Norton’s, Jimmy Fallon’s and Seth Meyers’ late-night shows; the weekend after the album’s release, a glorified sizzle reel called “The Official Release Party of a Showgirl” played in AMC movie theaters across the country.
On Monday, Swift kept the conversation going with the announcement that two Eras-related projects are headed to Disney+ in December: a six-part behind-the-scenes docuseries and a concert film of the tour’s finale in Vancouver.
“One of the hardest parts of ensuring you have a record-setting first week is making sure that everyone who could possibly be interested in your album knows about it,” said Bill Werde, director of the Bandier Program for Recording and Entertainment Industries at Syracuse University. “I’m not sure anyone has ever covered that need the way Taylor did with this album cycle.”
Yet “The Life of a Showgirl” has not been greeted as enthusiastically as some of Swift’s earlier work.
Pitchfork said “her music’s never been less compelling,” while The Guardian called the album “dull razzle-dazzle from a star who seems frazzled.” Fans on TikTok have complained that Swift’s lyrics — which take up her romance with Kelce, the burdens of fame and an apparent beef with Charli XCX — are unusually shallow; some have even formulated a kind of tradwife critique of “Showgirl” in which Swift is seen as upholding regressive ideas about marriage and domesticity.
The album has also attracted criticism from people who say Swift’s songs recycle familiar elements from other pop tunes without giving credit: the Jackson 5’s “I Want You Back” in “Wood,” for instance, and the Jonas Brothers’ “Cool” in the LP’s closing title track.
“When every song is a derivative of another song, that’s an issue,” said one hit songwriter who asked not to be named in order to speak freely. “That one song is the Jonas Brothers song — the exact same melody. And here’s how lazy that is: It’s the same key and the same tempo.”
In Werde’s view, Swift’s place atop the pop hierarchy makes such carping inevitable. “Anytime an artist gets this big, there’s going to be backlash,” he said — a take with which Swift would likely agree.
“I welcome the chaos,” she said in an interview with Apple Music’s Zane Lowe. “The rule of show business is: If it’s the first week of my album release and you are saying either my name or my album title, you’re helping.”
Even so, the polarized reaction to “Showgirl” — Swift’s 15th album to debut at No. 1 on the Billboard 200 — raises questions about the breadth of Swift’s popularity as compared to its depth. Should the album’s gargantuan numbers be taken as a sign that she appeals to a wide spectrum of pop music lovers or to a committed group of hardcore Swifties willing to spend untold amounts of money to demonstrate their loyalty?
“Showgirl’s” second-week stats should provide the beginnings of an answer, given that they won’t be shaped by one-time sales of all those limited-edition variants.
Then again, another unprecedented chart achievement from the album’s first week is already shedding some light on the matter: “The Fate of Ophelia,” the album’s lead single, is the first song ever to debut inside the top 10 of Billboard’s Pop Airplay chart — an indication of the heavy Top 40 radio play it’s getting along with the millions of daily streams that have kept it atop Spotify’s U.S. Top 50 tally since the song came out.
That’s one banger certified, with more perhaps to come.
Next year’s Grammys will be yet another ceremony where a blockbuster Morgan Wallen album will not take home any awards.
The country music megastar declined to submit his bestselling “I’m the Problem” for Grammy consideration, according to Hits Daily Double and Billboard, who first reported the news. The LP, featuring singles like “Love Somebody” and “What I Want,” debuted in May at No. 1 and has spent 11 weeks and counting atop the Billboard 200 album charts.
Wallen did not give a reason for declining to submit the LP. Despite being the biggest contemporary star in a commercially ascendant genre, Wallen has always had a contentious relationship with Grammy voters.
A month after the 2021 release of his second studio album, the massive hit “Dangerous: The Double Album,” Wallen was filmed using a racial slur and was briefly shunned by the music industry. He later pleaded guilty to a misdemeanor in 2024 after throwing a chair off a rooftop bar in Nashville.
“I’ve touched base with Nashville law enforcement, my family, and the good people at Chief’s. I’m not proud of my behavior, and I accept responsibility,” he wrote on social media at the time. He more recently turned heads for a testy exit from the stage at a “Saturday Night Live” taping.
While he quickly returned to selling out stadiums and dominating pop and country charts, his records never regained traction with Recording Academy voters, even as country music redoubled its critical and popular acclaim in recent years. Wallen’s only previous nominations came from his duet with Post Malone, “I Had Some Help.”
The lead singer of the regional Mexican band Enigma Norteño, Ernesto Barajas, was shot and killed on Tuesday in the municipality of Zapopan in the state of Jalisco, Mexico, according to ABC 7.
The singer was killed by two individuals riding a motorcycle, according to authorities. The prosecutor’s office of the state of Jalisco has already opened an investigation into the murder, according to ABC 7.
The band from Sinaloa is known for its “viral drug ballads,” a musical style known to glorify organized crime. Enigma Norteño has dedicated its songs to members of the Jalisco Nueva Generacion and Sinaloa cartels. The genre has been banned by a third of the states in Mexico.
In July, the Council of the Judiciary of the State of Jalisco agreed to drop the criminal case against the Mexican regional band Los Alegres Del Barranco. The band came under investigation after it displayed a photograph of a leader of the Cártel Jalisco Nueva Generación during a show.
In April, the Mexican government announced a music contest to encourage Mexican artists to create music that does not glorify a violent lifestyle. The competition was created to encourage musicians to write songs about love, heartbreak and peace, according to Billboard.
“While the contest won’t solve this issue overnight, and we’re not neglecting the underlying causes — for that, there’s a whole national security program — we felt it was important to create creative spaces through culture for Mexican and Mexican-American youth who are passionate about music,” Claudia Curiel de Icaza, secretary of culture for Mexico, told Billboard Español.
Authorities from the state of Jalisco did not respond to a request for a comment in time for publication.
Puerto Rican pop visionary Rauw Alejandro will be honored at the 38th annual Hispanic Heritage Awards.
On Wednesday, the Hispanic Heritage Foundation announced that the singer-songwriter will receive the 2025 Hispanic Heritage Award for Vision, a title that honors his groundbreaking contributions to Latin music and his role in shaping its global future.
“As an artist in constant motion, Rauw Alejandro embodies the very essence of the vision award, bold in creativity, future-focused in his global impact and unapologetically original in everything he does,” says Antonio Tijerino, president and chief executive of HHF. “His work is not just music, it’s a movement that confirms what Latin artists mean to the world.”
The award, established by the White House in 1998, is bestowed on notable public figures for their accomplishments and cultural contributions to the Latino community. Past honorees, specifically in the vision category, include Wisin, Ivy Queen, Bad Bunny, Residente and more.
The 32-year-old songwriter from San Juan welcomed the award with an unveiling of his own: the title of his next album, “Cosa Nuestra: Capítulo 0.”
“This is just the beginning … with my next project ‘Capítulo 0’ I want to keep showcasing not only Puerto Rico, but the full essence of the Caribbean.”
News of this honor should not come as a surprise to those who have been following Rauw Alejandro’s career and hustle. His 2020 debut album, “Afrodisíaco,” earned him his first Grammy nomination for best urban music album, as well as a Grammy nod for best new artist.
Throughout the years, the eclectic singer-songwriter and dance phenom has innovated the Latin music scene with the release of experimental albums like his electronic and R&B-inspired LP, “Vice Versa,” in 2021; his techno-infused psychedelic album, “Saturno,” in 2022; and his beachy follow-up, “Playa Saturno,” in 2023.
In 2024, Rauw Alejandro released his fifth studio album, “Cosa Nuestra,” a project inspired by New York City’s salsa music scene in the 1970s. Upon its release, the record landed him the No. 1 spot on Billboard’s Latin Albums chart, and No. 6 on the Billboard 200. The critically-acclaimed album is likely to claim top prizes at the upcoming 2025 Latin Grammys.
“‘Cosa Nuestra’ has always been my way of representing my island, my culture, and my people — wherever they may be,” said Rauw Alejandro in a statement. “Every detail — the beats, the visuals, the dancing — reflects part of our Puerto Rican roots and our connection with other sister cultures, because we’ve been shaping the history of music for a long time.”
The 38th annual Hispanic Heritage Awards will take place on Sept. 4 at the Warner Theatre in Washington, D.C. To date, this year’s honorees include NPR’s Felix Contreras, stoner comic Cheech Marin, Rizos Curls chief executive Julissa Prado and more.
As “Madame Web” star Sydney Sweeney remains mum on allegations of promoting eugenics via her American Eagle advertisement, she has seemingly stirred up even more support from far-right figures after recently gaining the favor of President Trump.
A black-and-yellow banner covering a billboard on the 91 Freeway in Corona boldly states: “Proud Boys Love Sydney Sweeney,” according to a photo that one Corona resident shared with ABC7.
The banner, which uses the neo-fascist group‘s signature colors, also references the hot-button American Eagle ad. “She has the best blue genes,” the banner says. Note “genes,” not “jeans.” It’s worth remembering that President Trump during a 2020 presidential debate ordered the Proud Boys to “stand back and stand by” when pressed about condemning right-wing violent extremists.
It’s unclear who put up the banner bearing the far-right group’s name, according to ABC7.
A representative for Sweeney did not immediately respond to The Times’ request for comment on Friday.
Earlier this month, jeans retailer American Eagle dropped a string of commercials for its latest campaign featuring the “Euphoria” star. In one advertisement, the Emmy-nominated actor who is blond says, “Genes are passed down from parents to offspring, often determining traits like hair color, personality and even eye color. My jeans are blue,” she says.
Posters for the American Eagle campaign also featured the totally innovative, never-before-seen wordplay on “jeans” and genes.” A slogan reads, “Sydney Sweeney has great genes,” with the final word crossed out and replaced with “jeans.”
Sweeney, who seems to have a penchant for odd marketing opportunities, and the ads quickly faced criticism on social media, with users alleging the campaign leaned into the language of eugenics. Eugenics is a discredited practice that essentially touted the idea of improving the human race through selective breeding. It gained traction in the early 20th century and was used as a justification for Hitler’s Nazi Germany to wipe out millions of Jewish people, and U.S. authorities to forcibly sterilize more than 60,000 people in California and more than 30 other states.
In an attempt to quell the ire, American Eagle posted a statement stating that its campaign “is and always was about the jeans.”
Sweeney and the American Eagle campaign notably found support among the conservative crowd — it wasn’t the first time for the 27-year-old “Immaculate” actor. Days after the ad dropped, public records revealing her most recent voter registration history resurfaced, unveiling she registered as a Republican in June 2024. Trump found that irresistible to post about on his Truth Social platform.
“Sydney Sweeney, a registered Republican, has the ‘HOTTEST’ ad out there. It’s for American Eagle, and the jeans are ‘flying off the shelves.’ Go get ‘em Sydney!” he posted Monday. In an earlier version of his post, Trump misspelled the actor’s name as “Sidney Sweeney.”
He also used the post to diss brands he claimed used “woke” marketing, including Jaguar and Bud Light. Trump also couldn’t resist throwing shade at pop star Taylor Swift, who openly endorsed Vice President Kamala Harris during the 2024 presidential election.
Amid the fashion fracas and social media discourse, it seems neither Sweeney nor American Eagle had anything to lose.
Sweeney shrugged off her latest bout of controversy last week as she was spotted doing karaoke with some “Euphoria” co-stars in Santa Monica. She also hit the red carpet on Monday to promote her latest film, “Americana,” from writer-director Tony Tost.
American Eagle, on the other hand, saw its stock surge this week.
Walter Scott, who with his twin brother Wallace founded the Los Angeles-based R&B group the Whispers — a hit-making force in the 1970s and ‘80s with songs like “And the Beat Goes On,” “Rock Steady,” “Lady” and “Seems Like I Gotta Do Wrong” — died Thursday, according to multiple media outlets, including Billboard and the Los Angeles Sentinel. He was 81.
The Sentinel reported that Scott’s family said he died in Northridge after a six-month bout with cancer.
With a smooth, danceable sound built on sturdy post-disco rhythms and carefully arranged group vocals, the Whispers put 15 songs inside the Top 10 of Billboard’s R&B chart; “And the Beat Goes On” reached No. 1 in 1980, followed by “Rock Steady,” which topped the tally in 1987. The band’s music was widely sampled in later years, including by 50 Cent, Mobb Deep, J. Cole and Will Smith, the last of whom used “And the Beat Goes On” as the basis for his late-‘90s hit “Miami.”
In a post on Instagram, the musician and filmmaker Questlove described Scott as “one of the most trusted voices in ‘70s soul music” and compared him to “the talented uncle in the family….who btw could DUST you inna min w his dizzying blink & you lost him squiggle gee doo dweedy scatlibs.”
Scott was born in 1944 in Fort Worth, Texas, and later moved to L.A. with his family; he and his brother started singing as students at Jordan High School, according to the Sentinel, and formed the Whispers in the mid-‘60s with Nicholas Caldwell, Marcus Hutson and Gordy Harmon. The group spent time in San Francisco before Scott was drafted to serve in the Vietnam War.
The group recorded for a series of record companies but found its biggest success on Dick Griffey’s Solar label. The Whispers were inducted into the Vocal Group Hall of Fame and the National Rhythm & Blues Hall of Fame.
Billboard said Scott is survived by his wife, Jan; two sons; three grandchildren and his brother.
A photographer and photo agency filed a lawsuit against Jennifer Lopez alleging copyright infringement after the actor and singer allegedly posted copyrighted photos of herself from a pre-Golden Globes party to social media.
In the complaint, filed Saturday in federal court, photographer Edwin Blanco accuses Lopez of posting photos of her arriving and departing from the January event on Instagram and X without permission. Backgrid USA, a news and photo agency, filed a twin suit related to the same photographs, which the company and Blanco co-own, according to court documents.
The photos, which as of Tuesday remained on her Instagram and X with no visible watermark, show her in white fur coat and slip dress, clutching a Chanel purse. The post on Instagram is captioned “Weekend Glamour.”
A representative for Lopez did not immediately respond to an email seeking comment on Tuesday.
The lawsuit alleges that the “Let’s Get Loud” singer posted the photos to market designers she wore at the event. Blanco and Backgrid did not respond to a request for comment on Tuesday. But in a statement to Billboard, attorney Peter Perkowski, who represents Blanco and Backgrid, claims that Lopez’s use was “commercial in nature.”
“For example, Ms. Lopez used the images to spotlight the designer of her clothing and jewelry,” he told Billboard. “Leveraging the publicity from the event to promote her fashion affiliations and brand partnerships.”
He also told the outlet that both parties had “fruitful discussions” in the weeks after the photos were posted, with Lopez’s team orally agreeing to a monetary settlement. But when the papers arrived, Perkowski says she didn’t sign them and has not yet paid the agreed sum.
Backgrid and Blanco are seeking statutory damages up to $150,000 for each photo used as well as a jury trial, according to the lawsuit.
Lopez faced legal action in 2019 and 2020 for allegedly sharing photos of her taken by others. In 2020, her production company Nuyorican Productions was also sued for $40 million by a woman who inspired Lopez’s character in the film “Hustlers.”
Bad Bunny and Fuerza Regida just made history for Spanish-language music. As of this week, the Puerto Rican artist’s “Debí Tirar Más Fotos” and the San Bernardino group’s “111XPANTIA” became the first-ever Spanish-language albums to simultaneously sit at Nos. 1 and 2 on the Billboard 200 album chart.
Fuerza Regida’s album, which dropped May 2, debuted in the No. 2 spot on the chart. According to Billboard, it became the highest-charting música regional album and Spanish-language album by a group or duo.
Bad Bunny’s wide-spanning love letter to his beloved Puerto Rico — “Debí Tirar Más Fotos” — regained the top spot in the charts after he released a vinyl edition of the album. It was previously sitting in the seventh position on the Billboard 200 and has lingered in the top 10 since it debuted on Jan. 5.
Bad Bunny announced a 23-date stadium tour in support of the album that will kick off Nov. 21 in the Dominican Republic, followed by shows in Costa Rica, Mexico, Colombia, Peru, Chile and Argentina. There are currently no U.S. dates scheduled for the tour.
“111XPANTIA,” Fuerza Regida’s ninth studio album, released under Rancho Humilde and Street Mob Records, marks the group’s return to its original corrido style, in contrast to its last album, 2024’s “Pero No Te Enamores,” which explored more electronically-geared genres like Jersey club, drill and house music.
The album title itself, “111XPANTIA,” is made up of two parts: the first is a palindrome, “111,” which some call an “angel number,” or a sign of luck; the second part stems from the Nahuatl word for manifestation, “ixpantia.”
“The meaning of this album is to manifest an idea, to think your dreams into reality and to prove something through the power of the mind and the concept of the law of attraction,” said Fuerza Regida frontman Jesús Ortiz Paz, a.k.a. JOP, in a press release.
