Kali Uchis
COUGHS/Courtesy of Kali Uchis*A month after “Telepatía” reigned on Billboard’s Hot Latin Songs chart for four weeks (May 22-June 12-dated lists), Kali Uchis’ ubiquitous single jumps 5-1 on the Latin Airplay chart (dated July 3).
The track is her second chart entry on Latin Airplay and her first as a lead act. She previously charted via her featured role on Juanes' No. 23-peaking "El Ratico" in 2017.
The steady march of “Telepatía” on radio airplay sends the TikTok hit to No. 1 on the all-Latin genre radio ranking. The track climbs to the top in its 11th week on the list, and with its fourth consecutive weekly gain in audience impressions. It earned 9.6 million in audience in the week ending May 16 -- up 30% from the previous week -- according to MRC Data.
The song's Latin Airplay coronation comes after it earlier reached No. 1 on the Latin Streaming Songs chart and Latin Digital Song Sales. The song ruled the Hot Latin Songs chart (which blends airplay, streams and song sales) for four weeks (May 22-June 12 charts). On the latest Hot Latin Songs chart, the track holds at No. 2.
“Telepatía” also jumps 2-1 on Latin Pop Airplay and sends Rauw Alejandro’s pop-disco “Todo De Ti” to the runner-up slot after its two-week reign.
“Telepatía” is Uchis' first charting single on Latin Pop Airplay without an accompanying act. "El Ratico” peaked at No. 10 in September 2017 and “La Luz (Fin),” with Jhay Cortez, reached No. 16 in January.
Both “Telepatía” and “La Luz” are part of Uchis' album Sin Miedo (Del Amor y Otros Demonios), which has spent nine weeks at No. 1 on Latin Pop Albums.
Beyond its Latin Airplay and Latin Pop Airplay No. 1s, “Telepatía” continues to climb on the all-genre Billboard Hot 100 chart, as the track rises 30-25. It's her second entry there, following the No. 93 peak of "Get You," by Daniel Caesar featuring Uchis.
Elsewhere, “Telepatía” rebounds 2-1 on Latin Digital Song Sales after its 11-week lead with 1,400 downloads sold in the week ending June 24.
NEWS
There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
