Natti Natasha & Becky G
Ana Karyna ArriecheNatti Natasha and Becky G return to Billboard’s Latin Airplay summit as their collaborative single “Ram Pam Pam” hits No. 1 on the July 17 chart. The pair previously appeared atop the tally when "Sin Pijama," their first team-up, ruled for one week in August 2018.
Mexican-American artist Becky G last appeared atop the tally with “Sin Pijama,” while Dominican singer Natti Natasha was last at No. 1 in April with "Antes Que Salga El Sol," with Prince Royce. It's the third No. 1 for Becky G on Latin Airplay, and the eighth for Natti Natasha on the 50-deep tally.
“Ram Pam Pam” takes the lead (6-1) with a 48% gain in audience impressions, to 9.6 million, earned in the week ending July 11, according to MRC Data. As Natti establishes her eighth win, she continues to have the fifth-most No. 1s among female artists since the chart launched in 1994.
Here’s a recap of female acts with the most Latin Airplay No. 1s:
15, Shakira
11, Gloria Estefan
11, Karol G
10, Jennifer Lopez
8, Natti Natasha
5, Paulina Rubio
5, Thalia
“Ram Pam Pam” becomes the second female pairing to lead Latin Airplay in 2021, after Karol G and Mariah Angelig’s “El Makinon” reigned for one week on the June 5-dated list. The new collab is just the fourth joint effort by two women in a lead role to hit No. 1 since the chart’s inception.
Let’s take a look at the four winners:
Artists, Title, Peak Date
Becky G & Natti Natasha, “Sin Pijama”, August 11, 2018
Karol G & Nicki Minaj, “Tusa,” Feb. 15, 2020 (five weeks)
Karol G & Mariah Angeliq, “El Makinon,” June 5
Natti Natasha & Becky G, “Ram Pam Pam,” July 17
Beyond its Latin Airplay coronation, “Ram Pam Pam” also lands at No. 1 on Latin Rhythm Airplay: a seventh win for Natti and a fourth lead for Becky.
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.
