Karol G photographed on July 19, 2021 at 107 Compound in Miami.
Heather HazzanKarol G scores her 12th top 10 on Billboard’s Latin Airplay chart as “Sejodioto” surges 19-8 on the Jan. 8-dated ranking.
Produced by Ovy on The Drums, “Sejodioto” (wordplay for “Se Jodió Todo”) was released Sept. 21. It debuted on the all-genre tally a month later at No. 49 (chart dated Oct. 23, 2021). The track previously hit a No. 17 high in November, before retreating to the mid-20s on the list until the last three weeks, when it moved 22-19-8.
The tune rises with a 36% boost in audience impressions, to 7.1 million, earned in the week ending Jan. 2, according to MRC Data. It surges 19-8 for its first week in the top 10, the highest jump since Marco Antonio Solis’ “Se Veía Venir” climbed 13 rankings on the Oct. 2, 2021-dated list.
With a 12th top 10 on her account, Karol G joins a selective group of female artists with the most top 10s since the chart launched in 1986. Let’s look at the leading board:
“Sejodioto” is Karol G’s first top 10 hit on the all-genre survey as a solo act, unaccompanied by any other artist, since the one-week winner “Bichota” (chart dated Feb. 13, 2021). Since then, she’s placed two other No. 1s: “Location,” with Anuel AA and J Balvin (April 10, 2021) and “El Makinon,” with Mariah Angelic (June 5, 2021).
Will “Sejodioto” hit No. 1 on Latin Airplay? We’ll see if the tune follows the pattern of Karol G’s other 11 top 10s, all which have become chart champs.
Elsewhere on Latin Airplay, the partnership of Wisin, Jhay Cortez and Ozuna benefits as “Emojis de Corazones,” which features Los Legendarios, rockets up the chart with an 11-1 climb. The song arrives as the most-listened Latin song of the week with 10.01 audience impressions, a robust 74% gain.
Over on Hot Latin Songs, the collaboration lifts 35-24 despite a decline in streams and a negligible number of downloads sold.
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.
