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Dhani Harrison waited a long time to strike out on his own. After years of collaborating with others, the son of The Beatles' George Harrison just released a solo debut clearly influenced by his recent work as a composer. This was his first live radio appearance on the U.S. and a powerful session, particularly the single "All About Waiting."

The Alt.Latino team is so grateful for the positive feedback to our periodic "Music Magazine" shows — and now, we're happy to present the Fall edition.

This week we put the spotlight on two playwrights, one of whom you probably know, the other someone you should.

Filmed July 14, just a week before Chester Bennington died in July, Carpool Karaoke has released its Linkin Park episode with the blessing of Bennington's family and the band, dedicated to the singer's memory. Ken Jeong hosts this particular episode, and, given the fervor in which he sings along to "Numb," "In The End" and "Talking To Myself," the actor and comedian looks thoroughly stoked to share his screams with Bennington, Mike Shinoda and Joe Hahn.

A little over two months after it became the most-viewed video on YouTube, "Despacito" has broken another record, being the first on the platform to surpass 4 billion views. The video's growth is astronomical, surpassing Wiz Khalifa and Charlie Puth's 2015 hit "See You Again," the second-most-viewed video on the site, by hundreds of millions of views in less than a year.

Latinx Pop Crossovers, Cultural Globalization And YouTube's Primacy

Long before Belly became a Roc Nation signee and award-winning songwriter — credited with co-writing on Beyoncé's lauded Lemonade — he was a young Muslim immigrant navigating life on foreign turf. The Palestinian-born rapper, born Ahmad Balshe, was just a boy when his family emigrated from the West Bank. Yet the poverty they'd hoped to escape greeted them upon their arrival in Ottawa, Canada.

Béla Fleck and Abigail Washburn are two of the least complacent musicians around. With skill that can border on otherworldly, both push boundaries, stretching their sound beyond bluegrass, across continents and into everything from prog-rock to Eastern instrumentation.

When Alicia Bognanno unleashes that glorious howl, you can't help but absorb everything she's feeling: the simmering anger, the built-up resentments and regrets all boiling over into rage. As the dynamic singer and guitarist of her band Bully, Bognanno is an undeniably potent force. Yet behind every snarl and throat-shredding scream into the void, there are subtler shadings at work, particularly when she's accompanied by her own harmonies. On the surface, they work to infuse pop melodies into the band's fray of guitars.

More than ever, pop music is a hybrid form. We're utterly accustomed to the way that it metabolizes textures, flavors and cadences from far-flung corners of the musical landscape. The fusion of styles only strikes us as exotic when we sense incompatibility between the aesthetic values of the source material. A prime example? Any combination of old-time, bluegrass or string band elements — music understood to be unspooling unbroken threads of tradition with some degree of reverence — and the synthetic beat-making techniques of hip-hop and dance music.

When Margo Price released her knockout debut album, Midwest Farmer's Daughter, last year after a decade of personal hardship and industry rejection, country purists praised her outsider spirit and vintage tastes. Hailed a revivalist and a renegade, she earned instant comparisons to outlaw legends like Tammy Wynette, Emmylou Harris, and most notably, Loretta Lynn. As far as Cinderella stories go, it was a dream come true ... except that Price never set out to be a tribute act. She wants a legacy of her own.

The perception that Appalachian culture is a hotbed of backwards thinking and crude expression is hardly new, but it's found renewed currency following the publication of books like Hillbilly Elegy and the political profiling of the hinterlands spurred by last November's election results.

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