State Champ Radio Author: djfrosty
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After almost two decades away, Yellowcard is back on a Billboard airplay chart. “Better Days,” the lead single from Yellowcard’s upcoming album of the same name, bows at No. 33 on the Alternative Airplay tally dated June 14. The song marks the Ryan Key-fronted band’s first appearance on any airplay ranking since 2007, when “Light […]
Latin music executive Horacio Rodriguez has launched Fundamentals, a new artist and label services company headquartered in Miami. “Launching Fundamentals marks a new chapter in my journey to support and elevate Latin artists by reimagining their path to success — rooted in innovation, cultural impact, creative freedom, and the long-term sustainability of their businesses in […]
We caught up with Snoop Dogg, Ciara, Keke Palmer, Jermaine Dupri, and more on the red carpet of the 2025 BET Awards and found out their all-time favorite Mariah Carey song.
What’s your favorite Mariah Carey song? Let us know in the comments!
Keke Palmer: You’ll always see my baby
Snoop Dogg: I would be like “Mariah. You know, when I was in jail, ‘Vision of Love,’ we used to sit around waiting for that video to come on. I can’t believe I did a song with you.”
Ciara: Oh my gosh, there’s so many hits.
Lauren-Ashley Beck: Mariah Carey is being nominated for an icon award this evening, what is your favorite Mariah Carey song?
Amerie: My favorite? “We Belong Together.”
Lucky Daye: I like the one she did with. Uh, is it Ol’ Dirty Bastard.
Oh yes, I can see the music video.
Ciara: That right there, by far, is one of the most timeless records that is special.
Jermaine Dupri: “My All.” I know y’all thought I was gonna say one of my songs.
We did.
Jermaine Dupri: She knows that’s my song. Yeah, I love that song. I wish I would have made that song,
We gotta get you on the stage. Okay, that was amazing. I have chills, actually.
Amerie: That’s my son’s favorite Christmas song. He actually liked it outside of Christmas, but he just started dancing and running around. Yeah, it’s just great, like she created a new classic.
Scooter Braun has been subpoenaed in Blake Lively’s sexual harassment and retaliation lawsuit over the movie It End With Us, with the actress seeking to find out what the music mogul knows about co-star Justin Baldoni’s alleged smear campaign against her.
Deadline first reported that Braun’s company, HYBE America, was notified of subpoenas on Tuesday (June 10), and that Lively plans to serve the document requests on Thursday (June 12). Billboard learned via a source familiar with the matter that the Lively camp subpoenaed both HYBE America and its CEO, Braun, personally.
Lively claims in her lawsuit that Baldoni enlisted crisis PR maven Melissa Nathan to seed negative press coverage of the actress in retaliation for her reporting sexual harassment on the set of It Ends With Us. Lively is now seeking any materials about this alleged smear campaign that are in the possession of Braun and HYBE America, which reportedly owns a controlling stake in Nathan’s company, The Agency Group PR.
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Billboard reached out to reps for Lively, HYBE America, Braun and Baldoni for comment. Billboard also reached out to Nathan for comment.
Lively’s subpoena on Braun follows Baldoni’s attempt to serve his own document subpoena on Taylor Swift, a close friend of Lively and public opponent of Braun. Swift and Braun’s feud stems from Braun’s 2019 purchase of the pop superstar’s Big Machine masters, which she bought back last month.
Swift’s reps fiercely criticized her subpoena, saying she was not involved in It Ends With Us and that Baldoni was merely trying to “use Taylor Swift’s name to draw public interest by creating tabloid clickbait instead of focusing on the facts of the case.” Baldoni ultimately dropped the Swift subpoena.
The messy It Ends With Us litigation began in December, when Lively sued Baldoni, claiming sexual harassment and retaliation. Baldoni quickly countersued, claiming the actress, her husband Ryan Reynolds and publicist Leslie Sloane had fabricated the claims and that Lively unfairly seized control over the movie he directed.
A federal judge dismissed Baldoni’s countersuit as legally deficient on Monday (June 9), allowing him to amend breach of contract claims but permanently tossing out his defamation allegations. The dispute is on track to go to trial in 2026.
Thanks to their iconic catalog of sun-soaked anthems that could seemingly melt the coldest of climates, the Beach Boys boast one of the most accomplished histories ever on the Billboard Hot 100.
The Beach Boys debuted on the Hot 100 dated Feb. 17, 1962, at No. 93, with “Surfin.” That October, their second entry, “Surfin’ Safari,” reached No. 14, marking their first of 35 top 40 hits.
The band kept catching waves to higher Hot 100 crests, with “Surfin’ U.S.A.” becoming its first of 15 top 10s, hitting No. 3 in May 1963.
“I Get Around” became the Beach Boys’ first Hot 100 No. 1 on July 1964. They reigned again with “Help Me, Rhonda” in May 1965, “Good Vibrations” in December 1966 and “Kokomo” in November 1988. With its lattermost leader, the band set two records at the time: It established the longest span of No. 1s for any act (24 years and four months) and closed the longest gap between trips to the top (21 years and 10 months).
Notably, Brian Wilson was not a part of the recording of “Kokomo.” As reported June 11, the founding member and essential creative force of the band passed away at age 82. Along with the group’s 55 Hot 100 hits logged through 1989, he charted one solo entry: “Caroline, No” rose to No. 32 in April 1966. (He was also the title subject of a Hot 100 hit: Barenaked Ladies’ “Brian Wilson” reached No. 68 in 1998.) “I am proud that I have weathered not just one storm, but a lifetime of storms,” Wilson mused to Billboard in 2015. “Proud that I have stuck with my music and musical convictions. And proud — really proud — to have proven stronger than many imagined me to be.”
The Beach Boys’ Hot 100 history has expanded in recent years thanks to its 1963 classic “Little Saint Nick.” In both the 2023 and 2024 holiday seasons, the carol jingled to a No. 25 high, the band’s best rank since “Kokomo” in December 1988.
The Beach Boys have also continued to chart new music this century. In June 2012, That’s Why God Made the Radio cruised onto the Billboard 200 at its No. 3 peak, marking their 14th and most recent top 10 album – and their highest placement on the chart in 38 years.
In honor of the group’s beloved songs that make it feel like an endless summer when listening any day of the year, count down the Beach Boys’ 40 biggest Hot 100 hits below. Beyond their highest-charting entries — which helped lead to the band’s induction into the Rock & Roll Hall of Fame in 1988 and a lifetime achievement award from the Recording Academy in 2001 — the ranking includes favorites whose legacies have outpaced the reach of their original runs, such as “God Only Knows” (a perhaps surprising, in retrospect, No. 39 peak) and “Don’t Worry Baby” (No. 24).
The Beach Boys’ Biggest Billboard Hot 100 Hits chart is based on actual performance on the weekly Hot 100 chart from its Aug. 4, 1958, inception, through June 14, 2025. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.
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The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard Hot 100 dated June 21, we look at the chances of Sabrina Carpenter’s new single to enter atop the Hot 100 – and the competition it faces from Alex Warren’s reigning champ.
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Sabrina Carpenter, “Manchild” (Island/Republic): When “Ordinary” was revealed as the No. 1 single on the Billboard Hot 100 a couple weeks ago, rocketing past all three Morgan Wallen songs that had moved above it in the top three the week before, it looked like it might have a relatively clear path to rule the chart for a long time. Then, last Tuesday (June 3), an announcement came that made it clear its competition would soon be stiffer than expected: Sabrina Carpenter, one of the decade’s biggest breakout pop stars, would be returning with a brand new single.
“Manchild,” written and produced by Carpenter along with the dream team behind her first Hot 100 No. 1, “Please Please Please” — Jack Antonoff and Amy Allen – debuted on Thursday night (June 5) after just a few days of teasing. The song, packed with the hooks and humor that elevated Carpenter to superstar status during her Short n’ Sweet era, also came with an (at times literally) explosive new video seemingly custom-designed for screengrab memes. It got off to a similarly incendiary start on streaming, bowing atop the Spotify Daily Top Songs USA chart with about twice the streams of the No. 2 song.
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Those streaming numbers fell significantly over the weekend, but have rebounded slightly over the week, and now look to portend a very strong showing for “Manchild” on DSPs. Whether it will be enough to help the song capture the Hot 100’s top spot is another matter – particularly as it gets started on radio, where it’s off to a solid start, even threatening a Radio Songs chart debut in its first week, but obviously lags behind Carpenter’s enduring 2024 hits “Espresso” and “Taste,” which still have a fairly considerable presence on the airwaves.
It will help “Manchild” that the song is selling fairly well, having spent most of the past four days in the top five of iTunes’ real-time chart. It even returned to No. 1 following the Tuesday discounting of the song to 69 cents – which, along with a vinyl single now available for purchase on her webstore (including the exclusive B-side “inside of your head when you’ve just won an argument with a man”), would seem to indicate that Carpenter’s team likely feels like the No. 1 is within reach. It should be a close race regardless, and may come down to the final days – if not the final hours – of tracking-week consumption.
Alex Warren, “Ordinary” (Atlantic): After capturing the top spot on the Hot 100 two weeks ago, “Ordinary” shows no real signs of slowing down, as its radio play continues to rise – up 8% in all-format airplay June 6-9, according to Luminate — and streaming and sales both remain highly stable. Despite its follow-up, the Jelly Roll collab “Bloodline,” debuting last week, it doesn’t seem like Alex Warren‘s new song has sapped any of the “Ordinary” momentum, as the latter remains the early Song of the Summer frontrunner.
Even if “Manchild” does manage to topple it on next week’s chart, “Ordinary” has the consistent cross-platform success to challenge for the top spot for many weeks still to come – and could take back over from Carpenter’s latest almost immediately, once the first-week streaming and sales numbers from the latter inevitably recede in week two. And Warren announced last week that the release of new set You’ll Be All Right, Kid (Pt. 2) will arrive on July 18, and likely further extend the prominence of “Ordinary” even deeper into the summer.
Morgan Wallen, “What I Want” (feat. Tate McRae) & “Just in Case” (Mercury/Big Loud/Republic): Speaking of songs still growing on radio, both of Morgan Wallen’s top-performing songs on the Hot 100 are also continuing to make their presence increasingly felt on the radio: Country radio single “Just in Case” climbs 38-37 on Radio Songs this week is up 7% in all-format play June 6-9, while the Tate McRae-featuring “What I Want,” being promoted to pop, surges 37%. The problem, as always with Morgan, is himself: Older hits “I’m the Problem,” “Love Somebody” and even his spring 2024 Post Malone collab “I Had Some Help” are still outperforming the rising songs across radio formats, and Wallen may need to be patient with those songs’ slow demises on the airwaves before those newer songs can fully take over.
06/11/2025
50 has relentlessly trolled the disgraced music mogul for years, Billboard breaks down where it all started.
06/11/2025
Jack Black is set to receive the King of Comedy Award during the 2025 Nickelodeon Kids’ Choice Awards, live from Barker Hangar in Santa Monica, Calif., on Saturday, June 21, at 8 p.m. ET/PT. Black will accept his Silver Blimp from the KCA stage, before getting doused by Nickelodeon’s iconic slime.
Additionally, Alex Warren, whose “Ordinary” has topped the Billboard Hot 100 the last two weeks, has joined the list of talent scheduled to appear on the show, along with Auliʻi Cravalho, Benny Blanco, Ice Spice, Victoria Monét, Jack Griffo, Jacob Rodriguez, Katelyn West, Kel Mitchell, Kira Kosarin, Maia Kealoha, Renee Montgomery, SeanDoesMagic, Samantha Lorraine and Tony Hawk.
Previously announced show participants include KATSEYE, who will perform their Hot 100 single, “Gnarly.”
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Hosted by Tyla, the show will simulcast across Nickelodeon, TeenNick, Nicktoons, the Nick Jr. channel, MTV2 and CMT, and also air on Nickelodeon channels around the world.
Black is no stranger to Nickelodeon, having hosted the annual awards show in 2006, 2008 and 2011. Last year, he won a KCA orange blimp for his voiceover work as Bowser in The Super Mario Bros. Movie. He also won favorite voice from an animated movie for his work in Kung Fu Panda in 2009.
Nickelodeon Kids’ Choice Awards 2025 is produced by Nickelodeon Productions and overseen by: Ashley Kaplan, executive vp, Nickelodeon & Awesomeness Unscripted & Digital Franchise Studio; Paul J Medford, vp, unscripted current series; Luke Wahl, vp, unscripted creative; and Jennifer Bernstein, vp, talent. Guy Carrington & Kevin Hermanson of Done and Dusted serve as executive producers, with Rob Paine serving as co-executive producer. The show is directed by James Merryman.
Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor Sly Stone, who died on Monday (June 9) at age 82, by looking at the first of Sly & the Family Stone’s three Hot 100-toppers: the simple, yet profound “Everyday People.”
Sly & the Family Stone, a genre-fluid, interracial, mixed-gender group (at a time when all three things were unique) was formed in San Francisco in 1966. The group was led by Sly Stone, a musical prodigy who was just 23 at the time. His main claim-to-fame at that point is that he had produced a string of hits for the pop/rock group The Beau Brummels, including “Laugh, Laugh” and “Just a Little.”
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Sly & the Family Stone made the top 10 on the Billboard Hot 100 in April 1968 with its first chart hit, “Dance to the Music.” That funky celebration of dance music wasn’t topical at all, but after the stunning events of 1968 – a year of assassinations, riots and a war without end in Vietnam – acts almost had to say something, and Sly & the Family Stone did on “Everyday People,” which was released that November.
The song is a plea for understanding and racial unity, which is so understated in its approach that it’s easy to lose sight of just how progressive its sentiments seemed in 1968. The record has a gentle tone and a disarming opening line: “Sometimes I’m right and I can be wrong/ My own beliefs are in my song.” Who ever starts out a conversation by conceding “I can be wrong?”
The sense of urgency and passion picks up on the proclamation “I am everyday people!” which is repeated three times during the song, and then on the call to action “We got to live together,” which is repeated twice.
Stone, who was born Sylvester Stewart, wrote and produced “Everyday People.” His genius move on this song was to simplify the discussion to the level of a childhood playground taunt – “There is a yellow one that won’t accept the Black one/ That won’t accept the red one that won’t accept the white one/ Different strokes for different folks/And so on and so on and scooby-dooby-dooby.” The unspoken, but unmistakable, message: Isn’t all this division really pretty childish?
Sly makes the point even more directly in the second verse: “I am no better and neither are you/ We are the same whatever we do.” The reasonableness of his argument instantly disarms any detractors.
The song’s politics are expressed most directly in the third verse, in the song’s depiction of counter-culture types vs. establishment types; progressives vs. conservatives. “There is a long hair that doesn’t like the short hair/For being such a rich one that will not help the poor one.”
The bridges of the song contain the line “different strokes for different folks,” which was initially popularized by Muhammad Ali. It became a popular catchphrase in 1969 (and inspired the name of a 1978-86 TV sitcom, Diff’rent Strokes).
Sly wisely kept the record short – the childlike sections, which are charming in small doses, would have become grating if the record had overstayed its welcome. The record runs just 2:18, shorter than any other No. 1 hit of 1969.
Three Dog Night took a similar approach on “Black & White,” which was a No. 1 hit in September 1972 – putting a plea for racial unity and brotherhood in simple, grade-school language. Three Dog’s record isn’t as timeless or memorable as “Everyday People,” but it shows Sly’s influence.
“Everyday People” entered the Hot 100 at No. 93 for the week ending Nov. 30, 1968. You might assume that a record this catchy and classic shot to the top quickly, but it took a while. In the week ending Jan. 11, 1969, it inched up from No. 27 to No. 26, looking like it might not even match “Dance to the Music”’s top 10 ranking. But then it caught fire. The following week, it leapt to No. 15, then No. 5, then No. 2 for a couple of weeks behind Tommy James & the Shondells’ “Crimson and Clover,” before finally reaching the top spot in the week ending Feb. 15.
It stayed on top for four consecutive weeks, the longest stay of Sly’s career. The song was of a piece with such other socially-aware No. 1 hits as Aretha Franklin’s “Respect” (1967) and The Rascals’ “People Got to Be Free” (1968).
“Everyday People” remained on the Hot 100 for 19 weeks, a personal best for Sly, and wound up as the No. 5 song of 1969 on Billboard’s year-end chart recap. The song was included on the group’s fourth studio album, Stand!, which was released in May 1969. The album reached No. 13 on the Billboard 200 and remained on the chart for 102 weeks – also a personal best for the group. The album, which also featured “Sing a Simple Song,” “Stand!” and “I Want to Take You Higher,” was inducted into the National Recording Registry in 2014 and the Grammy Hall of Fame in 2015.
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The band included “Everyday People” in their set at Woodstock on Aug. 17, 1969. Fun Fact: It was the only No. 1 Hot 100 hit performed by the original artist during that landmark three-day festival.
The song is widely acknowledged as a classic. Rolling Stone had it at No. 109 on its 2024 update of its 500 Greatest Songs of All Time list. Billboard included it on its 2023 list of the 500 Best Pop Songs: Staff List. (We had it way down at No. 293, clearly proving the wisdom of Sly’s opening line, “Sometimes I’m right and I can be wrong.”)
While Sly was bedeviled by personal demons that shortened his run at the top, he lived to get his flowers. The band was inducted into the Rock & Roll Hall of Fame in 1993 (in its first year of eligibility). On his own, Sly received a lifetime achievement award from the Recording Academy in 2017.
Numerous artists covered “Everyday People” in the wake of Sly’s recording. Between 1969 and 1972, the song was featured on Billboard 200 albums by The Supremes, Ike & Tina Turner, The Winstons, Watts 103rd Street Rhythm Band, Supremes & Four Tops, Billy Paul and Dionne Warwick.
Spend any time on YouTube and you can also find cover versions of “Everyday People” by everyone from Peggy Lee to Pearl Jam (who performed it in concert in 1995). Other artists who took a stab at it: Aretha Franklin, The Staple Singers, William Bell, Belle & Sebastian, Maroon 5 (on a 2005 remix and cover album Different Strokes by Different Folks) and the unlikely team of Cher and Future, who covered it for a 2017 Gap ad that has recently gone viral.
A couple artists even had Hot 100 hits with their new spins on the song. Joan Jett & the Blackhearts covered the song in 1983 and took it to No. 37. Arrested Development drew heavily from the song for their 1993 hit “People Everyday,” which reached No. 8. (The song used the chorus and basic structure of the original, with new verses written by lead singer Speech.)
Sly & the Family Stone nearly landed a second No. 1 hit in 1969, but “Hot Fun in the Summertime” stalled at No. 2 for two weeks in October behind The Temptations’ “I Can’t Get Next to You.” “Hot Fun” wound up at No. 7 on the aforementioned year-end Hot 100 recap, making Sly the only act with two songs in the year-end top 10.
Questlove, who directed the 2025 documentary Sly Lives (aka The Burden of Black Genius), shared a touching tribute to the icon on Instagram on Monday. “Sly Stone, born Sylvester Stewart, left this earth today, but the changes he sparked while here will echo forever … He dared to be simple in the most complex ways — using childlike joy, wordless cries, and nursery rhyme cadences to express adult truths.”
That last part was a clear reference to “Everyday People.” Questlove also recalled what he called that song’s “eternal cry” – “We got to live together!” Said Quest: “Once idealistic, now I hear it as a command. Sly’s music will likely speak to us even more now than it did then. Thank you, Sly. You will forever live.”
Later this week: Two additional Sly & the Family Stone No. 1s take the group into darker and murkier territory, with similarly spellbinding results.
06/11/2025
Following the death of the legendary Brian Wilson, the absolute best from one of the greatest catalogs in rock or pop history.
06/11/2025
