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08 Jan 2024

CRSSD Drops Spring 2024 Lineup Featuring Tale Of Us, Jeff Mills, Richie Hawtin & More

It may be early in the year, but the 2024 festival season is just around the corner. On Monday (Jan. 8) San Diego’s biannual dance festival CRSSD released the official lineup for their upcoming spring event.

The house and techno-centric roster includes house legend Black Coffee, Italian duo Tale Of Us, Berlin mainstay Dixon, Detroit pioneer Jeff Mills, techno savant Richie Hawtin, Sofia Kourtesis hot off her excellent 2023 album Madres, New York house legend Armand van Helden and Brazilian phenom Mochakk. The lineup also includes Little Dragon, Red Axes, WhoMadeWho, Roosevelt, SBTRKT, Héctor Oaks B2B Tiga and many more. See the complete roster below.

Taking place March 2-3 at San Diego’s Waterfront Park, the 21+ festival will again feature three stages (one for house, one for techno and one for sounds that simply cannot be contained to a genre classification) along with its afterparty series, CRSSD After Dark, taking place in clubs, venues and converted spaces throughout the city. Tickets go on sale this Friday, Jan. 12. Fans can also text “SPRING24” to (855) 912-1457 for presale ticket access.

2024 marks the nine year anniversary of CRSSD, which launched in 2015 as a destination for house and techno fans in Southern California, a market then dominated by dance megafestivals like EDC and HARD. Produced by FNGRS CRSSD and Goldenvoice, the still relatively boutique CRSSD typically draws about 15,000 fans to the palm tree-lined venue on the San Diego bay.

Hear exclusive sets from AMÈMÈ, Jackmaster and more from CRSSD’s spring 2023 festival here and CRSSD fall 2023 sets from Nikki Nair, Basement Jaxx, Interplanetary Criminal and more here.

CRSSD 2024

Courtesy Photo

08 Jan 2024

21 Savage Taps Donald Glover & Caleb McLaughlin to Play Himself in New ‘American Dream’ Trailer

21 Savage is headed to the silver screen. The Grammy-winning rapper released the trailer for his upcoming film American Dream: The 21 Savage Story on Monday (Jan. 8).

Directed by Donald Glover, Stephen Glover, Jamal Olori and Fam Udeorji, the four-minute trailer features three generations of 21 Savage — played by Caleb McLaughlin (Stranger Things), Donald Glover (Atlanta) and himself, “in the heat of a personal crisis,” according to the press release.

McLaughlin plays his younger self as he moves from the U.K. to Atlanta and starts getting into trouble, while Glover plays him later on as he starts rapping and making music with Metro Boomin (played by Jabari Banks) before being taken into custody by U.S. Immigration and Customs Enforcement (ICE), appearing in court and eventually being released. He eventually gets to celebrate his wins, like winning his first Grammy Award in 2020 for best rap song with “A Lot” and being knighted by Natasha Lyonne’s character.

According to the trailer, American Dream: The 21 Savage Story will be in theaters on Independence Day 2024, with “music inspired by the film” set to be released on Friday, Jan. 12.

The trailer also previews a new track from 21 Savage (real name Shéyaa Bin Abraham-Joseph), which starts off with a sample of Rose Royce‘s 1978 hit “Wishing on a Star.” “How you that n—a when you can’t go where you grew up at?” he raps.

Watch the trailer below.



Victoria Pedretti (The Haunting of Hill House), Young Mazino (Beef), Chad Lindberg (Fast & Furious), Gail Bean (Snowfall), and Druski (Praise This) also star in the film.

Jamal Olori and Stephen Glover wrote the trailer, which was produced by Tara Razavi and Fam Udeorji, who are also credited as executive producers.

See the film poster below.

Donald Glover, 21 Savage, Caleb McLaughlin, American Dream: The 21 Savage Story

John Canon

08 Jan 2024

The Path Forward for AI Must Be a Responsible One (Guest Column)

Throughout history, music has embraced constructive change and innovation. And we will do so again as we confront the opportunities and risks of artificial intelligence. 

Done right, AI should offer avenues for new growth and artistic accomplishment. When creators’ rights are respected, innovation thrives. 

Already, music companies have unveiled compelling projects that use AI technologies in groundbreaking ways — with full consent and participation of the artists and rights holders involved. Working together with responsible AI companies, music companies are finding new ways to enhance production and marketing, gain new understandings from data and research, and improve wellness and health. They’ve used it to help identify new audiences for artists and pioneer new ways to celebrate iconic catalogs and performers. This is just the beginning of a new era of possibilities.

But many AI developers are resisting collaborative efforts by the creative sector to develop a responsible policy framework for AI, even though the elements of such a framework are straightforward and common-sense. In short, AI companies must honor:

  • Authorization: only use copyrighted music if it is authorized (for example, through a license)
  • Transparency: keep and disclose adequately detailed records of the content on which they train their systems 
  • Authenticity: prevent deepfakes, voice clones, and similar violations of individuals’ rights in their own voice, image, name likeness and identity.

These foundational, consensus principles are detailed by the Human Artistry Campaign and supported by virtually the entire creative community. They set forth a baseline for responsible development and deployment of AI.

But as if on cue, some of the worst instincts of Big Technology have returned. Some AI developers claim it’s “fair use” to scrape up protected music so it can be copied and repackaged by their models. That’s just wrong.

Put bluntly, that’s digital theft. 

In every legitimate market in the world, the use of others’ property requires the owner’s consent and agreed-upon compensation. Together, for example, music and technology have developed a burgeoning streaming market built on the common-sense principle that use of copyrighted creative works requires licensing and consent. 

Indeed, the developers’ claim that they can use decades’ worth of iconic and extremely valuable recordings for AI without bothering to ask or pay the rightsholders is so far-fetched that former Stability AI developer Ed Newton-Rex quit his job in November rather than be party to an extreme effort to rip off artists and misappropriate their work, explaining via X:

“Companies worth billions of dollars are, without permission, training generative AI models on creators’ works, which are then being used to create new content that in many cases can compete with the original works. I don’t see how this can be acceptable[.]”

It’s not.

This is why transparency is essential. AI developers must keep accurate records of the copyrighted works used by their models and make them available to rights holders seeking to enforce their rights. We need rules requiring that developers maintain adequately detailed records and share this information — or bear the consequences if they fail to produce it. We were pleased to see that the European Union enshrined this as a core principle in its landmark AI Act.

AI policy must also establish clear rules protecting every performer’s right to their own voice, image, name and likeness — the most fundamental cornerstones of individual identity. AI fakes that mine an artist’s body of work to create artificial replicas and voice clones, fashion phony endorsements, or depict individuals in ways they haven’t consented to represent the worst kind of personal invasion. Congress needs to put an end to wrongful appropriation of the most central components of individual human identity.

These are the challenges of 2024.

We either work to continue a strong and sustainable foundation for music in the era of generative AI that moves both art and technology forward together, or generative AI devolves into just another “move fast and break things” novelty that fails to deliver anything of value while eroding our culture.

These are the choices policymakers will face this coming year. Let’s work to help them forge the right path.

Mitch Glazier is chairman/CEO of the Recording Industry Association of America.

08 Jan 2024

‘Anatomy of a Fall’: How to Watch the Award-Winning Film Online

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Murder and intrigue are at the center of director Justine Triet’s film Anatomy of a Fall, which took home a pair of awards during the 2024 Golden Globes for best non-English film and best screenplay. Whether you’ve already seen the movie or not, you have some streaming options to watch or rent the film online.

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With blockbuster films like Barbie, Oppenheimer and Killers of the Flower Moon as some of the Golden Globes’ biggest contenders, the foreign film ended up providing one of the night’s major surprises as it took home not one, but two awards.

The psychological thriller centers around the destruction of a marriage, as a novelist (played by Sandra Hüller) goes to trial as the main suspect for her husband’s mysterious death at their secluded chalet in the French Alps. The court must attempt to uncover the truth, but to do so, they must rely on the only other witness there: the couple’s blind son.

Other cast members include Milo Machado Graner, Swann Arlaud, Antoine Reinartz, Samuel Theis and Jehnny Beth.

Keep reading to learn more about the film and how to watch it online.

What Language is Anatomy of a Fall in?

While a French film, the movie features multiple languages including French, German and English. You have the option to purchase the film dubbed in English through Prime Video, Apple TV, Vudo and other video-for-purchase retailers. There’s also the ability to turn on subtitles, which you can customize within the movie’s settings through your chosen streamer.

Is Anatomy of a Fall On Netflix?

A streaming date has yet to be announced by the foreign film, but since it’s distributed by Neon, it’s likely that it will eventually land on Hulu as the platform has exclusive streaming rights. For now, you can rent Anatomy of a Fall or buy it VOD through Prime Video and Apple TV.

How to Watch Anatomy of a Fall

You can purchase Anatomy of a Fall to rent or own VOD through Prime Video or Apple TV starting at $5.99 to rent and $14.99 to buy. You don’t need a membership for either streaming platforms in order to stream the film online. Just choose whether or not you want to rent or purchase the move in HD or standard definition, then it will automatically be added to your library to watch at your leisure.

Rentals are only available for 48 hours, which means once you start the movie you’ll have two days to watch it before your rental expires. If you choose to purchase it through Apple TV, you can watch it through the app on your phone or smart device after purchasing it.

Check below to watch the trailer for Anatomy of a Fall.

08 Jan 2024

Brie Larson Breaks Down in Tears Meeting Jennifer Lopez at 2024 Golden Globes

The 2024 Golden Globes had plenty of memorable moments that were televised, and even more but candid ones that were captured at the star-studded red carpet on Sunday (Jan. 8) at the Beverly Hilton Hotel in Beverly Hills, California.

One of those highlights was when Brie Larson — who was nominated for best performance by a female actor in a limited series, anthology series, or a motion picture made for television for Lessons in Chemistry — met Jennifer Lopez for the first time. 

“I just try to be as present as possible because it’s the chance of a lifetime,” she said to Entertainment Tonight’s host Kevin Frazier just moments before encountering J.Lo. “You’re just surrounded by legends everywhere you look […] it’s hard to go ‘I’m not in a dream.’ I mean, I’m in my dream and I’m living my dream.” 

In the midst of the interview, Frazier signals Lopez, who was standing next in line to be interviewed by ET, to start making her way up. Larson’s reaction was quick and genuine: “Oh my god, I’m going to cry. I can’t deal with JLo. I’m going to cry,” she said. 

Immediately after, with Lopez in her baby pink dress standing in front of her, Larson broke down to tears and transformed into a fangirl. “You mean so much to me. I’m such a huge fan,” she said to Lopez, who also began to shed a tear. “I saw ‘Selena’ and it made me want to be an actor. You’ve always meant so much to me. It’s been a dream of mine so thank you so much. Your work ethic is so important.” 

“How sweet is that? I’m going to cry,” Lopez told Frazier when Larson left. “It’s amazing when she brought up the movie ‘Selena,’ you know, so many years later it still touches people. It’s very moving to me too.”

The humbling gesture even reminded Lopez of who inspired her to want to pursue an acting career.

“I remember being a little girl and watching ‘West Side Story’ and Rita Moreno changing my life,” she recalled. “So to have someone say to me, ‘I watched ‘Selena’ and it made me want to be an actress’ it’s so moving. It’s like your dreams came true and it’s such a beautiful thing.”

Watch the full red carpet video below:

08 Jan 2024

ITZY’s New Mini-Album ‘Born to Be’ Has Arrived: Stream It Now

Happy new year, MIDZY! ITZY kicked off 2024 with the release of its brand new mini-album, Born to Be, on Monday (Jan. 8). The set, which makes the group’s eighth mini-album overall, is now available to listen to on streaming platforms.

The set features 10 tracks: “Born to Be,” “Untouchable,” “Mr. Vampire,” “Dynamite” and “Escalator” performed by Yeji, Ryujin, Chaeryeong and Yuna, and for the first time, five solo tracks by each member — “Crown on my Head (Yeji),” “Blossom (Lia),” “Run Away (Ryujin),” “Mine (Chaeryeong)” and “Yet, But (Yuna).”

Born to Be was released alongside the official music video for “Untouchable,” which features the K-pop group facing off against a series of soldiers planning to take them down, as well as deteriorating buildings and pinpoint lasers. “I’m untouchable, it’s already begun/ With this flow, just (Just) going (Going) on and on/ Go on mess it up now, easily knockout/ Whatever it is, I don’t care about/ I’m untouchable, everlasting form,” the girls sing on the chorus of the energetic track.

Lia is notably absent from the music video, as well as promotional materials for Born to Be. She is currently on hiatus from the group while she recovers from a series of personal health issues.

“Lia underwent consultation and examination as she is experiencing extreme tension and anxiety about carrying out her scheduled activities and received medical advice that she needs rest and treatment,” the group’s label, JYP Entertainment shared in a September announcement. “With the artist’s health as our top priority, after careful discussion with the members, we decided that Lia will not participate in scheduled activities starting from today and will take a break for the time being to focus on her treatment.”

Lia followed up the statement with a letter of her own, telling fans, “I felt like I needed to take some time off to love and fill myself first. As I always say, I sincerely hope that MIDZY will be happy. I will work to return in good health.”

Stream Born to Be below and watch the music video for “Untouchable” above.

08 Jan 2024

Jack Harlow’s ‘Lovin on Me’ & Tate McRae’s ‘Greedy’ Rule Billboard Global Charts

Jack Harlow’s “Lovin on Me” leaps to No. 1, from No. 20, for its first week atop the Billboard Global 200 chart. Meanwhile, Tate McRae’s “Greedy” bounds 21-1 on the Billboard Global Excl. U.S. chart for its second week at the summit.

The singles, among several others, surge on the surveys a week after the top 19 titles on the Global 200 were holiday tracks and the full top 20 on Global Excl. U.S. were seasonal songs.

Meanwhile, three songs are new to the Global 200’s top 10: Xavi’s “La Diabla” (33-4), Peso Pluma and Anitta’s “Bellakeo” (43-7) and Noah Kahan’s “Stick Season” (50-8). On Global Excl. U.S., “La Diabla” (23-2) and “Bellakeo” (26-8) also reach the top 10 for the first time.

The Billboard Global 200 and Billboard Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

‘Lovin on Me’ Leaps to No. 1 on Global 200

Jack Harlow’s “Lovin on Me” ascends to the top of the Global 200 with 52 million streams (up 15%) and 11,000 sold (up 6%) worldwide in the Dec. 29-Jan. 4 tracking week. The rapper adds his second No. 1 on the chart, and his first on his own, after Jung Kook and Harlow’s “3D” reigned in its debut week in October.

Tate McRae’s “Greedy” jumps 24-2 on the Global 200, after two weeks at No. 1 beginning in November, and Taylor Swift’s “Cruel Summer” rebounds 32-3, following a week on top the same month.

Xavi’s “La Diabla” flies 33-4 on the Global 200, led by 56.9 million streams (up 16%) worldwide. The song becomes the first top 10 on the chart for the Mexican-American singer-songwriter (born Joshua Xavier Gutiérrez). It concurrently tops the U.S.-based Hot Latin Songs chart for a second week.

Rounding out the Global 200’s top five, Doja Cat’s “Paint the Town Red” roars 40-5, after it dominated for four weeks beginning in September.

Peso Pluma and Anitta’s “Bellakeo” blasts 43-7 on the Global 200, with 44.4 million streams (up 8%) worldwide. The song is the fifth and second top 10 for the Mexican and Brazilian stars, respectively.

Also new to the Global 200’s top 10, Noah Kahan’s “Stick Season” hikes 50-8, with 29.5 million streams (up 13%) and 3,000 sold (up 12%) worldwide. The Strafford, Vt., native scores his first top 10 on the tally.

‘Greedy’ Back Atop Global Excl. U.S.

Tate McRae’s “Greedy” returns to No. 1 on the Billboard Global Excl. U.S. chart with 38.9 million streams (up 10%) and 1,000 sold outside the U.S. Dec. 29-Jan. 4. The track became McRae’s first leader on the list in early December.

Xavi’s “La Diabla” darts 23-2 on Global Excl. U.S., led by 44.5 million streams (up 17%) outside the U.S., becoming his first top 10.

Taylor Swift’s “Cruel Summer” soars 26-3 for a new Global Excl. U.S. high; Jung Kook’s “Seven,” featuring Latto, charges 22-4, after it reigned for nine weeks starting upon its debut last July; and Jack Harlow’s “Lovin on Me” jumps 27-5 for a new best.

Plus, Peso Pluma and Anitta’s “Bellakeo” climbs 28-6 on Global Excl. U.S., with 35.7 million streams (up 10%) outside the U.S. As on the Global 200, they up their totals to five and two career top 10s, respectively.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Jan. 13, 2024) will update on Billboard.com tomorrow (Jan. 9). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

08 Jan 2024

The Weeknd Teases Final Album in Trilogy, Following ‘After Hours’ & ‘Dawn FM’

The Weeknd compiled his first three mixtapes into one Trilogy compilation album back in 2012, and 12 years later, he’s preparing to close out the current chapter in his career with yet another trilogy.

On Sunday (Jan. 7), he posted the album covers from his 2020 album After Hours and 2022’s Dawn FM — the latter of which celebrated its second anniversary on Sunday — and a third, black slide with a white question mark in the middle and a parental advisory warning label. “3,” he wrote as the caption.

The Canadian-Ethiopian superstar (real name Abel Tesfaye) said in his May 2023 interview with W Magazine that his next studio album will be his final one as The Weeknd. “It’s getting to a place and a time where I’m getting ready to close the Weeknd chapter. I’ll still make music, maybe as Abel, maybe as The Weeknd. But I still want to kill The Weeknd. And I will. Eventually. I’m definitely trying to shed that skin and be reborn,” he said at the time. “The album I’m working on now is probably my last hurrah as The Weeknd. This is something that I have to do. As The Weeknd, I’ve said everything I can say.”

It’s poetic to end his tenure as The Weeknd the same way he started it: In 2011, he dropped three mixtapes — House of Balloons, Thursday and Echoes of Silence — that were eventually remastered and repackaged into his Trilogy compilation album, which Republic Records and his XO label released the following year.

In 2021, The Weeknd released the original mixtapes on streaming services on their corresponding 10-year anniversaries since the samples had finally cleared, including Beach House‘s “Master of None” on “The Party & The After Party,” Siouxsie and the Banshees‘ “Happy House” on “House of Balloons / Glass Table Girls” and Aaliyah‘s “Rock the Boat” on “What You Need.”

See his teaser post below:

08 Jan 2024

Hot 100 Chart Reveal: Jan 13th | Billboard News

The holidays are officially over and we have a new song ready to take over the No. 1 spot from Mariah Carey. Also Doja Cat, SZA, Tate McRae and Taylor Swift all make appearances on the chart. Watch the video to find out who’s on top.

Tetris Kelly
This is the Billboard Hot 100 top 10 for the week dated January 13. Doja Cat brings “Agora Hills” to the top 10 for the first time. Luke Combs is back at No. 9 with “Fast Car.”

Tetris Kelly
“Last Night” keeps it country at 8.

Tetris Kelly
With Tyla’s “Water” at a new No. 7 high. SZA’s “Snooze” is at No. 6.

Tetris Kelly
While Zach and Kacey are back at 5.

Tetris Kelly
Doja Cat grabs a second entry in the top 10 at No. 4.

Tetris Kelly
While Tate McRae reaches a career peak of No. 3. Taylor Swift is still strong at No. 2. And returning to his pre-holiday No. 1 spot is Jack Harlow with “Lovin On Me.”

Watch the full video above!

08 Jan 2024

Jack Harlow’s ‘Lovin on Me’ Returns to No. 1 on Hot 100, Doja Cat’s ‘Agora Hills’ Hits Top 10

Jack Harlow’s “Lovin on Me” rebounds to No. 1, from No. 9, for a second week atop the Billboard Hot 100 songs chart. It first reigned for a week in early December.

Plus, Doja Cat’s “Agora Hills” leaps 35-10 on the Hot 100, becoming her ninth top 10.

Many songs surge on the Hot 100 as the 41 holiday songs on the chart the week before – the most seasonal songs ever on the survey in a single week – all depart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Jan. 13, 2024) will update on Billboard.com tomorrow (Jan. 9). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Harlow’s “Lovin on Me,” released on Generation Now/Atlantic, drew 29 million streams (up 13%, good for top Streaming Gainer honors on the Hot 100) and 52.3 million radio airplay audience impressions (up 1%) and sold 8,000 downloads (up 10%) in the Dec. 29-Jan. 4 tracking week, according to Luminate.

The single bounds 19-1 for a third week atop the Streaming Songs chart; rises 2-1 for a second frame atop Digital Song Sales; and holds at its No. 5 high on Radio Songs.

The track became Harlow’s third Hot 100 leader on the Dec. 2, 2023-datec chart, following “First Class” (No. 1 for three weeks in April-May 2022) and “Industry Baby,” with Lil Nas X (No. 1, one week, October 2021). Notably, he is the first artist to have placed atop the chart each year since 2021. (Drake and Taylor Swift each led with new No. 1s in 2020-23; plus, Mariah Carey’s “All I Want for Christmas Is You” has jingled to No. 1 on charts dated each year in 2019-23.)

“Lovin on Me” concurrently tops the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100, for an eighth week each.

“Lovin on Me” is currently a standalone single from Harlow, whose most recent album, Jackman., debuted at No. 8 on the Billboard 200 in May, becoming his third top 10 set. (The song’s hook samples singer Delbert “Dale” Greer’s 1995 cut “Whatever.”)

Swift’s “Cruel Summer” soars 19-2 on the Hot 100 following four nonconsecutive weeks at No. 1 beginning in October. It rules Radio Songs for an 11th week (72.6 million, up 13%). The song also leads the Adult Pop Airplay chart for an 18th week – surpassing the 17-week reign of Miley Cyrus’ “Flowers” last year for the longest for a song by a woman in the chart’s history.

Tate McRae’s first Hot 100 top 10, “Greedy,” flies 24-3, besting its prior No. 7 peak to become her first top five hit on the chart.

Doja Cat’s “Paint the Town Red” roars 29-4 on the Hot 100, after it led for three nonconsecutive weeks beginning in September, and Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, jumps 31-6, after it dominated for a week upon its debut in September, as it ups its commands on the multimetric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Country Songs charts to 19, 18 and 15 weeks, respectively.

SZA’s “Snooze” ranks at No. 6 on the Hot 100, after reaching No. 2, as it leads the multi-metric Hot R&B Songs chart for a 23rd week.

Tyla’s initial Hot 100 top 10, “Water,” swells 32-7 for a new high, after it previously reached No. 10. It concurrently crowns the Billboard U.S. Afrobeats Songs chart for a 13th week.

Morgan Wallen’s “Last Night” blasts 36-8 on the Hot 100, following 16 weeks at No. 1 beginning last March – the longest reign ever for a non-collaboration – and Luke Combs’ No. 2-peaking “Fast Car” revs 47-9 (up 24% to 46.3 million in radio reach as it wins the chart’s top Airplay Gainer award).

Rounding out the Hot 100’s top 10, Doja Cat’s “Agora Hills” hikes 35-10. The song drew 39 million in radio audience and 11.7 million streams (up 10%) and sold 1,000 in the tracking week.

Doja Cat notches her ninth Hot 100 top 10, following “Paint the Town Red”; “Vegas” (No. 10 peak, October 2022); Post Malone’s “I Like You (A Happier Song),” on which she’s featured (No. 3, October 2022); “Woman” (No. 7, May 2022); “Need To Know” (No. 8, November 2021); “Kiss Me More,” featuring SZA (No. 3, July 2021); Ariana Grande’s “34+35,” on which she and Megan Thee Stallion are featured (No. 2, January 2021); and “Say So,” featuring Nicki Minaj (No. 1, one week, May 2020).

Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated Jan. 13), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 9).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.