djfrosty

16 Jun 2023

Prince Harry & Meghan Markle Split With Spotify After Less Than a Year of ‘Archetypes’ Podcast

The production company founded by Prince Harry and his wife, Meghan, is splitting ways with Spotify less than a year after the debut of their podcast Archetypes.

It is unclear why the podcast, hosted by Meghan, is leaving the platform but Spotify and Archewell Audio said in a joint statement that the decision was mutual.

Archewell landed a multiyear partnership with Spotify in 2020 to create podcasts and shows that would tell stories through diverse voices and perspectives.

The podcast premiered in August last year with tennis great Serena Williams as a guest and it was an instant hit.

It topped Spotify charts in seven countries, including the U.S. and the U.K., and it won the top podcast award at the People’s Choice awards last year.

“I loved digging my hands into the process, sitting up late at night in bed, working on the writing and creative. And I loved digging deep into meaningful conversation with my diverse and inspiring guests, laughing and learning with them, and with each of you listening,” Meghan, the Duchess of Sussex, said at the time.

The show also had as guests Mariah Carey, Trevor Noah, Mindy Kaling and Paris Hilton.

Tech companies have been cutting costs in a rough economic environment and Spotify has not been immune. Six months after announcing that it would cut 6% of its global workforce, or about 600 jobs, Spotify said last week that it was trimming another 200 jobs.

The company said at the time that it would be combining podcast networks Parcast and Gimlet into its Spotify Studios operation.

Prince Harry has been at the High Court of London this month. He is accusing the publisher of the Daily Mirror of using unlawful techniques on an “industrial scale” to score front-page scoops on his life. The Duke of Sussex became the first senior member of the royal family to testify in more than a century.

16 Jun 2023

Ed Sheeran Extends Record as ‘Eyes Closed’ Hits No. 1 on Adult Pop Airplay Chart

Ed Sheeran extends his mark for the most No. 1s among solo males in the history of Billboard’s Adult Pop Airplay chart, as “Eyes Closed” rises to the top of the list dated June 24.

The song, released on Atlantic Records, becomes Sheeran’s eighth Adult Pop Airplay leader. Among solo males, he pulls further ahead of runner-up Shawn Mendes (six No. 1s), dating to the chart’s start in Billboard’s pages in March 1996.

Overall, Sheeran ties Katy Perry for the fourth-most Adult Pop Airplay No. 1s, trailing only Maroon 5 (15), P!nk (10) and Taylor Swift (nine).

Here’s an updated recap of Sheeran’s eight Adult Pop Airplay No. 1s:

  • “Eyes Closed,” one week at No. 1 to date, beginning June 24, 2023
  • “Shivers,” two weeks, Feb. 5, 2022
  • “Bad Habits,” seven, Aug. 21, 2021
  • “I Don’t Care” with Justin Bieber, seven, Aug. 3, 2019
  • “Perfect,” nine, Jan. 20, 2018
  • “Shape of You,” 12, March 11, 2017
  • “Photograph,” six, Sept. 12, 2015
  • “Thinking Out Loud,” six, Feb. 21, 2015

Sheeran also adds his 50th cumulative week at No. 1 on Adult Pop Airplay, likewise the most among solo males. Among all acts, only Maroon 5 (101) and Matchbox Twenty (54) have totaled more time on top.

“Eyes Closed” is from Sheeran’s album – (Subtract), which debuted at No. 2 on the May 20-dated Billboard 200 chart dated May 20, and has earned 238,000 equivalent album units in the United States since its release, according to Luminate.

All charts dated June 24 will update on Billboard.com Wednesday, June 21 — a day later than usual due to the Juneteenth holiday in the U.S. on Monday, June 19.

16 Jun 2023

Ja Morant Suspended 25 Games By NBA, Twitter Says “That’s All?”

HipHopWired Featured Video

CLOSE

Ja Morant has been suspended 25 games by the NBA thanks to his love of waving firearms on social media. The vibe on Twitter is that the high-flying point guard got off light.

ESPN reports that on Friday (June 16), the NBA announced that the Memphis Grizzlies point guard had been suspended 25 games for “conduct detrimental to the league” at the start of the 2023-2024 NBA season. The formal suspension comes after a second incident in which Morant was seen brandishing a gun on social media, this time in May.

Back in March, the NBA suspended Morant for 8 games for a similar incident where he showed off a firearm on Instagram Live while in a club in Denver. In response to that situation, Morant reportedly enrolled in counseling.

After the second incident, NBA Twitter fully expected NBA Commissioner Adam Silver to drop the hammer on Morant, with many speculating at least a half a season on ice for the talented player. Now it’s a question of Morant staying on the straight and narrow after his second strike.

“Ja Morant’s decision to once again wield a firearm on social media is alarming and disconcerting given his similar conduct in March for which he was already suspended eight games,” said NBA commissioner Adam Silver n a statement. “The potential for other young people to emulate Ja’s conduct is particularly concerning. Under these circumstances, we believe a suspension of 25 games is appropriate and makes clear that engaging in reckless and irresponsible behavior with guns will not be tolerated.”

Silver added, “For Ja, basketball needs to take a back seat at this time. Prior to his return to play, he will be required to formulate and fulfill a program with the league that directly addresses the circumstances that led him to repeat this destructive behavior.”

Memphis Grizzlies v Los Angeles Lakers - Game Six

Source: Ronald Martinez / Getty

In response, Morant issued his own statement which address his assigned homework.

“I’ve had time to reflect and I realize how much hurt I’ve caused,” said Morant in a statement he released on Friday. “I want to apologize to the NBA, the Grizzlies, my teammates and the city of Memphis. To Adam Silver, Zach Kleiman and Robert Pera — who gave me the opportunity to be a professional athlete and have supported me — I’m sorry for the harm I’ve done. To the kids who look up to me, I’m sorry for failing you as a role model. I promise I’m going to be better. To all of my sponsors, I’m going to be a better representation of our brands. And to all of my fans, I’m going to make it up to you, I promise.”

Peep Twitter’s reactions to Ja Morant’s punishment in the gallery.

16 Jun 2023

Doja Cat, Gunna, Queens of the Stone Age & More: What’s Your Favorite Music Release of the Week? Vote!

The countdown to summer officially begins with this week’s new music Friday, and it features promising new material from Doja Cat, Gunna, Queens of the Stone Age and more.

Few artists have had such commercial success in recent years as Doja Cat, and she is at the point where she can continue doing whatever she wants. New single “Attention” proves exactly that. Instead of the heavily pop-leaning rap she ascended the charts with over the past few years, Doja has stripped things back and leans into her flow — which recalls the likes of Tyler, the Creator and Eminem — and dares anyone to challenge her self-perception.

Following several months behind bars and a plea deal, Gunna reflects on the past year in new album A Gift & A Curse. The rapper, who’s known typically for being vibed out, goes for a more somber tone this time around as he looks back on his journey and finds peace in his craft.

Queens of the Stone Age also return with their first set in six years, but not without overcoming a series of serious circumstances. Josh Homme powered through a cancer diagnosis and surgery, which serve as the foundations for new LP In Times New Roman… The collection of self-produced songs hears the band sounding tighter than ever, and is a true return to form since 2005’s Lullabies to Paralyze.

Don Omar, Carly Pearce (with Chris Stapleton), Asake and Peggy Gou also released new material this week. We know there’s a lot to choose from, but which new track or album is your favorite? Vote in our poll below.

16 Jun 2023

The Recording Academy Did Away With Nominations Review Committees — So Why Are Committees Still Determining the Nominees in These 16 Categories?

Two years ago, the Recording Academy made headlines when it disbanded its controversial “nominations review committees.” So, you may be surprised to learn that in 16 of the 94 categories on the 2024 ballot, committees will still determine the final nominees.

What’s going on here? These are “craft committees,” not “nominations review committees” – though they function in the same way. Typically, these committees are presented with a list of the top 30 choices by rank-and-file voting members. They may choose any five entries they wish from that list. Those become the nominees.

In fact, the Academy is moving two more categories – best music film and best music video – under the umbrella of “craft committees” for the upcoming 66th Annual Grammy Awards. Previously, the nominees in these two categories were determined by rank-and-file voters.

In a Recording Academy-sponsored video released last week, Recording Academy CEO Harvey Mason jr. explained to rapper Cordae how and why the Academy disbanded its nominations review committees. But in so doing, he left the impression that all committees were a thing of the past, which is not the case.

Here’s what Mason told Cordae: “But as of two years ago, we removed all committees so there are no committees making any decisions. The Academy and the Grammy body is not making any decisions. The voters – 13,000 – vote. The top five-eight-10 vote getters, depending on the category, are considered the nominees. That short list goes back to the same voters. They vote and the top vote-getter wins.  Period. Point blank. No other interference. No other effects taking place.”

Mason was likely drawing a distinction in his own mind between “nominations review committees” and “craft committees.” But few outside of the Academy grasp the difference.

(Another point: There are no more categories with 10 nominees. The Academy dropped the number of nominees in each of its Big Four categories to eight. This video may have been taped before that rule tweak took place.)

Earlier this week, Mason shared with Billboard the reason for having craft committees determine the nominees for producer of the year, non-classical and songwriter of the year, non-classical. “The reason craft committees are still employed here is because these nominations are really based on large bodies of work. Anything else in the process is really about a song or a record or a performance and we feel the voters can spend the time to listen to that song/performance and evaluate it. [But here] in order to make sure we’re getting this right, the idea of the craft committee spending the hours and hours it takes to listen to just one potential nominee’s material is worth it to make sure we get it right.”

According to the Academy, all members of craft committees must be voting members of the Academy in the membership class which corresponds to the craft they are being submitted to judge. All must have filled out a documentation form listing six tracks or albums for which they have a credit corresponding to the craft they are being submitted to judge. The credits must be for recordings released in the previous five years.

Committee members may serve a maximum of eight consecutive years. At least 25% of each committee must turn over from the previous year’s committee.

Here are the 16 categories on the 2024 Grammy ballot where the nominees will be determined by craft committees. The first frame lists categories where the committee draws from lists of the voters’ top 30 choices. The second frame lists categories where the committee chooses the nominees without any voter involvement. In both cases, the categories are listed in the order they appear on the Grammy ballot.

16 Jun 2023

How Much Has Tracy Chapman Earned from Luke Combs’ ‘Fast Car’ Cover?

Luke Combs has driven his “Fast Car” to the top five of the Billboard Hot 100 – and Tracy Chapman is riding shotgun.

The surprise success of Combs’ cover has been a minor windfall for Chapman, the sole songwriter of the 1988 hit from her breakthrough debut album. Billboard estimates that Combs’ version has generated about $500,000 in publishing royalties globally from its March 17 debut through June 8. Chapman alone is pocketing a sizable portion of that total.

Most of the royalties have come from 154 million U.S. on-demand audio streams from services such as Spotify and Apple Music from March 17 to June 8, according to Luminate. During that period, “Fast Car” also had 6 million video streams and 28 million programmed audio streams in the United States. The track has also been purchased 86,000 times, while the album on which it appears, Combs’ Gettin’ Old, has been purchased 68,000 times in both digital and physical formats. The United States accounts for more than three quarters of the song’s global consumption — a high ratio not atypical for a country artist.

What’s more, Combs’ success with “Fast Car” has also given Chapman’s original recording a boost. Weekly consumption — measured by track sales and streaming converted into equivalent track units — increased 44% since Combs’ version was released, while average weekly radio spins improved about 11%. That’s resulted in a boost in U.S. recorded revenues of about $54,000, with $13,000 coming from publishing royalties, Billboard estimates. (Warner Music Group’s Elektra Records, not Chapman, owns the recorded music rights.) Interest in Chapman herself appears to have increased, too: U.S. Google searches for the singer almost tripled from the weeks ended March 18 to June 3, according to Google Trends.

“Fast Car,” the first single for Chapman’s eponymous debut album, has been covered by the likes of Sam Smith, Khalid, Black Pumas and English producer Jonas Blue, whose dance version reached No. 2 on The Official U.K. Singles Chart and No. 98 on the Billboard Hot 100 in 2016. But in the United States, Combs’ version became the most successful to date by reaching No. 4 on the Billboard Hot 100 (dated June 17), surpassing Chapman’s original which reached No. 6 on the Billboard Hot 100 in 1988, and helped her debut album reach triple platinum within a year of its release.

Combs’ “Fast Car” peaked at No. 1 on the Country Digital Song Sales chart (dated June 10) and No. 2 on the Country Streaming Songs chart (dated April 29). It also reached No. 6 on the Country Airplay chart (dated June 17) in just its eighth week on the tally and hit No. 2 on the Hot Country Songs chart (dated May 6), which combines radio airplay and streams. North of the U.S. border, “Fast Car” reached No. 2 on the Canadian Digital Song Sales chart (dated May 6), No. 5 on the Billboard Canadian Hot 100 chart (dated May 27) and No. 36 on the Canada All-Format Airplay chart (dated June 10).

Tracking the ownership of “Fast Car” is like a brief lesson in the history of major publishing dealmaking of the last four decades. Chapman signed a publishing deal with SBK Entertainment prior to signing with Elektra Records in 1987. SBK was acquired by EMI Music Publishing in 1989. Citi took control of EMI in 2011 after private equity firm Terra Firma defaulted on its debt from a 2007 acquisition. A consortium of investors led by Sony Music Entertainment acquired EMI Music Publishing in 2012. In 2018, Sony Corporation bought out the remaining 60% of EMI Music Publishing. But the rights to “Fast Car” reverted to Chapman a few years ago, according to a Sony Music Publishing spokesperson. As sole owner of the songwriting and publishing rights, Chapman can pocket all royalties generated from “Fast Car” and other songs in her catalog, less any fees paid to a third party for administration services.

“Fast Car” is a rarity in an age of sampling, interpolations and Taylor Swift’s re-recordings. Outside of holiday music, cover songs rarely appear in the top 10 of the Hot 100 singles chart. In fact, the last time a cover entered the top 10 of the Hot 100 was Anna Kendrick’s version of “Cups,” a folk song written in 1931 and recorded by Hendricks for the movie Pitch Perfect that reached No. 6 in 2013. Prior to “Cups,” two cover versions from the TV show Glee appeared in the top 10: “Don’t Stop Believin’” (originally by Journey) in 2009 and “Teenage Dream” (originally by Katy Perry) in 2010. Chapman earns some royalties when “Fast Car” is sampled or used in an interpolation – Chris Brown‘s 2017 song “Runaway,” for example — but she keeps 100% of the songwriting and publishing royalties of cover songs.

16 Jun 2023

How Trusting Jelly Roll Was Key to the Cross-Genre Success of ‘Whitsitt Chapel’

As Jelly Roll himself told it in his recent Billboard cover story, it was attending church with his daughter that inspired the raw, career-defining record Whitsitt Chapel. The rising Tennessee artist has become a sensation over the past two years building up to this release, with a number of accolades that have burgeoned his career and his story.

But this record was that final piece of the puzzle, and its artistic merits were matched by its commercial performance: The album debuted at No. 3 on the Billboard 200, No. 1 on Top Rock & Alternative Albums and, with 90,000 equivalent album units, became the largest week for an initial entry on Top Country Albums since the chart transitioned to a consumption-based methodology in February 2017.

As BMG Nashville president Jon Loba puts it, that’s down to Jelly Roll and the work he put into the music. But the success nonetheless earns Loba the title of Billboard’s Executive of the Week.

Here, Loba talks about the build-up to the album, the strategies the label used to maximize its impact and where they can go from here in building Jelly Roll’s career. “Going forward we will continue giving Jelly his creative and artistic freedom, while we continue to work on building the connection to new audiences and nurture the connection with his existing audience,” Loba says. “It’s really that simple. When you have your first experience or interaction with Jelly, you have a strong desire to go deeper — and tell others about him.”

This week, Jelly Roll’s Whitsitt Chapel debuted at No. 3 on the Billboard 200 and topped both the Rock & Alternative and Country Albums charts. What key decision did you make to help make this happen?

It of course all starts with the music. Jelly turned in an absolutely epic record that we have no doubt will stand the test of time. I think we will look back two decades from now and see this as the album that fully revealed the depth, texture, intellect and heart of Jelly Roll. The biggest decision I made was getting out of Jelly’s way and trusting him to turn in such a masterpiece. Initially, we had a collection of absolute slam dunk, commercial country hits Jelly wrote and was ready to record. After he attended his daughter’s church one Sunday, however, he called me up to say he felt the deep need to scrap all those songs and go on a musical and spiritual journey with his next record. We knew we had hit singles lined up, but I heard the conviction in his heart about this alternate path. His manager John Meneilly and I always say, “When in doubt, trust Jelly,” and that’s what we did. We didn’t know what this album would be, but we wanted to support him and his creativity. It turned out to be not only the right thing artistically but the right thing commercially.

The album had the biggest opening week for a first entry on the Top Country Albums chart since it went to a consumption-based methodology in 2017, almost tripling the previous record. How did you build the momentum leading up to this release?

Once you meet him, you are a fan for life. The buzz on Jelly started with “Save Me” and grew with “Dead Man Walking” and “Son of a Sinner,” so the commercial credibility was there to begin with. Our partners were really interested in his music and curious about him as we communicated how special he was. Once they met him one on one, it was a game changer. When you spend time with Jelly, you immediately root for him and want to create opportunities, which they did. Importantly, when they created those opportunities, Jelly always delivered for them and, in turn, [they] wanted to create more. Ultimately, the opportunities for his singles grew organically into opportunities for his album release.

What was your sales approach for this record?

First and foremost, making sure our partners heard the entire project well in advance. We knew the music would speak for itself and afterward our partners immediately came back to us with new creative opportunities for exposure. Wherever possible, we wanted Jelly to present it first-hand, to talk about his motivation and journey in creating Whitsitt Chapel. We also know Jelly has a passionate and committed fan base, so we wanted to be sure we had a strong focus on physical, as they are collectors… more so than most country consumers.

Jelly Roll’s music crosses several different genres, and Whitsitt Chapel is the latest in a line of albums that have reached the top echelon of both the Country radio charts and the Rock & Alternative radio charts. How do you work the same songs differently at different formats?

We don’t work them much differently. When Jelly and I first met, he had many questions about where his music would fit. He had a strong desire to have his music heard and accepted in the country genre, but he also wondered if some of it could work in rock and top 40. I was really firm in telling him not to worry about genres. All he needed to do was keep making music that connected with hearts and minds — music that saves and changes lives. You see examples of that at every Jelly show as you talk to his fans. He has this ability to connect with a wide variety of audiences because of his truth and willingness to be extremely open and share it. I said it in that first meeting, and I feel it even more strongly now: Jelly transcends genres. He is on the path to becoming a cultural icon.

Jelly Roll’s success has been considered one of the best examples of artist development in recent years. How do you continue to build on that in his career going forward?

We would love to take credit for Jelly’s artist development, but that wouldn’t be honest — Jelly is responsible for his artist development over the years of making music, touring and speaking his truth. We were fortunate that before us, there had not been a full team out there strategically telling his story, introducing him to partners and passionately laying down in the road for him as we asked for exposure opportunities. Going forward we will continue giving Jelly his creative and artistic freedom, while we continue to work on building the connection to new audiences and nurture the connection with his existing audience. It’s really that simple. When you have your first experience or interaction with Jelly, you have a strong desire to go deeper — and tell others about him.

16 Jun 2023

Friday Dance Music Guide: The Week’s Best New Dance Tracks From Peggy Gou, BLOND:ISH & More

This week in dance music: It was announced that Justice will release a new album and tour in 2024, CRSSD dropped a lineup featuring Underworld, Flume and many more for its fall 2023 edition, Los Angeles dance event promoter Stranger Than announced an event series at the city’s Petersen Auto Museum, the Grammys’ addition of the best pop dance award was heralded was the ‘biggest victory for dance music at the Grammys in 20 years,” John Summit and Hayla made moves on Hot Dance/Electronic Songs and Avicii’s 2013 classic “Wake Me Up” became the RIAA’s highest certified dance song of all time.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

Is there’s more? There’s always more. Let’s get into it.

Peggy Gou, “[It Goes Like] Nanana”

The Artist: South Korea-born, Berlin-based and globally beloved Peggy Gou

The Label: XL Recordings

The Spiel: The lead single from Gou’s forthcoming LP (the release date and title of which are yet to be announced) “[It Goes Like] Nanana” gives equal parts big ’90s piano house vibes and sultry Balearic goodness, with a synthline floating through around the midway point and Gou’s husky vocals altogether forging a feeling of giddiness.

The Artist Says: “There’s a feeling we all know but is hard to describe, that feeling of love, warmth and excitement when you’re surrounded by friends and loved ones and the energy speaks for itself,” says Gou. “It’s difficult to put into words but to me it goes ‘nanana!’ I want this song to evoke that nanana feeling!”

The Vibe: That nanana feeling.

BLOND:ISH, “Call My Name”

The Artist: The everywhere all-at-once BLOND:ISH, with her first track following the Madonna collab “Sorry.”

The Label: FFRR

The Spiel: A hot out the gates disco banger with teeth, “Call My Name” is all dancefloor adrenaline, colliding a big string section with a tough beat and percussion that cooks.

The Vibe: Screaming along with the vocals and dripping with sweat.

AC Slater feat. Kaleena Zanders, “Lose My Mind”

The Artists: Night Bass label boss AC Slater, with power-lunged vocalist Kaleena Zanders and London producer Nubass.

The Label: Night Bass Records

The Spiel: Roaring off of AC Slaters third album, Together, out today (June 16), “Lose My Mind” is a call to arms to do just that, with slabs of synth and a fast-moving and pleasantly hectic production creating the foundation for Kaleena Zanders to positively rip through vocals about waking up to lose your mind. The album marks Slater bringing the Night Bass label, credited for forging the bass house genre over the last decade, to Create Music Group.

The Vibe: The titular sentiment tracks.

Camelphat feat. Max Milner, “Hope”

The Artists: U.K. duo Camelphat and London-based singer Max Milner.

The Label: Camelphat’s own When Stars Align

The Spiel: “Hope” gives light RÜFÜS DU SOL “Treat You Better” slow-burn vibes, before exploding into a shimmering thing all its own — with Milner’s rich vocals sitting atop a gently propulsive production that builds into a full-blown anthem that certainly feels like a set-closer to us.

The Vibe: Dripping with emotion.

MAKJ, “Burning Rave”

The Artist: California-based MAKJ.

The Label: Confession

The Spiel: MAKJ makes his debut on Tchami’s Confession label with “Burning Rave,” a not not hyphy bass house/tech house heater that doesn’t relent for its full three-plus minutes. The track marks a shift in sound — from more mainstage fare to clubbier output — for the producer who, incredibly, discovered dance music after moving to China when he was 18 to professionally race go-karts.

The Vibe: Like careening around the track in your go-kart, in the dark.

Dombresky & Discrete, “Bless Me”

The Artist: French house producer Dombresky, in collaboration with Canadian producer Discrete.

The Label: Insomniac Records

The Spiel: A big-ass vocal house track with a effervescent build/release that sounds like sunshine itself.

The Artist Says: “House music keeps you young,” the producer wrote on Twitter in conjunction with the release.

The Vibe: Blessed, blissed, forever young.

16 Jun 2023

What Is ‘Medellín’? Stream the Action Comedy for Free on Prime Video

What is Medellín? The action comedy from French actor, director and screenwriter Franck Gastambide is streaming for free on Prime Video.

The movie centers around a man on a rescue mission to save his younger brother – a YouTuber kidnapped by a dangerous cartel in Medellín, Colombia.

Reda, played by Ramzy Bedia, convinces his friends to help him plan a raid that leads to him kidnapping the cartel leader’s son in hopes of exchanging him for his brother’s life. The crazy adventure spirals out of control and what ensues is a dangerous but hilarious ride.  

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

The cast includes Gastambide, Anouar Toubali, Brahim Bouhlel, Raymond Cruz and Essined Aponte. Mike Tyson makes a cameo in the movie written and directed by Gastambide and co-writer Charles Van Thieghem. Medellín is produced by Kowloon Film.

Read on for details on how to stream the movie for free.

How to Watch Medellín on Prime Video

Prime Video is Amazon’s massive streaming library – and it’s free for Prime members. Medellín and other Prime Video exclusives stream for free on the platform. To become a Prime member, launch your free 30-day trial below to stream Medellín and explore everything that Prime has to offer.

Medellín (watch with 30-day free trial to Prime)

What else can you get with a Prime membership? Member-only discounts, free shipping on millions of items, grocery delivery, free Amazon Music, a two-year subscription to GrubHub+ and tons more.  

How much does a Prime membership cost? After the free trial ends, the membership renews at $14.99 month (or $139 for the annual plan) but qualifying students and EBT/Medicaid recipients can join for half off the regular price.

Prime members get access to thousands of movies and must-watch shows – along with Prime Originals such as Citadel, Daisy Jones & The Six, The Marvelous Mrs. Maisel, Swarm, The Power, Harlem, Invincible, The Boys, Tom Clancy’s Jack Ryan, Fleabag, The Summer I Turned Pretty, The Wheel of Time and The Lord of the Rings: The Rings of Power.

Subscribers can stream documentaries and docuseries such as Shiny Happy People: The Duggar Family Secrets, Wild Isles and The Ride on Prime; buy and rent movies and shop exclusive storefronts with looks inspired by shows like Daisy Jones & The Six and Citadel. Prime Video also lets members add Paramount+, Max, Starz, Showtime and other channels.

Watch the trailer for Medellín below.

16 Jun 2023

Lorde Celebrates ‘Melodrama’ Anniversary, Reveals Taylor Swift’s Advice About Album Sales

Lorde is giving fans a supercut of memories to look back on in celebration of Melodrama‘s six-year anniversary, from the anxiety-ridden days she spent writing lyrics for the 2017 album to the sage advice Taylor Swift gave her after its release.

“Apparently Melodrama is 6,” the pop star began a flurry of throwback photos and videos posted to her Instagram Story Friday (June 16), going on to share snaps from when she was 18 or 19 years old putting the album together.

In one picture, she eats breakfast during her longterm stay at the Park Hyatt hotel in New York City — where she made a majority of the album with producer Jack Antonoff — revealing at the time she had “truly no idea that it was an extremely expensive hotel and thus spent most of my

Celebrity Photos

Celebrity Photos

40 Photos

DJ Frosty

DJ Frosty

23 Photos


advance on hotel bills.”

“Lots of dramatic lyric writing sessions such as this,” she captioned another photo of her sitting with a laptop in an empty bathtub. “I was so anxious all the time, my heart was like a little bird’s.”

Upon its June 16, 2017 release, Melodrama debuted atop the Billboard 200 and sold an impressive 109,000 equivalent album units in its first week. Lorde’s debut record, however, not only spawned a nine-week No. 1 hit with “Royals,” but sold 129,000 copies in its first week.

It appears that 2017 Lorde was a little disappointed that Melodrama didn’t perform quite as well as its predecessor, based on a text conversation with none other than Taylor Swift. But the “Royals” singer’s longtime friend and role model was able to cheer her up with a piece of advice, which present-day Lorde remarked was “very kind and not wrong.”

“You will always be imagined in my mind in a rowboat with Annie Lennox floating down a river of cool cerebral ethereal dreams but don’t-f–k-with-me vibes all around you,” Swift wrote in her text to Lorde at the time, as seen in a screenshot posted by the latter artist. “And I don’t think first week record sales singularly define a legacy.”

The “Green Light” musician, who released her third album Solar Power in 2021, closed out her trip down memory lane with a tease at what’s to come. “Lots of love and see you …soon,” she wrote, sharing a recent photo of herself in the studio, recording vocals.

Revisit to Melodrama below.