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Adele ‘Self Combusted’ When She Found Out Shania Twain Attended Her Las Vegas Residency

Adele is in the midst of her long-awaited Las Vegas residency, and the audience has been jam-packed with some special celebrity guests.

Most recently, Shania Twain attended one of the Colosseum at Caesars Palace performances, which the “Easy on Me” singer didn’t know until after. Adele took to her Instagram Story over the weekend to share a candid photo of herself performing, with the “Man! I Feel Like a Woman” star watching her from the crowd, wearing a wide-brimmed cowboy hat. “Thank god you had a hat on… I would have self combusted had I seen it was you!! I adore you, I can’t believe you came to my show,” Adele captioned the snap.

In response, Twain reshared the Story and wrote, “Thank god we didn’t make eye contact, all I can think of is the reaction of all those fans to @adele combusting halfway through the show [laughing emoji].”

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During that same performance, Adele had the best reaction to a camera filter while taking a selfie with a fan. In the video, the Grammy winning superstar is visibly confused when she noticed that the filter altered how she looks. “Oh my God, what have you done to my face? Woah, girl, get that filter off my face,” she tells the fan. “We don’t look like that darling.”

The interaction was followed by a sweet moment, as the superfan burst into tears upon talking to Adele. “Don’t cry! You don’t want JLo to see you cry,” Adele says before hugging the fan.

See the videos below.

Inside Track: Is This the ’Age of the Songwriter’?

Music business lawyers, songwriters, and other professionals gathered at the University of Georgia in Athens for the Artist Rights’ Symposium on Nov. 15. Hosted by senior lecturer, songwriter and member of band Cracker, Dr. David Lowery, the day-long conference discussed ways for the music industry to better champion songwriters, to address the problem of metadata inaccuracies, and to explain the differences in rate setting across different countries.

The series of panels was bisected by a lunch and fireside chat with Hipgnosis CEO and founder Merck Mercuriadis, moderated by attorney Chris Castle, who explained why he feels the industry is in the “age of the songwriter.” “There has been a massive paradigm shift,” he said. “Forty years ago, the power was in the artist brand,” but now, most songs that top the Billboard charts are written by a larger number of songwriters than ever, meaning the demand has never been higher for good hitmakers. “But songwriters have to have a place at the negotiating table now,” he said, citing that in the United States, rates for mechanicals are set by the government’s Copyright Royalty Board, barring “free market” negotiations. “Let’s face it, [the government controlling rates] is insulting to songwriters.”

Mercuriadis said he’s a supporter of the recent Phonorecords IV settlement, which set the U.S. mechanical streaming rates for 2023-2027, and was formed by the National Music Publishers’ Association (NMPA), the Digital Media Rights (DiMA) and Nashville Songwriters Association International (NSAI) banding together earlier this fall for “one main reason:” he believes it will provide the industry with stability for the next five year period. This would contrast the current five-year period (2018-2022), Phonorecords III, in which publishers, rights holders and songwriters have not had a clear idea of what rate they would be paid due to a lengthy appeals process that has tied up royalties.

He detailed an ambitious hope for the future, to “get out of the CRB in the next five years and into the free market.” Mercuriadis’ vision, he said, was inspired by the screenwriters guild — The Writers Guild of America — which has been able to secure fair compensation for those who create the scripts the industry is reliant on through advocation, unionization and bargaining with its titans of industry. Mercuriadis has certainly espoused his vision for a coalition of songwriters in the past and stood by that vision during his chat at the symposium, but he did not reveal many new details of his plans to build it.

“I have tremendous faith,” he said of it happening, despite the challenges and legal roadblocks he faces to achieve this scenario, adding that artists could be a major potential ally to songwriters getting what he thinks of as fair opportunities. As a leader in the catalog acquisition business, Hipgnosis has financial interests that overlap with songwriters regarding compensation rates.

Some panelists who flew in from Europe and South America for the event broadened the discussion beyond the U.S. borders. Crispin Hunt, the former chair of the U.K.’s Ivors Academy, explained how whatever rates are set in the U.S. often act as a benchmark for other countries during their respective negotiations with the same services. Also during the panel, Hunt added that he felt this was “an incredibly critical moment for songwriters,” as traditional offline broadcast income continues to fall and is replaced more with each coming year by digital.

Samantha Schilling of Songtradr brought her perspective from working in Brazil and with a mostly Latin American music business. She pointed out the differing standards that separate her business with that of the U.S. and how the two regions might learn from each other. For example, she said, while commonplace in the U.S., some Latin American countries prohibit work for hire agreements for songs written for TV/film. She said this helps songwriters maintain ownership and secure royalties on the backend. “That was put in place to protect songwriters,” Schilling noted. “Netflix tried to change it… but we were able to fight for songwriters to get that backend income.” In the U.S., some streaming video on demand (SVOD) companies are rumored to be asking songwriters to give up their backend royalties, a crucial component of income for those working at the intersection of music and visual media.

The day ended off with a discussion of the importance of metadata — which is often incomplete or incorrect, causing misallocation of songwriters’ royalties — and registering properly with the Mechanical Licensing Collective (MLC) to collect due compensation. Led by Abby North (North Music Group), Erin McAnally (Artists Rights Alliance), Helienne Lindvall (European Composer and Songwriter Alliance, Ivors Academy) and Melanie Santa Rosa (Word Collections, The MLC), the conversation harkened back to Hunt’s earlier point about the growing importance of digital income streams, which according to CISAC’s 2021 annual report, comprises of $3.62 billion to the worldwide music business, and how the industry can clean up its rocky start to collecting from these sources.

Taylor Swift’s ‘Anti-Hero’ Rules Hot 100 for Fifth Week, Mariah Carey Leads ‘Christmas’ Classics Back to Top 10

Taylor Swift‘s “Anti-Hero” adds a fifth week at No. 1 on the Billboard Hot 100 songs chart, encompassing its entire run on the survey so far.

Meanwhile, four holiday classics jingle all the way back to the Hot 100’s top 10: Mariah Carey‘s “All I Want for Christmas Is You,” up from No. 25 to No. 5; Brenda Lee’s “Rockin’ Around the Christmas Tree” (41-6); Bobby Helms’ “Jingle Bell Rock” (50-9); and Burl Ives’ “A Holly Jolly Christmas” (a re-entry at No. 10).

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 3, 2022) will update on Billboard.com tomorrow (Nov. 29). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

In the Nov. 18-24 tracking week, “Anti-Hero,” released on Republic Records, tallied 65.1 million radio airplay audience impressions (up 11%), 25.8 million streams (down 5%) and 12,000 sold (down 60%), according to Luminate.

The single rises 4-2 for a new best on the Radio Songs chart; holds at No. 2 after two weeks atop Streaming Songs; and falls to No. 2 after two weeks at the Digital Song Sales summit.

As “Anti-Hero” tops the Hot 100 for a fifth week, Swift solely scores her second-longest reign, passing the four-week rule of “Shake It Off” in 2014. Among her nine No. 1s, the two songs are bested only by the seven-week dominance of “Blank Space” in 2014-15.

Four weeks ago, “Anti-Hero” soared in atop the Hot 100, as Swift made history as the first artist to monopolize the chart’s entire top 10 in a single week, with all tracks all from her new album Midnights. Meanwhile, of the 64 singles that have debuted atop the Hot 100, “Anti-Hero” is just the 12th to have spent at least its first five weeks on the chart at No. 1, and the first since BTS’ “Butter” led in its first seven weeks in June-July 2021 (before pushing its total to 10 nonconsecutive weeks in the top spot).

“Anti-Hero” additionally hits No. 1 on the Adult Pop Airplay chart, becoming Swift’s ninth leader, and first since “Willow” for three weeks in April-May 2021. Among all acts since the chart began in Billboard’s pages in March 1996, only Maroon 5 (15) and P!nk (10) have notched more No. 1s. (As “Anti-Hero” also rises 6-3 on Pop Airplay, fellow Midnights cut “Lavender Haze” bullets at No. 31 and debuts at No. 36 on Adult Pop Airplay, as it is now being promoted as the set’s second pop radio single. Concurrently, the album’s “Snow on the Beach,” featuring Lana Del Rey, debuts at No. 36 on Adult Alternative Airplay.)

Drake and 21 Savage’s “Rich Flex” logs a third week on the Hot 100 at No. 2, dating to its debut – when Drake placed eight songs in the top 10 (and 21 Savage, seven). The team-up tallies a third week at No. 1 on Streaming Songs (30.9 million streams, down 14%), as well as a third week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

Sam Smith and Kim Petras’ “Unholy” repeats at No. 3 on the Hot 100, after it topped the Oct. 29-dated chart, as it leads Radio Songs for a second week (71.9 million in audience, up 9%).

Steve Lacy’s “Bad Habit” holds at No. 4 on the Hot 100, following three weeks at No. 1 in October. The track concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a 14th week each and Hot R&B Songs for a 12th frame.

Mariah Carey’s “All I Want for Christmas Is You” dashes 25-5 on the Hot 100, with 21.5 million streams (up 54%), 20.6 million airplay audience impressions (up 80%), and 3,000 sold (up 57%). It bounds 17-3 on Streaming Songs, 35-14 on Digital Song Sales and re-enters Radio Songs at No. 38. It also crowns the multi-metric Holiday 100 chart for a 52nd week, of the chart’s 57 total weeks since the list launched in 2011; it has topped the ranking for 37 consecutive weeks, dating to the start of the 2015-16 holiday season, and rules as the top title on the Greatest of All Time Holiday 100 Songs chart.

The song sports a record-setting history on the Hot 100, following its 1994 release on Carey’s 1994 album Merry Christmas. As streaming grew through the 2010s and holiday music became more prominent in Yuletide playlists on multiple streaming services, the modern carol hit the top 10 (reaching No. 9) for the first time in December 2017 and the top five (No. 3) for the first time in the 2018 holiday season. In December 2019, it ascended to the summit, 25 years after its original release, becoming the second holiday hit ever to reign, after “The Chipmunk Song” by David Seville & the Chipmunks spent four weeks at No. 1 beginning in December 1958.

“Christmas” became Carey’s 19th Hot 100 No. 1, as she extended her mark for the most among soloists and moved to within one of The Beatles’ overall record 20.

As “Christmas” dominated the Hot 100 for three weeks on the charts dated Dec. 21, 2019, through Jan. 4, 2020, Carey also became the first artist to have ranked at No. 1 on the survey in four distinct decades. The track led again for two weeks in the 2020 holiday season, passing “The Chipmunk Song” for the most for a Yuletide song, and ruled for three more frames over the 2021 holidays, upping its total to eight weeks at No. 1.

Also returning to the Hot 100’s top 10 are three other holiday staples: Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958 (41-6); the late Bobby Helms’ “Jingle Bell Rock,” from 1957 (50-9); and the late Burl Ives’ “A Holly Jolly Christmas,” from 1964 (No. 10 re-entry – as it becomes the first holiday song, and ninth song overall, to re-enter the Hot 100 in the top 10). The standards have peaked at Nos. 2, 3 and 4, respectively, in each of the last three holiday seasons.

Elsewhere in the Hot 100’s top 10, David Guetta and Bebe Rexha’s “I’m Good (Blue)” holds at its No. 7 high and Harry Styles’ “As It Was” dips 5-8, after 15 weeks at No. 1 beginning in April, the fourth-longest command in the chart’s history.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 3), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 29).

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.

Limited-Time Offer: You Can Join Peacock for Under $1 a Month

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Want to join Peacock? NBC Universal’s streaming platform is home to thousands of hours of entertainment. From binge-worthy TV shows to exclusive movies, must-watch sporting events and tons of other programming, Peacock has something for every kind of streamer.

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New subscribers can join Peacock for $0.99 a month for 12 months but the Black Friday/Cyber Monday deal ends tonight (Nov. 28), so you’ll have to act fast if you want to save big on your streaming bill. The discount only applies to Peacock’s Premium plan, regularly $4.99 per month or $49.99 a year.

Scoping out the best streaming plans can be time-consuming, but if you enjoy watching TV, it’ll be worth it in savings. Now that Black Friday is behind us, you have one more chance to score an excellent streaming deal for Cyber Monday. Below, find details on how to join Peacock under the limited promo and ways to land a free subscription.

How to Join Peacock for $0.99 a Month

Peacock’s special promo gives new subscribers access to Peacock Premium, which is an ad-supported, video-on-demand package, for 12 months at $0.99/month with code: BIGSAVINGS.

To join, click the buy button below and follow the prompts to set up an account. The streaming deal does not apply to current Peacock Premium or Peacock Premium Plus ($9.99/month) subscribers and is valid from Nov. 20-Nov. 28.

Peacock

$0.99/month for a year

$4.99/month

What’s Streaming on Peacock?

Apart from original shows and movies, Peacock is the exclusive platform for Bravo. Fans can watch The Real Housewives franchise, Family Karma, Married to Medicine, the Below Deck franchise, and The Real Housewives: Ultimate Girls Trip.

Subscribers can stream current episodes of The Voice and other NBC shows in addition to The Real Housewives of Potomac, The Real Housewives of Salt Lake City, the upcoming season of The Real Housewives of New Jersey and New York City and other shows in the franchise as soon as the episodes premiere on Bravo.

Feeling nostalgic? Dip into the archives to watch older episodes from The Real Housewives vault. The franchise has been removed from Hulu this week, making Peacock the only place to access the entire catalog at no extra cost. Paid episodes are available on Prime Video, Google Play, Vudu and Apple iTunes.

Also streaming exclusively on Peacock: Pitch Perfect: Bumper in Berlin, Vampire Academy, A Friend of the Family, The Resort, Love Island USA, One of Us Is Lying, Angelyne, Bel-Air, Dr. Death, The End Is Nye, Last Light, Vigil, Saved by the Bell, We Are Lady Parts, Girls5Eva, Rutherford Falls and Days of Our Lives. In addition to exclusives, subscribers can binge episodes of Yellowstone, The Office, That ’70s Show, Modern Family, Parks & Recreation and other beloved TV series.

Movies available on Peacock include Nope, Jurassic World: Dominion, Minions: Rise of Gru, Honk for Jesus: Save Your Soul, Boxed In, The Independent, Halloween Ends, The Secret Lives of Pets, Mrs. Harris Goes to Paris, and the entire Harry Potter film series. 

How to Watch Sports on Peacock: NFL, World Cup, WWE & More

NFL fans can stream Sunday Night Football live on Peacock (see the full NFL schedule here) and Spanish-language coverage of the 2022 World Cup

If you’re a WWE fan, you can stream live events and original series, in-ring shows, WWE documentaries, and much more on Peacock. Sports lovers can also watch Premiere League and other sporting events on Peacock. Click here for additional details.

How to Get Free Peacock

Although Peacock has a great streaming deal at just $0.99 a month for a limited time, the platform does not offer a free trial (there are certain episodes and movies that you can watch for free, but some shows will require an upgrade to the paid tier to continue streaming).

To land a free Peacock subscription, you’ll have to go through a third party such as Xfinity, Cox or Spectrum. Eligible customers can receive free Peacock Premium with select plans.

How do you start watching Peacock? Simply download the app or log-in directly through the website. Access the streaming platform from your TV, laptop or computer, as well as a phone or tablet device. And for those streaming from outside the U.S., Peacock is accessible through ExpressVPN.

10 Cool New Pop Songs to Get You Through The Week: Red Velvet, Alan Walker, Julia Pratt & More

Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.

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These 10 tracks from artists including Red Velvet, Alan Walker, Julia Pratt and Bahari will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist of all 10.

Alan Walker, “Ritual”

Walkerverse Pt. I & II, the just-released collection from British-Norwegian DJ Alan Walker, contains a multitude of pulsating beats and ecstatic choruses, but “Ritual” is sleek and seductive enough to stand out on the set. Lyrics like “The ritual fires / They light up and guide us / Shining inside us / Calling all, la la la!” may be peak EDM-tent silliness… yet you’ll likely fail when you try to resist its thumping charm. – Jason Lipshutz

Bahari, “Destructive”

The alt-pop duo of Natalia Panzarella and Ruby Carr created “Destructive” with the veteran hitmakers Rock Mafia, and the new single carries a level of polish that recalls the producers’ fluttering pop radio hits of the late 2000s. Yet chalking up the success of “Destructive” solely to Rock Mafia discounts the playful vocal takes of Bahari’s two members, who enjoy melding their personal flaws into joyful, complementary harmonies. – J. Lipshutz

Virginia To Vegas, “Break Up With That Guy”

Derik Baker, the producer-songwriter who also records under the name Virginia To Vegas, originally wrote “Break Up With That Guy” with Band Camino during a hungover morning session in Nashville, but decided to keep the snappy synth-pop track for himself. Good call: “Break Up With That Guy” makes an impression in a short amount of time, with Baker’s voice conveying a coziness even while suggesting the end of a relationship. – J. Lipshutz

AR/CO, “Supersonic L.U.V.”

“Supersonic L.U.V.,” the latest single from promising new dance duo AR/CO, begins with a siren cry, then a whistle, as if the track is presenting its beguiling hooks one by one. The song congeals from there: whooshing synths, doubled vocals, a bass drop that’s effective without being too intrusive, and a general feeling of fizziness make this a winner that should be kept on repeat until festival season kicks back up. – J. Lipshutz

Julia Pratt, “Odyssey”

Emerging Philadelphia-based singer-songwriter Julia Pratt fittingly takes listeners on an intriguing trip with her new single, “Odyssey.” Threaded with her sturdy falsetto, the indie-pop song explores different tempos and production styles within a tight three minutes, a promising indication of all Pratt is capable of — and leaving fan eager for the next journey. – Lyndsey Havens

Billianne, “No Wonder”

“No Wonder” is the kind of rare debut single that immediately establishes a new voice as one to watch. With this piano-led first single, Ontario’s Billianne introduces fans to her inviting tone, capable of soaring to Adele-esque heights. She said in a statement the song was inspired by her parent’s love, noting, “With an upbringing like I’ve had, it’s no wonder I’m ready to go.” – L.H.

Red Velvet, “Birthday”

Red Velvet fans have admittedly gotten spoiled this year: following the March release of the K-pop group’s Feel My Rhythm EP, the idols have come back with “Birthday,” a return worthy of celebration. The upbeat track, which holds a hint of surprise due to a sampling of Gershwin’s “Rhapsody in Blue,” sees the girl group employing their usual calling cards — cheerful lyrics, poppy synths and a tinge of R&B swag to round out their sound. As expected, the song is sugary sweet and features lyrics that transports listeners to a world filled with confections (“I got a special day/ Let’s start, another chance/ Sugar sweet, ice cream cake“) and interesting delights. – Starr Bowenbank

Cosmo Pyke, “A Piper for Janet” (Live at Brodie Sessions)

Cosmo Pyke’s 2021 EP, A Piper For Janet, has been re-imagined for the live setting. The English singer-songwriter sat down for the Brodie Sessions, an intimate concert series filmed on 16 mm film from a private home in Copenhangen, and sang the EP’s self-titled track with just an acoustic guitar to accompany him. The jazzy track highlights Pyke’s penchant for romance, inner reflection and unconventional rhymes (“I, caught my reflection having breakfast and this delicatessen/ And so alone I’ve been stressin’ its fairly depressing. I won’t feel afraid”) in a format that feels much more personal and truer to form for the artist. – S.B.

Alberta Cross, “Mercy” 

Anglo-Swedish rockers Alberta Cross are due to return with an album in 2023, and first taste “Mercy” is an achingly gorgeous indication of what’s to come. Between singer/guitarist Petter Ericson Stakee’s wistful upper registry vocals (think Jim James) and soundscapes that bring to mind Mark Knopfler and Ry Cooder, “Mercy” ends up as invigorating as it is melancholy. – Joe Lynch  

Kele, “Vandal” 

A solo offering from the Bloc Party frontman, “Vandal” finds Kele taking no prisoners on this ode to channeling frustration into positive change. “Use that rage in your stomach / Let the anger flow from you,” he sing-raps over a jagged yet limber guitar line and staccato dance beats. To take his point home, the single art shows him burning a copy of the Smiths’ The Queen Is Dead, presumably in reference to Morrissey’s anti-immigration viewpoints. – J. Lynch 

Chart Rewind: In 1992, Whitney Houston Had a Blockbuster No. 1 With ‘I Will Always Love You’

“REGARDLESS OF WHICH RECORD IS No. 1 next week, in two weeks, it will face off with ‘I Will Always Love You’ by Whitney Houston,” wrote then-Billboard Hot 100 chart manager Michael Ellis in the Nov. 21, 1992, issue, when the track vaulted from its No. 40 debut to No. 12.

Ellis’ prediction was off by a week. Houston’s cover of Dolly Parton’s 1974 classic hit No. 1 on the very next chart, Nov. 28, 1992 — the fastest rise to the top by a woman at the time.

From there, more records followed: The song remained at No. 1 for a then-unprecedented 14 weeks and moved 3.1 million copies to become the year’s top-selling single in just nine weeks, according to Luminate.

“Always” was released on the soundtrack for Houston’s 1992 film debut, The Bodyguard, in which she plays a pop diva who falls in love with her hired protector, played by Kevin Costner.

The soundtrack, which also contains the top five Hot 100 hits “I Have Nothing” and an update of Chaka Khan’s “I’m Every Woman,” locked up 20 weeks at No. 1 on the Billboard 200 and was the first LP to sell more than 1 million copies stateside in one week since Nielsen began tracking data in 1991.

The album and singles went on to win 11 Billboard Music Awards and eight American Music Awards. At the latter event, Houston’s haul prompted co-host Will Smith to remark out of a commercial break, “Welcome back to the Whitney Houston show!”

Three Grammy Awards followed, including record of the year for “Always,” and 20 years later, it remained Houston’s signature song. After her drug-related drowning death on Feb. 11, 2012, the song returned to No. 3 on the Hot 100, only the second time that a song has reached the top three in two distinct cycles.

At Houston’s funeral, “Always” played as her casket departed the church.

Here Are the 18 Artists Who’ve Scored Hot 100 Top 10 Hits in the ‘00s, ’10s & ’20s

There’s no surer mark of true pop stardom in the 21st century than endurance: Can your hits define not just a single cultural moment, but multiple, spanning decades and eras? Can you evolve enough to stay relevant amidst changing trends and industry shakeups? If so, then maybe you fit the criteria for entry in the Three-Decade Club: an exclusive group of artists who’ve managed to score top 10 hits in each decade of the 21st century thus far. To do so requires a high level of creativity, awareness and popularity — both with fans and with fellow artists — and of course, a little luck with timing never hurts either.

Here are the 18 artists to notch the Hot 100 three-decade feat so far — now also accounting for a French star DJ who scored a 2022 pop revival with a mid-’10s demo built around the hook from an ’00s hit. 

Taylor Swift: Already the proud artist behind five top 10 hits this decade — including three No. 1s, with 2020’s “Cardigan” and “Willow” and 2021’s “All Too Well (Taylor’s Version)” — Taylor Swift has been a relatively consistent visitor to the Hot 100’s top tier since first getting there with Fearless smashes “Love Story” (No. 4) and “You Belong With Me” (No. 2) in 2009. That includes another 20 top 10 hits in the 2010s alone, with five No. 1s: “We Are Never Ever Getting Back Together” (2012), “Shake It Off” (2014), “Blank Space” (2014), “Bad Blood” (with Kendrick Lamar, 2015) and “Look What You Made Me Do” (2017).

M.I.A. Maya Arulpragasam first made her Hot 100 debut in 2008 with the Clash-sampling “Paper Planes,” a surprise No. 4 hit that September. In 2012, she appeared as a featured guest on Madonna’s “Give Me All Your Luvin’,” which peaked at No. 10 that February after she performed it (somewhat infamously) with the pop legend at that year’s Super Bowl. Then in 2020, she appeared as a featured artist on Travis Scott’s No. 1-debuting “Franchise.” (She’s the first artist to have her only three top 10 hits be spread across the last three decades.)

Jason Derulo. Derulo first visited with the Hot 100-topping “Whatcha Say” in late 2009, then scored an additional five top 10 hits over the 2010s, the biggest being the No. 3-peaking (and 2 Chainz-featuring) “Talk Dirty” in 2014. He returned to the top of the Hot 100 for the first time in over a decade in 2020 with his Jawsh 365 collab “Savage Love (Laxed – Siren Beat),” which also included BTS on the remix that helped put the song over the top on the chart.

Mariah Carey. Mimi’s chart-busting days go back to the ’90s, of course, when she scored 19 Hot 100 top 10 hits over the course of the decade, including 14 No. 1s. In the 2000s, she landed another eight top 10s, with four No. 1s (“Thank God I Found You” featuring Joe and 98 Degrees, 2000; “We Belong Together,” 2005; “Don’t Forget About Us,” 2005; “Touch My Body,” 2008). Then she knocked out the ’10s and ’20s with one song: holiday perennial “All I Want For Christmas Is You,” whose first-ever trip to No. 1 stretched from late 2019 to early 2020, and which has returned to pole position each holiday season since.

Maroon 5. As consistent a hitmaker as the 21st century has seen, Maroon 5 first graced the Hot 100 top 10 in 2004 with “This Love,” visiting twice more that decade, and reaching the chart apex with “Makes Me Wonder” in 2007. In the 2010s, they scored 12 more top 10 hits, including three No. 1s (“Moves Like Jagger” featuring Christina Aguilera, 2011; “One More Night,” 2012; “Girls Like You” featuring Cardi B, 2018). This decade, they ducked their head into the top 10 early with “Memories,” which peaked at No. 2 in January 2020.

Drake. The new all-time record-holder for most Hot 100 hits scored the first of his 40 with the No. 2-peaking “Best I Ever Had” in 2009, one of two top 10s of his that decade. He then went on to totally dominate the 2010s, with 33 top 10 hits that encompassed six No. 1s (as the featured artist on Rihanna’s “What’s My Name”, 2010 and “Work,” 2016; “One Dance” featuring WizKid and Kyla, 2016; “God’s Plan,” 2018; “Nice For What,” 2018; “In My Feelings,” 2018). He’s made quick work in the 2020s, notching a staggering 23 top 10 hits this decade — including nine in one week with the release of Certified Lover Boy in autumn 2021 — led by five total No. 1s: “Toosie Slide” (2020), “What’s Next” (2021), “Way Too Sexy” (alongside Future and featuring Young Thug, 2021), “Wait For U” (featured along with Tems on the Future-led single, 2022) and “Jimmy Cooks” (featuring 21 Savage, 2022).

Eminem. Though Eminem broke out in the late ’90s, his first trip to the top ten came in 2000, when “The Real Slim Shady” hit No. 4. One of the biggest stars of the ’00s, he landed 11 top 10 hits that decade, with two No. 1s (“Lose Yourself,” 2002; “Crack a Bottle” with Dr. Dre and 50 Cent, 209), and then added another 10 in the 2010s, including three No. 1s (“Not Afraid,” 2010; “Love the Way You Lie” featuring Rihanna, 2010; “The Monster” featuring Rihanna, 2013). This decade, he hit No. 3 with the Juice WRLD-assisted “Godzilla,” from his surprise Music to Be Murdered By LP.

Lady Gaga. Gaga came out scorching, topping the Hot 100 with her first two singles in 2009 (“Just Dance” featuring Colby O’Donnis and “Poker Face”) and hitting the top ten twice more that year. She kept it going in the 2010s with another 11 top 10 hits, led by the chart-topping “Born This Way” (2011) and “Shallow” with Bradley Cooper (2019), and made the top 10 twice in 2020 with the Chromatica singles “Stupid Love” (No. 5) and “Rain on Me” with Ariana Grande (No. 1).

Beyoncé. After a dominant turn-of-the-century run as part of Destiny’s Child, Beyoncé scored her first top 10 as a guest artist on Jay-Z’s “’03 Bonnie & Clyde” (No. 4, 2002), then broke out as a solo star in 2003, with her first charting two singles (“Crazy in Love” with Jay-Z and “Baby Boy” with Sean Paul) shooting to No. 1. Bey scored 13 total top 10s that decade, including three more No. 1s (“Check On It” featuring Slim Thug, 2005; “Irrepleaceable,” 2006; “Single Ladies (Put a Ring on It),” 2009), and added another five to her tally in the 2010s, with one more No. 1 in her guest appearance on Ed Sheeran’s “Perfect.” She made it Hot 100-toppers in three straight decades in May 2020, with her guest spot on the remix to Megan Thee Stallion’s “Savage,” and returns to the top 10 on her own this week with her Renaissance lead single “Break My Soul.”

Lil Wayne. Speaking of Destiny’s Child, rap icon Lil Wayne scored his first top 10 hit with a verse on their “Soldier” in 2005, and racked up a total of 10 top 10 hits before the decade was out, led by the Hot 100-besting “Lollipop” featuring Static Major in 2008 and “Down” with Jay Sean in 2009. An additional 14 top 10s followed in the 2010s, with a third No. 1 coming via his featured turn on DJ Khaled’s “I’m the One” alongside Justin Bieber, Chance the Rapper and Quavo. In 2020, Wayne found himself back in the top 10 when he was added to the remix of Jack Harlow’s “Whats Poppin,” a No. 2-peaking hit.

Chris Brown. The then-teen star hit No. 1 with his breakout hit “Run It!” in 2005, the first of his nine top 10 hits that decade (also encompassing a second No. 1, “Kiss Kiss” featuring T-Pain). The ’10s saw Brown amass another six top 10s (led by “No Guidance” featuring Drake, a No. 5 hit in 2019), and he hit the top 10 for the first time this decade with Young Thug collab “Go Crazy,” which peaked at No. 3 in March 2021.

Miley Cyrus. After breaking out as a pop-rock hitmaker under her own name, the entertainer formerly best known as Hannah Montana scored four top 10 hits in the 2000s, beginning with the No. 10-peaking “See You Again” in 2008. She returned to the region another four times in the 2010s, one of which marked her first (and to date, only) visit to No. 1 on the chart, with her “Wrecking Ball” spending three non-consecutive weeks at No. 1 in 2013. She’s added on more visit so far in the 2020s, with her appearance alongside The Kid LAROI on his No. 8-peaking “Without You” remix in 2021.

Kanye West: The first decade of Kanye’s superstardom saw him make 12 trips to the top 10, including three to the top spot: as a featured guest (alongside Jamie Foxx) on Twista’s “Slow Jamz” (2004), as a lead artist (with Jamie Foxx again featured) on “Gold Digger” (2005) and on his own with “Stronger” (2007). He made another six appearances in the top 10 in the 2010s, though only one topped the chart: “E.T.,” led by Katy Perry, in 2011. This decade, he’s returned to the region twice, both with cuts from his 2021 Donda album: “Hurricane” (No. 6) and “Jail” (No. 10).

Jay-Z. Like Mariah Carey, Jay-Z’s hitmaking days go back to the ’90s — and in fact, the rapper’s second top 10 visit (and first Hot 100 No. 1) came as a guest on Mimi’s “Heartbreaker” in 1999. In the 2000s, Jay was a Hot 100 fixture, reaching the top 10 an impressive 14 times and topping the chart three times (as a featured artist on Beyoncé’s “Crazy in Love” in 2003 and Rihanna’s “Umbrella” in 2007, and as a lead artist alongside Alicia Keys on “Empire State of Mind” in 2009). He kept the momentum going in the 2010s with five top 10 hits — with the Mr. Hudson-featuring “Young Forever” (No. 10, 2010), the Kanye West collab “N—as in Paris” (No. 5), the Justin Timberlake-led “Suit & Tie” (No. 3, 2013), the JT-featuring “Holy Grail” (No. 4, 2013), and another Bey-led smash, “Drunk in Love” (No. 2, 2014). This decade, he’s reached the region just once so far, via a feature appearance on Drake’s “Love All” (No. 10, 2021).

Coldplay. The U.K. pop-rock outfit hit the top 10 twice in their breakout decade of the 2000s, including the Hot 100-topping “Viva La Vida” in 2008. They continued to be a fixture on the chart throughout the 2010s, reaching the top 10 twice — with “A Sky Full of Stars” (No. 10) in 2014, and “Something Just Like This” (No. 3) alongside The Chainsmokers in 2017. In late 2021, they scored their first Hot 100 No. 1 since “Viva La Vida” 13 years earlier, with their BTS team-up “My Universe.”

Snoop Dogg. The West Coast rap icon broke into the top 10 for the first time in late 1993, with the eventually No. 8-peaking “What’s My Name?” — a peak matched just a couple months later by Doggystyle follow-up “Gin & Juice.” Snoop’s hitmaking prowess stretched into the 2000s with a number of subsequent top 10 hits, including his first two Hot 100 No. 1s: as lead artist on the Neptunes-produced solo smash “Drop It Like It’s Hot” (2005) and a featured artist on Akon’s “I Wanna Love You” (2006). He hit No. 1 for a third time at the outset of the 2010s for his guest turn on Katy Perry’s massive “California Gurls” — his final No. 1 to date — and he now also has a 2020s top 10 hit to his credit, with his No. 10-debuting Benny Blanco and BTS collab from 2022, “Bad Decisions.”

Britney Spears. Another ’90s alum whose contemporary relevance never seems to fade for long. Britney Spears emerged this summer from a six-year hiatus, following her 2016 album Glory — during which she successfully fought to be freed from an involuntary conservatorship — and immediately resumed occupation of her place in pop music’s inner circle, with her Elton John collab “Hold Me Closer” debuting at No. 6 on the Hot 100 this September. It’s her first top 10 entry since will.i.am teamup “Scream & Shout” went to No. 3 in 2013, and the latest hit in a career that boasts five No. 1 hits, dating back to “…Baby One More Time” in 1999 and also including “Womanizer” and “3” in the 2000s.

OneRepublic. For most of the late ’00s and early-to-mid ’10s, OneRepublic were among the most consistent hitmakers in pop-rock. The Ryan Tedder-led outfit first broke out as the featured artist on Timbaland’s “Apologize” (No. 2, 2008), and went to score eight more Hot 100 top 40 hits over the next seven years, with “Counting Stars” matching their prior No. 2 peak in early 2014. They hadn’t reached the top half of the chart since 2015 when their Top Gun: Maverick soundtrack contribution “I Ain’t Worried” started gaining momentum this summer; on the chart dated Sept. 17, the song jumped from 14-8, becoming their first top 10 hit since “Stars.”

David Guetta: A renowned DJ in Europe dating back to the 1990s, David Guetta became a global star in the late ’00s as a hitmaking producer — first hitting the Hot 100’s top 10 as a lead artist in 2009, with the Akon-assisted “Sexy B–ch” (or “Sexy Chick”), which ultimately peaked at No. 5 in Feb. 2010. Guetta revisited the chart’s top tier five more times as a lead or featured artists in the 2010s, including a pair of No. 4 hits (the Usher-featuring “Without You” in 2011 and the Nicki MInaj-assisted “Turn Me On” in 2012). He returned to the region again this November with the Bebe Rexha collab “I’m Good (Blue)” — a teamup recorded as a demo in the mid-’10s (and prominently lifted from Eiffel 65’s 2000 smash “Blue (Da Ba Dee)”), before finally being released to viral success and a No. 7 Hot 100 peak (to date) in 2022.  

Billboard Hosts First-Ever THE-K Billboard Awards Live on YouTube

On October 28, Billboard hosted the first-ever THE-K Billboard Awards, organized by the Ministry of Culture, Sports and Tourism, the Korean Foundation for International Cultural Exchange (KOFICE), and the Penske Media Corporation (PMC). The event was broadcasted live via YouTube in 73 countries.   

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A total of eight teams won awards in three categories based on Billboard’s charts. In particular, awards went to four newly debuted artists in the Hot Rookie category, casting light upon the new K-pop stars who have fascinated global audiences.

THE-K Billboards Awards presented awards in the Top Artist, Global Artist, and Hot Rookie categories. Nominees were selected based on their scores in three Billboard charts – Billboard Hot 100, Billboard 200, and Global 200.

Real-time communication with K-pop fans(Hwan Kim [announcer], Yoon-ha Kim [music critic])/ K-Culture Festival’s official YouTube channel

For the Top Artist category, BTS and TOMORROW X TOGETHER took home awards. They made stellar achievements in the Billboard Hot 100 and Billboard 200 charts, raising the appeal of K-pop across the world.

Winners in the Global Artist category were chosen based on the Global 200 chart. BTS and IVE won this category as they have amassed a great number of fans around the globe, including in the US.

For the Hot Rookie category, teams that debuted less than three years ago and recorded the highest total scores on three charts (Hot 100, Billboard 200, and Global 200) received the award. The winners included IVE, NewJeans, ENHYPEN, and Kep1er (based on data from January to September 2022).

Billboard President Mike Van’s congratulatory speech and announcement of selection criteria/ K-Culture Festival’s official YouTube channel

During the award show, Billboard President Mike Van said, “I am truly happy to recognize the dazzling achievements of K-pop artists through THE-K Billboard Awards. We are here today to celebrate K-pop’s contribution to the global music industry.” 

Yoon-ha Kim, a music critic and one of the co-MCs of the event, congratulated both the K-pop artists and their fans by saying, “K-pop fans’ love and devotion are behind the astonishing success of K-pop.”

THE-K Billboard Awards is a follow-up program of the K-Culture Festival, which was held from September 30th to October 8th. Marking the third anniversary since its establishment, the K-Culture Festival is a major global hallyu festival jointly organized by the Ministry of Culture, Sports and Tourism; and the KOFICE. The festival introduced diverse Korean culture, mainly K-pop and K-drama.