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Kelly Clarkson and Whoopi Goldberg bonded on Monday (May 13) over their recent weight loss journeys. While appearing on Clarkson’s daytime talker, Kelly complimented The View co-host, telling her, “Every time I run into you, you look younger! You’re like Benjamin Button. It’s like crazy every time you walk in!”
Goldberg, 68, in turn, said that’s because of all the weight she’s lost, which she pegged as “almost two people,” with Clarkson noting “I’ve lost a lot as well,” which Whoopi said she’d noticed.
In a rare public comment from an A-lister about their use of the weight loss drugs that have come into vogue over the past few years, EGOT winner Goldberg said she’s been using “the wonderful shot that works for folks who need some help.”
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“Mine is a different one than people assume,” said Clarkson, 42. “I ended up having to do that too because my blood work got so bad.” While Clarkson did not specify which drug she was using, Goldberg noted that the decision to try medical weight loss intervention is good for people like them who have “issues.”
Clarkson said she wasn’t planning on discussing her weight loss with Goldberg, but once the subject came up the singer said, “I didn’t see it,” describing reviewing tape of a birthday show she did last April at the Belasco Theatre in Los Angeles that surprised her. “We were watching it back and I paid to have it taped and I was going to release it… and then my doctor chased me for like two years and I was like, ‘no, I’m afraid of it. I already have thyroid problems.’ I was afraid. Everybody thinks it’s Ozempic, it’s not, it’s something else.”
Ozempic is an FDA-approved injectable medication originally formulated to help adults with type 2 diabetes manage their blood sugar. But the drug, as well as others like it, have proven to have weight loss properties that have led to a surge in off-label prescribing due to its additional ability to trick the brain into thinking the patient is full. Clarkson said the unnamed drug she’s taking “aids in helping break down the sugar [because] obviously my body doesn’t do it right.”
Clarkson described screening the footage of the birthday show in her house in New York as she was preparing to release the performance, “and then all of a sudden I paused it and I was like, ‘who the f–k is that?!’ I swear to God! It sounds insane.” Goldberg said she had a similar experience while on the set of the historical drama Till, where she said a woman on the set thought the comedian/actress was wearing a “fat suit.” At her heaviest, Goldberg said she was around 300 pounds, with Clarkson, 5’3″, noting that at one point she weighed 203 pounds.
“I was indignant! I was like, ‘this is not a fat suit! This is me!’ And then I saw…” Goldberg said. “You see it and you’re like, ‘she’s about to die of a heart attack,’” Clarkson responded. The strangest part, Clarkson said, was that she never saw herself as being overweight, was never insecure about her body, and, despite what she said some people thought, she was happy.
Goldberg put it in relatable comedic terms, joking that Clarkson was just living her life, then adding, “If you’re not rolling over on somebody…” which led to Kelly getting real about how unconcerned she was. “I’m gonna be real with you, I was ridin’ high with someone and I did not know!… I watched that show and I was like, ‘she is… any second now gonna die.’”
In an interview in February on her show with Kevin James, Clarkson said she was diagnosed as pre-diabetic, which motivated her to lose weight. At the time she said, “I wasn’t shocked. I was a tiny bit overweight. So, yeah, I wasn’t shocked by it. But they did. They were like, ‘You’re prediabetic. You’re right on the borderline.’ And I was like, ‘But I’m not there yet.’ And then I waited two years and then did, however, move into the — I was like, ‘OK, I’ll do something about it.’”
Around the same time, Clarkson said after moving to New York with her two young children she began to lose some weight by walking around the city constantly, watching her diet and using an infrared sauna. “I eat a healthy mix. I dropped weight because I’ve been listening to my doctor — a couple years I didn’t,” she said at the time. “And 90 percent of the time I’m really good at it because a protein diet is good for me anyway. I’m a Texas girl, so I like meat — sorry, vegetarians in the world!”
Watch Goldberg on the Kelly Clarkson Show below.
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SYDNEY, Australia — Universal Music Australia forms a strategic relationship with hip-hop specialist One Day Entertainment, a bond both parties are confident will unearth and launch more Aussie acts. Through the agreement, One Day Recordings will work closely with UMA label EMI Music Australia on developing and exposing local talent, both here and abroad. The joint venture, say reps for UMG, ought to strengthen the major music company’s Australian artist roster by “drawing on One Day Recordings strong A&R connections within the domestic market.”Over the past few years, notes EMI managing director Mark Holland, “I’ve seen their drive, tenacity, and hunger to succeed in the music business first-hand and am keen to help find and nurture the future generation of musicians alongside them.”The One Day team, he continues, is “already proving to be a strong A&R source in the domestic market, utilizing their established position in artist and studio management, as well as touring and event promotion.”
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Financial terms weren’t disclosed.Launching in 2013 as an artist collective comprised of Horrorshow, Spit Syndicate, Joyride and Jackie Onassis, One Day Entertainment began life as a events brand.In 2019, Sydney-based One Day Entertainment changed gears and diversified into artist and producer management, led by co-founders Nick Lupi and Adit Gauchan.Currently, One Day manages ARIA Award winning, Grammy- nominated producer 18YOMAN, and 2024 APRA Music Award-winning hip-hop ONEFOUR, the subject of the Netflix documentary, Against All Odds. One Day’s roster also includes Chillinit and tiffi.“The team at One Day,” says UMA president and CEO Sean Warner, “combined with our team at EMI Australia, will bring something unique and fresh to the domestic music ecosystem. Warner adds, “we are always on the hunt for new and up-and-coming talent, and with the help of Nick and Adit, alongside our in-house A&R teams, we aim to expand our roster even further – I’m looking forward to what this next chapter of our partnership brings.”
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The JV is announced after an impassioned plea from the artist management community on the eve of the APRA Awards, with a common goal to fix Australian artists’ “discoverability” problem. One solution, pitched by the Association of Artist Managers, is Michael’s Rule, a three-pronged industry code that would require all major tours in these parts to feature a local support act.
Led by SZA’s SOS, Travis Scott’s UTOPIA and growth in paid subscription streaming services, Sony Music revenue grew 16.9% to 1.59 trillion yen ($11.05 billion) in its fiscal year ended March 31, its parent company, Sony Corp., reported Tuesday, May 14.
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Sony Music’s revenue topped guidance of 1.56-1.57 trillion yen given in Sony Corp’s previous quarterly earnings in February. Its adjusted operating income before depreciation and amortization (AOIBDA) of 368.7 billion yen ($2.55 billion) also topped guidance of 350-360 billion yen.
The yen-denominated revenue figures were boosted by foreign exchange rates. Of Sony Music’s revenue gain, about 32%, or 76.5 billion yen ($529 million), came from foreign exchange. Both recorded music and music publishing divisions enjoyed higher revenue from streaming services and paid subscriptions — Spotify’s price increase in July 2023, and continued subscriber growth at all platforms, also provided a boost to recent earnings by Universal Music Group and Warner Music Group.
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Recorded music revenue of 1.07 trillion yen ($7.39 billion) was up 20.4% from the prior year. While physical revenue dropped 7.4% to 101.3 billion yen ($701.7 million), streaming jumped 18.5% to 709.5 billion yen ($4.91 billion) and accounted for 66.5% of recorded music revenue, down from 67.7% in fiscal 2022. The “other” category, which includes merchandise, rose 59.8% to 221.4 billion yen ($1.53 billion).
Other top releases for the fiscal year were Bad Bunny’s Un Verano Sin Ti, Harry Styles’ Harry’s House, Miley Cyrus’s Endless Summer Vacation, Luke Combs’ Gettin’ Old, Peso Pluma’s Genesis, Doja Cat’s Scarlet, Rod Wave’s Nostalgia and Beyoncé’s Renaissance.
Music publishing full-year revenue rose 18.1% to 326.7 billion yen ($2.26 billion). Streaming revenue improved 21.1% to 185 billion yen ($1.28 billion) and accounted for 56.6% of publishing revenue, up from 55.2% in fiscal 2022.
Visual media and platform revenue declined 0.4% to 202.1 billion yen ($1.4 billion). Within the segment, gaming revenue fell 9.5% to 98.2 billion yen ($680 million).
Stray Kids’ “Social Path (feat. LiSA)” was the top music release for Sony Music Entertainment Japan for the full fiscal year. Other top releases in Japan were King Gnu’s The Greatest Unknown, SixTONES’ The Vibes and two releases by Nogizaka46: Monopoly and Ohitorisama Tengoku.
For the second straight quarter, Sony Music’s operating income of 301.7 billion yen was the largest of any Sony Corp. business and accounted for about a quarter of the parent company’s total operating income. Although Games & Network Services’ revenue of 4.26 trillion yen ($29.55 billion) was more than 2.5 times Sony Music’s revenue, it had operating income of 290.2 billion yen ($2 billion) – about 4% lower than Sony Music’s operating income.
Even though Sony Corp.’s full-year revenue grew about 13% on a constant currency basis, the company is wary of uncertain business conditions and volatility. As such, Sony Music’s parent company is putting a greater focus on earnings, efficiency and business profitability.
During the earnings call, Sony Corp.’s management discussed the company’s “mid-range plan” that includes a partial spin-off off its financial services division in Oct. 2025 and increasing focus on growth in its three entertainment segments — music, film and games and network services — and its imaging and sensing solutions business. The parent company aims to achieve an annual growth rate of 10% or more in these business segments.
“In the music segment, we continue to aim to grow faster than the market by strengthening our efforts in emerging markets, increasing monetization opportunities for our music catalog, and incorporating adjacent businesses such as merchandising,” said Hiroki Totoki, president, COO and CFO.
Looking ahead to the current fiscal year ending March 31, 2025, Sony Music expects 4% increases in both revenue and operating income.
Sony Music’s fiscal fourth quarter revenue climbed 23.5% to 422.2 billion yen ($2.85 billion). Recorded music revenue in the quarter rose 29.4% to 288 billion yen ($1.94 billion) due to 23.9% growth in streaming revenue and a 91.9% improvement in the “other” category. Music publishing revenue grew 25.5% to 82.9 billion yen ($558.6 billion). Visual media and platform revenue dropped 3.8% to 51.4 billion yen ($346.6 million) due to a 22.2% decline in gaming revenue.
Both SOS and UTOPIA were also Sony Music’s top two albums in the fiscal fourth quarter as well as the full year. Other top albums in the quarter were 21 Savage’s American Dream, Beyoncé’s Cowboy Carter, Bad Bunny’s nadie sabe lo que va a pasar mañana, Peso Pluma’s Genesis, Bad Bunny’s Un Verano Sin Ti, Tate McRae’s Think Later, Justin Timberlake’s Everything I Thought It Was and Harry Styles’ Harry’s House.
The year of the Dogg is upon us.
Hip-hop veteran Snoop Dogg has his hand in everything right now, from cocktails to cooking shows, an international tour, movie roles, coaching spots on NBC’s The Voice and a spot on the sidelines for the world’s greatest multi-sport event, the Olympic Games.
On Monday night (May 13), Snoop dropped by The Tonight Show Starring Jimmy Fallon for a brisk walk through his busy schedule.
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This Dogg is having his day, again and again.
Rocking a customized Olympics kit, Snoop talked of taking his talents to Paris this summer, where he joins the NBC team for nightly reports from the 2024 games. “I wanna do something special with you over there, I don’t know what it is,” he tells Fallon. “Something musical. Something comedic.”
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That once-in-a-lifetime gig will slot into a stint as coach on NBC singing competition show, The Voice, alongside fellow newcomer, the Canadian crooner Michael Bublé.
Announced earlier this week, the 52-year-old joins a panel for this fall’s 26th season which is rounded out by returning coaches Reba McEntire and Gwen Stefani, with the former notching her third consecutive season on the series and No Doubt singer and solo star Stefani adding yet another notch with her eighth go-round.
“If you know anything about me you know I love all forms of music,” he says of his pivot to the musical chairs of The Voice. “So this is a great opportunity for me to show that I really understand music. And be a real coach and really give direction to some of these artists that can be today’s next big thing.”
Snoop insists, “I’m not one-sided, I’m not just for you. I’m for everybody. I’m the people’s champ.”
Before the gun goes off in the French capital, Snoop will embark on a Canadia-exclusive trek this June with fellow G-Funk trailblazers Warren G and DJ Quik, for the Cali to Canada Tour. “We’ll be doing what we do,” he tells Fallon, “representing that west coast hip-hop and giving up a great show.”
Watch the interview below.
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The remaining nine contestants on The Voice took it home on Monday night (May 13), for a round of performances that will determine the makeup of the final.
The Voice this week celebrates Hometown Week, doing so at the point end of this 25th season — the semi-finals.
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On Monday (May 13), Asher HaVon, Bryan Olesen, Josh Sanders, Karen Waldrup, Maddi Jane, Madison Curbelo, Nathan Chester, Serenity Arce and Tae Lewis took their spots on stage.
Each contestant hit a solo song dedicated to their hometown and the people who supported them over the years. Then, the singers teamed up in trios for songs inspired by the feature film IF.
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Olesen, Jane and Chester performed the Cure’s “Just Like Heaven”; HaVon, Curbelo and Arce hit Coldplay’s “Fix You”; and Sanders, Waldrup and Lewis sang the Band’s “Forever Young.”
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Currently, newbie coaches Dan + Shay lead the way with three artists remaining in the competition, while Reba McEntire, John Legend, and Chance the Rapper each have two artists.
America voted, the results of which will be revealed on Tuesday night’s (May 14) results episode. Five will progress to the finale, four will go home.
It’s all change for The Voice. As previously reported, Snoop Dogg is joining the panel for this fall’s 26th season, alongside fellow newcomer crooner Michael Bublé. The coaching lineup for the singing competition will be rounded out by returning stars Reba McEntire and Gwen Stefani, with the former notching her third consecutive season on the series and No Doubt singer and solo star Stefani adding yet another notch with her eighth go-round.
Post Malone and Morgan Wallen are getting the party started in the U.K., where “‘I Had Some Help” is heading for No. 1. If it holds its position, “I Had Some Help” (via Republic Records) would become Posty’s third U.K. No. 1 single, and second this year following his assist on Taylor Swift’s “Fortnight” (EMI). […]
Dua Lipa achieves her first No. 1 on Billboard’s Top Album Sales chart, as her third full-length studio effort, Radical Optimism, debuts atop the list dated May 18. In the week ending May 9, the album sold 51,500 copies in the U.S. according to Luminate – marking the singer-songwriter’s biggest sales week yet. Her previous best week, both in terms of sales and chart rank, came when her last studio set, Future Nostalgia, debuted at No. 4 with 18,000 sold on the April 11, 2020-dated chart.
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Also making waves in the top 10 of the new Top Album Sales chart: the latest releases from SEVENTEEN, NCT Dream and Sia arrive, while vinyl releases prompt big re-entries for Ye and Ty Dolla $ign’s Vultures 1 and Dave Matthews’ Some Devil.
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Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. The new May 18, 2024-dated chart will be posted in full on Billboard‘s website on May 14. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Radical Optimism’s 51,500 copies sold, physical sales comprise 39,000 (20,000 on vinyl – her best week ever, 18,000 on CD and less than 1,000 on cassette) and digital download sales comprise 12,500.
The album’s sales were bolstered by its availability across 20 physical variants, all with the same 11 songs. There were 11 vinyl editions in assorted colors (one of which was signed, and most variants were exclusive to specific retailers) and two cassette tapes. In terms of CDs, there was a widely available standard CD with a lenticular cover, and then multiple CD iterations sold exclusively in Lipa’s webstore (a signed standard CD, a zine CD package, and four deluxe CD boxed sets – each containing a branded T-shirt and a CD, and two of the boxes also included a signed art card).
In addition, the album was issued as a widely available standard 11-song digital download and a deluxe digital album with two live bonus tracks sold exclusively in Lipa’s webstore.
Taylor Swift’s The Tortured Poets Department falls 1-2 (51,000; down 53%) after spending its first two weeks atop the list.
SEVENTEEN’s retrospective compilation SEVENTEEN Best Album ‘17 Is Right Here’ bows at No. 3 with 49,000 copies sold. It’s the seventh top 10-charting effort from the group. The set’s sales were supported by its availability across a dozen CD variants, all containing branded paper merchandise like posters and photocards (some randomized). Exclusive iterations were sold by Barnes & Noble and Target, while signed editions were also available.
Ye and Ty Dolla $ign’s Vultures 1 re-enters Top Album Sales at No. 4 following the set’s arrival on vinyl. The effort sold 31,000 copies across all available configurations (up 37,841%). Essentially all of its sales were from vinyl – nearly 31,000, which marks the biggest sales week on vinyl for both Ye and Ty Dolla $ign. The vinyl edition of the album was exclusively sold via Ye’s official webstore, and was initially sold as a pre-order when the album was first released on Feb. 10 (as a paid download and via streaming services). At that time, when customers pre-ordered the vinyl, the webstore stated the vinyl would ship in “2024.”
Swift’s chart-topping 1989 (Taylor’s Version) climbs 7-5 with 7,000 sold (though down 20%).
NCT Dream’s DREAM()SCAPE debuts at No. 6 with nearly 7,000 sold, marking the third top 10-charting set for the act. Effectively all of the album’s sales were on CD, and the set was available in three iterations (all containing branded paper merchandise, with some randomized elements).
Swift’s former leader Lover steps 8-7 with just 6,500 (down 19%).
Dave Matthews’ Some Devil, originally released in 2003, returns to the chart for the first time since 2004, following the set’s release on vinyl for the first time. The set sold 6,000 copies, with basically all of that from vinyl sales. It was issued in three vinyl variants – a widely available black edition, a blue colored version sold through Matthews’ webstore, and an Amazon-exclusive “fog colored vinyl.”
TOMORROW X TOGETHER’s chart-topping minisode 3: TOMORROW rises one spot to No. 9 with 5,500 sold (down 25%).
Sia rounds out the top 10 with the No. 10 debut of her new album, Reasonable Woman. It sold a little more than 5,000 copies, and was available across eight vinyl variants, as well as a standard CD, cassette and digital download album. It’s the third top 10-charting effort for Sia, and the first since 2016’s This Is Acting debuted and peaked at No. 4.
Kings of Leon are all set to claim the U.K. chart throne with Can We Please Have Fun, the U.S. rock band’s ninth studio album. Based on midweek sales and streaming data captured by the Official Charts Company, Can We Please Have Fun (via Polydor) is in pole position. Should it reign over the Official […]
It’s Monday, May 13, and Taylor Swift is still ruling at No. 1 on the Billboard 200. Not only that, she’s set to feature on Gracie Abrams’ new album and will be part of the Bridgerton season 3 soundtrack. Ariana Grande posted on her IG story that she’s back in the studio. Are we getting […]
Back in September, *NSYNC made a long-awaited reunion for the Trolls Band Together song, “Better Place,” and Kelly Clarkson put her spin on the upbeat single for her talk show’s Kellyoke segment on Monday (May 13). Explore Explore See latest videos, charts and news See latest videos, charts and news Dressed in a sky blue […]
