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Too much Taylor Swift clearly isn’t enough as Dancing With The Stars paid tribute to the pop superstar with an all-TayTay special.
After remembering the late Whitney Houston on last week’s show, celebrity competitors this time strutted their stuff on the DWTS hardwood for “A Celebration of Taylor Swift.”
Leading the way once again was Jason Mraz who, along with his partner Daniella Karagach, enjoyed a bounce-back routine, an Argentine Tango to “Don’t Blame Me.”
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Mraz has impressed throughout the competition, now in its 10th season, though his performance last week didn’t hit his usual high marks. For a moment there, Mraz confesses he was concerned about an early exit. On Tuesday night (Nov. 21), the pair nailed it, earning a perfect score of 40 from the judging panel.
“Reputation restored,” remarked judge Bruno Tonioli, staying firmly in TayTay theme.
More points were up for grabs, as the teams entered the “Relay Dances.” Mraz and Karagach would face off against Bachelorette star Charity Lawson and Artem Chigvintsev, with a cha cha to Swift’s “Lavender Haze,” remixed by Felix Jaehn.
There could only be one winner, and that was two-time Grammy Award winner Mraz and Karagach, as the pair bagged the additional three points for a perfect night out — and a spot at the top of the leaderboard.
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Earlier, the DWTS professional dance squad got matters moving with a performance to “Love Story” choreographed by guest judge Mandy Moore (not to be confused with the singer and actor), lead choreographer on Swift’s The Eras Tour.
“I wish I could be there but I’m on tour in Brazil,” Swift said in a clip that aired at the top of episode. “I’m sending you guys all my love and best of luck to all the contestants.”
DWTS is simulcast live across both ABC and Disney+ in local time zones and the next day on Hulu.
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There wasn’t much luck for Too Hot to Handle’s Harry Jowsey and Rylee Arnold, who were eliminated from DWTS with the semifinals in sight.
DWTS is simulcast live across both ABC and Disney+ in local time zones and the next day on Hulu.
Like leaves falling in an autumnal park, Ed Sheeran has begun dropping the official music videos from his latest LP, Autumn Variations.
Over time, Sheeran will share 14 new music videos in total, all created by Sheerios, the culmination of a global content, for which more than 4,000 music videos were entered from 75 countries.
Sheeran handpicked the winners, representing 14 different countries: Ireland, United Kingdom, Australia, Italy, The Netherlands, United States, Brazil, Germany, Japan, France, New Zealand, Taiwan, Mexico, and India.
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The project, reads a statement from Warner Music, “continues the execution of Ed’s initial vision for ‘Autumn Variations’ as an album for the fans and by the fans as he spotlights their artistry.”
Today, the British pop superstar begins the drip feed with music videos for “Midnight” by Meg Igarashi from Japan; “That’s On Me” by Brazilian fan Beatriz Santamaria Pinha; and “American Town” by Michael Lamhang of the United Sates.
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“I made Autumn Variations for the fans and I really wanted to bring them into the fold on this album,” comments Sheeran in a statement. “I was keen to see how they interpreted the music, so I decided to ask my fans from across the world to make videos for each album track.”
The remaining music videos will roll out on YouTube over the coming weeks, reps say.
“There were so many wonderful submissions,” Sheeran adds, giving a shout out to “each and every fan who made these videos so special. I love them and hope you will too.”
Produced by the National’s Aaron Dessner, Autumn Variations extended Sheeran’s perfect albums chart records in the U.K. and Australia to seven, all consecutive (including two in 2023).
In the United States, the set gave Sheeran his sixth No. 1 on Billboard’s Top Album Sales Chart.
Sheeran has wrapped his The Mathematics Tour for 2023, a run that saw the Englishman smash attendance records on multiple continents, including East Rutherford’s MetLife Stadium and the Melbourne Cricket Ground (twice). The Asia leg of his trek will kick off in January 2024.
Sheeran kept the fans in the loop with the release of Autumn Variations (Fan Living Room Sessions), a compilation of recordings from 14 fan visits, which can be streamed in full below.
Check out the lineup of “Autumn Variation” fan-created official music videos below.“Magical” – Edel Temple (Ireland)“England” – Marlon Cang (U.K.)“Amazing” – Elder (Australia)“Plastic Bag” – Laura Days (Italy)“Blue” – Renee Schuurmans (The Netherlands)“American Town” – Michael Lamhang (U.S.)“That’s On Me” – Beatriz Santamaria Pinha (Brazil)“Page” – Gordian Schroedter (Germany)“Midnight” – Meg Igarashi (Japan)“Spring” – Ciara Griot (France)“Punchline” – Evan Heasman [Soju Shorts] (New Zealand)“When Will I Be Alright” – Karina Yang (Taiwan)“The Day I Was Born” – Mike Bautista (Mexico)“Head >Heels” – Anshul Mittal & Kanika Gupta [Digiscape Media] (India)
Landon Barker kicked off his music career two months ago with the release of “Friends With Your Ex.” In the latest episode of Billboard News, Barker details what the song is about, shares insight into its writing process and reveals the advice he got from from his rock star dad, Travis Barker. The 20-year-old musician […]
Billboard looks back on Tina Tuner’s hits, career and chart achievements. Evan Burke:She’s “Simply the Best.” Today we celebrate the birthday of Tina Turner, one of music history’s most electrifying performers. From her charting hits to her amazing accolades, we run through it all in today’s Pop Culture Rewind. Tina Turner was born on November […]
Spotify’s new royalty model should be a money-spinner worth an additional $1 billion for emerging and established artists over the next five years, according to the streaming giant, as content partners line-up to salute the initiative.
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As previously reported, Spotify is updating its royalty system, an overhaul the company anticipates will funnel more money to more popular artists, record labels and distributors, while clamping down on streaming fraud.
In a new blog post, published today (Nov. 21), Spotify reps say its three-pronged policy will apply better hygiene to its platform, better distribute small payments that aren’t reaching creators, and, while tackling these issues that account for just a “small percentage of total streams,” its new policing of content “now means that we can drive approximately an additional $1 billion in revenue toward emerging and professional artists over the next five years.”
As previously reported, Spotify’s controversial new royalty model will affect more than two-thirds of its song catalog but that’s due to the magnitude of music that’s uploaded to the platform, where the vast majority of songs don’t get listened to with any frequency. While tens of millions of songs will fall below the 1,000 streams threshold, a source tells Billboard that policy will only shift about 0.5% of Spotify’s royalty pool to more popular tracks. That was equal to about $46 million in royalties in 2022, out of $9.27 billion paid out in total.
The changes, confirmed today in Spotify’s blog, which features breakdowns and why they’ve been actioned, are welcomed by a string of music industry figures.
“Believe welcomes Spotify’s initiative to clean-up the market from artificial streaming and noise, driving more revenues to all legitimate artists,” comments Denis Ladegaillerie, founder & CEO of Believe. “We believe that creating more benefits to develop up-and-coming artists would be a great complement to the institution of a 1.000 stream threshold. We are encouraged by our current dialogue with them on this topic.”
Spotify’s changes are “going to help us deliver on that goal: these new policies acknowledge the simple truth that improving outcomes for artists goes beyond demanding bigger payouts from the DSPs,” adds Kristin Graziani, president of Stem. “All three of Spotify’s new mechanisms redirect funds that currently sit on the balance sheet of distributors or land with bad actors back to the artists we serve.”
Under the new model touted by Spotify:• Tracks that receive less than 1,000 streams within a 12-month period will not qualify for royalties. Those royalties, instead, will be redistributed into the greater royalty pool.• Labels and distributors will be charged 10 euros for any track that is found to have 90% or more of its streams deemed fraudulent.• Non-music noise tracks must now be at least two minutes long in order to qualify for royalties. As well, according to a source, there are conversations about implementing a rate reduction on these tracks that would value their streams below those for music.To date, Spotify boasts more than 574 million users, including 226 million subscribers in more than 180 markets, generating “over $40 billion and counting” in royalties to artists and copyright holders, the Sweden-based business reports.
Adding to the support for Spotify’s new model is Terry McBride, chairman & CEO, Nettwerk Music Group. “Fraud and artificial music are significant problems for streaming services, depriving legitimate artists from building a community of fans and earning a sustainable living,” McBride comments. “I applaud Spotify’s continual and evolving efforts to address these issues.”
Bob Valentine, CEO, Concord, and Andrew Bergman, CEO Downtown Music Holdings, also welcome Spotify’s new policies.
Led by founder and CEO Daniel Ek, Spotify is said to be planning a roll-out its new royalties model in “the new year,” although no firm date has yet been announced. The changes will not affect songwriters for the time being.
Read more here.
Madness is hoping 13 proves to be their lucky number as Theatre of the Absurd presents C’est La Vie (via BMG) moves into title contention in the U.K.
Theatre of the Absurd is the British ska and pop band’s 13th studio album, and, if it holds its course, would mark their 11th top 10 and first-ever U.K. No. 1 studio album, following chart-topping career retrospectives Complete Madness (from 1982) and Divine Madness (1992).
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Led by Graham “Suggs” McPherson, the north London band has got close to the U.K. chart’s holy grail on more than one occasion. Their 1979 debut album One Step Beyond peaked at No. 2 on the Official U.K. Albums Chart, as did their sophomore set from 1980, Absolutely.
Taylor Swift’s current chart champion 1989 (Taylor’s Version) (via EMI) is a clear-and-present contender, close behind at No. 2.
Meanwhile, Dolly Parton could snag her fourth U.K. top 10 with Rockstar (Big Machine), her features-stacked collection of covers. It’s new at No. 3 on the Official Chart Update, and is forecast to be be the country legend’s best performing studio effort since 2016’s Pure & Simple peaked at No. 2.
Also flying on the chart blast is the deluxe Scary Hours edition of Drake’s former leader For All the Dogs (OVO/Republic Records). It’s set to bounce 32-4.
U.S. alternative rock favorites the National could score their second top 5 album of 2023, with Laugh Track (4AD), set for a No. 5 start. It’s the followup to First Two Pages of Frankenstein, which entered the national chart at No. 4 in May of this year.
Finally, Dutch violinist and conductor André Rieu could bag his 14th top U.K. 10 LP with Jewels of Romance (Decca), recorded with the Johann Strauss Orchestra. It’s new at No. 8 on the Official Chart Update.
All will be revealed when the Official U.K. Albums Chart is published late Friday, Nov. 24.
Rap legend Snoop Dogg recently announced he had given up “smoke,” leaving fans and the general public in shock. However, on Monday, November 20th, he cleared the air and revealed that the “smoke” part of his statement was the key in unveiling his latest “smoke-free” endorsement deal. Snoop Dogg:I have an announcement. I’m giving up […]
Just one month after making his first Billboard chart appearance, 310babii is now officially a Billboard Hot 100-charting artist. The Los Angeles-based rapper scores his first career entry on the Nov. 25-dated Hot 100, as “Soak City (Do It)” debuts at No. 100. The song, released in June on sal.vo sounds, enters with 5.2 million […]
Stray Kids are officially Billboard Hot 100-charting artists, as the group scores its first entry on the Nov. 25-dated list with “LALALALA.”
The song, released Nov. 10 on the group’s new album ROCK-STAR, debuts at No. 90 on the Hot 100 with 6.1 million U.S. streams and 3,000 downloads sold in the Nov. 10-16 tracking week, according to Luminate.
The set launches at No. 1 on the Billboard 200 with 224,000 equivalent album units earned in its opening week. It’s the group’s fourth No. 1 (encompassing all of its entries), after ODDINARY (in 2022), MAXIDENT (2022) and 5-STAR (2023). Stray Kids become the first act to debut their first four chart entries atop the chart since Alicia Keys in 2001-07, when she achieved the feat with Songs in A Minor (2001), The Diary of Alicia Keys (2003), the live set Unplugged (2005) and As I Am (2007).
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All four of Stray Kids’ albums have topped the Billboard 200 in a span of nearly 20 months. That’s the fastest accumulation of four No. 1s since Taylor Swift notched four in just under 16 months with Folklore, Evermore, Fearless (Taylor’s Version) and Red (Taylor’s Version) between August 2020 and November 2021.
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While “LALALALA” earns Stray Kids their first career entry on the Hot 100, the group has already made a mark on several other Billboard charts. The act scored its first overall appearance on the chart dated Nov. 18, 2017, when “Hellevator” debuted and peaked at No. 6 on World Digital Song Sales. Since then, the group has charted 52 total hits on World Digital Song Sales (as of this week), the third-most in the chart’s 13-year history, after BTS (148) and EXO (81). Of Stray Kids’ 52 entries, four have hit No. 1: “Mixtape : OH,” “Maniac,” “Case 143,” and, as of this week, “LALALALA.”
The group has also charted 16 titles on World Albums, tied with Red Velvet for the fifth-most among K-pop acts, after GOT7 (19), SEVENTEEN (18), BTS (17) and TWICE (17). Of those 16 sets, four have hit No. 1.
Stray Kids have also logged seven songs on the Billboard Global 200 and 15 on Billboard Global Excl. U.S.
Stray Kids are the seventh K-pop group in history to chart on the Hot 100. They follow Wonder Girls (who earned their first entry in 2009), BTS (2017), BLACKPINK (2018), TWICE (2021), NewJeans (2023) and FIFTY FIFTY (2023).
Stray Kids, signed to JYP Entertainment, comprises Bang Chan, Changbin, Felix, Han, Hyunjin, I.N, Lee Know and Seungmin.
Brits are still lovin on Jack Harlow.
The Louisville rapper landed his first U.K. No. 1 and fourth top 10 last Friday, Nov. 17, when “Lovin On Me” (via Atlantic) debuted at the top spot.
Based on sales and streaming data captured by the Official Charts Company from the first 48 hours of the chart cycle, “Lovin On Me” should stay put when the next chart is published.
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The track, which samples Cadillac Dale’s 1995 R&B track “Whatever,” leads the First Look survey ahead of The Beatles’ “Now And Then,” which is set to rebound to No. 2. The Beatles’ final song, “Now And Then” recently became the Fab Four’s 18th U.K. No. 1 and dipped 1-6 on the most recent, weekly chart.
Casso, Raye and D-Block Europe’s club cut “Prada” (Ministry of Sound) completes the top three at this early stage in the chart week.
Meanwhile, Tate McRae has her sights set on a fourth U.K. top 10 with “Exes” (RCA), which looks set to enter at No. 10, for the week’s highest new entry. The Canadian artist’s latest hit “Greedy” is still flying high on the U.K. chart, and sits at No. 4 on the latest update – just one spot below its highest chart position.
There’s Christmas cheer in the top tier of the chart blast, as Wham’s “Last Christmas” (Epic) is poised to lift 26-13, and Mariah Carey’s “All I Want For Christmas Is You” (Columbia) could rise 28-15. Both holiday classics are former No. 1s, and, earlier this month, set a new record for the earliest seasonal appearance of a Christmas song on the tally.
Finally, the Official Charts Company notes, Zara Larsson and David Guetta’s latest collaboration “On My Love” (Black Butter/Parlophone) is on the cusp of its first appearance in the top 20, lifting to 21-18 on the chart blast.
All will be revealed when the Official U.K. Singles Chart is published late Friday, Nov. 24.