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Cynthia Erivo’s Ariana Grande-featuring “Defying Gravity” from Wicked retains the No. 1 slot on Billboard’s Top Movie Songs chart, powered by Tunefind (a Songtradr company), for January 2025, ruling for a second month.
Rankings for the Top Movie Songs chart are based on song and film data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of January 2025. The ranking includes newly released films from the preceding three months.
After “Defying Gravity” rose to No. 1 on the December 2024 (it debuted at No. 2 on the November 2024 list) via 47 million official on-demand U.S. streams and 13,000 downloads that month, according to Luminate, the song maintains a strong showing in its second full month of release: 36.4 million streams and 9,000 downloads in January.
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It debuted at No. 44 on the Billboard Hot 100 dated Dec. 7, 2024, and lifted back to No. 49 on the Jan. 11 ranking.
In all, four songs from Wicked, which premiered in theaters on Nov. 22, 2024, appear on the January 2025 Top Movie Songs chart. Grande’s “Popular” is the next highest after “Defying Gravity,” ranking at No. 3, followed by the Erivo and Grande duet “What Is This Feeling?” (No. 4) and Jonathan Bailey’s “Dancing Through Life” (No. 10).
But it’s not all Wicked on the chart. No. 2 belongs to Dominic Fike’s “Come Here,” featured in the Steven Soderbergh-directed film Presence, debuted in theaters on Jan. 24. First released on Fike’s 2020 album What Could Possibly Go Wrong, it garnered 320,000 streams in January 2025.
Music from Back in Action, Babygirl, Sonic the Hedgehog 3 and Mufasa: The Lion King also dot the latest monthly ranking, found below.
Rank, Song, Artist, Movie1. “Defying Gravity,” Cynthia Erivo feat. Ariana Grande, Wicked2. “Come Here,” Dominic Fike, Presence3. “Popular,” Ariana Grande, Wicked4. “What Is This Feeling?,” Cynthia Erivo & Ariana Grande, Wicked5. “Doo Wop (That Thing),” Lauryn Hill, Back in Action6. “Father Figure,” George Michael, Babygirl7. “Run It,” Jelly Roll, Sonic the Hedgehog 38. “I Always Wanted a Brother,” Braelyn Rankins, Theo Somolu, Aaron Pierre & Kelvin Harrison Jr., Mufasa: The Lion King9. “CRUSH,” Yellow Claw, Natte Visstick & RHYME, Babygirl10. “Dancing Through Life,” Jonathan Bailey, Wicked
Kendrick Lamar’s “Not Like Us” holds on to No. 1 for a second week on the TikTok Billboard Top 50, and others make their way into the top 10. Keep watching to see who else made the top 10 this week! Tetris Kelly:Kendrick Lamar continues to dominate the top 10, but a couple of new […]
While known mostly for her numerous and diverse acting roles, Michelle Trachtenberg also made a notable impact on Billboard’s music charts.
As reported Wednesday (Feb. 26), Trachtenberg passed away at age 39.
The New York native broke through with, among other early roles, her starring turn in the film Harriet the Spy in 1996, released when she was just 10. By then, she had also made multiple appearances on ABC’s All My Children — working with Sarah Michelle Gellar. That connection led to Trachtenberg joining Gellar on Buffy the Vampire Slayer from 2000 through its 2003 finale. (A reboot is currently in the works.)
When the series shifted from the WB to UPN for its sixth season, fans were treated to one of its most innovative episodes: the musical Once More With Feeling. Most prominently for Trachtenberg, whose ballet talents were showcased that week, she opens the episode’s coda, “Where Do We Go From Here?,” singing the opening title line a cappella.
The 23-song Once More With Feeling soundtrack was subsequently released (on Mutant Enemy/Twentieth Century Fox/Rounder Records). Mirroring the show’s trademark witty dialog (one lyric features singing-averse Alyson Hannigan admitting, “I think this line’s mostly filler”), the set slayed Billboard’s charts, most notably debuting at its No. 3 best on the Soundtracks chart — a year after the episode aired. It also hit the Billboard 200 and Independent Albums charts.
To date, the album has drawn 23.6 million streams in the U.S., according to Luminate.
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In 2016, upon the 15th anniversary of Once More With Feeling’s premiere, the series’ Anthony Head — aka Buffy’s slayer sage, Giles — mused about the idea to give the cast something to sing about. “I’d done Chess, Godspell and Rocky Horror before I joined Buffy, and, on the pilot, [creator Joss Whedon], Sarah Michelle and I were waiting in the back of the library set and [Whedon] said he had a huge fondness for musicals,” Head recalled to Billboard at the time. “We said then, ‘If the show ever gets picked up, wouldn’t it be fun to do a musical episode?’ Pretty much every season, for three or four seasons, I said, ‘Are we going to do the musical episode this year?!’”
Head said that Whedon wanted to wait until it felt “organic,” and by the sixth season, after the cast’s vocal chops had been discovered and honed through singalongs at Whedon’s house, and the show’s storylines had been furthered, the timing seemed right. Before the season, Head received a demo of songs from Whedon, who realized at last, per Head, “’We’ve got a musical!’
“It was just remarkable,” Head marveled. “Even in that home-demo stage … the melodies were so strong. It was a great, eclectic compilation of songs. From that moment on, I was like, ‘What can I do? What can I do?!’”
Tate McRae has ticked a lot of career dreams off her vision board over the past few years. But that doesn’t mean the “Sports Car” singer is done searching for new challenges. In an interview with Pride about her deep connection to her LGBTQ+ day one fans and the star’s upcoming Miss Possessive tour in support of her So Close to What album, McRae didn’t hesitate when asked which one of her idols she’d like to hit the studio with.
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“My dream is to write with SZA. She’s one of the coolest and best writers ever,” McRae said of the “Luther” star who is gearing to to hit the road with her Super Bowl LIX halftime show compatriot Kendrick Lamar in April. “I love her. I think it’d be a mix of pop and R&B. I’d let her take the charge! I just want to always keep pushing my comfort zone. I never want to recycle and do the same things. As an artist, I want to be uncomfortable and shock myself sometimes.”
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While she’s manifesting things, the goal-driven McRae also said she “would die” to perform at the MTV VMAs. “That’s something I’ve watched all my idols do for so many years,” she said of the show that has been a launching pad and showcase for some of her obvious influences in the past, from Madonna to Britney Spears. “From some reason, that specific performances is something I’ve always wanted.”
She also had to give it up for her day-one queer fans, saying that they are her absolute “favorite. No one beats them. Nobody is better than them. My whole team is gay! That’s the only opinion I really want when I’m releasing music. I feel lucky that I have their opinion. We want to do the most and push the boundaries, but it’s also the most brutally honest advice.”
As an example, the 21-year-old noted her 2023 performance at the G-A-Y & Heaven Nightclub in London, which she called one of her all-time high points. “I ditched the mic and just started dancing,” she said. “There was only like 150 people in the room and it was some of the craziest, loudest energy I’ve ever felt. I just wanted to whip my hair, do a kick, and leave! That’s all I wanted to do.”
In a final shout-out to the audience that has always had her back, McRae added, “I love you guys so much. Y’all are my number ones. You know that as much as you guys ride for me, I ride for you. I feel very grateful to have you guys in my life and surrounding me.”
As she awaits the March 18 kick-off of her tour in Mexico City’s Pepsi Center WTC, McRae will appear as the musical guest on Saturday Night Live this weekend alongside host comedian Shane Gillis.
Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor the late Robert John with a look at his lone No. 1: The sweetly insensitive 1979 throwback smash “Sad Eyes.”
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Perhaps it made counterintuitive sense that Robert John would finally score his career-making solo ballad at one of the most inhospitable times for downtempo pop music in the history of top 40. The year 1979 was defined first and foremost by disco: the thumping dance music that not only made stars out of the Bee Gees, Chic and Donna Summer but also convinced artists as far-flung as Herb Alpert, Rod Stewart and Blondie to get on the floor. All six of those artists topped the Hot 100 with disco (or at least disco-influenced) songs in 1979, and the charts’ biggest exception to disco’s dominance — power-poppers The Knack, who ended up with the chart’s year-end No. 1 with the irresistible “My Sharona” — was still just as propulsive and beat-driven. The Hot 100 certainly should not have had room at its apex in 1979 for a song as slow-paced, winsome and unapologetically retro as “Sad Eyes.”
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But Robert John’s path on the charts had never exactly been a logical one. His career arc was atypically jagged and erratic for a pop singer, starting at an unnaturally young age and continuing for decades, but rarely for more than a hit song at a time, and often with many fallow years coming in between them. By 1979, John had technically been a hitmaker for over 20 years, but he also hadn’t reached the Hot 100 since 1972, and he had even given up on making music altogether for a stretch in the mid-decade. For him to return to recording and immediately top the Hot 100 for the first and only time in his career, with a song at about half the BPM of most of the hits surrounding it on top 40 at the time? Sure, why not.
In truth, it wasn’t like “Sad Eyes” was the only slow song making it on the radio in the late ’70s. There were still plenty of nuggets of AM gold to be found among the silver disco balls littering that era’s charts, sweetly harmonized gems like Walter Egan’s “Magnet and Steel,” Olivia Newton-John’s “Hopelessly Devoted to You” and Barry Manilow’s “Can’t Smile Without You.” Even disco stalwarts the Bee Gees kicked the year off with “Too Much Heaven,” one of the group’s most sentimental ballads, topping the Hot 100. Another such hit from the time that had just missed the top 10 in 1978, Toby Beau’s “My Angel Baby,” caught the ear of producer George Tobin, who felt a song like that would be a good fit for Robert John.
John would take some convincing. He was essentially retired from music at the time, and was working construction in New Jersey. John had become frustrated with the industry after 15 years of recording — dating back to the minor 1958 hit “White Bucks and Saddle Shoes,” which he recorded as Bobby Pedrick, Jr. when he was just 12 years old — which had failed to result in a consistently sustainable career for him. The final straw came following the success of his 1971 version of The Tokens’ Hot 100-topping 1961 smash “The Lion Sleeps Tonight,” which went to No. 3 on the chart and sold over a million copies — but still didn’t inspire much belief in him from his then-label, Atlantic Records. “The company didn’t have enough faith to let me do an album,” he told Rolling Stone. “I decided that if that’s what happens after [such a big hit] then I just wasn’t going to sing anymore.”
Tobin invited John to live with him as they worked on the song that would become his comeback single. They eventually came up with “Sad Eyes,” a breakup ballad built on a plush water bed of aqueous electric piano, twinkling glockenspiel, loping bass, buoyant guitar and a crisp drum shuffle. The production was lovely without being overwhelmingly lush, and John’s mostly falsetto vocal was its perfect match — particularly towards the song’s end, when the song modulates up and John uses his doo-wop background to hit some unreal upper-register ad libs as the chorus repeats to fade.
In fact, the song was so sweet that it was easy to miss just what a cad John was playing in its lyrics. The “Sad Eyes” in question belong to a lover who John is breaking it off with, presumably because his main squeeze is returning from afar: “Looks like it’s over, you knew I couldn’t stay/ She’s comin’ home today,” he explains in the opening lines. The song’s patronizing attempts to comfort the soon-to-be-ex on the verses (“Try to remember the magic that we shared/ In time your broken heart will mend”) turn to outright selfishness on the chorus (“Turn the other way… I don’t want to see you cry”) — but they never quite feel mean-spirited enough to the point of distracting from the song’s intoxicating sway.
After a false start with Arista, Tobin and John eventually caught the interest of EMI America, launched just the year before, which released the record in April 1979. The song debuted at No. 85 on the Hot 100 dated May 19, though it didn’t top the chart until 20 weeks later — tying a Hot 100 record to that point, set the year before by Nick Gilder’s “Hot Child in the City” for longest trek to No. 1 — when it finally knocked The Knack out of the top spot after its six-week reign with “My Sharona.” (John also set a record with the longest time in between his first Hot 100 entry and his first No. 1, dating back 21 years to his “White Bucks and Saddle Shoes” debut in 1958, though Tina Turner would take that mark over a half-decade later with her “What’s Love Got to Do With It.”) “Sad Eyes” lasted just one week atop the listing, before the disco order was once again restored — as the song was unseated by Michael Jackson’s all-timer Off the Wall lead single, “Don’t Stop ‘Til You Get Enough.”
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This time, Robert John at least would get to make a full album: a self-titled LP, also released on EMI in 1979, which peaked at No. 68 on the Billboard 200 that October. But the album failed to spawn another top 40 hit — the groovier “Lonely Eyes” peaked just outside the region in early 1980 — and John would only make the chart subsequently with a trio of covers, faring the best with his No. 31-peaking take on Eddie Holman’s “Hey There Lonely Girl,” from 1980’s Back on the Street. That album would prove to be his last, and John mostly retired from recording and performing again after that.
Robert John might never have gotten the sustained success or career stability he hoped for as a singer, but he did have hits in four separate decades, he did get his name multiple times in the Billboard record books, and he can claim to be one of just a few artists in the world to rule the age of disco with a not-even-remotely-disco record. Even he eventually turned the other way, that’s nothing to be sad about.
Halsey dropped the definitely NSFW video for their new single, “safeword,” on Thursday (Feb. 27) after teasing a 13-second preview of the track earlier this week. As promised in the sneak peek, the S&M-themed video directed by provocative stylist and Sedition Magazine editor-in-chief Lana Jay Lackey opens with a close-up of the singer rocking black-and-silver studded thong underwear, a leather jacket, leather cap and knee-high, studded, stiletto boots.
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As the song’s distorted guitar and manic, galloping rhythm kicks in, Halsey dives into dominatrix mode, kicking a leather-masked man laying on the floor in his head as they sing in a riot grrrl-inflected yelp, “Pin me to the floor, swing me by the neck/ Locked behind a door, it is time yet, time yet?/ Don’t be such a bore, gimme respect/ Are you feeling sore? Are you wet yet, wet yet?”
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Soon enough, it’s Halsey who is on the other end, as someone ties a rope around their body, pinning it to a chair as she engages in puppy play and lays prone on a table while a leather-masked dom in a suit spanks their lingerie-clad bottom before menacingly chomping on an apple. The urgent, digital hardcore-edged song hurtles to the howled chorus, “Oh, can you take it, baby?/ Oh can you handle it?/ Don’t tell me what to do, I’m gonna stand it,” with Halsey making it clear “you’re not the boss of me.”
The singer strikes a series of provocative poses throughout the rest of the clip, hanging upside down by her ankles in a mesh bra top and matching leggings — her private parts covered by black stars and a merkin — and sipping from a shake perched on a tray held up by a latex-encased living coffee table. Little is left to the imagination in the video, which also includes scenes of simulated masturbation, light pony play as Halsey rides a ball-gagged human horse and a scene of the singer trussed up and wearing a lamp shade, as well as other envelope-pushing images that bring to mind Madonna’s 1992 Sex book.
The high-energy single comes just a few months after Halsey dropped her fifth studio album, The Great Impersonator, yet another artistic pivot from the singer in which she took on a variety of musical personas on the confessional, eclectic concept album that spotlighted a mix of pop, folk and rock. It was set up by a teaser campaign in which she paid homage to a number of the LP’s inspirations, including Dolly Parton, PJ Harvey, David Bowie, Stevie Nicks, Bruce Springsteen, Kate Bush, Cher and Britney Spears, among others.
Halsey also recently announced the dates for their upcoming spring/summer 2025 Halsey: For My Last Trick tour. The 32-city Live Nation-promoted trek in support of the singer’s Columbia Records debut is slated to kick off on May 10 at the Toyota Pavilion at Concord in Concord, CA, keeping them on the road through a July 6 show at the Yaamava’ Theater in Highland, CA.
Joining Halsey on their first headlining tour in three years will be: Del Water Gap, The Warning, Evanescence, Alvvays, Hope Tala, Royel Otis, Sir Chloe, flowerlove, Magdalena Bay and Alemeda joining on select dates.
Watch the “safeword” video below.
LISA was determined to fare better than BLACKPINK bandmate ROSÉ on Hot Ones, with the former appearing on the web series Thursday (Feb. 27) to take on the wings of death.
Her sit-down comes about three months after the “APT.” singer joined host Sean Evans for the hot-wing challenge, and LISA said that her bandmate had prepped her beforehand. “I did some homework,” the Thai rapper-singer told Evans. “I asked my friend, my teammate, Rosie. She was like, ‘It’s really spicy.’ She told me to take ice cream.”
As she answered questions about being multilingual, working with Rosalía on single “New Woman” and making her acting debut on the latest season of White Lotus while eating progressively tongue-numbing wings, LISA — though still having to dab her face and air out her tongue — fared better overall than ROSÉ. (The latter struggled quite a bit with the Scoville levels, which brought her to tears and led her to deliver a few meaningful last words to her dog, Hank, just in case she didn’t “survive.”)
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In fact, the “Lalisa” musician at one point jokingly boasted, “I’ll show Rosie that I’m not going to cry. I won’t cry. I’ll prove her wrong.”
The K-pop star’s appearance on the show comes one day ahead of her debut solo album, Alter Ego. Led by singles “Rockstar,” “Moonlit Floor (Kiss Me)” and “Born Again” with Doja Cat and RAYE, the Feb. 28-slated project finds LISA exploring five different sides of her personality expressed through characters named Roxi, Kiki, Vixi, Sunni and Speedi.
“It represents five characters of me as well, like I feel related with them,” she told Evans of the concept. “It feels like I can express myself in a different version of me, and it’s fun. I can’t wait for my fans to listen to this album, to really enjoy this album and see a different side of LISA.”
LISA also shared her unorthodox trick for handling spicy foods — not that she fell back on it during her Hot Ones appearance. “It’s a little too crazy, but it really helps when I have something too spicy,” she told Evans as one particularly hot wing sent her into a slight panic. “I have to take my saliva out, and I can be like, ‘Nothing happened!’ I want to do it now, but I know it’s going to be so bad on the camera. I should keep my image nice.”
Watch LISA’s Hot Ones episode above.
Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor Roberta Flack, who died on Feb. 24 at age 88, by looking at the singer’s last of three No. 1 hits as a recording artist: the lilting paean to romance, “Feel Like Makin’ Love.” (In case you missed it, here’s a look at her first No. 1, “The First Time Ever I Saw Your Face” and at her second No. 1, “Killing Me Softly With His Song.”
The year was 1974. President Richard Nixon had resigned and Gerald Ford stepped up to fill the vacancy. Muhammad Ali and George Foreman punched their way through the Rumble in the Jungle in Zaire. Stephen King published his debut novel Carrie, while the year also witnessed the birth of future Academy Award winner Leonardo DiCaprio. And alongside various musical moments such as David Bowie launching his Diamond Dogs tour and Dolly Parton releasing the Jolene album, Roberta Flack set a record as the first female solo artist to reign at No. 1 on the Hot 100 within three consecutive years, 1972-1974, with “Feel Like Makin’ Love.”
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Flack first donned the Hot 100 crown with breakthrough hit “The First Time Ever I Saw Your Face,” featured on her now platinum-certified 1969 debut album for Atlantic, First Take, and in the 1971 Clint Eastwood film Play Misty for Me. Coming off the top five pop and R&B chart success of the iconic duets album Roberta Flack & Donny Hathaway, Flack captured the singles throne once again in 1973 with her career-cementing ballad “Killing Me Softly With His Song” from her multiplatinum, similarly titled fourth solo album, Killing Me Softly. Then in 1974 Flack completed the No. 1 trifecta with “Feel Like Makin’ Love,” the first single from the same-titled fifth solo album released a year later.
As has been the case with various songs-turned-classics over the years, “Feel Like Makin’ Love” stemmed from a casual comment that immediately sparked the writer’s imagination. In this instance, veteran singer-songwriter Eugene McDaniels (best known for his 1961 top five Hot 100 hit “A Hundred Pounds of Clay,” as well as the jazz standard “Compared to What”) had invited his assistant Morgan Ames to join him and his family for a mini-vacation at his in-laws’ cabin in Lake Arrowhead, Calif. But after only one day, Ames decided to leave. As relayed in 1993’s The Billboard Book of Number One Rhythm & Blues Hits, when McDaniels asked why she was departing, Ames told him, “Gotta get back to town. I feel like makin’ love.” To which McDaniels replied, “’See ya!’ And [I] wrote the song. It took me 25 minutes.”
McDaniels and Flack had already collaborated before he brought “Feel” to her attention. She’d covered her mentor Les McCann’s aforementioned McDaniels-penned protest classic “Compared to What” on First Take as well as other McDaniels compositions such as “Reverend Lee” from second album Chapter Two. After McDaniels called her about “Feel,” Flack flew to Los Angeles and rode with him to Lake Arrowhead, where they worked on the song for a few days. Then Flack met up with McDaniels a couple of weeks later at Bell Sound Studios in New York. Hired for the three-hour recording session were noted musicians Bob James (piano), Idris Muhammad (drums), Gary King (bass) and Richie Resnicoff and Hugh McCracken (guitars).
Atlantic’s Joel Dorn, who had produced Flack’s earlier albums, did a remix of “Feel” before the single’s actual release. However, according to The Billboard Book, Flack rejected it. Instead, under the pseudonym Rubina Flake, she created another mix. It’s this version — also marking Flack’s debut as a producer — that was ultimately released.
Right from its opening strains, “Feel Like Makin’ Love” immediately captures the euphoria of being romanced and loved. The track’s mellow, cha-cha vibe subtly underscores the give-and-take inherent in that interplay, while Flack’s ethereal yet measured vocals indelibly outline the simple little moments that can relight Cupid’s flame. As with the song’s second verse, which begins: “When you talk to me/ When you’re moanin’ sweet and low …” then followed by the infectious, sing-along chorus: “That’s the time/ I feel like makin’ love to you/ That’s the time/ I feel like makin’ dreams come true.” Looking back, it’s also interesting to note that “Feel Like Makin’ Love” was released a year after Marvin Gaye’s similarly seductive (and also Hot 100-topping) “Let’s Get It On” signaled a societal shift, as it upended long-held taboos about blatant references to sex in music.
“Feel Like Makin’ Love” replaced John Denver’s “Annie’s Song” atop the Hot 100 on the chart dated August 10, 1974, before being pushed out the next week by Paper Lace’s “The Night Chicago Died.” addition to topping the Hot 100, “Feel Like Makin’ Love” spent five weeks and two weeks at No. 1, respectively, on Billboard’s R&B and Adult Contemporary charts. Nominated for three Grammy Awards — record of the year, song of the year and best female pop vocal performance — the song has since would go on to be covered by a who’s who of R&B and jazz artists over the decades, including D’Angelo, George Benson, Johnny Mathis and Gladys Knight & the Pips. (It also preceded Bad Company’s identically titled power ballad “Feel Like Makin’ Love,” which would become a Hot 100 top 10 hit and signature song for the classic rockers the following year.)
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“Feel” doubled as the title track of Flack’s fifth studio album. Released in 1975, the self-produced nine-track project also featured the Stevie Wonder-penned “I Can See the Sun in Late December.” And while the album reached No. 6 on Billboard’s Top R&B/Hip-Hop Albums chart and No. 11 on Top Jazz Albums, it peaked at only No. 24 on the Billboard 200. Also of note: by the year of the album’s release, the only other women who had achieved three No. 1s on the Hot 100 were Cher, Connie Francis and Helen Reddy. But their No. 1s were not in consecutive years.
Flack went on to release another seminal album, 1977’s Blue Lights in the Basement. The set included the Grammy-nominated crossover hit “The Closer I Get to You” with Hathaway. That was followed three years later by her ninth studio album, Roberta Flack featuring Donny Hathaway. Originally intended as a second duets album by the pair, the project only features the posthumous vocals of Hathaway, who had died a year earlier.
By the mid-‘80s, however, Flack’s chart prominence was waning. Her last studio release was a Beatles cover album, 2012’s Let It Be Roberta. And while she had begun touring again in 2008, a stroke in early 2016 ended her performing career. Six years later, a spokesperson confirmed the singer had been diagnosed with amyotrophic lateral sclerosis (ALS). She died peacefully at 88 on Feb. 24, with no official cause of death disclosed.
Over the course of her innovative, multi-genre career, Flack scored a total of 18 Hot 100 hits and landed four albums in the top 10 on the Billboard 200 album charts, as well as more than two dozen charting hits on the Hot R&B/Hip-Hop Songs chart. A four-time Grammy winner, she received the lifetime achievement awards from the Recording Academy in 2020 and the Jazz Foundation of America in 2018. Her additional accolades include a star on the Hollywood Walk of Fame. Flack also never forgot her early beginnings as a teacher: She established the Roberta Flack Foundation in 2010 to help young people fulfill their dreams through education/mentorship and wrote the 2023 children’s book, The Green Piano: How Little Me Found Music.
The day has arrived for Punjabi artist Karan’s brand new collaboration with OneRepublic, and Billboard has the exclusive first look at the music video for “Tell Me.” Karan spoke with Billboard‘s Lyndsey Havens about how amazing it was being on set with OneRepublic, saying to Ryan Tedder this was his favorite part: “I feel like […]
JENNIE knows fans can hardly wait one more week for her debut solo album, Ruby, so she’s tiding them over with a sampler video posted Thursday (Feb. 27) on her socials. Featuring the BLACKPINK band member starring in multiple different visual concepts ranging from rosy-soft floral to powerful queenlike edginess, the trailer gives brief, out-of-order […]