Music

10 Jun 2024

16 Times Rap and R&B Stars Curated or Executive Produced 21st Century Movie Soundtracks

From paying homage to the African continent to packing a punch with boxing ring-ready jams, R&B and rap artists and producers have made memorable movie soundtracks that can fit any scene and that are filled with their own all-star casts.

Eminem not only had his first starring role in the 2002 semi-autobiographical movie 8 Mile, but he also executive produced its soundtrack. Thirteen years later, Slim Shady helmed the official soundtrack for Southpaw. Eminem was originally supposed to play the lead role of Billy Hope, and Southpaw screenwriter Kurt Sutter told Deadline in 2010, “in a way, this is a continuation of the 8 Mile story, but rather than a literal biography, we are doing a metaphorical narrative of the second chapter of his life.” (Eminem eventually passed on the lead role, which went to Jake Gyllenhaal, to focus on music.)

Jay-Z executive produced The Great Gatsby: Music from Baz Luhrmann’s Film in 2013, with Jeymes Samuel (also known by his stage name The Bullitts) as executive music consultant. Almost a decade later, the two worked together again on The Harder They Fall in 2021, which Samuel directed, co-wrote and co-produced; Hov co-produced the film and executive produced the soundtrack.

Jay-Z, Future, Pharrell Williams and Shawn Stockman have all pulled double duty by producing the films they also helmed the soundtracks for, while Eminem and Metro Boomin are the only stars featured on this list who star in the films they also helped make the music for (since we’re counting Metro’s cameo as Metro Spider-Man in Spider-Man: Across the Spider-Verse last year). Plenty of artists have made “cameos” on others’ soundtracks, from Future appearing on Metro’s Spider-Verse soundtrack and Kendrick Lamar‘s Black Panther: The Album to Lamar appearing on Beyoncé‘s The Lion King: The Gift to Hov appearing on Bey’s The Lion King: The Gift, Judas and the Black Messiah: The Inspired Album (which Hit-Boy co-executive produced) and Eminem’s 8 Mile: Music from and Inspired by the Motion Picture.

And with all this star power fueling these film soundtracks from the front and back ends, it shouldn’t come as a surprise that so many of them have been recognized at major award shows. Beyoncé’s The Lion King: The Gift, which was nominated for best pop vocal album at the 2020 Grammy Awards, produced a Grammy-nominated hit and a Grammy-winning hit: “Brown Skin Girl” by Bey, Blue Ivy Carter, SAINt JHN and Wizkid won best music video at the 2021 Grammy Awards (making Blue Ivy the second-youngest Grammy winner in history at age 9), while “Spirit” was up for best pop solo performance and best song written for visual media at the 2020 Grammy Awards. “Fight For You” by H.E.R. from Judas and the Black Messiah: The Inspired Album won best traditional R&B performance at the 2022 Grammys.

“Spirit,” “Fight For You,” Kendrick Lamar & SZA‘s “All the Stars” and Eminem’s “Lose Yourself” from 8 Mile: Music from and Inspired by the Motion Picture have also earned best original song nods at the Golden Globe Awards in various years, with “Fight For You” eventually taking home the trophy. H.E.R.’s hit also won best original song at the 2021 Academy Awards, which Slim Shady’s smash won 18 years prior and Dot and SZA’s monster collab was nominated for two years prior. “All the Stars” was nominated for song of the year, record of the year, best song written for visual media and best rap/sung performance at the 2019 Grammy Awards, while “King’s Dead” with Lamar, Jay Rock, Future and James Blake won best rap performance and was nominated for best rap song.

“Lose Yourself” also won best rap song and best male rap solo performance at the 2004 Grammy Awards, when Kill Bill Vol. 1 Original Soundtrack — which RZA co-executive produced — was up for best compilation soundtrack album for a motion picture, television or other visual media. The Great Gatsby: Music from Baz Luhrmann’s Film was nominated for best compilation soundtrack for visual media at the 2014 Grammy Awards, while “Young and Beautiful” by Lana Del Rey was up for best song written for visual media.

Billboard rounded up 16 times rap and R&B artists and producers have curated or executive produced 2000s movie soundtracks, in order from newest to oldest.

10 Jun 2024

Eminem’s ‘Houdini’ Unlocks No. 1 Debut on Billboard Global Charts

Eminem’s “Houdini” magically appears at No. 1 in its first week on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. It becomes the rapper’s first leader on the lists, which began in September 2020.

“Houdini” is additionally the first song to debut atop Global Excl. U.S. and the U.S.-based Hot R&B/Hip-Hop Songs and Hot Rap Songs charts. One other track has led the three rankings, although it didn’t enter at No. 1 on them: Doja Cat’s “Paint the Town Red,” last year.

The Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

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Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

“Houdini” launches atop the Global 200 with 121.4 million streams and 72,000 sold worldwide May 31-June 6. The streaming sum marks the highest in a single week for a title that has also hit the Hot Rap Songs chart, besting the 118 million that Kendrick Lamar’s “Not Like Us” drew three weeks earlier.

Sabrina Carpenter’s “Espresso” holds at its No. 2 Global 200 high; Tommy Richman’s “Million Dollar Baby” drops to No. 3 after two weeks at the summit; Post Malone’s “I Had Some Help,” featuring Morgan Wallen, descends 3-4, three weeks after it debuted at No. 1; and Shaboozey’s “A Bar Song (Tipsy)” returns to its No. 5 best from No. 6.

On Global Excl. U.S., “Houdini” debuts at No. 1 with 73.3 million streams and 23,000 sold outside the U.S. May 31-June 6. As on the Global 200, the song’s streaming total is the highest in a single week for a track that has also reached Hot Rap Songs; it passes the 64.9 million logged by Doja Cat’s “Paint the Town Red” on the Oct. 7, 2023, chart.

Sabrina Carpenter’s “Espresso” slides to No. 2 following four weeks at No. 1 on Global Excl. U.S.; FloyyMenor and Cris Mj’s “Gata Only” holds at its No. 3 high; and Billie Eilish rounds out the top five with two tracks: “Birds of a Feather” flies 11-4, surpassing its prior No. 9 peak reached two weeks earlier upon its debut, and “Lunch” falls to No. 5 after spending its first two weeks on the chart at No. 2.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated June 15, 2024) will update on Billboard.com tomorrow, June 11. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

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.

10 Jun 2024

Fans Choose Feid’s ‘Sorry 4 That Much’ as This Week’s Favorite New Music Latin

Feid‘s latest single, “Sorry 4 That Much,” has topped this week’s new music Latin poll.

In a poll published on Friday (June 7) — in support of the weekly New Music Latin roundup and playlist, curated by Billboard Latin and Billboard Español editors — music fans voted for the Colombian artist’s latest track as their favorite music release of the week.

“Sorry 4 That Much” generated more than 65% of the vote, beating out other new releases that dropped this week, including Natti Natasha’s “Quiéreme Menos,” Christian Nodal’s “Kbron y Medio,” Joaquina’s “Pesimista” and Fariana and Oro Solido’s “El Caballito,” plus a new joint EP by Maluma and Blessd, titled 1 of 1. Coming in second place on the poll was J Balvin and Chencho Corleone’s “Polvo de tu Vida” with 28% of the vote.

The reggaetón hitmaker dropped “Sorry 4 That Much” on Friday (June 7), which showcases a more melancholic side to Feid. In “Sorry,” he explores a romantic relationship that has changed over time, even after doing all he can to make that relationship work. The music video was filmed in the streets of Japan, where Feid launched his sold-out comic book The Green Man back in April.

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Currently on his FERXXOCALIPSIS World Tour, Feid will wrap up the U.S. leg of the trek on July 8 at the Hard Rock Stadium in Miami.

Last week, music fans voted for Jhayco’s latest single “Torii” as their favorite music release. The song generated nearly 25% of the votes.

See the final results of this week’s new music release poll below:

10 Jun 2024

Asake Announces Lungu Boy World Tour: Here Are the Dates

Asake announced on Monday (June 10) that he’ll be embarking on the Lungu Boy World Tour across North America and Europe.

The 14-date trek begins on June 26 at Afro Nation Portugal and features more festival performances at Wireless Festival in London and Afro Nation Detroit, as well as major venue stops at Atlanta’s State Farm Arena and NYC’s Madison Square Garden before wrapping on Oct. 6 at Promiseland Festival in Gold Coast.

The Lungu Boy World Tour will support Asake’s upcoming third studio album, which is due later this summer. He was recently featured on “Goodbye (Warm Up)” from Ayra Starr‘s sophomore album, The Year I Turned 21, and “Get it Right” from Tems‘ debut album, Born in the Wild.

Tickets for the Grammy-nominated Nigerian artist’s North American dates will be available starting with an artist presale on Wednesday, June 12, at 10 a.m. local time. Additional presales will run throughout the week ahead of the general onsale, which starts on Friday, June 14, at 10 a.m. local time at asaketour.com.

Tickets for his and U.K. and European dates will be available starting with a Mastercard presale in select markets (Mastercard cardholders will have special access to presale tickets in France and the Netherlands starting from Wednesday, June 12, at 10 a.m. local time until Friday, June 14, when preferred ticket access becomes available starting at 10 a.m. local time) and an artist presale on Wednesday, June 12, at 10 a.m. local time.

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Additional presales will run throughout the week ahead of the general onsale, which starts on Friday, June 14, at 10 a.m. local time.  

See the Lungu Boy World Tour dates below.

10 Jun 2024

Gamma CEO Larry Jackson Says Drake Is ‘Bigger’ Than All Artists of the ”70s, ’80s & ’90s Combined’

Gamma CEO and last year’s Billboard R&B/Hip-Hop Power Players’ Executive of the Year Larry Jackson sat down with Joe Budden for a one-on-one interview that launched June 6. Jackson, who was once Apple Music’s global creative director, had an interesting thought to share about Drake’s streaming numbers. About an hour into the interview, Budden asks whether or not Drake’s business deals are “a point of contention with his peers.” Choosing not to go into detail, Jackson says, “I can’t answer that question, that’s not appropriate of my place, I have to definitely display good cultural etiquette.”

Budden then explains a theory he has about the Toronto rapper’s relationship with Jackson and his label, Gamma. “My wild theory was that Drake had to have some type of hand in Gamma, which is why he’s promoting [Rick] Ross albums and Sexyy Red, and he must have some type of deal that’s not even available to other people to whereas he gets to be the owner and player,” he shared. “Like he’s twofold right now and it seems to be causing a lot of trouble.”

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The executive then asked if Budden wants the truth and began talking about how he and his partner, Gamma president Ike Youssef, knocked on doors because they believed in their idea for their label. “Private equity was investing so much money into catalogues because capital was cheap in 2019, 2020,” he said. “Interest rates were very low so borrowing capital was easy.”

Jackson then said streaming has made it easier for investors to predict “insight into recurring revenue,” but still no one believed in their vision of “investing in the frontline business.”

He finally got to Drake and their relationship, and puts the artist’s streaming numbers into perspective. “The thing I will say to you about [Drake] you just mentioned, is that if you look at his music, he’s bigger than the ’70s, ’80s and ’90s combined,” he said. “I don’t mean like one artist from that era, I mean all of those eras combined.”

“All the things that we achieved when I was at Apple, with the individual that you’re noting [Drake], imbued me with the confidence and the courage of my conviction to go out and do what we’re doing right now,” Jackson continued. “Can you put a price tag on that? No, you can’t.”

Back when Jackson was Apple’s global creative director, he was instrumental in launching Drake’s OVO Sound Radio on Beats 1 in 2015. Also, Drake’s 2016 album Views was an Apple Music exclusive a week prior to the project being available on other streaming services such as Spotify and Tidal. At the time, Views set a streaming record with 1.04 million equivalent album units in its first week, and debuted No. 1 on the Billboard 200 chart.

You can watch the full interview below.

10 Jun 2024

Bad Bunny Celebrates Most Wanted Tour Finale With Three Sold-Out Puerto Rico Shows

Bad Bunny delivers a spectacular show on any stage, but there’s nothing like seeing the megastar at home in Puerto Rico, performing for his day-ones. After wrapping up his Most Wanted Tour in the U.S., Benito brought the show to el Coliseo de Puerto Rico in San Juan. All three shows, including last Sunday’s (June 9) finale, sold out.

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Benito gifted locals an extra-special event, packed with guest appearances and hometown-specific elements not offered elsewhere.

Most tellingly, he opened with a video montage created specifically for this weekend’s shows. In it, he reflects on the excitement of the earlier tour dates, but makes clear that performing at home is like nothing else. Nobody will better appreciate his work than his fellow Puerto Ricans on the archipelago, he says in the clip, before concluding: If you’ve seen Bad Bunny perform, but you haven’t seen him in Puerto Rico, then you haven’t really seen him at all.

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On Friday’s, Saturday’s and last night’s shows, a youthful, classical orchestra directed by Colombian musician Carlitos López was both the opening act and a live band. The orchestra was also a major feature of the U.S. dates; this weekend, however, the first number was different. The orchestra opened with “La Borinqueña,” Puerto Rico’s official anthem. The crowd came to attention quickly, shifting from anticipatory pre-show bustle into a beautiful choir.

Centered around his latest release, 2023’s Nadie Sabe Lo Que Va a Pasar Mañana album, the U.S. dates featured two stages at opposite ends and a moving runway that descends from above. The Coliseo setup was the same — and considering the overwhelming number of cargo trailers outside the venue, it’s safe to assume Bad Bunny had the exact setup shipped in.

When the video went black, the orchestra began three Western-inspired overtures, setting a somber, solitary tone, before moving into “Nadie Sabe.” The orchestral opening and subsequent accompaniment was pretty ingenious in the satisfying cohesion it brought; the soundtrack of a companionless cowboy pairs well with the loneliness of fame, which Bad Bunny explores in the track’s lyrics.

When Bad Bunny rose, surrounded by fog, from a hidden opening in one of the stages, the crowd roared mightily. He maintained a stoic demeanor befitting the song, though — then hunched over his gleaming, silver mic at the end as fans chanted “Benito, Benito!”

The coliseum rattled as “Monaco” rolled in, then out — and Bad Bunny took a long moment to look around the giant space. He didn’t smile, yet he looked content. He nodded as if in acknowledgment of the love beaming at him from every direction.

Then came the guest appearances: Joining first for “Fina” was Young Miko, who bounced around the stage between dancers with a big black bow adorning her long blonde hair. Then came Mora for “Hibiki,” and later Yovngchimi for “Mercedes Carota” and Bryant Myers for “Seda.” Benito slowed the show there, stopping for a lights-off pep talk for fans, essentially about being yourself fully, regardless of the hate or admiration you receive.

Moving to the opposite stage, Luar La L hopped on for “Telefono Nuevo.” Shortly after, two lucha libre wrestlers appeared on the opposite stage. It was an awesomely bizarre method of distraction — meanwhile, Eladio Carrión was joining Bad Bunny on the runway to run through a slew of their collaborations.

Another stretch of Most Wanted feels like a piano bar, with only a pianist accompanying Benito as he runs through hits from his growing discography. He got extra playful with the element last night, though, playing a sort of guess-the-song game with fans. The pianist would play a few notes, he’d sing, then stop — did fans know the song? Of course, they always did. He apparently improvised plenty, as eventually the pianist stopped playing and it was only Bad Bunny singing a few bars — before, again, checking to see if fans knew the song. The game seemed to delight him. Here, he smiled plenty.

Again, special to these Puerto Rico dates, the mystery pianist’s identity was finally revealed. She’d been masked at every show since the start of Most Wanted, but removed the covering at the end of the set here, as Benito introduced her to the crowd as Tiffany Román.

Later, De La Ghetto rolled in for “Acho PR.” Then Arcángel hopped in for several cuts — the crowd went wild. Bomba players also joined onstage, with cabezudos wearing the mask also worn by Bad Bunny in the album visuals, as well as by the orchestra player and pianist.

There’s some practical rationale to the overabundance of guest stars in Puerto Rico, of course. It’s logistically easier for these artists to appear in concert alongside Bad Bunny when he’s playing where everyone’s based. Still, it’s a treat concertgoers simply can’t get anywhere but else but here.

In total, the Puerto Rico shows were each about an hour longer than the U.S. shows. Call it preferential treatment, and you’d be right — but that doesn’t mean it’s wrong. His hometown fans are the reason Bad Bunny is who is today, and they’re forever his foundation. They deserve the best, and it’s beautiful that Bad Bunny never forgets it.

10 Jun 2024

6 Must-Hear New Country Songs: Carly Pearce, Kaitlin Butts, Vince Gill, Angie K & More

This week’s crop of new country tunes includes the latest album from Kentucky native Carly Pearce — who stunned with her performance at Sunday’s (June 9) Nissan Stadium show during CMA Fest — as well as new songs from Matt Stell, Andrea Vasquez, Angie K, Muscadine Bloodline and a collaboration from Kaitlin Butts and Country Music Hall of Famer Vince Gill.

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Carly Pearce, Hummingbird

On her new album, Pearce and her team of top-flight musicians showcase her further evolution of confessional, old-school (yet immediate) songcraft. The 13-song project is filled with revenge anthems and meticulously constructed kiss-offs (the raging “Truck on Fire,” “Heels Over Head”), as well as songs that depict the stages of a decaying relationship on tracks — including the Chris Stapleton collab “We Don’t Fight Anymore,” “Fault Line” and the cleverly written, fiddle-driven barn burner “Rock Paper Scissors,” which will hopefully be a single at some point. The singer-songwriter also once again lays out her unmistakable musical allegiances with “Country Music Made Me Do It.”

Elsewhere, Pearce reemerges from betrayal with a new, heart-healing relationship on the bluegrass-tinged “Trust Issues.” As with previous albums, Pearce pulls from the pages of her own story, and is a writer on all but one song on the album — offering a continuation from her post-divorce project 29: Written in Stone and a cataloguing of the emotional and relational progress and setbacks she’s navigated along the way. Leading all of these songs is Pearce’s bluegrass-informed, supple soprano, which brings a down-home elegance to even the most heartbroken and seething numbers.

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Kaitlin Butts with Vince Gill, “Come Rest Your Head (On My Pillow)”

Americana darling Kaitlin Butts teams with her fellow Oklahoman Vince Gill here, with Gill adding earthy harmonies and background vocals on this gorgeous, fiddle-drenched song. “I know in the morning you gotta go,” she sings, offering her affections and a soft place to land to a hard-working, traveling cowboy. This song — a solo write from Butts — is essential for anyone seeking a love song delivered through old-school country sounds. “Come Rest Your Head (On My Pillow)” is from her upcoming, musical theatre-inspired album Roadrunner!, out June 28 via Soundly Music.

Angie K, “Red Dirt on Mars”

Lilting guitar elevates this brokenhearted ballad, as she searches for a place where she can sever the emotional strings that tie her to the pain of losing a loved one. “Where’s a cowgirl to go to burn a brand off her heart?” Angie K wonders, as her warm vocal crackles with disarming vulnerability. Angie K wrote the song with Hayden Cain, Joey Ebach and Mary Kutter, with production by writer-producer Stephony Smith.

Matt Stell, “Smooth”

Stell turns to tender balladry on his new song, as he offers a forlorn look at the deep-seated, generational impact of a family’s decision to sell off family farmland to a smooth-talking businessman. The song plays as the opposite side of the coin to Cody Johnson’s song “Dirt Cheap.” “They cut the trees down and dug up my roots,” Stell sings, adding that now, “I got an empty soul and a full inbox.” Stell wrote the song with Chris DeStefano, and the track is featured on his new album Born Lonely, from RECORDS Nashville.

Andrea Vasquez, “Moving Target”

“That girl is a cowboy,” Vasquez sings in this ode to a woman who has her defenses up, a strong sense of wanderlust, and a vision for her own life squarely in front of her. Production with a pop sheen elevates Vasquez’s emotionally nuanced, assured voice here. Vasquez, a California native with Latin American roots, wrote “Moving Target” with Bailey Morgan and Eitan Snyder.

Muscadine Bloodline “10-90″

This independent duo, made of Gary Stanton and Charlie Muncaster, has been steadily building its audience for nearly a decade, and continues evolving and accelerating its craft. This soulful ode to committed love is one of Muscadine Bloodline’s best releases yet. “Gimme you on your worst day and I’ll give you my best,” they sing, while the production is polished but not overdone, superbly highlighting the harmonies. “10-90” is from the duo’s album The Coastal Plain, out Aug. 16.

10 Jun 2024

Jason Kelce Says Brother Travis Kelce and Taylor Swift’s Fame Is One Another Level: ‘You Can’t Be a Normal Person at That Point’

Jason Kelce was a Super Bowl champ, a seven-time Pro Bowl selection and retired last year after 13 seasons as one of the NFL‘s most reliable, indomitable centers to ever play the game. But in a recent appearance on comedian Andrew Santino’s Whiskey Ginger podcast, the second-most-famous Kelce said that his, and his family’s life, have definitely been given a make-over thanks to brother Travis Kelce‘s high-profile relationship with Taylor Swift.

Santino asked how Jason’s wife, Kylie Kelce, has been handling the spotlight since her brother-in-law began dating the biggest pop star in the world last summer and if she finds the added scrutiny to be annoying or kind of fun. “I think it’s both,” Jason said, noting that the Prime Video documentary Kelce following her husband’s 2022-2023 season with the Philadelphia Eagles may have helped prime Kylie for the avalanche of attention; the doc debuted in September, right around the time Swift and Travis Kelce made their romance official.

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“I think she’s a little big uncomfortable with, I guess, how much it’s become and our family’s out there, like people know what our kids look like,” he said of the couple’s three young daughters. “We’ve tried to retract from that a little bit. But I think she enjoys the fact that she gets to go and do charitable outings and she gets to give back to the community.”

That said, they both understand that the scrutiny comes with the territory of fame and even if it gets to be “too much” at times, Jason said the microscope on his younger brother is beyond anything he could imagine. “Travis and Taylor have taken it to another level and that’s a whole other side of it,” said Jason. “Kylie and I think we have it bad, and then we go hang out with one of them for a second. This is a whole other situation here. I don’t even know how to, like… you can’t be a normal person at that point.”

Despite the more intense spotlight, Jason said he hasn’t seen Travis turn into someone else. “I haven’t seen him change one bit,” Jason Kelce said of his three-time Super Bowl-winning brother. “I think it’s a compliment. He stayed true to himself. He’s still humble. He treats everyone with the utmost respect, like they’re equals regardless of who they are.”

Travis echoed that emotion in a Good Morning America interview last week, in which he said that he’s always been a “very grounded guy” and that he’s “so fortunate, so grateful” for all the opportunities that have come his way lately.

Watch Jason Kelce talk about fame and navigating the Traylor attention below.

10 Jun 2024

Kevin Bacon, Carrie Underwood, Keith Urban & More to Perform or Present at 2024 Songwriters Hall of Fame Induction & Awards Dinner

Kevin Bacon, the star of Footloose, and Deniece Williams, who had a No. 1 hit on the Billboard Hot 100 with “Let’s Hear It for the Boy” from that iconic film, will be on hand when Dean Pitchford, who wrote the screenplay and co-wrote all of the songs from the 1984 blockbuster, is inducted into the Songwriters Hall of Fame on Thursday, June 13, at the Marriot Marquis Hotel in New York City.

Bacon will appear in tandem with his brother Michael Bacon as The Bacon Brothers. “Let’s Hear It for the Boy” brought Williams a Grammy nomination best pop vocal performance, female and an invitation to perform on the Oscars in 1985, where the song was nominated for best original song.

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Carrie Underwood and Keith Urban, who had career-defining hits with songs co-written by Hillary Lindsey, will also be on hand as she is inducted into the SHOF. Underwood won a Grammy for best female country vocal performance for “Jesus, Take the Wheel.” Urban was nominated for best country solo performance for “Blue Ain’t Your Color.” Lindsey also won Grammys for best country song for co-writing both songs.

Missy Elliott will be on hand as Timbaland (Timothy Mosley) is honored. Mosley cowrote four of Elliott’s top 10 hits on the Hot 100: “Hot Boyz,” “Get Ur Freak On,” “Work It” and “Gossip Folks.”

El DeBarge will be on hand as Diane Warren receives the Johnny Mercer Award, the organization’s highest honor. The group DeBarge’s 1985 smash “Rhythm of the Night” was one of Warren’s first hits, and brought her the first of a remarkable 15 Oscar nominations for best original song.

Other performers who will be on hand to present or perform at Thursday’s event are Trey Anastasio, Cary Barlowe, Andra Day, Jason Isbell, Nile Rodgers and Paul Williams. Rodgers is chairman of the SHOF. Williams is on the board of directors. Both veteran songwriters are past SHOF inductees.

Inductees at this year’s event, not already named, are R.E.M. (Bill Berry, Peter Buck, Mike Mills and Michael Stipe) and Steely Dan (Donald Fagen and the late Walter Becker). SZA will receive the Hal David Starlight Award.

The SHOF doesn’t reveal in advance who is on hand to honor who. These are educated guesses, given the strong connections between these performers or presenters and these honorees.

Tickets for the Songwriters Hall of Fame event begin at $2,000 each, and are available through Buckley Hall Events, 914-579-1000 and SHOF@buckleyhallevents.com. Net proceeds from the event will go toward Songwriters Hall of Fame programs. The Songwriters Hall of Fame is a 501(c)3 organization. The non-deductible portion of each ticket is $215.

A songwriter with a notable catalog of songs qualifies for induction 20 years after the first commercial release of a song.

10 Jun 2024

Post Malone & Morgan Wallen Lead Billboard Hot 100 for Fourth Week, Eminem Debuts at No. 2

Post Malone’s “I Had Some Help,” featuring Morgan Wallen, notches a fourth total and consecutive week at No. 1 on the Billboard Hot 100 songs chart. The song, Post Malone’s sixth leader and Wallen’s second, is the first to spend at least its first four weeks on the chart at No. 1 since Miley Cyrus’ “Flowers” logged its first six weeks on the ranking at the summit in January-March 2023.

“I Had Some Help” is also the first hit to spend four consecutive weeks at No. 1 on the Hot 100 overall in nearly a year, since Wallen’s “Last Night” linked 10 straight frames on top, of 16 total, in May-July 2023.

Meanwhile, Eminem enters the Hot 100 at No. 2 with “Houdini.” The song starts as the Rock & Roll Hall of Fame rapper’s 23rd career top 10 and highest-charting hit since “The Monster,” featuring Rihanna, claimed four weeks at No. 1 in December 2013-January 2014. Until his latest entry, he had last reached the top 10 with “Godzilla” (featuring Juice WRLD), which debuted and peaked at No. 3 in February 2020.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated June 15, 2024) will update on Billboard.com tomorrow, June 11. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

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.

Below is a rundown of the latest Hot 100’s top 10.