Music
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The final ranking of American Idol season 2 might be a little foggy to Kelly Clarkson, but in her defense, it was 20 years ago.
If there’s anyone who won’t ever forget who was first and second place on the 2003 program, however, it’s Clay Aiken, who finished the show as runner-up to Ruben Studdard — something the “This Is the Night” singer had to remind his fellow Idol alum on Monday’s (Dec. 16) The Kelly Clarkson Show.
While reflecting on their days traveling together as American Idol royalty during the competition series’ early days, Clarkson mistakenly said to Aiken, “We toured after you won — the Independent Tour, I think it was called.”
The former politician’s face then comically froze up as he corrected her through stiff lips, “After I came in second.”
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Upon realizing her error, the “Stronger” vocalist looked directly into the camera and issued a hilarious apology. “So sorry — Ruben, I totally remembered that!” she said, cracking up. “Look, I’m 42, bro. I forgot.”
Clarkson became the first-ever American Idol victor in 2002, with Studdard winning the following season and Aiken placing in second. The two men went on to stay friends and collaborators, and in 2023, they toured together to celebrate their 20th Idol anniversary. They also competed side-by-side on the 11th season of The Masked Singer earlier this year.
“I’m sure we’ll do stuff again,” Aiken told Clarkson of working with the “Flying Without Wings” musician. “We’re sort of inseparable — I think we’re better together than apart.”
The “Since U Been Gone” artist noted that she would likely be hearing from Studdard following her mixup — “He’s gonna be like, ‘I won, but fine,’” she joked — and Aiken agreed. “He will be calling me, without question,” he said, nodding.
Elsewhere in the show, Aiken performed “Do You Hear What I Hear?” for Clarkson’s audience. The performer is fresh off the release of his new holiday album Christmas Bells Are Ringing, which dropped in November.
See the hilarious moment Clarkson forgot who won American Idol season 2 above.
Eno, a documentary about legendary British musician Brian Eno, is shortlisted for an Oscar for best documentary feature. Gary Hustwit directed the film.
Eno, 76, has won seven Grammys for producing records by U2 and Coldplay. In 1993, he and his partner Daniel Lanois won a Grammy for producer of the year (non-classical) in a tie with Babyface & L.A. Reid. Eno was inducted into the Rock and Roll Hall of Fame in 2019 as a member of Roxy Music.
The documentary feature shortlist also includes Soundtrack to a Coup d’Etat, a film about the political activities of jazz musicians Abbey Lincoln and Max Roach during the Cold War. Johan Grimonprez directed the film.
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Will & Harper, the Netflix film about a cross-country road trip starring Will Ferrell and Harper Steele is also on the shortlist. The film, directed by Josh Greenbaum, features Kristen Wiig’s “Harper and Will Go West,” which is shortlisted for best original song.
The Academy of Motion Picture Arts & Sciences released shortlists in 10 categories, including best original song, best original score and best documentary feature on Tuesday (Dec. 17).
A total of 169 features vied to make the shortlist for documentary feature film. Just 15 made it. Among the music-focused films that failed to make the shortlist: Elton John: Never Too Late; The Greatest Night in Pop, about the recording session that produced “We Are the World”; I Am: Celine Dion; Indigo Girls: It’s Only Life After All; Luther: Never Too Much (about Luther Vandross); Mad About the Boy – The Noel Coward Story; Music by John Williams; Piece by Piece, about and featuring music by Pharrell Williams; and The World According to Allee Willis.
Also passed over: Following Harry, about Harry Belafonte’s social justice work; Studio One Forever (about the L.A. nightclub that is described as “America’s first gay disco”) and Flipside (about a comical attempt to save a New Jersey record store).
Here’s a complete list of this year’s 15 shortlisted films for documentary (feature).
Shortlisted Films
The Bibi FilesBlack Box DiariesDahomeyDaughtersEnoFridaHollywoodgateNo Other LandPorcelain WarQueendomThe Remarkable Life of IbelinSoundtrack to a Coup d’EtatSugarcaneUnionWill & Harper
Nominations-round voting runs from Jan. 8-12. Nominations will be announced Jan. 17. Final-round voting runs from Feb. 11-18. The 97th Oscars will be held on Sunday, March 2 at the Dolby Theatre at Ovation Hollywood and will be televised live on ABC and in more than 200 territories worldwide. The show will also stream live on Hulu for the first time.
Two composing teams are on the Oscar shortlist for best original score, along with 18 individual composers.
Clément Ducol and Camille are shortlisted for their work on Emilia Pérez (Netflix); Trent Reznor and Atticus Ross are shortlisted for Challengers. A second Reznor/Ross score, Queer, didn’t make the cut. The Nine Inch Nails members have won two Oscars in this category, for The Social Network and Soul, the latter a collaboration with Jon Batiste.
The Academy of Motion Picture Arts & Sciences released shortlists in 10 categories, including best original score, best original song, and best documentary feature on Tuesday (Dec. 17). The number of shortlisted scores jumped from 15 to 20 this year, on the grounds that there are so many entries in this category. This year, 145 scores were eligible in the category, compared to 89 songs in the best original song category. (The number of shortlisted songs remained at 15.)
Hans Zimmer in on the score shortlist for his work on Steve McQueen’s Blitz. Zimmer might have had two scores on the shortlist, but his score for Dune: Part Two was ruled ineligible due to exceeding the Academy’s limit on pre-existing music. Academy rules state: “In cases such as sequels and franchises from any media, the score must not use more than 20% of pre-existing themes and music borrowed from previous scores in the franchise.” Zimmer’s score for Dune: Part Two incorporates substantial elements from his Oscar-winning score for 2021’s Dune.
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Dune: Part Two was nominated for both a Golden Globe and a Critics Choice Award for best original score. The other scores that are nominated for those two awards were all shortlisted for Oscars – Daniel Blumberg’s The Brutalist, Reznor & Ross’ Challengers, Volker Bertelmann’s Conclave, Ducol & Camille’s Emilia Pérez and Kris Bowers’ The Wild Robot.
John Powell’s score for Wicked made the shortlist. The film is closing in on Mamma Mia! as the top-grossing film ever adapted from a Broadway musical.
Andrea Datzman is shortlisted for Inside Out 2. With this release, Datzman became the first woman to score a Pixar feature film.
Here’s a complete list of this year’s 20 shortlisted scores for best original score:
Shortlisted
Alien: Romulus (20th Century Studios) – Benjamin Wallfisch
Babygirl (A24) – Critobal Tapia de Veer
Beetlejuice Beetlejuice (Warner Bros. Pictures) – Danny Elfman
Blink Twice (Amazon MGM Studios) – Chanda Dancy
Blitz (Apple Original Films) — Hans Zimmer
The Brutalist (A24) — Daniel Blumberg
Challengers (Amazon MGM) — Trent Reznor and Atticus Ross
Conclave (Focus Features) — Volker Bertelmann
Emilia Pérez (Netflix) — Clément Ducol, Camille
The Fire Inside (Amazon MGM) — Tamar-kali
Gladiator II (Paramount Pictures) — Harry Gregson-Williams
Horizon: An American Saga Chapter 1 (New Line Cinema) – John Debney
Inside Out 2 (Pixar) — Andrea Datzman
Nosferatu (Focus Features) – Robin Carolan
The Room Next Door (Sony Pictures Classics) — Alberto Iglesias
Sing Sing (A24) — Bryce Dessner
The Six Triple Eight (Netflix) – Aaron Zigman
Wicked (Universal Pictures) – John Powell
The Wild Robot (DreamWorks Animation) — Kris Bowers
Young Woman and the Sea (Walt Disney Pictures) — Amelia Warner
And here are some of the highly-touted scores that were passed over for the shortlist.
Not Shortlisted
Deadpool & Wolverine (Marvel Studios) — Rob Simonsen
Drive-Away Dolls (Focus Features) — Carter Burwell
Flow (Janus Films/Sideshow) — Gints Zilbalodis, Rihards Zalupe
Hard Truths (Bleecker Street) — Gary Yershon
Here (Sony Pictures) — Alan Silvestri
IF (Paramount Pictures) — Michael Giacchino
I’m Still Here (Sony Pictures Classics) — Warren Ellis
Memoir of a Snail (IFC Films) — Elena Kats-Chernin
Mufasa: The Lion King (Walt Disney Pictures) — Nicholas Britell, Dave Metzger, Pharrell Williams
Moana 2 (Walt Disney Pictures) — Mark Mancina, Opetaia Foaʻi
The Piano Lesson (Netflix) — Alexandre Desplat
Queer (A24) — Trent Reznor and Atticus Ross
Saturday Night (Sony Pictures) — Jon Batiste
September 5 (Paramount Pictures) — Lorenz Dangel
The Substance (Mubi) — Raffertie
Transformers One (Paramount Pictures) — Brian Tyler
We Live in Time (A24) — Bryce Dessner
Nominations-round voting runs from Jan. 8-12. Nominations will be announced Jan. 17. Final-round voting runs from Feb. 11-18. The 97th Oscars will be held on Sunday, March 2 at the Dolby Theatre at Ovation Hollywood and will be televised live on ABC and in more than 200 territories worldwide. The show will also stream live on Hulu for the first time.
As reported earlier, MUSIC AWARDS JAPAN is a brand-new award established by the five major organizations in the Japanese music industry — Recording Industry Association of Japan, Japan Association of Music Enterprises, the Federation of Music Producers Japan, Music Publishers Association of Japan, and All Japan Concert & Live Entertainment Promoters Conference. The specifics of the more than 60 categories slated to be recognized in this new music award, the voting method, and the selection and voting method for the more than 5,000 voting members have been revealed.
The inaugural event is set for May 21 and 22, 2025, at the Rohm Theatre Kyoto. Day 2 will be broadcast live via a domestic terrestrial TV channel and delay-streamed on YouTube for a global audience. Nominees will be awarded in over 60 categories including the six major ones such as Song of the Year and New Artist of the Year. Details of the 23 divisions in the song category, seven in the international song category, five in the album category, twelve in the artist category, and three in the “Alliance Category” have been announced.
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The song category will celebrate a wide variety of music genres and cultures, with genre divisions honoring J-pop, rock, hip-hop, idol culture, anime and more, as well as special divisions for revival (resurgent hits), Vocaloid culture, and music videos, among others. There will also be two awards decided by inviting votes from general music listeners via Spotify. In the album category, leading with Album of the Year, projects from genres that add color to music culture awards will be recognized including jazz, classical music, movie music/original soundtracks albums, and video game soundtracks. In the artist category, there will also be a prize for artists who have been active in the Japanese music industry for a long time and contributed to its enrichment called MAJ Timeless Echo.
“We are very honored that our data is being used as one of the core data sets for the songs entered in MUSIC AWARDS JAPAN,” says Billboard Japan chart director Seiji Isozaki. “We will continue to improve the accuracy of our data so that we can convey how people enjoy music and the joy of music itself.”
Tallying period will be from Monday, Feb. 5, 2024 to Sunday, Jan. 26, 2025, excluding some categories.
Six major categories:
Song of the Year: Celebrates songs considered to be musically creative and artistic.
Method of selection: An original, MAJ-specific chart will be created by combining the weekly points of the top 100 tracks on the six metrics (radio airplay, CD sales, downloads, streaming, video views, and karaoke) comprising Billboard Japan’s Hot 100 song chart, and on the Top User Generated Songs chart. Two months will be considered a single period, and songs charting in each period will be nominated for Song of the Year. Domestic and international songs are eligible for this category.
Album of the Year: Celebrates albums considered to be musically creative and artistic.
Method of selection: An original, MAJ-specific chart will be created by combining the CD and downloads data comprising Billboard Japan’s Hot Albums chart, and GfK’s streaming data. Two months will be considered a single period, and albums charting in each period will be nominated for Album of the Year. Domestic and international albums are eligible for this category.
Artist of the Year: Celebrates artists considered to be musically creative and artistic.
Method of selection: The Artist of the Year will be decided from artists with either songs or albums nominated for Song of the Year or Album of the Year. Domestic and international artists are eligible for this category.
New Artist of the Year: Celebrates new artists considered to be musically creative and artistic.
Method of selection: The New Artist of the Year will be decided from artists of songs extracted from those nominated for Song of the Year, according to Billboard Japan’s Heatseekers Songs rules.
1. Excludes artists who have entered the top 20 on the Japan Hot 100 or top 10 of the Japan Hot Albums tallies in the last six months (26 weeks).
2. Excludes artists who have logged at least four months (17 weeks) in the last six months (26 weeks) on the Heatseekers Songs top 20.
Groups and projects that include the above excluded artists are also excluded. However, artists who perform under completely different names are not excluded.
Top Global Hit From Japan: Celebrates domestic songs that have become hits around the world.
Method of selection: The Top Global Hit From Japan award will be decided by selecting the top 5 songs from the global chart created by extracting Japan-based songs from the global viewing data (streaming, downloads, music videos) compiled by Luminate, excluding the number of views in Japan.
Only the highest-ranking song will be considered for acts with multiple songs on the list. Five songs by five acts will be nominated for this award.
Tallying period: From Friday, Feb. 2, 2024 to Thursday, Jan. 30, 2025
Best Song Asia: Celebrates Asian songs that have become hits in Asia.
Method of selection: The Best Song Asia award will be decided from the top 3 songs from the 2024 year-end charts of Asian countries/regions excluding Japan.
For the inaugural MAJ, songs from the following East and Southeast Asian countries and regions will be considered: South Korea, China, Indonesia, the Philippines, Vietnam, Thailand, Malaysia, Singapore, Hong Kong, Taiwan.
General voting categories: One best work will be decided from 30 works chosen as nominees through Spotify’s voting function.
Listeners’ Choice: Best Global Song of the Year powered by Spotify: An award given to the Best Global Song decided by general vote from Spotify users from both within and outside Japan, from among domestic songs that have become global hits.
Listeners’ Choice: Best Song of the Year powered by Spotify: An award given to the Best Song decided by general vote from Spotify users from both within and outside Japan.
MUSIC AWARDS JAPAN 2025 KYOTO
Date of Ceremony: Wednesday, May 21 and Thursday, May 22, 2025
MAJ Week: From Saturday, May 17 to Friday, May 23, 2025
Venue: ROHM Theatre Kyoto, Kyoto, Japan
Live broadcast on domestic terrestrial TV and global stream on YouTube scheduled (some regions excluded)
*Tickets to attend the ceremony will not be open to the public. Details of the awards ceremony and related events will be announced later.
From making music to acting on screen, IU can seemingly do it all — and she commands unparalleled love and support from K-pop fans and the broader Korean music community. Her generation-spanning popularity was on display in 2024, when she dominated the charts. Her single, “Love Wins All,” climbed to the No. 1 spot on Melon’s TOP100 chart just an hour after its Jan. 24 release, becoming the second song to achieve this feat since the platform’s chart reform. The massively successful track led the weekly chart for four consecutive weeks, topped February’s monthly chart and on iChart achieved 339 perfect all-kills (the term describes when a song simultaneously tops iChart’s real-time, daily and weekly components).
The achievements helped propel IU to becoming Korea’s representative for Billboard’s Global No. 1 artist series. “It’s a bit humbling, a bit surreal, and honestly, it feels really special,” she says of the recognition.
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Her success extended to the road. Starting March 2, IU embarked on a 31-performance world tour that played shows in Japan, Europe and North America — and was attended by some half a million fans, a record for a Korean female solo artist. She followed four sold-out shows at Seoul’s KSPO Dome with a performance at Manila’s Philippine Arena, the world’s largest indoor venue, where she became the first Korean solo artist to headline.
On Sept. 21 and 22, IU held encore concerts at Seoul World Cup Stadium, becoming the first female artist to perform at the venue and drawing 107,000 attendees across two nights, which set the record for the largest concert engagement by a Korean solo artist and female artist in Korea.
What are the advantages and challenges of being a solo act in Korea’s music industry?
If I had to pick one challenge, it’s that there’s no one to share energy with onstage. Groups have distinct roles, which create a synergy that’s hard to replicate as a soloist. But on the flip side, I get to enjoy all the love and attention by myself. (Laughs.)
Many Korean artists are making waves on Billboard charts. In your opinion, what sets them apart?
There are countless strengths, but what stands out is how K-pop groups maintain their individuality while being deeply respected by their fans. As a K-pop listener myself, I see how each group’s unique identity is cherished and upheld, which makes them so special. Of course, the music is top-notch, but the visual elements and storytelling also define K-pop culture. For instance, the distinct characters and worlds that exist only onstage for groups are something I, as a soloist, sometimes envy. These unique traits captivate fans, offering an experience that engages the ears, eyes and heart. Ultimately, it’s this blend of individuality and fan support that makes Korean artists shine.
IU photographed for the Billboard Korea Global No. 1s Issue.
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Do you have any plans to collaborate with global artists?
In the past, I received many amazing offers, but the idea of collaborating with artists who spoke different languages felt daunting. I turned down those opportunities then, but I don’t feel the same way anymore. Now, I’m much more open to the idea of working with global artists.
You’re known for having a strong bond with your fans. What do they mean to you?
Initially, most of my fans were older than me — big sisters, older brothers and even uncle fans. At the time, I was a young solo artist without a solid footing, so I often felt cared for and protected by them. As I entered my mid-20s, fans my age became the majority. They resonated with my lyrics and music as peers, and we built a mutual understanding and grew together. Now, I have many younger fans, and I find myself wanting to support, encourage and nurture them. I see UAENA [IU’s fandom] and myself as having a steady, balanced relationship where we constantly exchange the best of what we can offer each other.
Why do you think you have such cross-generational appeal?
Without meaning to downplay myself, I think I appear relatively ordinary and less distinctive in my looks and personality compared to other remarkable stars in Korea. This might make me seem more approachable and relatable. Plus, Korea is a country with a lot of warmth, and I believe the support I’ve received reflects appreciation for my consistent hard work. Still, it’s fascinating that even teens connect with me these days.
You’ve encountered fans all over the world. Are there any memorable moments from your performances abroad?
It’s hard to pick just one, but Auckland [New Zealand] comes to mind. Their unique way of cheering made the entire experience unforgettable. Another standout was Jakarta [Indonesia], where the audience sang along to every song from start to finish. That level of enthusiasm left a lasting impression on me.
You’re often credited for both your meticulousness and flexibility. How do you balance these seemingly contrasting traits?
I feel like I’m constantly at a crossroads. You could say I’m flexible, or, less flatteringly, that I’m good at justifying things. (Laughs.) I’m naturally stubborn and like to plan everything thoroughly, but I’ve learned that things rarely go perfectly. Over time, I’ve practiced being more adaptable, and in doing so, I’ve figured out how to protect my mental well-being.
Beyond music, you’ve made your mark as an actor. What’s in store for 2025?
The drama I filmed throughout 2023, When Life Gives You Tangerines, will premiere on Netflix in 2025. It’s a project filled with the cast and crew’s hard work, and I’m excited to promote it. I’ll also be filming a new drama with a completely different vibe — glamorous and fun. Although I’ll be focused on acting for most of 2025, I’ve already started working on new music, so fans won’t have to wait too long for something fresh.
This week on the Greatest Pop Stars podcast, we have begun unveiling the top 10 of our Greatest Pop Stars of 2024 list — and already, we have some absolutely iconic artists with truly unforgettable 2024 runs to talk about, even in the lower stretches of this list. Host Andrew Unterberger is joined by Billboard […]
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See our editorial staff’s list for the greatest artists from an all-time year in pop stardom, rolling out throughout December.
12/17/2024
Jelly Roll was spotted shaking hands and smiling with president-elect Donald Trump at a UFC match New York City’s Madison Square Garden last month, leading to controversy surrounding the country star’s political opinions. Explore Explore See latest videos, charts and news See latest videos, charts and news However, Jelly cleared the air alongside his wife […]
For the second consecutive year, the NBA will hold its annual NBA Cup championship game Tuesday in Las Vegas, featuring the Milwaukee Bucks and the Oklahoma City Thunder (Dec. 17). The road to Vegas was tough as four teams vied for the title, including the Atlanta Hawks, the Houston Rockets, the Bucks, and the Thunder. […]
Snoop Dogg has reacted to Drake’s pair of legal actions against Universal Music Group in which he alleges that his label artificially inflated the popularity of Kendrick Lamar’s “Not Like Us.”
The West Coast legend is on a press run in support of his Missionary album with Dr. Dre, and he stopped by The Bootleg Kev Podcast on Tuesday (Dec. 17).
Kev asked Snoop about myriad topics, including his thoughts on Drake’s legal action against his parent label, which Snoop initially offered up a “no comment” before expanding briefly. “On the West, we hold court in the streets,” he said of his policing preference rather than turning to the legal system.
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In November, Drake filed a pair of legal actions, which also alleged that UMG could’ve stopped the release of “Not Like Us,” which he believes defamed him and falsely accused him of being a sex offender. UMG denied Drizzy’s “offensive and untrue” allegations about artificially inflating numbers, telling Billboard at the time, “We employ the highest ethical practices in our marketing and promotional campaigns.”
Elsewhere in the interview, Snoop revealed he spoke to Kendrick Lamar in the weeks since K. Dot expressed his disappointment in one of his mentors on GNX‘s opening track “Wacced Out Murals.” In the midst of Kendrick’s feud with Drake, Snoop reposted Drizzy’s “Taylor Made Freestyle” — which included AI-generated vocals using Snoop’s voice — to Instagram.
“Snoop posted ‘Taylor Made,’ I prayed it was the edibles/ I couldn’t believe it, it was only right for me to let it go,” Lamar raps on the track.
Snoop Dogg quickly apologized and admitted it “was the edibles” and called Lamar the “West West King” shortly after on X.
“He’s a rapper he’s supposed to speak his mind and tell his truth,” Snoop told Bootleg Kev on Tuesday. “I’m his big homebody so I have to take what’s said from his perspective because he’s speaking truth. I’m willing to accept truth when it’s brought to me directly.”
Snoop explained he did a “collaborative post” on Instagram and allegedly didn’t even know what song he was posting. “I’m thinking I’m posting ‘Gin & Juice.’ Then I get the word [Kendrick] didn’t like what you posted,” he added. “Then I deleted it, called nephew and left him a message … Nephew, it’s uncle Snoop, I got the message I apologize I was f–ked up. My bad.”
Watch Snoop’s full interview below.