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Lady Gaga and Bruno Mars’ “Die With a Smile” rules both the Billboard Global 200 and Billboard Global Excl. U.S. charts for a seventh week.
The ballad ties for the longest Global 200 reign this year, matching the seven weeks that Benson Boone’s “Beautiful Things” notched at No. 1 in February-April. “Die With a Smile” is one week from potentially equaling the longest Global Excl. U.S. command in 2024, after only the eight-week stays for “Beautiful Things” (February-April) and Sabrina Carpenter’s “Espresso” (May-July).
Meanwhile, “Die With a Smile” has topped the Global 200 and Global Excl. U.S. for seven weeks consecutively, marking the longest uninterrupted run atop each tally this year.
The Global 200 and Global Excl. U.S. charts, which began in September 2020, 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.
“Die With a Smile” leads the Global 200 with 115.5 million streams (down 2% week-over-week) and 8,000 sold (down 13%) worldwide Oct. 4-10. The song is Lady Gaga and Bruno Mars’ first No. 1 each since the chart began.
Notably, the duet has drawn over 100 million streams globally in each of the last six weeks – the most such frames for a song this year, doubling up on Carpenter’s “Please Please Please” and Kendrick Lamar’s “Not Like Us,” each with three.
Billie Eilish’s “Birds of a Feather” holds at No. 2 on the Global 200, following three weeks at No. 1 beginning in August.
Carpenter claims three songs in the Global 200’s top 10 for a seventh week: “Taste,” up 4-3 after reaching No. 2; “Espresso” (5-4, following three nonconsecutive weeks at No. 1 beginning in June); and “Please Please Please” (7-10, after two weeks at No. 1 also starting in June). She’s the first artist to triple up in the top 10 over seven weeks in 2024; Eilish and Taylor Swift follow with two such weeks each this year.
The Weeknd and Playboi Carti’s “Timeless” dips to No. 5 on the Global 200 a week after it debuted at No. 3.
“Die With a Smile” tops Global Excl. U.S. with 93.2 million streams (down 1%) and 5,000 sold (down 11%) outside the U.S. Oct. 4-10. As on the Global 200, the ballad became Gaga and Mars’ first No. 1 each since the survey started.
Eilish’s “Birds of a Feather” keeps at No. 2 on Global Excl. U.S., following three weeks at No. 1 beginning in August; Carpenter’s “Espresso” maintains the No. 3 spot; and Karol G’s “Si Antes Te Hubiera Conocido” climbs 5-4, after reaching No. 2.
Carpenter’s “Taste” rises 6-5 on Global Excl. U.S., after hitting No. 4, while “Please Please Please” pushes 10-9, following a week at No. 1 in June; already the only artist with multiple weeks with three songs in the top 10 simultaneously this year, she logs a seventh week earning such a triple.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Oct. 19, 2024) will update on Billboard.com tomorrow, Oct. 15. 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.
Four influential Latina executives from diverse sectors of the music industry — including marketing, legal, artist, and label — spoke about how they bossed up and assumed their own power in leadership roles during Billboard Latin Music Week.
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The panel She Runs the Boards took place on on Monday (Oct. 14) during the annual event, and was moderated by Billboard‘s social media manager/staff writer Ingrid Fajardo.
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Fajarado was joined by Apple Music’s music marketing lead Andrea Portela, Dominican actress/artist Dascha Polanco, Rostrum Records president Erika Montes, and Protege Tu Música’s music & entertainment attorney Yira Santiago. During their discussion, the four panelists spoke about the strategies for overcoming challenges, building meaningful connections and thriving in a competitive landscape.
Below, find some of the best and most memorable quotes from the She Runs the Boards panel:
Andrea Portela on the power of authenticity: “Es más fácil subirte en un trend. Authenticity plays a big role in who you are as an artist. It’s easy to follow the noise. The artists who go far are those who are true to themselves. Your team is a big reflection of an artist; be authentic in every aspect. Don’t just follow the trend because there are 500 artist trying to do what you’re doing. Success doesn’t come quick and easy, invest in yourself. Know your audience is Marketing 101. Social media is such a powerful tool but it only resonates if you’re authentic.”
Dascha Polanco on the importance of the team: “The most essential thing an artist must have is a team that supports and protects you legally. Many artists have gone through problems in a contract. We believe in dreams and we are very busy being creative, seeing the vision more than you […] I’ve been working in music for eight years, time waits for no one. I have a dance project with a lot of Latin music essence. I went to Berklee College of Music online. I do my engineering and record myself. Educate yourself and invest in yourself. Letting yourself be guided, trusting the process, is a very magical thing for me.”
Erika Montes on artist development: “I look for two things when I see an artist: You have to want it more than me. Secondly, always make an assessment, what can you do well? If you’re a good songwriter, but not good at production. Know what you’re good at and look at what to build. Focus on who your audience is and not on a look. When I start with artists I let them know this is a grind. Relationships are key. We’ll do everything we can, shake hands and kiss babies. [Success] doesn’t happen overnight, be patient.”
Yira Santiago on the importance of education and transparency in music: “Opening a YouTube channel to protect your music came about when I noticed that certain information was being kept and I felt the need to share it. There were lawyers withholding this information and not sharing it on to the public. It was important for me to share this, to establish that relationship with myself and the law, and how I monetize my music. It’s also crucial to manage relationships with record labels, marketing and handlers, in addition to assistance in all other areas. To take your career to a higher level and turn it into a business, you need a team to support you. It’s essential that the team aligns with your visions.”
Latin Music Week coincides with the 2024 Billboard Latin Music Awards set to air at 9 p.m. ET on Sunday, Oct. 20, on Telemundo. It will simultaneously be available on Universo, Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.
Olivia Rodrigo handled what could have been an embarrassing — and scary — situation like a pro. In a video circulating TikTok from one of the “Drivers License” singer’s show at Rod Laver Arena in Melbourne, Australia, Rodrigo is seen hyping up the crowd by running across the stage. However, there was an opening in […]
Who gets songwriting credit on a song and who doesn’t can sometimes lead to an uncomfortable conversation. But at the 2024 Billboard Latin Music Week, that topic took the spotlight in the riveting (and informative) Why Are There 50 Writers On My Song? panel on Monday (Oct. 14).
Moderated by Pierre Hachar, managing partner at The Hachar Law Group, panelists included regional Mexican singer-songwriter Eden Muñoz, renowned producer-songwriter Sergio George and Colombian hitmaker Keityn. At one point during the conversation, the group reflected on why, today, even managers can get a songwriting credit.
“I think it is clear that the composers deserve the credit,” said Keityn while discussing the subject. “The credits go to the one who deserves it and that is the actual composer.”
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The conversation also touched on how nuanced the concept of songwriting credit can be, particularly when someone is in the studio who doesn’t technically write the song but contributes somehow to the idea or inspiration of the lyrics.
Below, find the best quotes from the panel:
Eden Muñoz: “The credit has to go to whoever participates in the writing process. When you’re in a studio, you know who is a composer and you know who is not. It’s something that you can almost feel. You can’t just be sitting around in the session and expect credit. It’s extremely important to set limits in the studio. It’s how I work today. I separate the songwriters and take them to a different table and they are the only ones in that room.”
Sergio George: “In my opinion, anyone who contributes to the process should have songwriting credit. I remember I was in a songwriting camp, there were like four to five people, and there was one person who gave some ideas of how the song could be. That person actually had nothing to do with my music, but got credit because if it wasn’t for her, the song would not have been made. That’s true of the arranger, because some arrangements are so emblematic and make the song. We should be fair all around.”
Keityn: “The 50 songwriters thing is not even about the artist, songwriter or producer, to be honest. Platforms like Spotify, when they do the breakdown of who gets credit on their platform, it is always based on the actual split, and they label them as songwriters. I don’t understand why everyone who is in the split [gets listed as] as a songwriter.”
Muñoz: “Today, we are in a business where managers [have the] sin of arrogance and want to be everywhere and get songwriting credit. I remember back in the day, the manager would sometimes even hide, but now it seems like they are glued to one another. Sometimes the manager acts more like the artist.”
The 2024 Billboard Latin Music Week coincides with the 2024 Billboard Latin Music Awards set to air at 9 p.m. ET on Sunday, Oct. 20, on Telemundo. It will simultaneously be available on Universo, Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered. These tracks from artists including Jeremy Zucker & Chelsea Cutler, Mt. Joy, Yukimi and more will get you energized to take on the week.
Coolest Pop Song of the Week: Bishop Briggs, “Good For Me”
“I’m dreaming of all I ever wanted,” Bishop Briggs sings, stretching out the word “dream” to glide a little bit longer before following falling back down with, “was it ever good for me?”
The chorus to “Good For Me,” a darkly pretty meditation on achieving longtime goals as your identity evolves, buttresses Briggs’ tone with a dream-pop arrangement built around a driving beat and gradually deepening guitar chugs. Her voice, which has often been deployed as a hurricane-level force in the past, bends and lilts here, simmering in the question rather than finding a declaration.
Eight years ago, the UK native hit it big with “River,” a soul-rock anthem that crossed over to alternative radio and reached the top 5 on the Rock Airplay chart. Briggs continued finding success at the format, with seven entries on the Hot Rock & Alternative chart across her first two studio albums (2018’s Church of Scars and 2019’s Champion) on Island Records; a half-decade later, the singer-songwriter is now in her thirties, a new parent, still grieving the tragic loss of her sister, Kate McLaughlin, and operating outside of the major label system, while delivering the most revealing and emotionally resonant songs of her career.
“Good For Me,” the latest offering from new album Tell My Therapist I’m Fine (out this Friday through Virgin Music Group), crystallizes the album’s compelling juxtaposition of Briggs figuring out the possibilities of the next phase of her career while simultaneously settling into her skin. Songs like “My Serotonin” and “Shut It Off” allow Briggs to keep rocking out, but she now turns up the volume to emphasize her lyrical darts rather than shout over them. Meanwhile, Briggs mourns her sister and also utilizes her grief to push herself forward — in “Mona Lisa on a Mattress,” for instance, she doubles her voice and sings about a broken romance, “Kate would always say, I should run away,” as a means of finding resolution through a memory.
In the center of the album is “Good For Me,” the subtleties of its production and the maturity of its lyrical perspective slowly blooming and hooking the listener. Briggs has experienced several life changes since her last album, and is wondering what she’s even chasing anymore — but the care given to that exploration makes the song, and its host album, worth absorbing in full.
Here are some more new pop songs worth checking out this week…
Jeremy Zucker & Chelsea Cutler, “A-Frame”
Jelly Roll hasn’t had the easiest road to success, but he hopes to heal the hurt he might have caused along the way.
In a vulnerable, in-depth interview with Jay Shetty on the latter’s On Purpose With Jay Shetty podcast, the “Need a Favor” singer opened up about wanting to reach out to the people he robbed over weed when he was a teenager. Jelly was subsequently charged as an adult with aggravated robbery and was facing a potential 20-year sentence, though he ultimately served over a year for the charge, followed by more than seven years of probation.
“I really want to have a conversation with them. I’ve thought about reaching out,” he told Shetty. “This has been 24 years ago now. I just don’t know how that would even start, or, you know, how I would go about it because sometimes I wonder if they might have even seen me in passing or are aware of my success. I wonder if they’ve even correlated. I mean, I’ve obviously dramatically changed. I was 15, dude, you know what I mean? I couldn’t grow facial hair at all. I hardly hit puberty. I still had my high voice when I did that robbery. So, I’ve thought about that a ton and they’re definitely on my list.”
He added that he would apologize, take accountability and ask for forgiveness. “I had no business taking from anybody,” Jelly explained. “Just the entitlement that I had, that the world owed me enough that I could come take your stuff. It’s just what a horrible, horrible way to look at life and people. What a horrible way to interact with the Earth.”
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The Grammy-nominated star continued, “I hope that they would see that I’ve made it my life’s mission to change and to change people because that’s what I’m representing the most in what I do. I think people cheer for me because they see a little bit of me in them, or they see their cousin — I’m a family member, they relate, and I speak for an unspoken group of people, and I hope they would know that. […] I’m trying to diligently prove myself that I’ve not only changed but also I took the platform serious and that it’s making me change more every day. I hope they would forgive me.”
Elsewhere in the interview, Jelly opened up about how he doesn’t relate at all to the person he once was. “I look back at those years, and I’m so embarrassed to talk about them,” he revealed. “I was still a bad person in my early thirties, but I mean, I was a really horrible kid all the way into my mid-twenties. People are always like, you’re the nicest dude I’ve ever met. I’m like, I’m so glad y’all haven’t met nobody that knew me 20 years ago.”
He added, “I took zero accountability for anything in my life. I was the kid that if you asked what happened, I immediately started with everything but me. And it took years for me to break that, like years of work, solid work to just like break that. It also has taken years of work for me to even forgive that kid.”
Watch Jelly Roll’s full On Purpose With Jay Shetty interview below.
Soulja Boy is typically one to brag about being the first rapper to do something, but he’s had to retract one of his latest claims.
On Oct. 12, Big Draco posted a clip to social media of himself in the cockpit of a plane with a pilot gearing up for takeoff. “I was the first rapper to fly an airplane. Let’s go, we bout to get in the air,” he said in the video. “You ready to do this? Let’s do this.”
The “Crank Dat” rapper must’ve not been familiar with Snoop Dogg’s pilot work as Captain Mack in 2004’s Soul Plane.
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Ludacris, who has posted clips of himself flying planes while working on his pilot license dating back to 2021, hopped into Soulja Boy’s comments section with a simple message to correct his fellow rapper, leaving a thinking emoji with the hand over its chin. Plenty of fans backed up the rapper-turned-actor’s claim and Soulja took note. Big Draco did some research and bent the knee to Ludacris while handing over the rap pilot title belt.
“I just saw ur video you did it first,” Soulja Boy wrote back to Luda with a gold medal emoji.
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Back in June 2021, Ludacris joined The Ellen DeGeneres Show, where he cleared the air about his flying videos and clarified that although he owns a plane, he doesn’t have a pilot license.
“That’s something that’s called a ‘nickel ride.’ That term goes back to the military days. So, it’s my first time actually flying,” he told the comedian at the time. “I actually own a plane, but for all of these years, I’ve never wanted to become a pilot, because you can’t drink alcohol within eight hours of flying. Who would want to go on a vacation and not drink before they leave?”
Ludacris continued: “Long story short, that’s the first of many, but I do plan to get my pilot’s license soon. It’s a work in progress, it takes some time.”
Watch Soulja Boy’s video of himself in a plane’s cockpit below:
Feid, one of the biggest artists in the música urbana movement today, participated in the panel From Clubs to Stadiums Featuring Feid. Presented by Live Nation, the conversation — which also featured his manager, Luis Villamizar, and Hans Schafer, SVP of global touring for Live Nation — took place on Monday (Oct. 14) during Billboard Latin Music Week 2024.
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Moderated by Alejandro Marin — a radio DJ, writer, podcaster and music analyst — together they offered perspectives on the Colombian star’s rise to the top. Here are the best quotes:
“For me, the most special thing is to work as if it were the first day, with the same enthusiasm; I don’t like to just wait,” said Feid. “There are many of us who are part of the team. It has been a daily process, dreaming about everything we are achieving. I strive every day to be better than yesterday in every possible aspect. I live intensely in the present, and this helps us stay alert.”
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He mentioned that he started as a composer from his home and how his team gradually grew. “At the beginning, we were one, two, three, four — and now we are 140! We focus on organizing all aspects, improving concerts, music production and emphasizing the importance of the live show,” he said. The musician also talked about a trip to Europe, where he performed in front of only six people in nightclubs, and how he never got discouraged despite difficulties. “There is a very interesting theory that says that, although sometimes something may be tedious, we always celebrate our triumphs,” said Feid.
“When we opened for Karol at the Bichota Tour in Bogotá and Cali, we broke records in Colombia, but when we started on the West Coast, we had to learn how to manage an audience that had no idea who we were,” Feid continued. “In one way or another, that broadened our view of how tours are managed in the United States and Europe, and how to navigate those worlds.”
“There is a secret magic in our team, including the executives and everyone involved in every aspect: recording, lighting, screens and sound,” said manager Villamizar.
Schafer mentioned what he considers Feid’s most important qualities: “Being patient, hardworking, having a lot of empathy, optimism, being a person who accepts failure, not as a bad thing, but as a way to change, to adjust. The setlist was not perfect; it needed to be adjusted. I always believe that money follows success. The things that move you, motivate you, inspire you. Money is not going to solve everything. Like turning this stone into a diamond.”
Over the past 35 years, Latin Music Week has become the one, steady foundation of Latin music in this country, becoming the single most important — and biggest — gathering of Latin artists and industry executives in the world. Initially named Latin Music Seminar, sponsored by Billboard, the event traces back to 1990, where it kicked off as a one-day event in Miami featuring a two-artist showcase and awards show.
Latin Music Week coincides with the 2024 Billboard Latin Music Awards set to air at 9 p.m. ET on Sunday, Oct. 20, on Telemundo. It will simultaneously be available on Universo, Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.
Latin music has gone global and its revenues have now surpassed the $1 billion mark, which means the business of Latin music has evolved.
The New Latin Music Business panel, which took centerstage on Monday (Oct. 14) at the 2024 Billboard Latin Music Week, was moderated by Rancho Humilde’s CEO and founder Jimmy Humilde, and featured panelists Atella (producer and songwriter, head of music, Zumba and ZML Records), Cris Falcão (managing director of artist & label strategy and GM Latin, Virgin Music Group) and Txema Rosique (senior VP of A&R, Sony Music U.S. Latin).
Humilde kicked off the conversation acknowledging the globalization of Latin music, adding that labels, whether indie or not, have had to adapt to a new way of doing business with artists who now want to be more involved in that aspect and are looking for different types of deals — from record, distribution or even single-track deals.
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“Our challenge is to make the new artists understand what labels have to offer, from A&R, marketing, business development, they can make use of all those resources, that’s the challenge we have as a label now,” said Rosique. Alternatively, Atella added that “some artists arrive with the idea that the label is going to do everything for them, but the artist has to give 100% — they can’t stay at home and think that the label is going to do everything for them.”
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Falcão explained that at Virgin Music Group, they have focused on deals that are “tailor-made” for each artist. “We’re not just truck with boxes anymore, we offer something different for each partners, all types of services, depending on trends, product management or marketing.” Humilde said he’s following a similar approach. “I sit with the artist and ask what they’re looking for, what deals they feel most comfortable doing. In the near future, the artist will be making their own deals, so really we’re open to take any deal that come our way.”
The panelists also spoke about the importance of both the artist and label or management company being happy with whatever type of deal they land on. “Today, the artist is clear that their patrimony is their music, their masters, every time we see more artists that are clear about what they want to give to the company and what they don’t, and obviously that depends on the commitment from both parts. This is a business where everyone needs to be happy with the deal, all parties involved. You cannot have a depressed artist.”
The 2024 Billboard Latin Music Week coincides with the 2024 Billboard Latin Music Awards set to air at 9 p.m. ET on Sunday, Oct. 20, on Telemundo. It will simultaneously be available on Universo, Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.
Director Martin Scorsese is among the producers on an upcoming documentary about the Beatles‘ legendary first trip to the United States slated to stream exclusive on Disney+ starting Nov. 29. According to Variety, Beatles ’64 will feature never-before-seen footage of the band and its rabid fans at the height of Beatlemania.
Scorsese produced the doc directed by David Tedeschi (Personality Crisis: One Night Only), which will also feature new interviews with living Beatles Paul McCartney and Ringo Starr. The film follows McCartney and Starr and late bandmates John Lennon and George Harrison as they land in New York in Feb. 1964, promising to reveal “a more intimate behind the scenes story” of the group’s iconic debut on The Ed Sullivan Show, as well as footage of the Fab Four’s first American show at the Washington D.C. Coliseum.
The quartet made their debut appearance on Sullivan’s variety show on Feb. 9, 1964, a performance that was seen by a record-breaking 73-million people and is often cited by musicians of a certain vintage as their inspiration for starting a rock band. Variety reported that the doc also features rare footage shot by documentarians Albert and David Maysles (Gimme Shelter).
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A synopsis of the film reads: “On February 7, 1964, The Beatles arrived in New York City to unprecedented excitement and hysteria. From the instant they landed at Kennedy Airport, met by thousands of fans, Beatlemania swept New York and the entire country. Their thrilling debut performance on The Ed Sullivan Show captivated more than 73 million viewers, the most watched television event of its time. Beatles ’64 presents the spectacle, but also tells a more intimate behind the scenes story, capturing the camaraderie of John, Paul, George, and Ringo as they experienced unimaginable fame.”
In addition to Scorsese – who also directed 2011’s George Harrison: Living in the Material World doc — other producers of the doc include McCartney, Starr, Harrison’s widow, Olivia Harrison, Lennon’s son, musician Sean Ono Lennon, and others.
The new Beatles doc will be accompanied by the Nov. 22 release of all seven American Beatles albums in a vinyl reissue collection entitled The Beatles: 1964 U.S. Albums in Mono; the albums will be available individually as well as in a box set. According to Variety, the reissue will include 180-gram albums that have been out of print on vinyl since 1995, including Meet the Beatles!, The Beatles’ Second Album, A Hard Day’s Night (Original Motion Picture Sound Track), Something New, The Beatles’ Story, Beatles ’65 and The Early Beatles.