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Otis Redding is about to get a little “Respect” – to borrow the title of one of his most famous compositions – from the Hollywood Walk of Fame.
The late soul music legend will be honored posthumously with a star on Friday, Oct. 4, at 11:30 a.m. PT at 6150 Hollywood Blvd. Redding’s star is in the category of live theatre/live performance.
Five-time Grammy-winning producer (and previous Walk of Fame honoree) Jimmy Jam will emcee the star ceremony. Killer Mike, who won three Grammys in the rap field in February, will speak. Accepting the award will be the singer’s daughter, Karla Redding-Andrews.
“The Hollywood Chamber of Commerce is honored to dedicate a star to the legendary Otis Redding, whose music continues to inspire generations,” Ana Martinez, producer of the Walk of Fame ceremonies, said in a statement.
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Redding has long been regarded as one of the greatest soul singers in popular music history. He was inducted into the Rock and Roll Hall of Fame in 1989, the Songwriters Hall of Fame in 1994 and received a lifetime achievement award from the Recording Academy in 1999. Three of his recordings are in the Grammy Hall of Fame – his 1965 hit “I’ve Been Loving You Too Long (to Stop Now),” his 1967 reinvention of the 1933 pop standard “Try a Little Tenderness” and his deeply moving 1968 classic “(Sittin’ on) the Dock of the Bay.” Aretha Franklin’s classic 1967 version of “Respect,” which Redding wrote and had the initial hit with in 1965, is also in the Grammy Hall.
Redding had a volley of hits between 1964 and 1967. He even played at the Monterey International Pop Festival in June 1967. But less than six months later, on Dec. 10, 1967, he died in a plane crash in Madison, Wisc. en route to a concert. He was just 26.
The first sign that his music would live on came when “(Sittin’ on) the Dock of the Bay” shot to No. 1 in early 1968 on both the Billboard Hot 100 and Top Selling R&B Singles (as the chart was then called). Redding also had a pair of top 10 albums on the Billboard 200 in the spring of 1968 – History of Otis Redding and The Dock of the Bay. In early 1969, “Dock of the Bay” won two Grammys – best rhythm & blues song and best rhythm & blues vocal performance, male.
Redding’s influence continues through the work of the Otis Redding Foundation, ran by his widow Zelma and daughter Karla Redding-Andrews, which seeks to preserve his legacy through empowering music education for all youth.
The star ceremony will be streamed live at WalkOfFame.com.
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The second installment of “NOW PLAYING JAPAN,” a conference and networking event held by Billboard Japan and Luminate on domestic and international music consumption trends and marketing, was held at Billboard Live Tokyo on Sept. 18.
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At this event, representatives from Billboard JAPAN and Luminate gave presentations on the latest music consumption trends in Japan and abroad. In addition, Tatsuya Hori of the Ministry of Economy, Trade and Industry appeared as a guest speaker. Using the recently released “Report on the Music Industry’s Business Model for a New Era” as a basis, Hori explained the current status and challenges for Japanese artists to expand overseas. The following is a report on the event.
Presentation 1: Scott Ryan (Luminate)
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Scott Ryan, Executive Vice President of Luminate, took the stage first to introduce the latest trends in music streaming: In the first half of 2024, global on-demand audio streaming increased 15.1% compared to the previous year, which is equivalent to approximately 300 billion new streams. Among countries in the APAC + ANZ, Japan has displayed a steady increase of more than 10% in streaming, while several countries in Southeast Asia have shown growth of 20-30%. He also touched on listening trends that vary by country, including preferred genres (in Japan, “jazz,” “rock,” and “soundtrack” are over indexing compared to other Asian countries), the #1 source of music discovery (streaming in Indonesia, SNS in the Philippines, and TV in Japan), and differences in engagement with “foreign content” (95% in the Philippines, 74% in Singapore, and 57% in Japan). He also explained a snapshot of Japanese Gen Z music listeners: 44% of Gen Z listeners encounter music via streaming, are 1.4 times more likely to listen to music shared by friends on SNS than Japanese music listeners as a whole, and 27% less likely to listen to music from overseas.
Ryan concluded his presentation by giving three key points: “Streaming numbers are increasing globally, but the way people enjoy new content differs from country to country, so it is necessary to devise marketing plans and approaches accordingly”; “The way people encounter new music differs by region and generation, so for effective targeting, it is important to have smart information”; and “Streaming is still on the rise, and there are opportunities for growth on a global scale across regions.”
Presentation 2: Helena Kosinski (Luminate)
Helena Kosinski, Luminate’s Global Vice President, presented the challenges and new solutions for the industry in assigning key music data identifiers and metadata, including ISNI, ISRC and ISWC, with examples from Japan. While the assignment of music data identifiers is becoming more widespread in the industry, the importance of ISNI is not yet fully understood. In addition, there are cases where incorrect information is linked due to duplication of artist names and song titles, and where multiple identifiers are registered for the same song. Furthermore, songs having identifiers that are unknown to the rights holders is also an issue. As a result, there are many recordings that are not linked to the correct rights holders (lyricists, composers, etc.), and royalties are not being accurately distributed. In fact, it appears that 16.25% (approximately $120 million) of the royalties that were due to be paid by the MLC in 2022 have still not been distributed as of 2024.
As a solution to these issues, Luminate acquired Quansic, a service that collects multiple identifiers and consolidates them in one place, in February 2024 to improve the quality of metadata. Kosinski spoke about the importance and benefits of having correct metadata, with an explanation of this service. For labels, the benefits of having ISNI are “increased visibility and clarity of content on DSPs,” “increased promotional opportunities such as additions to official playlists (as songs with more complete metadata are preferred),” and “getting paid quickly and correctly”. In a test case conducted by Luminate, the number of streams also increased by 6-18%.
Benefits for DSPs through Quansic included improved search accuracy on the platform, support for artist names in other languages, and the ability to distinguish duplicate artists by adding more than twice as many new identifiers. For music publishers, the benefits include securing royalties from all the songs and recordings they manage, automatic recognition of new releases in their catalogs, and better predictability of future revenues. A test case for a publisher showed a 3-18% increase in streaming numbers. Kosinski concluded by giving “metadata is hard” and “fix the problem before you lose royalties” as key points, and urged a free evaluation with Luminate.
Presentation 3: Tatsuya Hori (METI)
Tatsuya Hori, Consulting Fellow at the Research Institute of Economy, Trade and Industry (RIETI), Ministry of Economy, Trade and Industry (METI), gave a presentation on “The Potential of the Japanese Music Market” based on the “Report on the Music Industry’s Business Model for a New Era”, which was released in July 2024 and attracted wide attention both within and outside the industry. The “content industry,” which includes music, is growing remarkably on a global scale. In Japan, overseas sales are comparable in scale to exports from the steel and semiconductor industries, and the high economic ripple effect has led to the recognition that this industry could become a key industry in Japan and drive economic growth. Based on this premise and the data used in the report, he indicated that the characteristics of the Japanese music industry are the “diversity and accumulation of music”.
He also noted that, since streaming has become the center of the global music industry, overseas expansion and digitalization are two sides of the same coin, and that it is essential for the music business to respond quickly to the digitalization of the industry. He also stressed the importance of creating an environment that facilitates the activities of creators who are engaged in production and distribution on their own.
Presentation 4: Seiji Isozaki (Billboard Japan)
Seiji Isozaki of Billboard Japan, gave a presentation on current trends in the world of Japanese music based on the Global chart data for the first half of 2024. In particular, he pointed out that compared to the first half of 2023, the share of Japanese music is increasing in the U.S. and South Korea, and that the share of new releases at the top of the charts is rising in line with the attention paid to anime and game releases. He explained the importance of understanding the market structure of each country and the importance of “increasing resolution” in order to create hits in Asia & globally.
In the U.S. and South Korea, “Artists who increased the number of streams per day and increased their market share” and “Artists who increased the number of streams per day and increased their market share in the corresponding countries” were respectively presented in comparison to the previous year. Names such as Azumi Takahashi, known for her singing in the “Persona” game series, PSYCHIC FEVER from EXILE TRIBE, and eill were mentioned.
Text: Haruki Saito, Maiko Murata
Tate McRae is proof that some pop stars are born this way. The Calgary, Alberta, native appears to have just exploded into our consciousness over the past year or so, but take a dive into the 21-year-old singer’s backstory, and you can see that she’s been laying the groundwork for her chart domination for more than half her life.
After starting dance lessons at 6 years old and focusing on her moves over vocals, McRae began entering a series of dance competitions in the U.S. At 13, she joined the cast of the 13th season of So You Think You Can Dance, coming in third place, making her the highest placing Canadian in the reality show’s history.
That led to some sweet follow-up gigs thanks to the dance-centric YouTube channel she launched in 2011, including dancing at a Calgary stop on fellow Canadian Justin Bieber’s 2016 Purpose world tour. Before pivoting to music, McCrea launched her “Create With Tate” video series in 2017, which morphed into focusing on original songs she’d written, including the sticky ballad “One Day,” which to date has racked up more than 40 million views.
Those videos helped McRae land a recording contract with RCA Records in 2019, which released her debut EP, All the Things I Never Said, in January 2020; the collection hit No. 16 on Billboard‘s Heatseekers albums chart and featured the lead single “Tear Myself Apart,” co-written by Billie Eilish and brother/producer Finneas.
Wasting no time, McRae was back in March 2021 with a second EP, Too Young to Be Sad, which included her breakthrough single, the brooding “You Broke Me First.” The song spent 38 weeks on the Billboard Hot 100, where it peaked at No. 17, marking McRae’s highest chart success to that point. In addition, Too Young to Be Sad was crowned the most streamed EP by a female artist on Spotify in 2021 and “You Broke Me First” was featured in more than one million TikTok videos. McRae was the youngest person included on the Forbes 30 Under 30 list in 2021, where the then-17-year-old took her place among such 20something stars as Lil Baby, Melanie Martinez, Roddy Richh, Gabby Barrett and Doja Cat.
Though her star really began rising in the midst of the global COVID-19 pandemic when everyone was trapped at home, McRae kept the creative fires burning, releasing her debut full-length studio album, I Used to Think I Could Fly, in May 2022. The album peaked at No. 13 on the Billboard 200 chart, with bubbly, jealousy-tinged single “She’s All I Wanna Be” spending 20 weeks on the Hot 100, where it ran up to No. 44.
Then things rocketed to a whole new level with the release of the lead single from McRae’s No. 4-charting sophomore album 2023’s Think Later, the angsty dance pop burner “Greedy.” The song was accompanied by a Great North-appropriate video featuring sexy ice rink dance routines and McRae cruising on the ice atop a Zamboni, which may have helped it race up to No. 3 on the Hot 100 tally.
Things kept humming along with the next single, the Bieber-esque pop kiss-off “Exes,” whose sultry, dance-heavy video paid homage to some of McRae’s inspirations, including Britney Spears and Christina Aguilera; the song topped out at No. 34 on the Hot 100. The beat went on with the third electro-pop single from the collection, “It’s OK I’m OK,” which grabbed attention for its skin-baring, street dancing music video.
Watch Billboard Explains: Tate McRae Rise to Pop Superstardom in the video above.
After the video, catch up on more Billboard Explains videos and learn about Peso Pluma and the Mexican music boom, the role record labels play, origins of hip-hop, how Beyoncé arrived at Renaissance, the evolution of girl groups, BBMAs, NFTs, SXSW, the magic of boy bands, American Music Awards, the Billboard Latin Music Awards, the Hot 100 chart, how R&B/hip-hop became the biggest genre in the U.S., how festivals book their lineups, Billie Eilish’s formula for success, the history of rap battles, nonbinary awareness in music, the Billboard Music Awards, the Free Britney movement, rise of K-pop in the U.S., why Taylor Swift is re-recording her first six albums, the boom of hit all-female collaborations, how Grammy nominees and winners are chosen, why songwriters are selling their publishing catalogs, how the Super Bowl halftime show is booked and more.
There’s nothing short about the numbers Sabrina Carpenter is pulling on her new album, but they sure are sweet. As of Friday (Sept. 27), the 25-year-old pop star’s sixth studio LP Short n’ Sweet has already been certified Platinum by the Recording Industry Association of America. That means the 12-track project has moved more than […]
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This week in dance music: Tokimonsta announced the cancellation of her fall tour and postponement of her new album, Charli XCX and Troye Sivan hit NYC with their Sweat tour, Massive Attack announced a new series of climate action gigs, artists including SG Lewis and Mary Droppinz were announced as players in the electronic industry charity soccer tournament Copa del Rave, Barry Can’t Swim released his blazing hot “Still Riding,” the posthumous Sophie album was surprise-released weeks before it was scheduled to drop, Dom Dolla scored six ARIA award nominations, Kylie Minogue talked about the bananas success of “Padam Padam” then released another dancefloor banger, we premiered a performance with DJ Mita Gami and a 37-person orchestra that happened at Burning Man last month, FORM Arcosanti dropped the set times for its upcoming fest and we spoke with the founder of an annual dance show for charity that happens on the Vanderbilt University campus in Nashville.
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Beyond that, so many albums! These are the best new dance projects of the week.
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Eli & Fur, Dreamscapes
The London-born, Los Angeles-based duo release their second album, Dreamscapes, with the project sounding as hypnotic and ethereal as its name suggests. The pair maintain a depth and delicacy throughout, even when they dial up the bass lines and BPM. Altogether it’s a sleek, sophisticated, no-skips effort, with a song for each phase of the night — from getting yourself ready, to falling in love on that dancefloor to the moment of sunrise that’s as much a feeling as a naturally occurring daily event. The pair play a tight trio of shows in Los Angeles, New York City and London starting Oct. 12.
Lane 8, Childish
Earlier this month it became clear something was happening, or about to happen, in the Lane 8 universe when the artist wiped his Instagram account. Not long after, an assemblage of footage of the producer as a child — playing the piano, dressed up for Halloween, pulling his sister in a wagon — was posted. Three days later, on Sept. 16, he announced his fifth studio album, Childish. There would be no singles, just a complete album, out today. The artist himself summarizes the project’s ethos best, writing that as he’s watched his own children become more creative, “I understand now how important creating has always been for my own mental well being, and my sense of pride and worth. I remember such vivid feelings of infinite possibility while creating as a kid.
“Thinking about all of this made me realize that my own approach to art has changed a lot over the years,” he continues. “When you make a living off your art, people need to like what you make for the whole thing to work. A pressure to please others starts to creep into the creative process, whether you want it to or not. It was only by watching our kids create that I fully appreciated how much my own process had changed. It hurt to admit it at first, but what followed was a new sense of liberation and motivation, because i knew it didn’t have to be that way.”
The 10-track project, which features collaborations with Kasablanca, Sultan + Shepherd and more, is out on Lane 8’s own This Never Happened label.
Ben Böhmer, Bloom
The inimitable Ben Böhmer returns with his third studio album, Bloom, a nine-track demonstration of all the depth, lushness and absolute feeling the German producer is a master of. Out on Ninja Tune, the project finds him collaborating with luminaries like Lykke Li, Oh Wonder and Enfant Sauvage, the producer who’s also one half of The Blaze. Together this latter artist and Böhmer absolutely send it one of the album’s centerpieces, “Evermore,” a cinematic showstopper that balances an exquisite string arrangement, a shimmering bridge and production with serious muscle. Böhmer plays this weekend at Portola in San Francisco.
TSHA, Sad Girl
Almost exactly two years after the release of her debut album, Capricorn Sun, TSHA returns with its followup, Sad Girl. The album, out on Ninja Tune, opens with a spoken word collab with London-based poet Dan Whitlam, who proclaims the album’s thesis statement, “sometimes the sad feels better than feeling good, and that’s okay.” And in a music scene that’s perpetually pushing ideas of dancing! and fun! and that any given night at the club just might be the greatest night of your life!, TSHA here acknowledges that life sometimes the world and the dancefloor get awful blue, too — expressing the idea over a dozen tracks, and for the first time putting her own vocals on a few of them. The punchy, swirly “Take” is a standout, and the album closes with the equally tough and stylish “Fight.”
Justice, “Neverender (Kaytranada Remix)”
“Neverender,” a single and standout from Justice’s April album Hyperdrama gets an edit from fellow master Kaytranada, who strips the song or much of its heft, trading out the punchy layers of the original and swapping them for echo-ey drums, strings and a lot of chimes. Kaytra’s airy take comes alongside another warm edit from Rampa of Keinemusic. In addition to all that, Justice has released a new video for the original “Neverender,” which bathes the eyes in vintage anime. Justice plays Portola in San Francisco this weekend and will make their Hollywood Bowl debut on October 4.
Lszee, Lszee
After months of hype, French bass titan CloZee and the proudly heady producer Lsdream release their collaborative self-titled album. Playing like ear salve for anyone who enjoys camping festivals, bass music and tie-dye (preferably all at the same time), the album melds each producer’s celestially-leaning, world music influenced and thoroughly pummeling styles into a groovy, deep, totally fun 13-track collection. The spacey “Wook Whistle” is a sly nod to the fact that these two know exactly in which realm their hardcore fans exist, with the pair headlining the genre nexus of Red Rock Amphitheatre on Oct. 5-6 before headlining the Brooklyn Mirage October 12.
On this week’s (Sept. 6) episode of the Greatest Pop Stars of the 21st Century podcast, we take a look at a pair of Tennessee natives: Fictional pop superstar turned IRL pop superstar Miley Cyrus (No. 15) and *NSYNC spotlight-stealer-turned-solo game-changer Justin Timberlake (No. 14). Explore See latest videos, charts and news See latest videos, charts and […]