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The second half of Jon M. Chu’s Wicked films might be nearly a year away, but fans got their first major detail about the sequel on Monday (Dec. 16) when Universal Pictures announced its official title. According to a social media teaser, the follow-up to the Nov. 22 live-action musical starring Cynthia Erivo and Ariana […]
It looks like Owen Wilson is a fan of the hood’s hottest princess. The actor went viral over the weekend, as a fan in attendance captured him with his jaw on the floor as he watched Sexyy Red perform her song “Hellcats SRTs” on the Rolling Loud stage in Miami. The St. Louis rapper caught […]
Steve-O is on Team Kendrick. The Jackass star joined Hardy’s Wild Ride podcast this week, during which they talked about their top five rappers. While discussing André 3000 and Kendrick Lamar, Steve-O explained that the Outkast star “oozes coolness,” as does the “TV Off” rapper. Steve-O then chimed in on the headline-making feud between Lamar and […]
Chappell Roan is a favorite to win big at the 2025 Grammys — and if she does, she plans to stir a little controversy.
On A Carpool Karaoke Christmas with Zane Lowe, which premiered first thing Monday (Dec. 16) on Apple TV+, the 26-year-old pop star revealed that she has some complicated feelings about the awards show, hinting that she will probably do a little disrupting if she wins any of her six nominations at the 2025 ceremony.
“It’s such a double-edged sword for me, because I’m like, ‘Yes, it is a talent show for the popular kids,’” she began of the Grammys. “That’s one side.
“But the other side is, ‘Oh my God, how amazing is it that a gay artist wrote a gay song that went No. 1, with a gay writer who did not grow up in the industry, did not have an in, has been busting her a– for like a decade?’” Roan continued. “That’s honorable to me. It’s an honor to be nominated with some of the other artists.”
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The Missouri native is in the running for all of the “big four” Grammy categories next year, including best new artist, album of the year for The Rise and Fall of a Midwest Princess, and song and record of the year for her Billboard Hot 100 top 10 hit “Good Luck, Babe!” When asked whether she has remarks ready to go if she’s called onstage, Roan replied, “I don’t have a speech yet, but you know me. I’m going to say something controversial.
“Why not? Girl, what do I have to lose?” the “Pink Pony Club” artist added. “The fearlessness comes from in my heart knowing I’m always going to be OK.”
Grammy nominations went live in November, revealing that Roan is tied with Sabrina Carpenter and Taylor Swift for six nods each in 2025. Beyoncé has the most nominations going into next year ceremony with 11, while Charli XCX, Billie Eilish, Kendrick Lamar and Post Malone are tied for second-most with seven apiece.
In addition to the Big Four categories, Roan is also up for best pop solo performance for “Good Luck, Babe!” and best pop vocal album for Midwest Princess, which peaked at No. 2 on the Billboard 200 in August. The project — and Roan’s career, for that matter — has been steadily snowballing since its release in September 2023, with the star finishing out 2024 as Billboard‘s Top New Artist.
And while the VMA winner has been open about her excitement regarding her Grammy nominations, she’s also previously expressed mixed feelings. “I’m kind of hoping I don’t win [a Grammy],” she told The Face in September. “Because then everyone will get off my a–: ‘See guys, we did it and we didn’t win, bye!’ I won’t have to do this again!”
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Drake has always been known to be very generous with the people around him. This may be the funniest story of them all. The 6 God caught wind of a Drake “look-alike” contest in Toronto. Many various versions were in attendance. Nothing Was The Same Drake, curly-headed Drake, & even conrows Drizzy. The “twin” that stood out the most and the look-alike contest winner was Girl Drake and she went home with the winning prize PLUS $10,000 courtesy of The Boy.
Despite facing a tough year in 2024, with his ongoing beef with Kendrick Lamar and public challenges, Drake has remained a good sport about the jokes and critiques aimed at him. While the rivalry with Kendrick, Metro Boomin, & Future has sparked heated debates, with fans often pitting the “20 v 1” against him, Drake has handled the situation with humor. In Drake-like form, instead of getting defensive or bitter, he often laughs off the memes and jokes about his style, persona, and even his music. For instance, he’s known to post about his “L’s” on social media, showing that he doesn’t take himself too seriously. His ability to embrace the jokes has made fans love him even more. Rather than let them break him down, he has earned respect for being confident and self-aware. Even in the face of tough competition, (which in this case was choosing who looks like him the most) Drake has shown that he can take the heat and still stay cool, proving his maturity as an artist.
Kristen Bell is set to host the 31st annual Screen Actors Guild Awards, which will stream live on Netflix on Sunday, Feb. 23, at 8 p.m. ET/5 p.m. PT from the Shrine Auditorium & Expo Hall in Los Angeles.
This marks Bell’s second time hosting the show. She first did the honors in 2018, when she became the show’s first host. (The show had gone host-less in its first 23 years.)
“Thrilled to be hosting the SAG Awards again this year,” said Bell. “I’m honored to be asked back and can’t wait to share the evening with my fellow actors, doing what we do best… celebrating ourselves.”
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“Kristen Bell’s wit, warmth and charm makes her the perfect fit for our show – a night celebrating actors and the outstanding performances of the year,“ said SAG Awards executive producer Jon Brockett. ”Plus — everybody wants this.”
Brockett’s line is a play on the title of Bell’s hit Netflix comedy series, Nobody Wants This, in which she starred alongside Adam Brody and also served as an executive producer. Bell is set to reprise her role in season 2 of Nobody Wants This.
Bell is probably best known in music circles for giving voice to Anna in the animated blockbusters Frozen and Frozen 2. The Frozen soundtrack topped the Billboard 200 for 13 weeks in 2014 and spawned numerous Hot 100 singles, including three on which Bell was featured: “For the First Time in Forever,” “Do You Want to Build a Snowman?” and “Love Is an Open Door.”
Nominations for the 31st SAG Awards will be announced on Jan. 8. As previously announced, actress and activist Jane Fonda will receive SAG-AFTRA’s highest honor, the SAG Life Achievement Award.
This is the second year of an exclusive, multi-year partnership between the SAG Awards and Netflix. In addition, the 2023 show streamed on Netflix via YouTube.
Silent House Productions will return to produce the 31st annual ceremony. Jon Brockett, along with Silent House Productions’ Baz Halpin, Mark Bracco and Linda Gierahn, will serve as executive producers. Those three producers won Primetime Emmys in 2023 as executive producers of Carol Burnett: 90 Years of Laughter + Love, which was voted outstanding variety special (pre-recorded).
TikTok on Monday asked the Supreme Court to step in on an emergency basis to block the federal law that would ban the popular platform in the United States unless its China-based parent company agreed to sell it.
Lawyers for the company and China-based ByteDance urged the justices to step in before the law’s Jan. 19 deadline. A similar plea was expected from content creators who rely on the platform for income and some of TikTok’s more than 170 million users in the U.S.
The companies have said that a shutdown lasting just a month would cause TikTok to lose about a third of its daily users in the U.S. and significant advertising revenue.
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The case could attract the court’s interest because it pits free speech rights against the government’s stated aims of protecting national security, while raising novel issues about social media platforms.
The request first goes to Chief Justice John Roberts, who oversees emergency appeals from courts in the nation’s capital. He almost certainly will seek input from all nine justices.
On Friday, a panel of federal judges on the U.S. Court of Appeals for the District of Columbia Circuit denied an emergency plea to block the law, a procedural ruling that allowed the case to move to the Supreme Court.
The same panel had earlier unanimously upheld the law over a First Amendment challenge claiming that it violated free speech rights.
Without a court-ordered freeze, the law would take effect Jan. 19 and expose app stores that offer TikTok and internet hosting services that support it to potential fines.
It would be up to the Justice Department to enforce the law, investigating possible violations and seeking sanctions. But lawyers for TikTok and ByteDance have argued that the Justice Department might pause enforcement or otherwise seek to mitigate the law’s most severe consequences because President-elect Donald Trump pledged during the campaign that he would “save TikTok.”
Trump takes office a day after the law goes into effect.
The Supreme Court could temporarily put the law on hold so that they can give fuller consideration to First Amendment and other issues.
On the other hand, the justices could reject the emergency appeal, which would allow the law to take effect as scheduled.
The case has made a relatively quick trip through the courts once bipartisan majorities in Congress approved the law and President Joe Biden signed it in April.
This story was originally published by The Associated Press.
As Billboard Japan unveiled its 2024 year-end charts, the hip-hop duo Creepy Nuts — rapper R-Shitei (also known as R-rated) and DJ Matsunaga — land the No. 1 song of the year for the country, with their mega-hit “Bling-Bang-Bang-Born” taking the top spot on the all-genre Japan Hot 100 chart (which applies six metrics to songs: physical sales, downloads, streaming, airplay, video views and karaoke). The high-octane track also tops the year-end Global Japan Songs Excl. Japan ranking by a huge margin after holding the No. 1 position for 24 weeks, the longest ever in the history of the chart that ranks songs from Japan that are listened to internationally. In total, “Bling-Bang-Bang-Born” has dominated 12 year-end Billboard Japan roundups.
Amid the song’s success, Creepy Nuts have stayed extremely busy, traveling the world for festival performance dates while working on their new album. Billboard Japan caught up with the two artists as they wrapped their whirlwind year.
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How do you feel about the success of “Bling-Bang-Bang-Born” on the year-end charts?
DJ Matsunaga: It kind of hasn’t really sunk in yet.
R-Shitei: Yeah, it’s like my brain hasn’t been able to keep up at this stage. I’m like, “Oh… Awesome…” (Laughs.) … Compared to the first half of the year, the reaction to our shows [helps bring it into perspective]… But I think we’re a lot more confused about it all than people might think.
DJ Matsunaga: It’s still hard to believe we’re at the top of any kind of ranking. (Looks at R-Shitei.) Right?
Still, after “Bling-Bang-Bang-Born” became a global hit, your follow-up track, “Otonoke,” continues to do well: On Billboard’s World Digital Song Sales chart, it reached No. 1 five times (on the charts dated Oct. 19, Nov. 2, Nov. 16, Nov. 23 and Dec. 14). You’ve been on a roll in 2024.
DJ Matsunaga: Wow…
R-Shitei: That’s amazing. Both “Otonoke” and “Bling-Bang-Bang-Born” were written around the same time. We were working on the former when we had no idea that the latter would become such a hit. “Bling-Bang-Bang-Born” is a work we’re really proud of, but when we were making those songs, “Otonoke” was the one we felt the most confidence in. So when the year started and “Bling-Bang-Bang-Born” became pretty popular, I was like, “So people seem to like this a lot,” and “Well, we’re really proud of ‘Otonoke,’ too” when we released it. So I’m genuinely happy to see that people seem to accept “Otonoke” as well.
DJ Matsunaga: [The chart results are] too much of a blessing, so I don’t think it’s right to use it as a precedent…
R-Shitei: That’s true. It’s hard, isn’t it? Rankings can be both a source of encouragement and poison for artists.
DJ Matsunaga: For real.
R-Shitei: We’re happy and grateful, but don’t want to focus too much on that… Our goal isn’t to do well on the charts. It’s to keep updating our own definition of “good.” We’re making new songs with that in mind, too.
“How do you interpret chart rankings?” is a question we often ask various artists. In a recent interview, Ayase from YOASOBI said he’s now working with “a really fresh feeling” after becoming the No. 1 Artist of the Year on Billboard Japan’s Artist 100 ranking in 2023 with “Idol,” because a weight has been lifted from his shoulders.
R-Shitei and DJ Matsunaga: What?!
DJ Matsunaga: The way he approaches music is completely different. When I first started out, it felt like the notion of making enough money to get by by doing hip-hop was just a pipe dream, so being able to make a living from hip-hop and quitting my part-time job was a huge weight off my shoulders. (Laughs.) Like, I don’t have to be chasing my dream while working part-time in my 30s, you know?
R-Shitei: That’s normal, and I’d still like it regardless, so I was vaguely thinking that I’d be doing hip-hop [like that in my 30s] when I first got started.
DJ Matsunaga: Yeah, we have proper respect for those who keep at it while working part-time jobs in their 30s.
R-Shitei: When I was able to make a living doing music, I thought I was really lucky… Now when you look around, [many hip-hop artists in Japan] are making a living and there are even hit songs… all of this, including the fact that hip-hop is so popular in Japan, makes me really happy.
DJ Matsunaga: I really agree.
R-Shitei: We never planned to make songs that would be listened to around the world. It’s really just about expressing what we want to get out and releasing the pent-up [feelings] we’ve been holding in, basically.
Tell us a bit more about “Otonoke.” How did you go about making it?
R-Shitei: Usually, I get the beat from Matsunaga and add my rap to it, but this time, because we made it around the same time as “Bling-Bang-Bang-Born,” I was like, “I’ll go to a completely different place by extension of the same mindset.” I was in a period where I wanted to make songs using a fundamental rhythm as the key, rather than language. And I thought that a non-verbal rhythm like “Bling-Bang-Bang-Born” would be good. It was going to be the theme song for [the anime series] Dandadan, so I thought I’d try making it by using “Dandadan” as the starting rhythm, and decided to use the same rhyme as “Dandadan Dandadan” [in the intro] for the verse. I recorded something like scat that wasn’t really a language, sent it to Matsunaga and had him flesh out the track.
I see! So the rhyme came first.
R-Shitei: Right. So the sound that was going “Dandadan Dandadan” a cappella became more and more like language, and then it became a slightly slower melody, and then a more bouncy melody, and so on. The rhythm stays the same, but the flavor changes. I’d only imagined it as a straight line climbing up, but Matsunaga expanded it horizontally with the track. The scenery changes suddenly when you get to the bridge that goes “Haireta Haireta,” and it’s because he really opened it up there during the scat stage, adding that completely different development. And the lyrics changed to “Haireta” (“I’m in”) at that point. I thought, “This feels like I’ve ‘gone in.’ ” Like, if I were a “specter of sound (oto no ke),” a music monster, I’d probably enter people’s brains through their ears at the moment when the scenery changes suddenly. So, words also appear during our back-and-forth.
DJ Matsunaga: What was good about this time was that I had the a cappella version, where R had already gone the distance with the same rhymes and prosody, so I was able to add crazy development to the track. No matter how much I changed it, the rap maintains the same groove as it develops, so the song doesn’t fall apart at all. He’d given me that kind of guarantee first, so I was able to make bold developments that wouldn’t ordinarily have been possible. I mean, it’s possible to make [tracks like that] at any time, but it’s not easy to make something that works beautifully after it’s done, even if you intend to make it that way.
You appeared at festivals in the United States, South Korea and Taiwan this year. What was the response like?
R-Shitei: There were moments when I could tell people knew our songs and were responding to them, and that made me really happy. And of course I feel it when people are really grooving and partying. But I think we’re only starting to understand how people really feel about us.
DJ Matsunaga: The main reason is that we haven’t done any tours. We’ve only appeared in events so far. Each country is completely different, and the audience in each country is also completely different, so it’s not like we can compare them…
R-Shitei: We don’t have enough data yet inside ourselves, right?
DJ Matsunaga: It feels like we’re still at the entry level. Even if we were talking about Japan, festivals that you’re invited to perform in are irregular spaces.
R-Shitei: Yeah.
DJ Matsunaga: So we can only get a real feel for it by doing our own tours while performing in those invited events, then adding up and dividing them.
What is your vision for the future?
R-Shitei: To make things feel good to me from the end of this year and on to the next, I need to focus on the things that are right in front of me… I’m in the middle of making an album, so my mind’s still on that. Rather than any kind of vision, I’m thinking about what I should do with the next bar or the next line, you know? I mean, just now…
DJ Matsunaga: Yeah, we were talking about it for a long time just now [before the interview].
R-Shitei: Yeah! We were coming up with themes and ideas nonstop, so I guess that’s the biggest thing occupying my mind right now. That’s exactly my vision for the future.
DJ Matsunaga: Me too. Ninety percent of my private life is like that. (Laughs.)
R-Shitei: Also, my way of thinking might have reverted to the way it was before. While the content of our songs has evolved a lot and we’ve grown from around 2013 to 2014 when Creepy Nuts began, it’s like… I can’t find the right words to describe it. But if you listen to the album, you might understand.
DJ Matsunaga: It’s like we’ve gone back a decade. We’ll lose our social position.
Lose your what?
R-Shitei: (Laughs.)
DJ Matsunaga: Our social position will go down. (Laughs.) I mean, when you do work and stand in front of people and appear in the media and advertising… When you branch out from just making music and become involved with people in companies, you inevitably have to take on social responsibilities. Now that we’ve returned to a lifestyle focusing on music, it feels like the irresponsibleness that I had before is back.
R-Shitei: If the stages in our career had continued to visibly rise in an easy-to-understand way like from 2020 to 2022, and we’d kept busy, constantly appearing in the media and so on, I probably would have felt that I should only say proper things. I might have just ended up trying to say good things in my songs. But we stopped doing that and just focused on the music and our expression and the things we like. As a result, I figured I might be able to express the bad and ugly parts of myself in an irresponsible way, which is something I used to think about when I first started rapping. Because the thing that makes hip-hop interesting to me is how it allows you to express the dirty stuff in its raw form.
DJ Matsunaga: That’s true. Express bad stuff like it is.
R-Shitei: As a listener you go, “Dude shouldn’t be saying that!” but the way it’s so bad and crazy makes it exciting as hip-hop. And then there’s “Dude says some good stuff once in a while, doesn’t he?” (Laughs.) So it’s a balance. It’s hard to express succinctly, but we’ve evolved in certain ways while still being like, “No way, we’re no good at all to begin with as human beings.” It’s about being able to go, “So what?” and expressing that as well next time.
DJ Matsunaga: It feels like we’ve regained the courage to do that.
R-Shitei: Feels like we got it back, doesn’t it?
DJ Matsunaga: That’s so true! We got it back and somehow… I’ve found a balance. It’s more natural and I actually feel more level-headed now.
Up next for the Global No. 1s series, Creepy Nuts joins Japan as their No. 1. The duo shares how “Bling-Bang-Bang-Born” took over the charts, what 2025 has in store and more! Billboard is launching its inaugural Global No. 1s series, an initiative to spotlight top-charting artists from around the world. Billboard has partnered with […]
Chiquis goes Behind the Photo and opens up about mom Jenni Rivera, creating the music video for her single “No Te Quiero Quemar,” and more. Chiquis:Hello, how are you? I’m Chiquis and we’re going to be Behind the Photo with Billboard. Photo No. 1: This special day, so beautiful, was one day after my birthday, […]