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Summer Walker surprised fans on Wednesday (Nov. 19) with the release of two Finally Over It deluxe editions, featuring some brand new songs and others that never found their way onto streaming services before.
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The Finally Over It (Cocktail Hour) edition arrives as an iTunes download exclusive, with the fan-favorite Sessions series receiving another installment with “Sessions 34” and a live performance of “Session 32” from the Breezy Bowl Las Vegas stop. Summer also takes fans inside the creative process for “Go Girl,” which features Latto and Doja Cat.
As for Finally Over It (The After Party), this edition is live on streaming services with tracks such as “Take Me Out This Club” and “Drown in My Love,” which were previously exclusive to vinyl. There’s also a solo version of “1-800-Heartbreak” appearing on disc three.
“Take Me Out This Club, Drown In My Love and 1-800 Heartbreak (Solo) are live on ALL STREAMING PLATFORMS. Finally Over It (The AfterParty) deluxe. I heard you,” the R&B singer wrote to IG.
Finally Over It serves as the finale of Summer Walker’s decorated trilogy. The third installment arrived on Friday (Nov. 14) with a star-studded features list that includes Latto, Doja Cat, Mariah the Scientist, Chris Brown, Anderson .Paak, Bryson Tiller, SAILORR, Brent Faiyaz, 21 Savage, GloRilla, Sexyy Red, Teddy Swims and Monaleo.
Earlier this week, Summer joined The Terrell Show where she explained her Anna Nicole Smith-inspired cover art, which features Walker in a white wedding gown. It’s a callback to Smith’s 1994 wedding, where she married J. Howard Marshall, a then-89-year-old billionaire.
“I love her. She’s hot. She’s sexy. She’s fun and free,” Walker gushed. “And I want that to be me … People come up with s—t for creative direction, but I really want to get into that. I got to find my old billionaire!”
Stream Finally Over It (The Afterparty) below.
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The rest of the world spent the past decade getting acquainted with Ariana Grande‘s innumerable talents, but I Love LA actor Josh Hutcherson was tapped in with the Wicked star’s golden pipes during her Victorious days.
During a stop at The Tonight Show Starring Jimmy Fallon on (Nov. 18), Hutcherson recounted befriending Grande during their teen years, and her steadfast commitment to pursuing a singing career.
“When I was 15-17, I was friends with a bunch of the cast of Victorious,” he explained to Fallon. “I met Ariana multiple times in that day and age. She, one day, told me, ‘I’m a really good singer.’ I was like, ‘I believe you.’ Then she was like, ‘No, I can do the Mariah Carey, like, whistle sing.’ I was like, ‘Really?’ [And she said], ‘Yeah, watch!’ It was like a whole dolphin-voice-sounding thing. I was like, ‘You’re really good!’ She’s like, ‘I’m gonna be a singer too.’ Cut to [present-day] Ariana Grande … she was right!”
Grande starred as Cat Valentine for all four seasons of Victorious from 2010 to 2013. The following year, she reprised her role in Sam & Cat, a spinoff that lasted just one season and aired in the interim between her debut and sophomore studio albums. Of course, Grande quickly transitioned into a pop career that’s earned her nine Billboard Hot 100 chart-toppers, six Billboard 200 No. 1 albums, and two Grammy wins. Last year, Billboard crowned her the No. 9 Greatest Pop Star of the 21st Century, and, this year, she was named the No. 12 Top Songwriter of the 21st Century on the Hot 100.
Grande’s famous pipes have also resulted in two official collaborations with Carey: 2020’s “Oh Santa!” remix (with Jennifer Hudson) and 2024’s “Yes, And?” remix. At September’s MTV Video Music Awards, Grande delivered a heartfelt speech while presenting Carey with the Michael Jackson Video Vanguard Award — before winning three Moonpeople of her own that very night.
Last year, Grande made her grand, formal return to the silver screen in Wicked, for which she earned an Academy Award nomination for best actress in a supporting role. The “We Can’t Be Friends” singer will reprise her role in Wicked: For Good, which hits theaters on Friday (Nov. 21), and is expected to follow in the box office-conquering, award-winning footsteps of its prequel.
Watch Josh Hutcherson reminisce on befriending Ariana Grande below.
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Beto Montenegro explains how the Caribbean mindset has shaped Rawayana’s eighth album.
Beto Montenegro: I think it’s about enjoying it, I don’t know. That speech was written that morning, so no, no, no, you don’t plan that much either. I feel very happy. I think it’s one of those songs, one of those special ones, right? That raise and do things, right? And influence in society and generate interesting debates. And today it’s recognized at the Latin Grammys. We didn’t expect it much. So, yes, like here processing the surprise, you know? How nice.
Interviewer: How would you say, now that we were talking, what was Rawayana’s process?
I think Rawayana’s process has been a … it’s been a very, very, very beautiful and very worked-on process, right? And of short steps, right? And of resistance, a lot of resistance, right? It wasn’t so much about speed.
Today I feel a little bit exposed, because there are many things that, from the beginning, were public, right? I haven’t been an artist who curated a lot and released things carefully, but rather things came out, and everything we’ve done was always exposed to a group of people that each time got bigger. So, yes, it’s been a process quite transparent with respect to the public, you know? You can see all our mistakes and all the successes and everything — everything is on the web, right?
From the beginning until today, everything feels … I feel very solid in some way because we’ve completed all the processes to get to where we are now, right? From the beginning, the slang, right? It’s there. And then there’s kind of been a tendency toward that for a while now, and circumstantially we were already there, like, very much communicating in that way.
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Cody Johnson debuts at No. 2 on Billboard’s Hot Country Songs chart (dated Nov. 22) with a take on The Chicks’ “Travelin’ Soldier.” The update starts with 11.9 million official U.S. streams, 1.3 million in radio audience and 5,000 sold Nov. 7-13, according to Luminate.
It’s Johnson’s highest entrance on the survey, where he’s collected four top 10s, with his first, “’Til You Can’t,” having ruled for nine weeks in 2022. The new “Travelin’ Soldier” also launches atop both Country Streaming Songs and Country Digital Song Sales, becoming his second and fourth No. 1, respectively.
Written and first recorded by Bruce Robison, “Travelin’ Soldier” has been a staple in Johnson’s live set in recent years. He previously issued a stripped-down version during a 2020 livestream and continued fan demand led to the new studio recording, released Nov. 7 ahead of Veterans Day on Nov. 11.
The song carries a notable chart legacy. The Chicks’ rendition topped Hot Country Songs for a week in March 2003, marking the group’s sixth and most recent No. 1. It reigned days after the trio drew intense backlash following Natalie Maines’ criticism of then-U.S. president George W. Bush — a flashpoint that reshaped the group’s relationship with country radio and has been widely chronicled in the decades since.
Ballerini Strolls In
Kelsea Ballerini opens at No. 37 on Hot Country Songs with “I Sit in Parks” (2.9 million streams, 1,000 sold). The track appears on her six-song EP, Mt. Pleasant, released Nov. 14. She’ll perform Wednesday (Nov. 19) at the 59th Annual CMA Awards, airing on ABC, and is nominated for female vocalist of the year.
Meanwhile, Johnson, recovering from surgery to repair a ruptured eardrum, will sit out the telecast. Still, he enters the night as one of its leading contenders, earning four nominations, including entertainer and male vocalist of the year.
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Doja Cat pounces to No. 1 on Billboard’s Rhythmic Airplay chart with “Jealous Type,” which jumps from No. 4 to rule the list dated Nov. 22. The single gives Doja Cat a 12th leader on the radio ranking, tying her with Beyoncé and Nicki Minaj for the second-most champs among all women since the chart launched in October 1992. The trio trail only Rihanna, who owns 17 No. 1s, among female artists.
“Jealous Type,” released and promoted through Kemosabe/RCA Records, reigns as the most played song on panel-contributing rhythmic radio stations for the tracking week of Nov. 7-13, according to Luminate. The single added 13% more plays in the week compared with the prior frame (Oct. 31 – Nov. 6). As “Jealous Type” takes the summit, it ousts the previous champ, Cardi B’s “Safe,” featuring Kehlani, after two weeks in charge. “Safe” slides to No. 3, dropping 18% in plays for the week.
With “Jealous Type” the envy of its competition, here’s a review of Doja Cat’s 12 No. 1s on Rhythmic Airplay.
Song Title, Artist (if other than Doja Cat), Weeks at No. 1, Date Reached No. 1
“Say So,” three, April 18, 2020
“Best Friend,” Saweetie feat. Doja Cat; one, April 10, 2021
“Kiss Me More,” feat. SZA; two, June 26, 2021
“You Right,” with The Weeknd; four, Aug. 28, 2021
“Need to Know,” five, Nov. 6, 2021
“Woman,” five, March 26, 2022
“Freaky Deaky,” with Tyga; one, May 14, 2022
“I Like You (A Happier Song),” Post Malone feat. Doja Cat; four, Aug. 13, 2022
“Vegas,” one, Nov. 19, 2022
“Paint the Town Red,” seven, Oct. 7, 2023
“Agora Hills,” two, Dec. 23, 2023
“Jealous Type,” one (to date), Nov. 22, 2025
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Thanks to the “Jealous Type” triumph, Doja Cat becomes the 10th artist to claim at least a dozen No. 1s on Rhythmic Airplay. As mentioned, she ties Beyoncé and Nicki Minaj for the second-best total among women, with only Rihanna’s 17 above in that category. Drake, with 43 No. 1s, leads all artists.
Elsewhere, “Jealous Type” holds at its No. 9 peak on Pop Airplay for a third consecutive week, though it improved 3% in spins for the tracking period.
“Jealous Type” is the lead single from Doja Cat’s latest studio album, Vie. The set, released in September, debuted at No. 4 on the Billboard 200 albums chart.
Trending on Billboard Travis Kelce and Jason Kelce‘s New Heights podcast just reached, well, new heights, and it’s all thanks to Taylor Swift. On the latest episode, which was posted Wednesday (Nov. 19), the retired Philadelphia Eagles center announced to their audience that the pop superstar’s cameo on the show in August earned them a […]
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There’s a reason that New York University is a perennial honoree on Billboard’s Top Music Business Schools list each year: There aren’t too many universities where students can sit down for an exclusive Q&A with industry behemoth Clive Davis and 21st century hitmaker Mark Ronson on a casual Tuesday night to hear insightful, revealing stories about everyone from Aretha Franklin to Adele.
On Tuesday (Nov. 18) night in Manhattan, a couple hundred industry power players, artists, educators and students at NYU’s Tisch School of the Arts/Clive Davis Institute of Recorded Music sat down to watch an unreleased film (a visual mixtape, really) spanning Davis’ legendary career, a run that saw him boost everyone from Billy Joel to Aerosmith to Patti Smith to Whitney Houston to TLC to Brooks & Dunn to the top. Do You Remember? — first screened at Davis’ 90th birthday and produced by Ronson, Erich Bergen and DJ Earworm — was followed by a Q&A between Davis and Ronson moderated by Anthony DeCurtis.
Both Davis and Ronson have written acclaimed memoirs about their very different careers (Ronson’s book, Night People: How to Be a DJ in ’90s New York City, came out just this year), but much of the discussion covered territory that was brand new or vaguely familiar to the student body in the audience. “Just hit after hit after hit!” exclaimed one astonished student after the screening. “So many different eras.”
What’s fascinating about Davis isn’t just that he was “The Man With the Golden Ear,” but the fact that he refused to do one genre at a time, working with Barry Manilow while also helping Earth, Wind & Fire, or giving the Grateful Dead a late-career win around the same time he was working with golden-age rap group Whodini and sax juggernaut Kenny G.
Guided by DeCurtis (who assisted Davis’ memoir, The Soundtrack of My Life), Davis regaled the crowd with stories about Aretha Franklin’s four bodyguards eating their way up to a massive bill at three-Michelin star Manhattan restaurant Le Bernardin and John Lennon explaining why he didn’t need to listen to the radio to make music: “Do you think Picasso goes to the galleries to see what’s being painted?“ (Lennon, incidentally, had this to say when Davis introduced himself in a diner: “I read Billboard. I know who you are.”)
Ronson also shared some wisdom with the crowd of aspirants, telling students that he only broke through (with Amy Winehouse, incidentally) when he stopped chasing trends and focused on making music he loved — and that sometimes you have to eat crow at a songwriting session and admit that someone else’s idea is better.
Whitney Houston, who was discovered and signed by Davis and remained a lifelong friend until her passing in 2012, was naturally touched upon, though Davis refused to answer the loaded question “Aretha or Whitney” when it reared its head. He did, however, share that at one point, Houston wondered if she should start cowriting her own material, given that Madonna and Janet Jackson did so. His response? If you’re going to do it, the standard to reach is “The Greatest Love of All” (a three-week No. 1 on the Billboard Hot 100 in 1986). Davis said that after that exchange, she never brought up the idea again.
Though both men have enjoyed very different careers, that story tips to a through line in the Q&A — whether you’re a singer, a songwriter or an executive, you need to know when it’s time to put your foot down and when it’s time to take the L. Because as both Davis and Ronson have demonstrated over the course of their lengthy careers, you can suffer defeat and still emerge victorious when the dust has settled.
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Warner Music Group (WMG) has reached a “landmark” licensing deal with Udio as part of a settlement to resolve the label’s lawsuit against the artificial intelligence music company.
The deal comes weeks after Universal Music Group signed a similar agreement with Udio, under which the AI firm said it would relaunch its platform next year as a more limited subscription service that pays for music rights and gives artists the right to opt out.
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Warner’s agreement will follow the same basic framework — with Udio paying a compensatory settlement to resolve Warner’s claims of past copyright infringement, and a licensing deal to allow the company to use the label’s music in the future.
“We’re unwaveringly committed to the protection of the rights of our artists and songwriters, and Udio has taken meaningful steps to ensure that the music on its service will be authorized and licensed,” WMG CEO Robert Kyncl said in a statement. “This collaboration aligns with our broader efforts to responsibly unlock AI’s potential — fueling new creative and commercial possibilities while continuing to deliver innovative experiences for fans.”
Andrew Sanchez, co-founder and CEO of Udio, said the Warner deal “marks a significant milestone in our mission to redefine how AI and the music industry evolve together.” The revamped Udio will let users make remixes, covers and new songs using the voices of artists that opt in, the companies said.
“This partnership is a crucial step towards realizing a future in which technology amplifies creativity and unlocks new opportunities for artists and songwriters,” Sanchez said, adding that it would “enable experiences where fans can create alongside their favorite artists” but in an environment where artists have “control.”
UMG, Sony Music and WMG teamed up last year to sue both Udio and Suno — the other leading AI music firm — for allegedly “trampling the rights of copyright owners” by exploiting vast numbers of songs to train its models. The cases are part of a trillion-dollar legal battle over whether AI firms can use copyrighted works like books, movies and songs to create platforms that spit out new ones.
Wednesday’s deal will not impact the separate case against Suno, which has pulled ahead of Udio as the market-leading AI music platform and has scored key wins like the success of AI-powered artists like Xania Monet. Suno announced on Wednesday that it had raised $250 million in a deal that values the company at $2.45 billion. A rep for Suno did not return a request for comment.
The Suno case will continue forward, as will Sony’s claims against Udio. But the deal certainly lends momentum for Udio to strike a deal with Sony, as the licensed AI music platform is not an exclusive partnership with either WMG or UMG. A rep for Sony did not immediately return a request for comment.
The planned Udio 2.0 will be substantially different than the current services offered by Udio and Suno, which allow users to generate entire songs based on a text prompt. The new service will be a “walled garden” in which users can experiment with AI and listen to the results, but they cannot download or share songs outside the service. It will also not feature the music or voice of any artists who opt out, a potentially large group of excluded songs in a world where artists are leery of AI.
In Wednesday’s announcement, Warner and Udio called those changes a “significant evolution” that was “shifting the company’s focus to a platform built in collaboration with artists and songwriters.” They said the “reimagined” service would only apply to choose to participate, and it would feature “expanded protections and other measures designed to safeguard the rights of artists and songwriters.”
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Robert Irwin is just three routines away from being the second member of his family to hoist the Len Goodman Mirrorball Trophy. The conservationist who has wowed the crowds every week on season 34 of Dancing With the Stars did it again on Tuesday night’s (Nov. 18) Prince-themed episode, when he and partner Witney Carson landed one perfect score and one near-perfect rating for their flawless routines.
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The couple danced a jive to Prince & the Revolution’s “Baby I’m a Star,” which kicked off with Irwin leaping off the judge’s table in perfect time to one of the late pop icon’s high-pitched squeals, then sliding on his knees toward Carson and doing a gravity-defying stand-up move from a prone, flat-on-the-floor position.
From there, the couple pulled off fancy footwork, spins and acrobatic moves that would have made the Rock and Roll Hall of Famer proud, including a tricky maneuver where Carson flipped Irwin over her back, earning them a perfect score of 30.
Their sensual routine to Prince and 3RDEYEGIRL’s “WOW” found the pair dressed in leather, sheer tops and iridescent purple for a stunning Viennese Waltz in which they swooned around the floor, their bodies moving in time as one. It ended with Irwin spinning Carson in circles as she hovered just inches above the floor before he let go and slid on his knees to meet her for a final, sensual embrace.
Irwin’s younger sister, Bindi Irwin, won season 21 of DWTS in 2015.
The night also featured the first drop-in from Zac Efron (The Iron Claw), who showed up to support younger brother Dylan Efron (The Traitors), who made it through to the finale with a tango to Prince’s “I Would Die 4 U” and a second dance to “Kiss,” which earned Efron and professional partner Daniella Karagach a 28 out of 30.
And, because that’s how these things go, someone had to have their dance card punched for the final time. Despite getting the third-highest score of the night for their cha cha to “1999” and a waltz to “Slow Love,” MomTok and Secret Lives of Mormon Wives star Whitney Leavitt and partner Mark Ballas were sent home in what the internet deemed a “shocking” elimination.
The three-hour, three-round season 34 finale (Nov. 25) will feature influencer Alix Earle with partner Val Chmerkovskiy, Efron and Karagach, Irwin and Carson, gymnast Jordan Chiles and Ezra Sosa and Parent Trap actress Elaine Hendrix with Alan Bersten; the show will air on ABC at 8 p.m. ET.
Watch Irwin’s Dancing With the Stars routine to Prince’s “WOW” and “Baby I’m a Star” below:
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Vivica A. Fox joined Sherri on Tuesday (Nov. 18), where she opened about how she can’t forget about 50 Cent, her ex of 20-plus years.
Fox went viral earlier in November for her comments from a Women’s Expo advising others not to date 50 Centand rappers altogether, but she is now clarifying her stance.
“I didn’t say you couldn’t play with them,” she told host Sherri Shepherd. “You acted like I was on the picket line. Every time somebody ask me something, ‘Don’t date 50 Cent.’ That was not it. What happened is I said, ‘Vivica, if you could tell your 17-year-old self anything.’ That was me, like, I wish I knew not to go public so fast, not to have it out there, not to have the breakup that’s lasted 22 years.”
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Fox enjoyed that 50 had fun with his comedic response to her comments, which saw him post an AI-generated photo of himself as The Matrix‘s Morpheus holding out a red and blue pill.
“Either way I’m a have that a– in the matrix,” he wrote in a since-deleted post captured by Complex. “You know I love me some you, girl. But damn it’s been 22 years Vivica.”
Fox and 50 Cent dated in 2003 and broke up in the same year. They’ve been on-and-off publicly feuding in the decades since.
However, they’re on cordial terms these days, and Fox says she’ll always hold a “special place” for 50 and pointed to their excellent sex life. “You know you got that one that you always got that one that you always got a little special place for, but we are in a good place, and I’ll take the blue pill. Oh my goodness,” she revealed. “Remember the time!”
50 got wind of Fox’s comments on Tuesday and responded with an IG post resharing the Sherri clip. “What the fvck is going on here Shaniqua & Jane doe don’t act like that, and I had to pay them h–’s. LOL,” he wrote.
Watch the clip of Vivica A. Fox on Sherri below.
