Pop
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Justin Bieber had an uplifting message in an Instagram Story he posted on Thursday (Feb. 20) about growing up and taking responsibility. The 30-year-old singer shared the inspirational note in a post cued to John Mayer’s acoustic cover of Tom Petty’s “Free Fallin.’” Explore Explore See latest videos, charts and news See latest videos, charts […]
Canadian pop icon Chantal Kreviazuk sent a subtle, but unequivocal, message to Donald Trump on Thursday night (Feb. 20) with her tweak of the lyrics to the Canadian national anthem at the 4 Nations Face-Off championship game between the U.S. and Canada. “In true patriot love that none but us command,” she sang instead of the line, “true patriot love, in all of us command,” while performing “O Canada” before the game at Boston’s TD Garden; Canada won the thriller 3-2 in overtime.
In a lengthy Instagram post afterwards, Kreviazuk explained her motivation, writing, “i am sorry if my performance of our national anthem rubbed you the wrong way. if i was a little off pitch or if it wasn’t perfect in its tone. i am sorry if i messed up the french line i inserted to bring some balance to our nation’s history without losing those words ‘glorious and free’ in english,” she said.
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“i am sorry if you think that we’d be better off annexed. here is the thing. art to me is an expression of our truth. and in this very peculiar and potentially consequential moment i truly believe that we must stand up, use our voices and try to protect ourselves,” she added. “no – we should express our outrage in the face of any abuses of power. i was raised in part by music that was inspired by brave voices committed to peaceful conflict resolution. Canada , not unlike ukraine is a sovereign nation. period. we have a culture individual to others. we are united in our values. we care. we’re kind. We are strong.”
The post included a picture of the singer’s hand with the lyric “that only us command” written on it in mascara with emoji of a Canadian flag and a flexed muscle alongside.
Former Canadian First Lady Sophie Trudeau applauded Kreviazuk’s statement, writing in the comments: “You stand in the beauty of your art, your presence and your love of humanity. We need MORE like you!”
Canadian Prime Minister Justin Trudeau — who has repeatedly and unequivocally shut down Trump’s obsession with annexing Canada — sent a clear message about the American President’s imperialist fantasy after the game in an X post where he stated, “You can’t take our country — and you can’t take our game.”
In a statement to the Associated Press, Kreviazuk explained her protest action by saying she did it “because I believe in democracy, and a sovereign nation should not have to be defending itself against tyranny and fascism.” Trump reportedly called the U.S. team before the game to wish them well and posted on his social media site that he would be watching, with White House press secretary Karoline Leavitt saying that he would be “watching for the United States to win.”
She added, “and we look forward to the United States beating our soon-to-be-51st state, Canada.” Trump has referred to Trudeau as “Governor Trudeau” in press briefings, suggesting that a U.S. takeover of Canada is a realistic agenda item during what has been a shock-and-awe first month in office in which he has once again flouted democratic norms. Both Trudeau and Canadian Public Safety Minister David McGuinty have thrown cold water on the bizarre notion, with McGuinty telling reporters before the game that, “Canada is a sovereign and independent country. It has been for over 150 years and will remain so. This discussion of 51st state is a non-starter.”
Earlier in the tournament, the crowd at Montreal’s Bell Centre could be heard booing during the playing of the “Star-Spangled Banner,” in the first face-off between the U.S. and Canada. The unusually hostile action from our stereotypically polite neighbors to the north was another sign that they do not find anything funny about Trump’s repeated musings about incorporating their sovereign nation into the U.S.
Earlier this month, the New York Times reported that Trudeau said he did not think of Trump’s fantasies about incorporating Canada as a joke, but a serious threat as the American President continues apace with his attempts to disrupt what has for more than a century been one of the U.S.’s most stable, profitable international relationships.
“I suggest that not only does the Trump administration know how many critical minerals we have, but that may be even why they keep talking about absorbing us and making us the 51st state,” Trudeau told a group of business leaders in Toronto.
The White House appeared to lean into Trump’s imperial aspirations on Wednesday when it shared a fake TIME magazine cover altered to feature the President’s name with the caption “long live the king” alongside a picture of Trump wearing a crown. Since taking office, Trump has threatened to take over another sovereign nation, Greenland, as well as sparking serious concern in the Middle East with his musings about seizing the Gaza Strip and forcing out its Palestinian residents in order to turn the devastated territory into the “Riviera of the Middle East,” with no announced plan for where the region’s two million residents will live during or what he has described as a real estate make-over.
One way in which Trump has attempted to put pressure on Trudeau and Canada is by threatening to impose 25 percent tariffs on Canadian exports to the U.S., a one-sided strategy that economists say will result in higher prices for American consumers at a time when inflation is beginning to rise again. Though Trump had promised to lower prices on goods immediately upon taking office, he acknowledged this week in a Fox News interview that inflation is rising again after former President Biden brought the rate down from a disastrous 9.1% in June 2022 — the highest rate in 40 years — to just over 3% when he left office in January.
Just over one year ago, in Dec. 2023, Tate McRae released her celebrated second album, Think Later. The punchy pop project debuted at No. 4 on the Billboard 200 – and introduced fans to McRae’s alter ego: Tatiana. She said in her Billboard cover story at the time that Tatiana is her tour persona, and described her as being “ballsy, so loud and obnoxious.” Those traits came alive on Think Later, especially on breakthrough hit “Greedy,” which became McRae’s highest-charting Hot 100 hit, peaking at No. 3.
On So Close To What, McRae dives deeper into that charismatic cool-girl confidence. She previewed the album with a three-peat of hits: “It’s Ok I’m Ok,” which hit No. 20 on the Hot 100; “2 Hands,” which hit No. 41; and “Sports Car,” which has hit a peak of No. 21 so far. The 15-track set, which clocks in at just under 45 minutes, features just two guests: Flo Milli on “bloodonmyhands” and McRae’s boyfriend The Kid LAROI on “I Know Love.” McRae teamed back up with songwriter-producer Ryan Tedder for much of the album, alongside collaborators including Amy Allen, Julia Michaels and Blake Slatkin, among others.
Earlier this week, Spotify hosted an intimate listening party of So Close To What in Los Angeles. McRae was not only in attendance, but also spoke with her friend and social media personality Jake Shane about the album’s inspiration and challenges. “The album title encapsulates how I felt turning 21,” she shared, “feeling like you’re finally a woman while also wrestling with how the media portrays you.”
She also confessed that “Tatiana, my alter ego, wrote a lot of the songs on the album – including ‘Sports Car.’”
Come March, McRae will head out on her second world tour, named after this album’s lead track, “Miss Possessive.” The outing begins in Mexico City and includes dates across Europe and North America, wrapping in September.
Until you can catch McRae in your city, So Close To What is out now. Below, find Billboard’s ranking of the album’s 15 tracks.
“Purple Lace Bra”
Tate McRae‘s new musical era has arrived. The pop star dropped her highly anticipated third studio album, So Close to What, on Friday (Feb. 21). The project features previously released viral singles “It’s ok I’m ok,” “Sports Car” and “2 Hands,” as well as a collaboration with Flo Milli titled “Bloodonmyhands.” Additionally, the album features […]
JENNIE is continuing the roll-out of her debut solo album, Ruby, with another A-list collaboration. The BLACKPINK star teamed up with Grammy winner Doechii for the confident new single, “ExtraL,” which arrived on Friday (Feb. 21). Explore See latest videos, charts and news See latest videos, charts and news “Do my ladies run this?” the […]
Exactly three years after the death of Jane “Nightbirde” Marczewski, her music and legacy live on, with her family issuing the posthumous album Still Got Dreams on Thursday (Feb. 20).
Marczewski, who died of cancer at age 31 in 2022, rose to widespread fame in June of the previous year when she performed her original song “It’s OK” as part of the 16th season auditions for America’s Got Talent. The singer revealed during the audition that she had a 2% chance of survival from cancer that had spread to her lungs, spine and liver. The video garnered millions of views on YouTube and her performance warranted a standing ovation from all four judges.
She would exit the show just weeks later to focus on her ongoing cancer battle, with a virtual update in August seeing Judge Howie Mandel labeling her the “poster human for courage in the face of adversity.”
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Following her death in 2022, Marczewski’s family have continued to share her work, with a handful of singles arriving in recent months ahead of the release of her posthumous album, Still Got Dreams. The Geoff Duncan-produced release comprises tracks written by Marczewski, and interwoven with “nuggets of wisdom” from the late singer.
Singles such as “Gold,” the Konata Small-featuring “Empire,” and the record’s title track (which features uplifting vocals from the Mzansi Youth Choir) showcase the songwriting talent of Marczewski, while the lyrics offer a powerful insight into the singer’s enduring wisdom.
Notably, the songs featured on the album were unable to be recorded before Marczewski’s untimely death. Determined to bring her musical vision to life, the Nightbirde Estate, Nashville Unsigned and Duncan turned to the use of “ethical AI” vocal production to complete the project.
Per a press release, the team trained an AI voice model on her tone, style and emotional delivery to craft a 360-degree mapping of her voice, resulting in the late artist being given a chance to realize the music she was unable to record herself. The release also notes that only “specific pieces of AI vocal production” were utilized for the record, with the remainder of the project being “built entirely from the ground up” by Duncan.
The album also sees Marczewski’s estate positioned as the only artist estate to have used AI vocal production in a way that is legal, ethical and undertaken with full authorization.
All proceeds from the record (alongside Nightbirde’s art, books, merchandise and licensing) benefit the Nightbirde Foundation, which aims to uplift and support women battling breast cancer.
Being an innovator can often mean traveling a lonely road. Singer/songwriter Laufey knows that better than most. The 25-year-old Berklee College of Music grad who has spent the past four-plus years plumbing the tricky confluence of jazz, classical and pop is lauded as a Gen Z innovator in TIME magazine’s Women of the Year feature.
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Taking her place on this year’s list alongside the indefatigable Nicole Kidman, trans-rights activist Raquel Willis, Emmy-winning Shogun star Anna Sawai and abortion rights activist Amanda Zurawski, among others, the Reykjavík-born performer is hailed as the “only singer in the world who has their jazz scat solos sung back to them note-for-note by arenas filled with adoring fans.”
With a wide range of inspirations stretching from Schubert’s series of eight solo piano Impromptus to Ella Fitzgerald’s signature scatting and Taylor Swift-like pop bridges, the piece notes that Laufey is as comfortable playing heady pieces alongside symphony orchestras as she is making one of her signature lighthearted TikTok videos.
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“I used to think that was such a scary thing: that nobody had walked that trail before me,” she told the magazine during a break from recording her third album in New York. “But I now realize that when you’re the one determining which steps to take next and which branches to pull to the side, that’s when you know you have something good on your hands.”
The songs on her romantic 2022 debut, Everything I Know About Love, and it’s 2023 follow-up, Bewitched, are comprised of mostly original lovesick ballads inspired by what she calls her “bible,” the Great American Songbook. “I want people to enjoy the music without feeling like they have to be super educated on its history,” said the singer who learned to play classical piano and cello as a child. “Like any other kind of music, it can be something that lifts you up or accompanies you on a sad day.”
And though she rose to prominence in 2020 during the COVID-19 pandemic by posting videos of herself singing some of those midcentury standards, Laufey decided to take a right turn from honing her chops on the jazz circuit performing already-established favorites in favor of writing original songs TIME described as “in the style of those old standards, but imbued with modern slang and conveying big, relatable feelings.”
That unique mix of beloved old reliables and TikTok videos in which she models outfits and lip synchs to Sabrina Carpenter songs — as well as having her dance moves ported into Fortnite — has led to fast friendships with fellow twentysomething pop starlets such as Olivia Rodrigo and Beabadoobee. “There are a lot of young women who connect with each other — and me — through this feeling of being the outcast,” she said.
The one-of-a-kind mash-up has already paid off in a major way, with Laufey taking home her first Grammy last year for best traditional pop vocal album for Bewitched. Not willing to be a media-appointed “savior of jazz,” though, Laufey said her upcoming as-yet-untitled album will be more “daring” and feature a more diverse mixing of genres.
“I want to see if I can keep the integrity of my music but also allow myself to try out a bit of what modern technology allows,” she said, seemingly unbothered by critics, and fans, who are sometimes eager to ding her for wanting to stray from her perceived lane. “The fact that the jazz and classical worlds seem to struggle with the idea of an artist being both commercially successful and musically interesting — it breaks my heart a little. Why can’t I be both?”
LE SSERAFIM are artists, but also, in the new trailer for their upcoming fifth mini album, HOT, they are also quite literally pieces of art. The intriguing two-minute teaser for the EP that is due out on March 14 dropped on Thursday (Feb. 20) and it finds a gallery full of art lovers perusing an exhibition entitled “HOT, We’re hot on our own, 2025,” in which the quintet are frozen in a variety of poses while seated or standing on metallic platforms.
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Singers KIM CHAEWON, SAKURA, HUH YUNJIN, KAZUHA, and HONG EUNCHAE manage to hold their icy postures as a somber violin plays in the background, until their statue-like reverie is unexpectedly broken by an adorable grey cat with tiny wings. The sound of the kitty’s meowing sets off a handclap beat and a dilation of the women’s eyes, sneezing them to life as they appear to melt into the ground while a temperature gauge rises from cold to warm.
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A ghostly track bubbles up and the members come to life, interacting with a Marcel Duchamp-like off-the-shelf kitchen faucet titled “Purity is the Hottest,” which, when turned on and allowed to flow onto the floor, electrocutes the feline, transforming the sterile space into a throbbing nightclub.
From crawling through fur-lined tunnels to walking on a giant hamster wheel, the women are awakened as a voiceover intones “a single flame was born” in Korean while they and the gallery patrons expertly catwalk their way through the space. “The flame engulfed the silence, splitting apart the dark” a voice reveals in English, further advancing the fiery narrative with the cryptic phrase: “Drawn to the wavering beauty, the flame believed that the reason for its existence was to burn ever brighter.”
With the temperature quickly rising to “hot,” the liquid from the sink turns into a fiery flame and the once-again-frozen women are blown away like dust by an unseen wind, only to rise again from the ashes like phoenixes.
HOT is the follow-up to the group’s 2024 fourth mini-album, CRAZY.
Watch the HOT trailer below.
This Valentine’s Day, Drake released his first new album since before his 2024 feud with Kendrick Lamar changed everything about his career outlook and overall narrative — the PartyNextDoor full-length team-up $ome $exy $ongs 4 U. While the final verdict on the album and what it might (or might not) do for Drake’s overall trajectory […]
Lady Gaga has made a career of wearing the most outrageous, impractical and confounding costumes in pop history. But one outfit in particular has continued to top the list of her most cuckoo couture: the Franc Fernandez-designed meat dress she wore to the 2010 MTV VMAs.
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The cow costume accessorized with steak shoes and a shank chapeau blew minds at the time and continues to be one of her most iconic looks. But in a new lie detector test with Vanity Fair, Gaga was asked if she would ever wear the raw chuck couture — which was later preserved and turned into beef jerky — again.
“I don’t think so. No,” Gaga, 38, told the examiner, who informed the singer that her answer was “inconclusive.” Gaga seemed taken aback, responding, “Oh, well, that was a surprise.” She was also reminded that she asked Cher to hold her meat purse while accepting the video of the year award for “Bad Romance.”
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When the interviewer asked if that moment brought her closer to the fellow pop icon, Gaga said, “I think so. In the moment.”
Dressed in a lacy white outfit with peaked shoulders and a corset top, a serious-looking Gaga seemed nervous to take the test, admitting that she does not “have a good poker face,” which the examiner said caused the machine to detect “some deception.”
“So I do have a good poker face? Thank you,” she replied with a contented smile. In a timely query, Gaga was reminded that the video for her 2009 collab with Beyoncé, “Telephone,” says “to be continued” at the end, prompting a question about whether there will be a second part some day. “Yes,” Gaga said, though she admitted she didn’t know when it would be released, and, when presented with a picture of Beyoncé and asked if her fellow pop icon would be involved the second time, slyly saying “maybe.”
As for whether she’s ever answered the phone and said, “sorry, I can’t hear you, I’m kind of busy,” as she sings in the song, Mother Monster said, “I feel like I might have done that before, but maybe not,” fretting that she was saying both yes and no; the interviewer said either way she was being truthful.
Also, for the record, she still has that giant egg she arrived in at the 2011 Grammy Awards, which is stashed in her 40,000-square foot archive with her other famous costumes.
At press time it wasn’t clear if the second “Telephone” would be including on Gaga’s upcoming seventh studio album, Mayhem, which is slated to drop on March 7. Earlier this week, the singer revealed the full track list for the 14-track LP, which will feature the previously released singles “Die With a Smile,” “Abracadabra” and “Disease,” as well as “Garden of Eden,” “Perfect Celebrity,” “Zombieboy,” “Vanish Into You,” “LoveDrug,” “How Bad Do U Want Me,” “Don’t Call Tonight,” the Gesaffelstein-collab “Killah,” “Shadow of a Man,” “The Beast,” “Blade of Grass” and two bonus tracks, “Kill For Love” and “Can’t Stop the High.”
Watch Gaga take the VF lie detector test below (beef talk begins at 11:30 mark).
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