For the fourth straight week, the TikTok Billboard Top 50 chart has a new No. 1 — this time Yeah Yeah Yeahs’ “Maps,” which reigns on the Oct. 12-dated survey.
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Sept. 30-Oct. 6. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Maps” rules the chart in its second week on the list, following a No. 20 debut on the Oct. 5 tally. Its rise is attributed to a recent trend using the song wherein creators use a filter to remove their facial features and then have them cascade back down onto their face, often with uncanny results.
A previous, continuing trend that began in September also sets a sped-up version of “Maps” to a dance trend.
“Maps” peaked at No. 87 on the Billboard Hot 100 in 2004, and it appeared on the Yeah Yeah Yeahs’ debut album Fever to Tell in 2003. In the week ending Oct. 3, the song earned 1.5 million official U.S. streams, up 40%, according to Luminate.
“Maps” follows the reigns of Alphaville’s “Forever Young” (Oct. 5), BabyChiefDoit’s “Rollin’” (Sept. 28) and Surf Curse’s “Disco” (Sept. 21), which each ruled the TikTok Billboard Top 50 for one week.
NLE Choppa and 41’s “Or What” lifts one spot to rank at No. 2 on the Oct. 12 survey, followed by Alphaville’s “Forever Young,” which drops 1-3. “Or What” is mostly driven by lip-synching uploads to the 2024 song (it was released a month ago on Sept. 6), with the tune concurrently leaping 79% in official U.S. streams to 5.7 million in the week ending Oct. 3, begetting its No. 91 debut on the latest Hot 100.
The latest TikTok Billboard Top 50 is the first chart of the year to incorporate October data, and that can only mean one thing: the return of Girl in Red’s “We Fell in Love in October.” The song re-enters at No. 4, a new peak, after rising as high as No. 5 last October. The song trends on TikTok, as well as other platforms, every year around this time, sans any sort of dominating trend other than the changing of the month.
The top debut of the week belongs to J. Cole, whose “She Knows,” featuring Amber Coffman and The Cults, bows at No. 7. The 11-year-old song (it was released as part of the rapper’s album Born Sinner in 2013) is largely being used in content about the arrest of Sean “Diddy” Combs and allegations that he was involved in the deaths of multiple musicians (honing in on the lyric “Only bad thing ‘bout a star is they burn up/ Rest in peace to Aaliyah/ Rest in peace to Left Eye/ Michael Jackson, I’ll see ya/ Just as soon as I die” (other videos also bring Beyoncé into the fold, alleging she was aware of Diddy’s alleged crimes).
“She Knows,” which peaked at No. 90 on the Hot 100 in 2014, sports a 133% jump in streams to 2.8 million in the week ending Oct. 3.
A pair of Milli Vanilli songs also debut on the TikTok Billboard Top 50: “Blame It on the Rain” and “Girl I’m Gonna Miss You,” which start at Nos. 34 and 37, respectively. The songs’ rise on the chart runs concurrent with the duo’s catalog gaining in streams after multiple tunes’ synchs in Netflix’s Monsters: The Lyle and Erik Menendez Story series, which was released on Sept. 19.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 16:07:542024-10-10 16:07:54Yeah Yeah Yeahs’ ‘Maps’ No. 1 on TikTok Billboard Top 50
After 25 years, Disturbed still can’t shake The Sickness. The hard rockers announced on Thursday (Oct. 10) that they will embark on a 34-date North American tour celebrating the 25th anniversary of their 2000 debut album, on which they’ll perform the entire LP and a second set of greatest hits each night.
The Live Nation-produced The Sickness 25th Anniversary Tour is slated to kick off in Nampa, ID on Feb. 25 and hit arenas in Denver, St. Louis, Minneapolis, Chicago, Detroit, Boston, Cincinnati, Philadelphia, Pittsburgh, Toronto, San Antonio, Seattle, San Francisco and Phoenix before winding down on May 17 at the MGM Grand Garden Arena in Las Vegas.
Three Days Grace and Sevendust will open the first half of the tour, with Daughtry and Nothing More doing the honors for the second half.
The Sickness, which topped out at No. 29 on the Billboard 200 album chart and was certified five-times platinum, featured such fan favorites as “Down With the Sickness,” “Stupify” and “Voices.”
Ticket sales will kick off with an artist presale beginning Oct. 15 at 10 a.m. local time; fans can pre-register here. Additional pre-sales will take place throughout the next week before a general onsale begins at 10 a.m. local time on Oct. 18. Additional European/UK dates will be announced soon.
Earlier this year, the David Draiman-led band’s churning cover of Simon & Garfunkel’s “The Sound of Silence” passed the one billion mark on YouTube, marking their first entry into the Billion Views Club.
Check out the dates for Disturbed’s The Sickness 25th Anniversary Tour below:
Feb. 25 — Nampa, ID @ Ford Idaho Center Arena* Feb. 27 — Denver, CO @ Ball Arena* March 2 — St. Louis, MO @ Enterprise Center* March 4 — Milwaukee, WI @ Fiserv Forum* March 6 — Minneapolis, MN @ Target Center* March 8 — Chicago, IL @ United Center* March 10 — Detroit, MI @ Little Caesars Arena* March 12 — Louisville, KY @ KFC Yum! Center* March 14 — Boston, MA @ TD Garden* March 17 — Washington, DC @ Capital One Arena* March 19 — Montreal, QC @ Centre Bell* March 21 — New York, NY @ Madison Square Garden* March 29 — Cincinnati, OH @ Heritage Bank Center^ March 31 — Cleveland, OH @ Rocket Mortgage FieldHouse^ April 2 — Philadelphia, PA @ Wells Fargo Center^ April 4 — Buffalo, NY @ KeyBank Center^ April 5 — Pittsburgh, PA @ PPG Paints Arena^ April 7 — Toronto, ON @ Scotiabank Arena^ April 9 — Indianapolis, IN @ Gainbridge Fieldhouse^ April 12 — Charlotte, NC @ Spectrum Center^ April 14 — Raleigh, NC @ Lenovo Center^ April 16 — Birmingham, AL @ Legacy Arena at The BJCC^ April 18 — Sunrise, FL @ Amerant Bank Arena^ April 23 — Duluth, GA @ Gas South Arena^ April 25 — San Antonio, TX @ Front Bank Center^ April 26 — Fort Worth, TX @ Dickies Arena^ April 28 — Oklahoma City, OK @ Paycom Center^ May 5 — Seattle, WA @ Climate Pledge Arena^ May 7 — Portland, OR @ Moda Center^ May 9 — Sacramento, CA @ Golden 1 Center^ May 10 — San Francisco, CA @ Chase Center^ May 13 — Inglewood, CA @ Kia Forum^ May 15 — Phoenix, AZ @ Footprint Center^ May 17 — Las Vegas, NV @ MGM Grand Garden Arena^
*with special guests Three Days Grace and opener Sevendust ^with special guests Daughtry and opener Nothing More
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 15:44:042024-10-10 15:44:04Disturbed Plot 2025 ‘The Sickness’ 25th Anniversary North American Tour
With the added perspective from watching how it all played out, Cole addressed bowing out of the beef on a new track titled “Port Antonio.” The Dreamville boss released the track via his Instagram account on Wednesday night (Oct. 9).
“I pulled the plug because I seen where that was ’bout to go/ They wanted blood, they wanted clicks to make they pockets grow/ They see this fire in my pen and think I’m dodging smoke/ I wouldn’t have lost a battle, dog, I woulda lost a bro/ I woulda gained a foe,” he raps.
Cole went on to show love to Drake, as he appreciated his “First Person Shooter” collaborator’s support while having enough of people trying to paint him taking a side. “They say I’m pickin’ sides, don’t you lie on me, my n—a to start another war/ Ay, Drake, you’ll always be my n—a/ I ain’t ashamed to say you did a lot for me, my n—a/ F–k all the narratives/ Tapping back into your magic pen is what’s imperative,” he rhymes.
With the jarring allegations made by both sides in the Drake and Kendrick feud, Cole believes they crossed lines that shouldn’t have been. “I understand the thirst of being first that made them both swing/ Protecting legacies, so lines got crossed, perhaps regrettably/ My friends went to war, I walked away with all they blood on me,” he continues in the track.
Instead of opting to feud, Jermaine explains his approach to rapping and pushing the culture forward rather than beating one another down. “Reminding these folks why we do it/ It’s not for beefing, it’s for speaking our thoughts/ Pushing ourselves, reaching the charts/ Reaching your minds, deep in your heart/ Screaming to find emotions to touch/ Somethin’ inside to open you up/ Help you cope with the rough times and s–t,” he finishes on the track.
Just a couple of days after releasing his “7 Minute Drill” Kendrick Lamar diss track, J. Cole immediately expressed regret for doing so while on stage at his Dreamville Fest in his home state of North Carolina back in April.
“I’m so proud of [Might Delete Later], except for one part. It’s one part of that s–t that makes me feel like, man that’s the lamest s–t I did in my f–king life, right? And I know this is not what a lot of people want to hear,” he told fans. “I was conflicted because, one, I know my heart and I know how I feel about my peers, these two n—as that I just been blessed to even stand beside in this game, let alone chase they greatness. So I felt conflicted ’cause I’m like, bruh I don’t even feel no way. But the world wanna see blood. I don’t know if y’all can feel that, but the world wanna see blood.”
He eventually removed “7 Minute Drill” from streaming services, and Cole’s side-stepping led to Lamar and Drake battling, which played out over the course of the next month into May.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 15:44:032024-10-10 15:44:03J. Cole Addresses Bowing Out of Kendrick Lamar Feud & Shows Love to Drake on New Song: Listen
Taylor Swift is one of the world’s richest and most powerful women, crossing over into billionaire territory in 2023 thanks to her blockbuster Eras Tour and record-selling Taylor’s Version releases. In fact, Billboardestimated in December 2023 that Swift earned nearly $2 billion that year through her music, tour and accompanying tour film and merch — before even accounting for additional revenue from things like synchs and sponsorships.
Now, the “Anti-Hero” singer definitely puts her hard-earned wealth to personal use. She’s spent hundreds of millions of dollars on properties in New York City, California, Nashville, Rhode Island and more. She frequently travels via private jet, reportedly owning not just one, but two Dassault Falcon aircrafts. And her much-studied sense of style is aided by pricey, oftentimes designer pieces.
But luckily for those who have crossed her path, Swift has also long been generous with her riches. Through the years, the pop superstar has supported various causes, donated to charities and struggling individuals alike, and showered her fans with lavish presents in a 2014 gift-giving extravaganza known by her fandom as “Swiftmas.”
She’s also been known to be generous with her time, whether it’s meeting fans after almost every show of her pre-Eras tours completely free of charge, or making surprise appearances at unsuspecting Swifties’ weddings, bridal showers or engagement parties. There have also been times where fans have opened their front doors to find the musician waiting outside, as well as days spent dropping in to cheer up patients at hospitals.
Keep reading to see some of Swift’s most notable acts of generosity below:
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 15:21:282024-10-10 15:21:28A Timeline of Taylor Swift’s Generosity
Spotify made its free tier available to listeners in South Korea on Wednesday (Oct. 9). When the streaming service launched in the country in 2021, it only made its subscription option available for music fans.
“We’re opening the door to every Korean listener to start discovering and connecting with millions of songs and podcasts with our technology and service,” Gautam Talwar, general manager, Asia Pacific, for Spotify, said in a statement. That “means huge potential for new audiences, discoverability and ultimately, more revenue for artists.”
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South Korea was the seventh largest music market in the world in 2022, according to the IFPI, trailing the U.S., Japan, the U.K., Germany, China, and France. “Countries such as China and South Korea have significant growth of fans paying for streaming,” Shridhar Subramaniam, Sony Music’s president of corporate strategy and market development, Asia & Middle East, told the IFPI. “The paid ecosystem is established, and now the challenge is to look at the value of music on streaming and social media platforms.”
Talwar said average monthly streams of South Korean artists on Spotify now exceed 5.8 billion. That is “over 70% growth since Spotify’s launch in South Korea three years ago — spanning across K-Pop to Hip-hop, Indie and more — with markets such as the United States, Indonesia, the Philippines, Japan, Mexico, Brazil, Thailand, India, South Korea and Taiwan among the top streamers.” Talwar added. “We are committed to growing and expanding artists’ reach worldwide and the launch of our Free offering in the market will add even more Korean listeners to that mix.”
Spotify added 7 million subscribers in the second quarter of 2024, exceeding its forecasts. It now has more than 626 million total monthly active users, and 246 million subscribers.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 15:21:272024-10-10 15:21:27Spotify Rolls Out Free Tier in South Korea
Iron Mountain Media and Archive Services, which provides physical and digital archiving for the media and entertainment businesses, has struck a partnership with ANALOGr Authentication to help artists preserve their cultural legacies, the companies tell Billboard. Through the collaboration, artists will have an end-to-end solution to protect their assets while monetizing and preserving them for future generations.
Iconic producers Jimmy Jam and Terry Lewis are the first musicians to have their assets valued under the partnership, from musical instruments to recording gear the duo used in their collaborations with such A-list artists as Michael Jackson, Janet Jackson, Mariah Carey, Luther Vandross, George Michael and Gwen Stefani. This marks the first time the Grammy-winning producers have properly archived, restored and preserved their assets.
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The services provided under the partnership include ANALOGr’s “research and documentation services to organize, authenticate and validate the provenance and value of artists’ physical assets” and Iron Mountain Media and Archive Services’ media preservation services, according to a press release. Iron Mountain additionally stores video documentation and digital images of artists’ assets on its Smart Vault digital media preservation platform.
The Jam and Lewis assets archived and preserved by Iron Mountain and ANALOGr include:
A Yamaha S400 piano, which the duo likely used to help create songs like “Again” by Janet Jackson and “4 Seasons of Loneliness” by Boyz II Men.
A Yamaha CP70B portable piano, which was used for songwriting and can also be heard on “Tender Love” by the Force MDs.
A LinnDrum LM-2 drum machine, most prominently used to create 90% of the drum sounds on Janet Jackson’s 1986 breakthrough album, Control.
A Roland TR-808 drum machine, used on “Just Be Good to Me” by The S.O.S. Band as well as songs by Janet Jackson, Boyz II Men and Mariah Carey.
“Partnering with ANALOGr, Jimmy Jam and Terry Lewis have helped us to pioneer an end-to-end solution that allows creators to be in the front seat of protecting their legacy,” said Greg Maratea, director of global client solutions for Iron Mountain Media and Archive Services, in a statement. “With the support of our proprietary technology Smart Vault, Iron Mountain’s highly secure digital media preservation platform, we’re breathing new life into legacy assets and shielding artists’ legacies by directly working with them to preserve what they find most valuable for generations to come.”
“At ANALOGr Authentication, our mission is to ensure that artists’ legacies are not only preserved but also elevated through comprehensive valuation and protection strategies,” added Thomas Scriven, CEO of ANALOGr. “Partnering with Iron Mountain and working with legends like Jimmy Jam and Terry Lewis allows us to pioneer a new way for creators to safeguard their cultural contributions and inspire future generations.”
Jam and Lewis also touted the partnership, noting that one of their “goals has been to future-proof our assets and understand their true value. So, when Iron Mountain Media and Archive Services introduced us to ANALOGr, we were excited to work with them. Now, our assets are properly covered by special insurance for their true value, and most importantly, our stories associated with our gear and memorabilia are forever secure. When the time comes to sell these items or pass them on to our heirs, we know the history is intact and truthful, and the value is there for the future.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 15:12:592024-10-10 15:12:59Iron Mountain Pairs With ANALOGr to Preserve Artists’ Cultural Legacies, With Jam & Lewis First On Board
Selena Gomez‘s Only Murders in the Building is always full of clues for murder-mystery lovers, but in a new episode, the show may have also had an Easter egg for Taylor Swift and Travis Kelce fans.
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Viewers were quick to spot a possible reference to the “Anti-Hero” singer in the Tuesday (Oct. 8) episode of the Emmy-winning Hulu show, which finds the Rare Beauty founder and costars Martin Short and Steve Martin visiting an eclectic doll-filled house owned by guest star Melissa McCarthy, who plays the sister of Martin’s character. At one point, Gomez’s Mabel sits down next to a life-size doll that bears a striking resemblance to Swift, complete with blonde hair and trim bangs.
Plus, the doll in question sports a jersey with the digits “87” on it, which also happens to be the “Karma” artist’s boyfriend’s Kansas City Chiefs number. Swift herself has also sported a number of “87” accessories in real life, too, with the 14-time Grammy winner often representing Kelce’s call sign on jackets, hats and cups when attending games at Arrowhead Stadium.
“wait guys taylor cameo in the new ep of only murders in the building??? and she’s wearing an 87 shirt omg help 😭😭” one fan wrote on X after the episode aired, sharing a clip of the scene.
Another viewer tweeted alongside a snapshot of the scene, “i was watching the new episode of only murders in the building and..IS THAT SUPPOSED TO BE TAYLOR?😭”
The new episodecomes a little over a month after Gomez addressed the possibility of a Swift cameo in Only Murders in an interview with E! News, during which the “Calm Down” artist said of her longtime bestie, “She’s a little busy, you guys.”
When the reporter suggested that Swift simply walk by on the street in an episode, Gomez said, “I love that.”
“Here’s how I unite Taylor Swift and Selena,” Martin jumped in at the time. “Taylor Swift handles everything perfectly and so does Selena. In the situations I’ve seen — politically, trolls, everything — she just seems to have a wisdom about how to do something quietly, effortlessly. And I know that you have to think about these things.”
See some of the fan reactions to the possible Swift-Kelce tribute in Only Murders below.
wait guys taylor cameo in the new ep of only murders in the building??? and she’s wearing an 87 shirt omg help 😭😭 pic.twitter.com/YFB6CPIq5W
this @OnlyMurdersHulu scene with Selena Gomez sitting next to a doll looking like Taylor Swift wearing an 87 jersey is hilarious- this whole series is so good.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 15:12:592024-10-10 15:12:59Here’s Why Fans Think Selena Gomez Snuck a Taylor Swift & Travis Kelce Easter Egg Into ‘Only Murders’
The top spot of the second iteration of the TouchTunes Frontline Chart is the same as its first: Shaboozey’s “A Bar Song (Tipsy)” reigns on the ranking for the third quarter of 2024.
The TouchTunes Frontline and Catalog charts for the third quarter of the year track the most played music on TouchTunes jukeboxes from July 1 to Sept. 30, with the Frontline ranking inclusive of music released in the last 18 months, followed by the Catalog tally for any music that was released more than 18 months ago. TouchTunes has jukeboxes in over 60,000 locations worldwide. TouchTunes data is not factored into other Billboard charts.
Much like the first charts, which covered the second quarter of 2024 (April 1-June 30), “A Bar Song” is not only No. 1 on the Frontline Chart — it was also the most played song on TouchTunes overall, besting all entries on the Catalog Chart.
Its continued reign is concurrent with the song’s ascension to No. 1 on the Billboard Hot 100 during the timeframe; its coronation occurred on the July 13-dated Hot 100, and it’s ruled for 13 weeks in all (including the most recent survey, dated Oct. 12).
The latest Frontline Chart represents the first full quarter of data for “A Bar Song”; Shaboozey released the song on April 12, 12 days into the second quarter of the year.
In quarter two, the second-most-played song on TouchTunes was, unlike “A Bar Song,” a much older release – Chris Stapleton’s “Tennessee Whiskey,” which reigned on the Catalog Chart. And while, yes, “Tennessee Whiskey” indeed remains atop the latest Catalog survey, it’s surpassed by another Frontline contender in Post Malone’s Morgan Wallen-featuring “I Had Some Help,” which lifts to No. 2 on the Frontline Chart after premiering at No. 3 in quarter two.
Like “A Bar Song,” the third quarter is also the first full tracking period of data for “I Had Some Help,” which was initially released May 10. The song preceded “A Bar Song” at No. 1 on the Hot 100, ruling for six weeks in all beginning in May.
With Stapleton’s “Tennessee Whiskey,” from his 2015 album Traveller, again leading the Catalog Chart and ranking as the third-most-played song overall, the country genre occupies the entire top three.
Teddy Swims’ “Lose Control” follows as the most-played non-country song, ranking at No. 3 on the Frontline Chart after appearing at No. 2 in the second quarter.
It’s one spot ahead of perhaps the biggest mover of the month (as well as the most-played hip-hop song): Kendrick Lamar’s “Not Like Us,” which leaps to No. 4. The Drake diss was released May 4, begetting an appearance at No. 18 on the inaugural Frontline Chart.
Wallen’s “Cowgirls,” featuring Ernest (No. 5), and Hozier’s “Too Sweet” (No. 7) are the two other new entries into the Frontline Chart’s top 10.
Meanwhile, the top three of the Catalog Chart remains intact, with the aforementioned “Tennessee Whiskey” followed by Toby Keith’s “I Love This Bar” and Garth Brooks’ “Friends in Low Places” at Nos. 2 and 3, respectively. Brooks & Dunn’s “Neon Moon,” a two-week No. 1 for the duo on Billboard’s Hot Country Songs chart in 1992, breaks into the top five, rising 6-4, and Wallen’s “Whiskey Glasses” (No. 8), Steve Earle’s “Copperhead Road” (No. 9) and Journey’s “Don’t Stop Believin’” (No. 10) reach the top 10 for the first time.
As for the top debut on either chart? Wallen again. “Lies Lies Lies” bows at No. 11 on the Frontline Chart following its July 5 release, followed by the Wallen-featuring “Whiskey Whiskey” by Moneybagg Yo at No. 12 after its June 14 premiere as part of the rapper’s album Speak Now.
Sure enough, Wallen boasts eight appearances across both rankings — six on Frontline and two on Catalog. He has double the entries of the next closest, Jelly Roll, who appears three times on Frontline and once on Catalog.
See both 25-position charts below.
TouchTunes Frontline Chart
1. “A Bar Song (Tipsy),” Shaboozey 2. “I Had Some Help,” Post Malone feat. Morgan Wallen (+1) 3. “Lose Control,” Teddy Swims (-1) 4. “Not Like Us,” Kendrick Lamar (+14) 5. “Cowgirls,” Morgan Wallen feat. ERNEST (+7) 6. “Last Night,” Morgan Wallen (-2) 7. “Too Sweet,” Hozier (+6) 8. “Fast Car,” Luke Combs (-3) 9. “Beautiful Things,” Benson Boone (-3) 10. “Save Me” Jelly Roll with Lainey Wilson (-2) 11. “Lies Lies Lies,” Morgan Wallen (debut) 12. “Whiskey Whiskey,” Moneybagg Yo feat. Morgan Wallen (debut 13. “Million Dollar Baby,” Tommy Richman (debut) 14. “Where the Wild Things Are,” Luke Combs (-4) 15. “White Horse,” Chris Stapleton (-4) 16. “Ain’t No Love in Oklahoma,” Luke Combs (debut) 17. “Pink Pony Club,” Chappell Roan (debut) 18. “Pour Me a Drink,” Post Malone feat. Blake Shelton (debut) 19. “I Am Not Okay,” Jelly Roll (debut) 20. “Houdini,” Eminem (debut) 21. “I Remember Everything,” Zach Bryan feat. Kacey Musgraves (-6) 22. “Lovin on Me,” Jack Harlow (-13) 23. “Wild Ones,” Jessie Murph with Jelly Roll (debut) 24. “You Proof,” Morgan Wallen (-7) 25. “Sweet Dreams,” Koe Wetzel (debut)
TouchTunes Catalog Chart
1. “Tennessee Whiskey,” Chris Stapleton 2. “I Love This Bar,” Toby Keith 3. “Friends in Low Places,” Garth Brooks 4. “Neon Moon,” Brooks & Dunn (+2) 5. “Son of a Sinner,” Jelly Roll (-1) 6. “Fat Bottomed Girls,” Queen (+1) 7. “Drinkin’ Problem,” Midland (+1) 8. “Whiskey Glasses,” Morgan Wallen (+5) 9. “Copperhead Road,” Steve Earle (+2) 10. “Don’t Stop Believin’,” Journey (+4) 11. “Something in the Orange,” Zach Bryan (+1) 12. “I Think I’ll Just Stay Here and Drink,” Merle Haggard (-3) 13. “Simple Man,” Lynyrd Skynyrd (+2) 14. “Rockstar,” Nickelback (+3) 15. “Family Tradition,” Hank Williams Jr. (+1) 16. “The Joker,” The Steve Miller Band (+2) 17. “Wasted on You,” Morgan Wallen (-7) 18. “Oklahoma Smokeshow,” Zach Bryan (+5) 19. “Thunderstruck,” AC/DC (+3) 20. “Brown Eyed Girl,” Van Morrison (-1) 21. “Should’ve Been a Cowboy,” Toby Keith 22. “Higher,” Creed (debut) 23. “Sweet Child o’ Mine,” Guns N’ Roses (+1) 24. “Truck Bed,” HARDY (-19) 25. “Bartender Song,” Rehab (debut)
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 15:12:562024-10-10 15:12:56Shaboozey’s ‘A Bar Song (Tipsy)’ Is No. 1 Again on TouchTunes Chart
Mariah Carey is definitely gearing up for the most wonderful time of the year. But, as she always cautions the Lambily, you can’t crank up Christmas when there’s still candy to be handed out and turkeys to fry. On Tuesday (Oct. 9) MC got the season started a bit early by unveiling the cover art for two of the four new physical versions of her holiday perennial “All I Want For Christmas Is You.”
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“While it is definitely not time to listen to Christmas music yet. I wanted to share a glimpse of #MerryChristmas30 with you!,” Carey wrote on X. “An homage to the original album cover, here is the cover art for two of the four new ‘All I Want For Christmas Is You’ physical singles…”
The cover of the 7″ vinyl single version features the singer in a red Santa-like jumpsuit, sitting in a pile of fake snow in front of a field of Christmas lights. A cassette single version finds Carey laughing while wearing a pearl white strapless gown and a matching furry wrap; both are available for pre-order now. Carey’s official web store also currently lists a 12″ vinyl version and a CD single, with a note that the cover art for both will be revealed “soon.”
Last week Carey took to Instagram for her annual “not yet” announcement via a video shot on her private jet with Her Hot 100 No. 1 holiday smash playing in the background. “This is your pilot speaking. Welcome onboard, Mariah. We are headed to the North Pole,” the plane’s captain says over the public address system before a vinyl scratch noise interrupts the holiday spirit.
“Not yet!” Carey pleads. “Sorry! They always rush me.”
In years past, Carey has waited until Halloween ends for her annual “it’s time” post kicking off “All I Want” season. The beloved 1994 song hit No. 1 on the Billboard Hot 100 songs chart for the first time in 2019 and has since ranked as the most popular holiday song of all time on the Billboard Holiday 100.
Carey will embark on her annual Christmas tour with a 20-date run that will kick off on Nov. 6 in Highland, CA before hitting Los Angeles, Atlanta, D.C., Boston and more before wrapping up at Barclay’s Center in New York on Dec. 17. The tour promises to be Carey’s “grandest spectacle to date,” as it will celebrate the 30th anniversary of her 1995 Merry Christmas album, which peaked at No. 3 on the Billboard 200.
Check out the cover art reveal below.
While it is definitely not time to listen to Christmas music yet ‼️ I wanted to share a glimpse of #MerryChristmas30 🎄with you! An homage to the original album cover, here is the cover art for two of the four new “All I Want For Christmas Is You” physical singles… available… pic.twitter.com/BCG4gJ3jEv
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 14:31:082024-10-10 14:31:08Mariah Carey Unwraps Cover Art For Two New ‘All I Want For Christmas’ Physical Singles
On a densely landscaped block in Miami, a stone’s throw from the Biscayne Bay coastline, a canopy of banyan trees, royal palms and bullet trees eventually gives way to a cave. At least, that’s how Pablo Díaz-Reixa, the musician-producer known as El Guincho, likes to describe his home studio in the city’s Coconut Grove area.
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A dark, squat room tucked directly underneath his bedroom, the cave is where Díaz-Reixa spends most of his waking moments. Sometimes, he’ll notch 12 hours a day there noodling on potential beats, tinkering with the drums or listening through stacks of vinyl records he keeps by the mixing board. “The sensation I get when I’m in the studio, making music, is incomparable,” he tells me on the muggy September day when I visit his place.
Stepping just outside his pint-size studio, though, Díaz-Reixa’s own living space is ample and decidedly un-cavelike. With skylights scattered throughout its tall ceilings, his modernist abode exudes a sense of calm even with his toddler son’s toys strewn about. The place used to be a Buddhist temple, he tells me, which the Dalai Lama blessed over FaceTime before it could become a home.
Though Díaz-Reixa misses his former (and longtime) home of Barcelona, which he and his wife traded for this Miami enclave in 2021, living in South Florida suits him. The Cuban influences here remind him of where he grew up, on the Canary Islands located off the northwest Africa coast. He prefers a quiet neighborhood like this to the overstimulating glitz of South Beach — a fitting turn for a man whose producer nom de plume name-checks a bird of prey prone to nesting in the same cozy spot for years. Miami’s proximity to Europe and other major U.S. cities for music, like New York and Los Angeles, doesn’t hurt. But living in this leafy environment has been a boon for the producer in other ways. “When you have something that’s expansive, big, with a view… well, you start to think bigger,” says Díaz-Reixa, 40, while taking gradual pulls from a cup of black coffee and kicking back on an earth-toned modular couch.
Were it not for Díaz-Reixa mentioning in passing that he’s preparing for studio sessions later that day with a certain artist (he’s tight-lipped about whom), he seems like any other area dad puttering around in house slippers, stealing away moments within the demands of childcare to mess around with songs on Ableton. The difference is that Díaz-Reixa happens to be a superproducer who frequently works alongside genre-defying and culture-shifting artists, including Björk, Rosalía, FKA Twigs and Charli XCX, and left-field Latin pop musicians like Kali Uchis and Nicki Nicole.
A former indie musician with a proclivity for making “very innovative, very freaky, very strange” music, as he puts it, in the mid- to late 2000s, Díaz-Reixa is now one of pop’s most in-demand producers, especially among artists looking to take creative risks. With his ear for distinctly outré sounds, Díaz-Reixa’s unconventional production is catalyzing pop’s transformation into something more amorphous and idiosyncratic. “I think he knows how to lead songs into a truly unique place by juxtaposing hard and soft sounds,” says Camila Cabello, who collaborated with Díaz-Reixa for every song on her 2024 album, C,XOXO. “Producers like him truly make my favorite pop music — bold and fresh.”
Díaz-Reixa’s ethos for producing music, pop and otherwise, is informed as much by his open ears as it is isolation. “I grew up without a lot of resources,” he says. “So for me, my way of listening to music was to make it myself.” While coming of age in Las Palmas de Gran Canaria, one of the archipelago’s two capitals, he listened to salsa, African music and other genres coalescing there at the time. His grandmother, a talented pianist, taught him how to read music when he was a child, but she was hardly didactic about it. Those lessons unlocked something in him — as did his hunger to hear more of anything, everything, since he didn’t readily have access to top 40 radio or a bounty of record stores on the Canary Islands.
As a teenager, he played punk and hip-hop grooves on the drums, and around then he began experimenting with recording himself — mainly Neptunes-inspired beats he had whipped up and loops he made on cassettes. “I always had a lot of curiosity about the process of recording, without knowing what a producer or an engineer was,” he says. Still, he always knew that he wanted to work in music in some capacity. “I always had it super clear,” he says. “I said it, and people would always laugh at me on my island.”
Eventually Díaz-Reixa moved to Barcelona. Around then, he played a solo gig as El Guincho at an underground Madrid club — with a sampler, a mic and a floor tom with an electronic trigger in tow — that changed his life. Young Turks (now Young)/XL Recordings, the tastemaking U.K. label group home to the likes of Radiohead and The xx, reached out to him on Myspace and signed him to a record deal shortly after, on the strength of that particular show. He began touring the world, and in 2008, he released his second album, Alegranza!, an avant-garde mélange of Tropicália, Afrobeats, looped vocals and other sounds.
Though he found a growing audience, especially in Australia, the United States, the United Kingdom and Mexico, Díaz-Reixa felt like an outsider even within the mid- to late-aughts heyday of inventive indie-pop. “There wasn’t a space for me in that music, nor in hip-hop, because of the themes I touched on,” he says. “I talked about love, identity. So I was in a kind of limbo as an artist. They didn’t know where to put me at festivals.”
In 2010, shortly after releasing his third album, Pop Negro, Díaz-Reixa got a call from Icelandic musician Björk. She wanted to work with him on her forthcoming album, Biophilia, so Díaz-Reixa made the trek to New York from Barcelona for the sessions. During that process, Björk said something that stunned him. “I remember that she told me, ‘You’re a producer.’ ” That didn’t totally sit right with Díaz-Reixa, who recalls thinking, “ ‘I’m an artist.’ ” Around then, his mother was diagnosed with cancer, and in 2012 — the same year he signed a publishing deal with Warner Chappell Music — he returned to the Canary Islands, where he spent a little over two years with her until she died.
When Díaz-Reixa returned to Barcelona, and to music after pausing things for several years, he started reevaluating his career — and realized that Björk had been right: He was meant to be a producer, not an artist. “In truth, what she said made sense,” he says. “Because the part that I’ve most enjoyed is making songs. I liked shows, the connection. But I think my true calling is to spend as much time as possible in the studio, and the least amount of time possible on the other duties as an artist: promotions, doing two interviews a day, touring.” After that, he put together a new album, Hiperasia, that he used to “explore my skills as a producer and see who I was going to be as a producer,” he says. “I used that as a kind of school.”
A few years later, a musician he knew in Barcelona, Rosalía Vila Tobella, invited him to see her perform at a flamenco bar, or tablao. She was singing standards and accompanied by a guitarist, and he remembers being struck by the way she commanded the small room, putting on the type of show that wouldn’t be out of place in a massive stadium. But when Rosalía later reached out to Díaz-Reixa to collaborate, he at first demurred. “Obviously I saw her as a tremendous talent, but I wasn’t sure where I could help,” he says. “She was very traditional in a style of music that I was very ignorant about. So for me it was like, ‘How do I situate myself here?’ ” Once the two of them got to know each other, though, they clicked and started informally making music together.
Those meetups led to Díaz-Reixa eventually helping Rosalía co-write her staggeringly original 2018 album, El Mal Querer, the entirety of which he also produced. He declines to comment more specifically on what he imparted in those sessions, but following the success of the album — and the more he kept producing — he realized that the isolation of his youth translated into a major strength in the studio, in that he looks “in places that the majority of people overlook,” he says. “I’m neither the best instrumentalist nor the best singer. But I do have that little thing that I’m realizing something that, later, will appear in the session.”
That sensibility comes through in how, say, he might suggest a Gucci Mane sample for a Cabello song — which he did for the snippet that ended up undergirding the pop star’s “I LUV IT.” Or the way he subverts traditional song structure. “I always look for the element of surprise to arrive very soon in a song,” he says. “You don’t have to wait 40, 50 seconds until the hook.” Cabello, a fan of Díaz-Reixa’s work with Rosalía, says she found in the studio that Díaz-Reixa “adds that quality of a bloodhound on the hunt for something magical, and he doesn’t settle for anything less.”
While he’s partial to collaborating on full albums like El Mal Querer and C,XOXO, Díaz-Reixa still relishes working with artists on individual songs. Recently he collaborated with Charli XCX on “Everything is romantic,” a sweeping track from her album — and cultural phenomenon — brat. As Díaz-Reixa tells it, Charli already had brat’s campaign carefully defined by the time that, about midway through completing the album, she came to Miami for a week to record with him. Charli had a clear idea about what she wanted this particular song to be: “She had been in Italy with her partner, and she wanted to reflect,” he says. “She had something written, just lyrics.” He adds that she sought out a “grand” opening to the tune, and from there Díaz-Reixa swiftly assembled the piledriving beat at A2F Studios, where “Everything is romantic” came together, along with a few other tracks that didn’t make the final cut.
Regardless of the project, Díaz-Reixa sees his job as a producer to meet artists where they are. “There are artists who have tremendous vision, and tremendous qualities to meet that vision, but they don’t have a way to convert the vision into music,” he says. “Other artists have a lot of qualities as musicians, but they need a bit of vision, or clarity. As a producer — and any colleague of mine would tell you this — what we have to do is just listen.”
Díaz-Reixa’s sought-after production skills, and his ongoing collaborations with boundary-pushing artists, are especially significant given that, for a while, he was a bit of an industry oddball. He stuck to his instincts for elevating music that was important to him — reggaetón, African music and off-kilter electronic music — for years, though it took a while for the world to catch up with him. “As in production, I made music that was kind of strange, indie,” he says. “There wasn’t space for people making music in Spanish with all those influences. Then suddenly, fast-forward 10 years later, that’s mainstream. Suddenly the world let its guard down and said: ‘No, all of these styles of music can be valuable, and they can be a part of a two-and-a-half-minute song that enchants the world.’ ”
His patience has paid off. Díaz-Reixa’s production work has nabbed him five Latin Grammys thus far and an MTV Video Music Award for “Con Altura,” a collaboration between Rosalía and J Balvin. He’s helping mentor the seven writer-producers signed to his label, Rico Publishing. He hasn’t yet sold his production catalog — though he has been approached about it. “It doesn’t interest me,” he says. “It’s not something that I see, for now. Also, when you’re a dad, you see a future there, too,” he adds, explaining that maybe his son could take on managing the catalog one day. More (secret) projects are also in motion. But at this point, Díaz-Reixa insists there’s no particular project or award left on his bucket list.
“Really, the greatest prize of making music is to keep making music,” he says. “My goal is much more artisanal: I love the process, I love to make music, and I want to keep dedicating myself to music — to be within the mystery of music, and to live inside that mystery.”
This article appears in the Oct. 5 issue of Billboard.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-10-10 14:31:072024-10-10 14:31:07How El Guincho Went From Making ‘Very Freaky’ Music to Producing For Pop’s Cool Girls
