Happy birthday to Dick Van Dyke, who turns 100 on Saturday (Dec. 13).

Van Dyke is best-known as the star of The Dick Van Dyke Show, the 1961-66 sitcom that forever raised the bar for situation comedy, proving that a sitcom could be smart, sophisticated and sexy. But Van Dyke has also had many notable music moments throughout his long career (including some on that very show).

We saw evidence of that in 2021, when Van Dyke received the Kennedy Center Honors. Julie Andrews, his co-star in Mary Poppins; Chita Rivera, his co-star in Bye Bye Birdie; and Lin-Manuel Miranda, his co-star in Mary Poppins Returns, paid tribute to him — as did Steve Martin, a co-writer of his 1975 TV pilot, Van Dyke and Company, and Bryan Cranston. Laura Osnes sang “Jolly Holiday” and Derek Hough performed “Step in Time,” both from Mary Poppins. Hough and Osnes teamed on “Put on a Happy Face” from Bye Bye Birdie. Aaron Tveit, joined by Pentatonix, sang “Chitty Chitty Bang Bang” from the movie of the same name.

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Van Dyke has won four Primetime Emmy Awards, a Daytime Emmy, a Tony and a Grammy. In 1993, he received a star on the Hollywood Walk of Fame. In 1998, he was honored by the Walt Disney Company with their Disney Legends award. In 2013, he received the Screen Actors Guild Life Achievement Award.

In 1995, he was inducted into the TV Academy Hall of Fame in the same class as Betty White (who died just before her 100th birthday; it seems there’s something to be said for bringing laughter and joy in people’s lives).

Here are Van Dyke’s top 10 music moments:

The Recording Academy will celebrate the 25th anniversary of its Producers & Engineers Wing (P&E Wing) and honor producer, engineer and mixer Jimmy Douglass at its annual Grammy Week Celebration, which is set for Wednesday, Jan. 28 evening in Los Angeles.

Douglass, who is also known as “The Senator,” was initially set to be honored at the 2025 P&E Wing event, prior to the Recording Academy’s decision to condense Grammy Week programming to prioritize the L.A. wildfires response. That resulted in several events, including the P&E Wing event, being canceled. This is the second canceled Grammy Week event from 2025 that has been put on the schedule for 2026 so the honoree can finally get his flowers: On Monday (Dec. 8), it was announced that WMG’s Paul Robinson will be honored at the 2026 Entertainment Law Initiative Event on Friday, Jan. 30 at the Beverly Wilshire Hotel in Beverly Hills, Calif., after that event, too, was called off last year.

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“Since 2001, the Producers & Engineers Wing has helped further the Recording Academy’s mission to serve music creators by amplifying the perspectives of craft professionals working across the industry,” Maureen Droney, vp of The Recording Academy’s P&E wing, said in a statement. “Our industry thrives when boundary-pushing visionaries help drive us forward, and as we kick off this anniversary year during Grammy Week 2026, we are thrilled to finally honor Jimmy Douglass and celebrate the groundbreaking contributions he has made to our industry over the course of his career.”

Douglass has helped scores of artists transcend genre restrictions and create unique records. He is credited with bringing a raw edge and a heavy funk-bass sound into rock music.

Douglass started his career at Atlantic Records studios in New York City as a part-time tape duplicator while still attending high school. He went on to work with major Atlantic Recording artists such as Aretha Franklin, Hall & Oates, Roberta Flack, Donny Hathaway, Foreigner, Led Zeppelin and AC/DC.

During the 1980s, Douglass continued to hone his engineering skills while also taking on the role of producer. He engineered and produced artists including The Rolling Stones, Slave, Odyssey, Roxy Music and Gang of Four.

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Douglass started the first half of the 1990s working mainly on jingles and in post-production. In 1994, he began working with Timbaland and served as his main engineer for more than a decade. The two musicians collaborated on projects for artists such as Aaliyah, Missy Elliott, Ginuwine and Jay-Z.

Beginning in the new millennium, Douglass continued engineering and mixing more Timbaland-produced projects from artists including Snoop Dogg, Björk and Justin Timberlake. He also mixed work from artists including Rob Thomas, Sean Paul, Kanye West, Ludacris, Al Green, John Legend and Duran Duran.

Douglass has won five Grammys for his work on Justin Timberlake’s “SexyBack” (best dance recording, 2007); Timberlake’s “Love Stoned/I Think She Knows” (best dance recording, 2008); John Legend & The RootsWake Up! (best R&B album, 2011), CeCe WinansLet Them Fall in Love (best gospel album, 2018) and Andra Day’s The United States vs. Billie Holiday (best compilation soundtrack for visual media, 2022).

Douglass has received five album of the year Grammy nominations, for his work on Missy Elliott’s Under Construction, Timberlake’s Justified and FutureSex/LoveSounds, Pharrell WilliamsGirl and Jay-Z’s 4:44. He has additionally notched two record of the year nods for Timberlake’s “What Goes Around…Comes Around” and Jay-Z’s “The Story of O.J.”

In addition to paying tribute to Douglass, the event will celebrate the year-round work of the P&E Wing and its members. A Recording Academy membership division that is currently home to nearly 6,000 members, the P&E Wing represents an international network of producers, engineers, remixers, manufacturers, technologists and other related professionals across the music industry.


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Creed‘s third annual Summer of ’99 and Beyond Festival will be back next year with an action-packed lineup of fellow hard rock brethren from the late 20th century. The event will take place on July 18 and 19 at the Credit Union 1 Amphitheatre in Tinley Park, Ill.

The first night will be headlined by suddenly resurgent nu-metal rockers Limp Bizkit, who will be joined that day by Cypress Hill, Sevendust, Kittie, Puddle of Mudd, Magnolia Park, the Pretty Wild and Slay Squad.

The Scott Stapp-fronted Creed will do the honors on night two, topping a bill that will also include Bush, Mammoth, Candlebox, Hoobastank, Sleep Theory, Big Wreck, The Verve Pipe and Ashes of Billy. An artist pre-sale for two-day tickets will launch on Dec. 16 at 10 a.m. CST, followed by a general on-sale on Dec. 19 beginning at 10 a.m. CST; click here for ticketing information.

While they gear up for next summer’s throwdown, Creed will celebrate the holidays with a series of “Creedmas” U.S. shows. The five-date run will feature two shows in Hollywood, Fla. (Dec. 19, 20), followed by shows in Thackerville, Okla. (Dec. 27), Hanover, Md. (Dec. 29) and Uncasville, Conn. (Dec. 30). Sevendust will open all the shows except the Thackerville stop, where Oklahoma City natives Hinder will do the honors.

In September, Creed announced a Summer of ’99 and Beyond cruise, which will feature headlining sets from the “Higher” group, as well as Daughtry, Collective Soul, Filter, Living Colour, Black Stone Cherry, Nonpoint, Dirty Honey, Oleander, 12 Stones, Tim Montana, Smile Empty Soul, The Band Feel, as well as a special performance from guitarist Mark Tremonti, Tremonti Sings Sinatra.


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Last year’s Eurovision Song Contest winner, Swiss singer Nemo, announced on Thursday (Dec. 11) that they will return the winner’s trophy in protest of Israel being allowed to compete in the 2026 event. In an Instagram post announcing their decision, the global singing competition’s first openly non-binary champ — who won the contest in May 2024 with their operatic pop anthem “The Code” — wrote that they will always be grateful for the experience, but that they must send their trophy back in protest.

“Last year I won Eurovision and with it I was awarded the trophy,” Nemo said in a video in which they held up the prize, an oversized glass microphone. “And even though I’m immensely grateful for the community around this contest and everything this experience has taught me both as a person and an artist, today I no longer feel this trophy belongs on my shelf.”

Nemo continued, “Eurovision says it stands for unity, inclusion, and dignity for all. Those values made this contest meaningful to me. But Israel’s continued participation, during what the UN’s Independent International Commission of Inquiry has concluded to be a genocide, shows a clear conflict between those ideals and the decisions made by the EBU (European Broadcasting Union).”

The singer’s action came after five other countries have announced they will boycott next year’s contest after a Dec. 4 vote in which the governing EBU declined to expel Israel over its conduct in the war against Hamas in Gaza. Iceland, Ireland, the Netherlands, Slovenia and Spain said they will sit out the 2026 contest, which is slated to take place in Vienna in May following Austrian singer JJ’s win for the song “Wasted Love”; the winning country traditionally hosts the following year’s event.

In addition, 11 of the 16 entrants from Portugal’s song selection contest, Festival da Canção, have said they will refuse to perform if they win, also out of protest of Israel’s inclusion.

Nemo said their decision was not about individuals or artists, but about what they said was the contest repeatedly being used to “soften the image of a state accused of severe wrongdoing, all while the EBU insisted Eurovision is ‘non-political.’” Eurovision has long stated that it is a non-political event and has asked the participating broadcasters and performers to refrain from making political statements in their songs and selections, though politics have crept in numerous times over the years.

Following Russia’s unprovoked invasion of Ukraine in 2022, the country was banned from that year’s competition. The calls for a ban on Israel have grown louder over the past two year due to the nation’s devastating war against Hamas in Gaza, which decimated the territory and led to what officials described as a famine, with an independent United Nations inquiry calling the military action a genocide, a claim Israel has repeatedly denied.

Pointing to the handful of nations withdrawing, Nemo suggested that when that happens, “it should be clear that something is deeply wrong. That’s why I’ve decided that I’m sending my trophy back to the EBU headquarters in Geneva. With gratitude and a clear message: Live what you claim. If the values we celebrate onstage aren’t lived offstage, then even the most beautiful songs lose their meaning. I’m waiting for the moment those words and actions align. Until then, this trophy is yours.”

In the comments on the post, Nemo added that they will always be grateful to the Eurovision community, the fans who voted and the artist they shared the stage with in 2024, and the experience that “shaped me as a person and musician. This decision comes from care for the values Eurovision promises, not from rejection of the people who make it special. Music still connects us. That belief hasn’t changed.”

Before Nemo’s post, Eurovision director Martin Green posted an open letter to the contest’s fans explaining the decision to include Israel next year. “I know that many of you will be feeling strong emotions at this time. I certainly am, which is why I wanted to write directly to you,” Green wrote. “I also know you feel strongly about events in the Middle East and how those realities connect to the Eurovision Song Contest. No one can fail to be moved by what we have seen in the region in the past few years. Some of you have written to us, spoken out, or expressed anger and pain at what they see as silence in the face of tragedy. I want to say that we hear you. We understand why you feel so strongly and that we care too.”

Green noted that the 70-year-old contest was born in a “divided and fractured Europe — as a symbol of unity, peace, and hope through music. Those foundations have not changed and neither has the Contest’s purpose. This Contest has survived and thrived despite wars, political upheaval, and shifting borders. Through it all, it has remained a place where people from all corners of Europe, and now the world, can come together to celebrate creativity and connection despite, and because of, the world around us.”

Given the concerns, Green said Eurovision will ensure that all participating broadcasters will respect the rules of the competition and if they don’t, “you have a personal pledge from me, we will not tolerate it and call it out.”

Nemo’s action and the withdrawals of the five countries has cast a cloud over what is typically a joyous, silly and outrageous song competition beloved for its often schmaltzy ballads, bonkers disco bangers and a massive global audience eager to see their nation hoist the cup. In addition to casting out Russian in 2022, Israel’s participation over the past two years has stirred up protests and led to calls for the country’s 2025 entry, singer Yuval Raphael, to be booted from the competition.

The survivor of the Oct. 7, 2023 Nova Festival massacre in Israel — which was part of a surprise attack by Hamas raiders in which more than 1,200 Israelis were murdered and 250 were kidnapped — came in second place this year with her anthem “New Day Will Rise.”


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SYDNEY, Australia — Ollie Wards will soon depart from TikTok, where he has served as director of music for Australia and NZ since August 2020.

“After an awesome 5.5 years, soon I’m hanging up my headphones at TikTok,” he writes on LinkedIn.

A triple j stalwart, Wards joined TikTok as its first director of music for ANZ, based in Sydney, with responsibilities for driving its music strategy, and overseeing emerging and established artists and their role within the short–video streamer’s creator community.

Prior to that, he served in several positions with triple j, the state-funded national youth broadcaster, including breakfast show producer, program director and, later as network head.

Despite the recording industry‘s well-reported issues with TikTok, Wards is well-liked in the music business and community, and respected for his artist-first approach, and determination for taking domestic talent to the world.

As he departs, Wards reflects on some of his proudest achievements. Among them, building the world’s first TikTok radio station with iHeart, now Australia’s leading digital station for under-30s; creating the first TikTok x TV simulcast concerts; overseeing dozens of high-quality live music productions, including the first TikTok stadium livestream with Six60 when NZ was the only place enjoying concerts during lockdown; producing TikTok Awards performances; and the creation of “liner notes” — a list of 11 guiding principles to work by, he explains.  

NZ-born Wards presents No. 3 liner note as an example, one that reads: “We aim to be contactable, while being effective at scale and as transparent as possible with our artists and industry partners – the most ‘human’ team at a music platform.”

On that note, he remarks, “in a world of increasingly opaque pathways for artists, pitch portals, helpdesks and bots – hopefully that approach of being a human amongst it all helped. Though maybe being ‘human’ is the minimum.”

Wards is keeping his options open. “In 2026, I’m open for business,” he writes.

Slaughter Gang season has returned. Nearly two years following American Dream, 21 Savage has one question: What Happened to the Streets? The Atlanta rapper’s fourth LP hit streaming services on Friday (Dec. 12).

It’s a star-studded affair, with 21 recruiting some familiar faces, as Drake, Young Nudy, Latto, G Herbo, GloRilla, Metro Boomin and Lil Baby make guest appearances on the project.

The 33-year-old enlisted artist Slate for the devilish cover art, and $9.99 CD versions quickly sold out. Resellers have listed the four CD pack on sites such as eBay for prices north of $300 and $400, turning the CD edition into an instant collector’s item for 21 Savage fans.

2025 was a pretty quiet year for 21, who didn’t release a single leading into the album, but he ended up notching a guest appearance on Summer Walker’s “Get Yo Boy” track in November.

21 will look to make it a trifecta and top the Billboard 200 for a third consecutive album. His last LP, American Dream, arrived in January 2024 and earned 133,000 total album-equivalent units. The project was 21’s fourth to reach the album chart summit (including collab efforts) and netted him 14 more Billboard Hot 100 entries.

The “a lot” rapper has kept the entire album under wraps, leaving much to the imagination of the Slaughter Gang faithful heading into the project. 21 released a menacing trailer to set the tone earlier this week, where he made his return official and put the album on the release calendar for Friday.

Here are all 14 tracks from What Happened to the Streets? ranked.

One year after taking one final bow on the Eras tour stage, Taylor Swift is pulling the curtain back. The End of an Era, a six-part docuseries focused on the biggest tour of the superstar’s career, premiered its first two episodes on Disney+ on Friday (Dec. 12), with further episodes rolling out in the coming weeks.

And while The End of an Era could have existed as pure fan service — and that is certainly an aspect of the opening episodes, with slow-motion shots of an unstoppable Swift and adoring supporters — the heart of the series is a documentation of singular pop spectacle, unpacking the personalities behind the tour and how they came together to producer something so massive.

Of course, that starts with Swift, whose attention to detail is both unsurprising and mesmerizing to witness in the context of pushing the Eras show to become more dazzling. The docuseries showcases the germination of the tour, and how it kept changing — including the incorporation of a new era, The Tortured Poets Department, as well as recurring and guest stage presences.

Her passion to entertain, to take care of her tour family, to clarify her artistic intent and to also simply enjoy every moment of the tour is presented as a balancing act that she can’t help but keep up. Just as there were no half-measures in the three-hour-plus show, Swift does not hold back in The End of an Era, and you finish each episode with a greater understanding of her intent.

The Eras tour will forever be a special experience for countless attendees, and The End of an Era honors that indispensability — while also tossing out new tidbits that even the super-fans will appreciate. Here are six things we learned from the first two episodes of The End of an Era.


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Olivia Dean nabs her first chart double in Australia, as “Man I Need” retains top spot on the ARIA Singles Chart and its parent The Art Of Loving (via Universal) returns to the top of the albums tally.

“Man I Need” leads the national survey for a fourth consecutive week, while, after nine weeks, her sophomore collection The Art Of Loving returns to the top spot on the ARIA Albums Chart, up 2-1.

Dean’s performance of “Man I Need” at the 2025 ARIA Awards last month helped fuel the English singer’s hot chart run, and a fuller set the following evening at Sydney’s Fleet Steps left fans wanting more.

They’ll get what they want. Dean returns next October for the The Art of Loving tour, an east coast arena jaunt produced by Handsome Tours and Laneway Presents.

“Man I Need” leads three Dean cuts in the top 10, ahead of “So Easy (To Fall In Love)” (at No. 6), and “Nice To Each Other” (No. 8), both unmoved week-on-week.

Christmas is just around the corner, and Kylie Minogue is helping Aussies slip into the festive mood with Kylie Christmas (Fully Wrapped) (Warner Music), which drops in at No. 4 on the ARIA Albums Chart. The 10th anniversary edition of Kylie Christmas features four newly-minted tracks, including  “Hot In December,” “This Time Of Year,” “Office Party” and “XMAS,” an Amazon Music Original.

The Princess of Pop is a superstar in her homeland, with 21 top 10 albums, including nine leaders, to go with 17 ARIA Awards. In 2011, Kylie was inducted into the ARIA Hall of Fame by former prime minister Julia Gillard, and she’s recognized as the highest-selling female Australian artist of all time.

Christmas means summer in Australia. And summer means touring. Australians have no shortage of options on the live circuit right now, as Lady Gaga, AC/DC, Lewis Capaldi, Kendrick Lamar, sombr and others travel through.

Gaga’s ongoing stadium tour, her first visit to these parts in 11 years, sends her latest album, Mayhem (Interscope/Universal), up 17-5. Mayhem logged one week at the top of the leaderboard in March this year, for her fifth No. 1.

Meanwhile, Lamar’s GNX (Interscope/Universal) improves 21-7, and leads the ARIA Vinyl Chart. GNX topped the all-genres albums chart for one week in December 2024 and returned to the summit for a second non-consecutive week in February this year.

Two live recordings crash the top 40 on the latest chart, published Friday, Dec. 12. Olivia Rodrigo’s Live From Glastonbury (A BBC Recording) (Interscope/Universal) debuts at No. 11, and just misses out on giving the U.S. pop phenom her third top 10 album following Sour (2021) and Guts (2023), both of which hit No. 1.

Nick Cave & The Bad Seeds bow at No. 22 with Live God (PIAS/Inertia), recorded during the alternative rock legends’ 2024 European tour. Cave has collected seven ARIA Awards, was inducted into the ARIA Hall of Fame in 2007 and has two No. 1 albums with the Bad Seeds (Push The Sky Away in 2013 and Skeleton Tree in 2016).

Sydney producer, DJ and singer Alison Wonderland’s Ghost World (EMI) opens its account at No. 42.

No new releases impact the ARIA Top 50 Singles Chart, and just one homegrown recording appears on the current frame, Tame Impala’s “Dracula” (Columbia/Sony), down 33-40. Tame Impala mastermind Kevin Parker opened for Justice’s arena tour, which wrapped last Sunday, Dec. 7 at Brisbane Entertainment Centre, and he joined the French electronic act on stage each night for a performance of their Grammy Award-winning number “Neverender.”

Gorillaz swing into our lives once again with “Damascus,” another new track from their forthcoming album, The Mountain.

Dropping at the stroke of midnight, “Damascus” is a proper international adventure.

The exotic cut was recorded in Damascus, London, Devon, Mumbai and New York, and features the talents of Syrian artist Omar Souleyman and NYC rapper and singer Yasiin Bey (formerly Mos Def), both of whom are credited as songwriters, alongside Gorillaz frontman Damon Albarn.

Fans got the jump on “Damascus” when it received its live debut at Gorillaz’s surprise performance of The Mountain at London’s Copper Box Arena in September, ahead of spots at Madrid’s Gaia Festival and Together For Palestine at Wembley Arena, when the beloved “cartoon band” was joined on stage by the London Arab Orchestra.

Gorillaz’ ninth studio album, The Mountain is due out Feb. 27, 2026 on the band’s own new label KONG.

The collection is described by reps as “an expansive sonic landscape of instruments and sounds, richly layered with voices, melodies and addictive beats,” and boasts an impressive lineup of collaborators and several voices “of friends” that have passed, including Bobby Womack, Dennis Hopper and Mark E Smith.

“Damascus” is one of 15 songs on The Mountain, which collects previously-released songs “The God of Lying” (feat. IDLES), “The Manifesto” (feat. Trueno and Proof) and “The Happy Dictator” (feat. Sparks).

Gorillaz will support the release with The Mountain Tour, which gets underway with two warm-up shows in Bradford, England on March 13 and 14 before opening night, March 20 in Manchester. The tour will visit arenas across the U.K. and Ireland, plus a one-off headline show at London’s Tottenham Hotspur Stadium on Saturday, June 20, for the band’s biggest show in their homeland to-date, with support from Sparks and Trueno. European festival slots will follow next summer.

Gorillaz last released a new album in 2023 with Cracker Island, which peaked at No. 3 on the Billboard 200, their fifth top 10 appearance. Cracker Island was nominated for best alternative music album at the 2024 Grammy Awards.

Pre-save “The Mountain” here, pre-order here, and stream “Damascus” below.


The Mountain Tracklisting:
1. “The Mountain” (feat. Dennis Hopper, Ajay Prasanna, Anoushka Shankar, Amaan Ali
Bangash and Ayaan Ali Bangash)
2. “The Moon Cave” (feat. Asha Puthli, Bobby Womack, Dave Jolicoeur, Jalen Ngonda
and Black Thought)
3. “The Happy Dictator” (feat. Sparks)
4. “The Hardest Thing” (feat. Tony Allen)
5. “Orange County” (feat. Bizarrap, Kara Jackson and Anoushka Shankar)
6. “The God of Lying” (feat. IDLES)
7. “The Empty Dream Machine” (feat. Black Thought, Johnny Marr and Anoushka
Shankar)
8. “The Manifesto” (feat. Trueno and Proof)
9. “The Plastic Guru” (feat. Johnny Marr and Anoushka Shankar)
10. “Delirium” (feat. Mark E. Smith)
11. “Damascus” (feat. Omar Souleyman and Yasiin Bey)
12. “The Shadowy Light” (feat. Asha Bhosle, Gruff Rhys, Ajay Prasanna, Amaan Ali Bangash and Ayaan Ali Bangash)
13. “Casablanca” (feat. Paul Simonon and Johnny Marr)
14. “The Sweet Prince” (feat. Ajay Prasanna, Johnny Marr and Anoushka Shankar)
15. “The Sad God” (feat. Black Thought, Ajay Prasanna and Anoushka Shankar)

The Zootopia 2 soundtrack debuts at No. 6 on Billboard’s Kid Albums chart (dated Dec. 13), while Vince Guaraldi Trio’s soundtrack to A Charlie Brown Christmas extends its record for the most weeks at No. 1, holding atop the list for a 125th nonconsecutive week.

Zootopia 2 is the companion album to the animated film of the same name, which has earned more than $220 million at the United States and Canada box office since its release in movie theaters on Nov. 26. It’s the sequel to the 2016 film Zootopia, which won the Academy Award for best animated feature and was one of the highest-grossing films of 2016.

While the first Zootopia album did not reach the Kid Albums chart, it did peak at No. 8 on the Soundtracks tally and at No. 121 on the overall all-genre Billboard 200.

The Zootopia 2 soundtrack is comprised largely of score composed by Michael Giacchino. It has one new song, “Zoo,” performed by Shakira, who voices the pop star character named Gazelle in both films. “Zoo” was written for the film by Shakira, Ed Sheeran and Blake Slatkin. (“Zoo,” meanwhile, also debuts at No. 6 on the Digital Song Sales chart.)

Elsewhere in the top 10 on the latest Kid Albums chart, three holiday titles dot the region, led by the soundtrack to A Charlie Brown Christmas and Dr. Seuss’ How the Grinch Stole Christmas! at Nos. 1 and 2, respectively. Christmas With The Chipmunks, from Alvin, Simon and Theodore With David Seville, vaults 24-8.