Harry Styles’ “Aperture” debuts at No. 1 on Billboard’s Streaming Songs chart dated Feb. 7, his second song to do so.

In the week ending Jan. 29, “Aperture” earned 18.2 million official streams in the United States, according to Luminate. That’s after a five-hour total of 613,000 streams achieved on Jan. 22, as the song was released at 7 p.m. ET that night.

Styles’ other song to debut at No. 1, “As It Was,” achieved the feat in 2022. It’s also his only other ruler on the survey to date, both solo and with One Direction. The latter’s best rank on the tally was No. 2, achieved with “Best Song Ever” in 2013.

Styles first made Streaming Songs as a solo act when “Sign of the Times” debuted and peaked at No. 18 in 2017. He has eight top 10s in addition to his two No. 1s, paced by the No. 3 peak of “Late Night Talking” in 2022.

“Aperture” marks the year’s second No. 1 debut, following Bruno Mars‘ “I Just Might” on the Jan. 24 chart. Comparatively, 2025 saw eight No. 1 bows for the entire year, the first (Morgan Wallen’s “I’m the Problem”) occurring in mid-February.

Concurrently, as previously reported, “Aperture” bows at No. 1 on the multimetric Billboard Hot 100, Styles’ second No. 1 debut and third leader in all, following “Watermelon Sugar” and “As It Was.”

“Aperture” is the lead single from Kiss All the Time. Disco, Occasionally, Styles’ upcoming fourth studio album and first since 2022’s Harry’s House, due March 6 via Erskine and Columbia.

JENNIE and Tame Impala have a surprise that fans are going to bloody love: a remix of the latter’s “Dracula,” featuring the BLACKPINK star.

Kevin Parker announced on Tuesday (Feb. 3) that JENNIE would be guesting on a new version of his 2025 hit by sharing a video on Instagram of himself in the studio, cranking the volume up on a fader labeled “JENNIE,” revealing her voice on the track. “My friends are saying, ‘Shut up, JENNIE, just get in the car’/ I just wanna be right where you are,” the K-pop star sings.

“Surprise… Friday,” wrote Parker, who’s been releasing music under the Tame Impala moniker since 2008, in his caption.

The “Dracula” remix will mark JENNIE’s first solo release since unveiling her debut album, Ruby, in March 2025. The project debuted at No. 7 on the Billboard 200 and spawned a number of Billboard Hot 100 entries, including “ExtraL” featuring Doechii and “Like JENNIE.”

The South Korean superstar has since been busy touring with her BLACKPINK bandmates, LISA, ROSÉ and JISOO, with the group’s Deadline World Tour lasting from July of last year to the end of this past January. The quartet’s first collection of songs in years, mini-album Deadline, will drop on Feb. 27.

During a recent appearance on Call Her Daddy, ROSÉ teased, “It’s an album that we’ve all kind of obviously come back from after that year of exploring and all being our individual selves … I think it was really interesting to come back and see what was created after that.”

Parker has also had a busy year. After nearly two decades as one of music’s most sought-out collaborators with numerous streaming hits, Tame Impala finally scored a Hot 100 hit in October with “Dracula.” Two more entries, “Loser” and “My Old Ways,” followed shortly after with the release of album Deadbeat.

See Parker’s announcement video for “Dracula” featuring JENNIE below.

If you come at the Queen of Christmas, you best not miss.

After defeating a copyright lawsuit over her holiday classic “All I Want for Christmas Is You,” Mariah Carey is now demanding that the man who sued her repay a whopping $1 million she and others spent on lawyers defending against his “absurd” accusations.

Songwriter Vince Vance claimed that Carey stole key elements of the iconic holiday track from his earlier song of the same name. But a judge dismissed the case entirely last year, ruling the two songs shared only “commonplace Christmas song clichés.”

Now, Mariah’s lawyers want Vance punished for bringing such a “meritless” case, which they say was aimed at coercing her into paying him “an undeserved windfall.” In a motion obtained and first reported by Billboard, they want the judge to order him to repay $1,048,873 that she and others spent over years of costly litigation.

“This is an exceptional case in which plaintiffs, represented by counsel, ignored the law and stubbornly pursued an absurd claim over commonplace Christmas tropes used differently,” Mariah’s lawyers write. “Plaintiff gambled on bringing a defective, thirty-year-old copyright infringement claim and necessitated costly litigation in the hopes of a massive payout.”

Carey’s lawyers say Vance’s allegations were obviously flawed from the very start – since the only similarities he claimed were “a few fragmentary Christmas tropes like ‘mistletoe,’ ‘Santa Claus,’ and ‘stockings’” and basic musical elements. And they say they warned him repeatedly that they would seek to punish him if he persisted.

“But Mr. Stone doubled down,” Mariah’s lawyers write. “Plaintiffs continued to ignore defense counsel’s repeated warnings and requests to dismiss the lawsuit, and instead forced over two years of litigation, pursuing a meritless claim for over $20 million in damages and a permanent injunction barring defendants’ work.”

Vance’s attorney did not immediately return a request for comment on the motion.

Vance (real name Andy Stone) first sued Carey in 2022, claiming “All I Want” infringed the copyrights to a 1989 song of the exact same name recorded by his Vince Vance and the Valiants. He claimed that the earlier track received “extensive airplay” during the 1993 holiday season — a year before Carey released her now-better-known hit.

“All I Want,” which debuted in 1994 and was bolstered by the 2003 holiday rom-com Love Actually, has become a Christmas cash cow — steadily rising with the growth of streaming services before ballooning in popularity in recent years. The song has retaken the top spot on the Billboard Hot 100 every holiday season since 2019, hitting No. 1 in December for a record-breaking 21st week.

Last March, Judge Mónica Ramírez Almadani thoroughly rejected Vance’s case. She cited evidence that the two tracks were “very different songs” that shared only “commonplace Christmas song clichés” that had been used in many earlier holiday tunes.

In the wake of that ruling, the judge already ordered Vance’s attorney, Gerard Fox, to repay some legal bills over specific unnecessary motions. In issuing that earlier order — $109,983 total awarded to Carey, Sony Music and others named in the case – the judge said the lawyer “must now face the consequences.”

In Tuesday’s motion, Carey’s teams asked the judge to order Vance himself to pay an additional $938,890 for bringing the overall case itself – with $596,479 going to Mariah, $164,113 to Sony Music, $96,885 to co-writer Walter Afanasieff and $81,412 to Kobalt Music.  They also want Vance held jointly liable for the $109,983 already owed by his lawyer from the earlier ruling.

That demand might seem high, but such legal bills are typical for elite law firms in New York and Los Angeles after years of complex litigation. Carey was represented by veteran music litigator Peter Anderson and others from Davis Wright Tremaine; Sony was defended by a team from Pryor Cashman led by top litigators Ilene S. Farkas and Benjamin S. Akley; Afanasieff was repped by Kenneth D. Freundlich, another longtime music trial attorney; and Kobalt was defended by Bert H. Deixler and others from the firm Kendall Brill & Kelly.

In the American legal system, each side usually pays its own legal bills, even including defendants who defeat a lawsuit that they feel they shouldn’t have faced. But such awards are more common under federal copyright law, which has a specific provision allowing for fee awards to deter bad lawsuits. And under that rubric, Carey’s lawyers say Vance’s “All I Want” case more than qualifies.

“Defective copyright infringement claims, like plaintiffs’ claim here, burden the Court, cause potentially damaging negative publicity for recording artists, authors, photographers, filmmakers, and others, and threaten to chill a creative industry,” Tuesday’s filing reads. “Yet, plaintiffs pursued this lawsuit all the way to summary judgment, forcing defendants to incur hundreds of thousands in attorney’s fees to obtain dismissal of a claim that should never have been brought in the first place.”

Love means never having to say sorry about the furniture. In a preview clip from Wednesday’s (Feb. 4) pre-Super Bowl New Heights podcast, Travis Kelce admitted he did something bad when he laughed so hard at a joke older brother Jason Kelce made about dog shows that he leaned too far back in his chair and snapped some of fiancée Traylor Swift‘s furniture in half.

The wood-splitting fall caused his camera to shake as the three-time Super Bowl winner was sent tumbling backwards and then covered his blushing face in embarrassment as he busted out laughing and Jason asked, “Oh s–t! Are you alright Trav?”

“We’re good,” Travis responded as the brothers both grinned about the mishap, with the Kansas City tight end worrying, “Taylor’s gonna kill me!” At that point Jason just absolutely lost it, howling in laughter at the thought of his future sister-in-law taking Travis to the wood shed for splintering her settee.

The caption to the preview warned, “This week’s episode is dangerously funny,” promising that the full ep will feature a Super Bowl preview with two unnamed special guests.

While Travis and Taylor are both enjoying some well-deserved time off after, respectively, finishing the roughest season of his NFL career and wrapping up the promotion of promotion of her The Life of a Showgirl album, this isn’t the first time the baller has worried that his beloved might get homicidal over one of his slip-ups.

Last month, Travis worried that Taylor would “kill him” for not getting a listener’s sly joke about the size of Trav’s manhood in the Life of a Showgirl song “Wood.” The brothers initially seemed confused when reading a comment from a fan who suggested that they should start selling a “New Heights of ‘manhoodie’” as merch. “What’s a man-hoodie? Is that a thing?” Jason wondered.

When their producer reminded the brothers that the comment was reference to “Wood” — on which Swift sings, “New heights of manhood/ I ain’t gotta knock on wood” — Travis laughed. “I didn’t understand that,” he admitted. “Taylor’s gonna kill me for not knowing that!”

This week’s New Heights episode featuring former New England Patriots wide receiver Julian Edelman and Super Bowl-bound Seattle Seahawks wide receiver Cooper Kupp posts at 9:30 a.m. ET.

Check out Travis’ furniture faux pas below.

With Valentine’s Day just around the corner, Spotify has exclusively shared with Billboard the list of chart-topping hits with romantic themes whose lyrics were the most shared by users around the world. Coming out on top was Conan Gray‘s Billboard Hot 100 No. 46 hit “Heather,” followed by the Walters’ “I Love You So,” Coldplay‘s breakthrough 2000 single “Yellow,” Ed Sheeran‘s 2017 No. 1 Hot 100 smash “Perfect” and another Coldplay, track, “Sparks.”

Spotify, which expanded access to view real-time song lyrics for users on its free tier two years ago, also revealed on Wednesday morning (Feb. 4) which chart-topping hits’ lyrics were most viewed globally. That roster was topped, no surprise, by Taylor Swift‘s 2025 Hot 100 No. 1 “The Fate of Ophelia,” followed by “End of Beginning” by Djo, “Golden” by KPop Demon Hunters‘ HUNTR/X, “La Perla” by Rosalía and Yahritza Y Su Esencia and “Die on This Hill” by Sienna Spiro.

In addition, Spotify said fans are definitely checking out the lyrics to some of the most popular songs on the internet, from viral hits to stone-cold classics, with Raye’s “Where Is My Husband” coming out on top. That Hot 100 No. 13 charter was followed by “I Thought I Saw Your Face Today” by She & Him, Radiohead’s 1993 breakthrough classic “Creep,” sombr’s “Back to Friends,” KATSEYE’s “Gabriela” and 2026 best new artist Grammy winner Olivia Dean’s “Lover, You Should Come Over.”

Among the other lyric upgrades rolled out by Spotify on Wednesday are the expansion of lyrics translation worldwide after the service was initially rolled out in more than 25 markets around the globe last year. Translations will appear for both free and premium tier patrons based on the device’s language, with users easily able to switch back to the original lyrics anytime they want.

In addition, lyrics for tracks downloaded for offline listening will automatically be saved as well with no service required in a global perk for premium users and lyric previews will now appear directly beneath the album artwork or short Canvas clips as a song plays. Users can still share their favorite lyrics directly on social platforms from the New Playing view, with lyric previews rolling out globally for both free and premium users on mobile (iOS and Android) and tablet.