In addition to hanging those stockings with care, Post Malone is going to have to make more room on his mantle for new hardware from the RIAA. The Recording Industry Association announced on Thursday (Dec. 12) that Malone’s star-packed debut country album, F-1 Trillion, has been certified Platinum (one million).
And that’s not all. In addition to scoring his latest Platinum album plaque, the album’s Billboard Hot 100 No. 1 single, “I Had Some Help” (feat. Morgan Wallen) — which spent six weeks atop the chart — was certified 5x Platinum, and his Blake Shelton collab, “Pour Me a Drink,” was certified Platinum.
Malone could pick up more trophies for F-1 Trillion at February’s 67th annual Grammy Awards, where he has seven nominations, including best country album and best recording package, as well as best country song and best country duo/group performance for “I Had Some Help.” He could also win some awards for his collaborations this year, including on “Fortnight” from Taylor Swift’s The Tortured Poets Department (best music video, record of the year, song of the year) and best pop duo/group performance for his team-up with Beyoncé on her Cowboy Carter tune “LEVII’s JEANS.”
Malone won’t have much time to celebrate, as he’s gearing up to headline the Bud Light Backyard Presents show at the Fillmore New Orleans on February 7, two days before the big game takes place at the Caesars Superdome in the Big Easy. The rapper/singer’s 2025 will also have him headlining a night at Coachella in April alongside Lady Gaga, Green Day and Travis Scott, as well as headlining the North American Big Ass Stadium tour with guest Jelly Roll next spring and summer.
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.pngYveto2024-12-12 17:28:392024-12-12 17:28:39Post Malone Celebrates Platinum Certification For Debut Country Album and 5X Certification For ‘I Had Some Help’
During a recent conversation, John Mayer and Shawn Mendes opened up about an experience not many others can relate to: having a high-profile ex write a hit song about you.
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On the latest episode of the “Daughters” singer’s How’s Life With John Mayer program on SiriusXM, the two men — who, between the two of them, are believed to have inspired bangers by artists such as Taylor Swift, Katy Perry, Camila Cabello and Sabrina Carpenter — got real about the “psychological toll,” as Mayer called it, of those songs opening up their personal lives to public scrutiny.
“No one’s gonna understand,” Mayer began, conceding that he and his friend are “handsomely rewarded for the stuff we have to deal with.” “You and I are both talking as people who’ve heard songs that — at least other people are saying — are references to us.”
Agreeing, Mendes shared, “It sucks to feel like … It’s a funny feeling to feel like you’re being written about, and maybe the whole picture’s not being expressed.”
As Mayer pointed out, it’s also not exactly like the two musicians can talk about these issues to a professional who relates to the pressures of celebrity life. “You talk to a therapist and go, ‘You ever seen your ex-girlfriend on a billboard before?’” the “Your Body Is a Wonderland” artist said, laughing. “‘Let me tell you, it’s a weird two weeks.’”
Even so, the Lyle, Lyle, Crocodile star said he wouldn’t let that prevent him from falling in love with another songwriter. “The suffering that is from hearing a song talking about you in a way you don’t want to be talked about is not even close to the beauty of falling in love with someone for the first time,” he told Mayer.
Neither of the artists named names, but both have been in public relationships with very famous women in music. Between 2012 and 2015, Mayer dated the “Teenage Dream” singer — whom he bumped into at a recent Carpenter concert — and before that, he had a relationship with a certain Eras Tour headliner, whose scathing 2010 ballad “Dear John” is widely believed to be about the guitarist.
Speaking of the “Espresso” singer, Mendes is the long-rumored center of a love triangle with his “Señorita” duet partner and Carpenter. Cabello’s “June Gloom” and the Girl Meets World alum’s “Sharpest Tool” and “Taste” detail a love interest who’s still not over his ex, seemingly mirroring how Mendes was spotted with Carpenter several times in 2023 right before rekindling things with Cabello.
Without getting into details, Mendes did appear to touch on the situation with Mayer. “The biggest lesson I’ve learned is no one gets out of this life without getting hurt, and no one gets out of this life without hurting someone,” the “Mercy” singer said.
Watch Mayer and Mendes talk about being the inspiration for songs 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.pngYveto2024-12-12 17:25:182024-12-12 17:25:18John Mayer & Shawn Mendes Bond Over Ex-Girlfriends Writing Songs About Them
Winter Music Conference is returning to Miami Music Week in 2025.
Organizers today (Dec. 12) announced that the three-day conference will happen during the annual dance music industry gathering in Miami this March, with the conference taking place March 26-28 at the beachfront Eden Roc Miami Beach hotel.
This will be the first time since 2019 that the conference, which has a history going back 35 years, will be part of Miami Music Week, as the 2020 conference was cancelled due to the pandemic.
The 2025 event is set to focus on myriad facets of dance music business and culture through educational panels, keynotes and networking sessions. Specific topics will be announced in the coming months, with conversations to focus on agency dynamics, licensing, streaming, publicity, A&R, emerging social media platforms, brand longevity and more. Registration for the conference is open now.
WMC 2025 will end with a March 28 awards show, which will be the first ever hybrid event from the Electronic Dance Music Awards (EDMAs) and the International Dance Music Awards (IDMAs). This show will feature live performances and award presentations.
Winter Music Conference is owned by Ultra Music Festival, which kicks off in Miami the same day the conference ends, Friday, March 28. The three-day festival will again happen at its longtime home in Miami’s Bayfront Park, with the 2025 lineup thus far featuring artists including Armin van Buuren, Carl Cox, Afrojck, Tiësto, Martin Garrix and Hardwell, along with pairings like the previously announced Anyma b2b Solomun set and Pendulum playing both solo and back to back with Deadmau5, with the latter artist also performing his first ever career-spanning “retro5pective” set.
Launched in 1985, Winter Music Conference was held every March in Miami (prior to the pandemic) and is part of the larger event known as Miami Music Week, a marathon of dance music performances and parties. Drawing an estimated 100,000 attendees and 3,500 music professionals from more than 70 countries at its height, WMC hosts a schedule of events, parties, seminars and workshops and serves as one of the largest industry networking events in the dance/electronic music genre.
Though the Ultra Music Festival was originally spawned by the conference, it eventually surpassed it in terms of influence, and its parent company went on to acquire WMC in 2018.
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.pngYveto2024-12-12 17:25:172024-12-12 17:25:17Winter Music Conference Is Returning to Miami Music Week in 2025
2024 has been another landmark year for Latin music, brimming with eclectic singles that have caught our ears and set new trends. As the year draws to a close, BillboardLatin and Billboard Español editors unveil their top choices for the best songs. This curated list features the 25 most compelling and memorable songs released over the past 12 months.
We witnessed the remarkable outcomes when two acts from different genres collaborate. Take, for example, bachata royal Prince Royce and música Mexicana performer Gabito Ballesteros. Their unlikely fusion of amargue and banda-style horns in “Cosas de La Peda” not only captivated listeners but also clinched a Billboard Latin Music Award for tropical song of the year. Latin pop princess Belinda and corridos tumbados pioneer Natanael Cano struck gold with their goosebump-inducing, piano-laced “300 Noches.” Moreover, let’s not overlook the legendary Los Ángeles Azules from Iztapalapa, who joined forces with Argentine pop sensation Emilia to deliver the irresistible Mexican cumbia jam “Perdonarte ¿Para Qué?”
While reggaetón and música Mexicana continued their chart dominance, tropical music surged forth with vigor. Karol G’s merengue anthem “Si Antes Te Hubiera Conocido” spread feel-good vibes, even inspiring stars like Taylor Swift and Post Malone to groove along from their VMAs seats. The hit has impressively maintained the No. 1 spot on the Tropical Airplay chart for 22 weeks. Furthermore, suave Puerto Rican crooner Rauw Alejandro captivated us with his rendition of Frankie Ruiz’s classic salsa track “Tú Con Él.”
Afrobeats also left a significant mark in 2024, with breakout star Kapo delivering one of the most captivating, succulent-sounding and melodious songs of the year in “Ohanna,” while Kali Uchis and Peso Pluma brought disco-tinged R&B bliss to the dance floors with “Igual Que Un Ángel.”
Without further ado, here are the top 25 songs of 2024, ranked.
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.pngYveto2024-12-12 17:07:292024-12-12 17:07:29Staff Picks: The Best Latin Songs of 2024, Ranked
While Afrobeats has been hailed as Africa’s biggest cultural export, its growth on the continent is also cause for celebration.
The 2023 and 2024 IFPI Global Reports revealed Sub-Saharan Africa was the fastest-growing region in the world, with this year’s report documenting a 25% rise in music sales largely driven by increased adoption of paid subscription services (up by just under a quarter). And no other streaming service has been as innovative and effective at expanding their reach on the continent as Audiomack.
The company has been applauded for bolstering artists with user-friendly promotional and analytics tools while providing fans with a solid discovery experience, and its unparalleled work in Africa has been critical in the rise of Afrobeats and other genres on the continent. Audiomack opened its first African office in Lagos, Nigeria in 2020 and made three key hires, including Charlotte Bwana, who officially joined the company as head of media and brand partnerships and has since risen to vp of marketing, EU, Africa & MENA.
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Bwana had been living in Nigeria at the time and working in Audiomack’s ambassador program, where she met with and onboarded artists onto the platform and continued expanding its Afrobeats division through social media marketing, idea generation, playlist curation and outreach to major labels, artist managers, booking agents and more. Once travel was allowed after the pandemic, Bwana “literally backpacked across Africa – Nigeria, Ghana, Tanzania, South Africa – doing Audiomack masterclasses, meeting artists and teaching them Audiomack one-on-one but also about the entertainment business,” she tells Billboard. “Somebody said to me, ‘A lot of companies are companies in the cloud, but you are a company that exists, we can actually meet you and shake your hand and call you on the phone. The difference between you and many other streaming companies is your availability.’”
Bwana emphasizes that that “human touch” element has significantly helped scale Audiomack, which is the No. 1 music streaming app on Apple’s App Store in 22 African countries — including Ghana, Nigeria, Rwanda, Tanzania and Zimbabwe — and the No. 1 music streaming app on the Google Play Store in Gambia, Ghana, Liberia, Nigeria and Sierra Leone. According to the company, in Nigeria alone Audiomack boasts 15.3 million monthly active users and 4.9 million daily active users and has racked up 58 billion total Afrobeats streams since 2020.
While the streamer hasn’t added more offices on the continent outside of its Lagos headquarters – which now has 12 people across its social media, graphic design, curatorial, business development and content operations departments – it has deployed ambassadors in additional countries like Kenya, Rwanda and Uganda. Those ambassadors help Audiomack better navigate the African market with “ideas of which artist is popping, which sound is buzzing in this territory, what the scene is like [and] what artists should we be focusing on,” Bwana explains.
Audiomack has also had to focus on tackling two key issues that hinder the platform’s mission to democratize streaming on the continent – the first being accessibility. “In Africa, before we talk about affordability of music, we have to talk about accessibility. A lot of people couldn’t access music in the first place, and Audiomack opened that door… and reshaped the landscape of the African music industry,” Bwana says.
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In 2021, the streaming service partnered with MTN Nigeria, the fastest 5G network in West and Central Africa, to introduce the Audiomack+MTN Data Bundle program. Through the program, the company offered the more than 76 million MTN subscribers tailored data bundles, allowing them to stream unlimited music and access Audiomack content without the hassle of data charges. This year, the partnership expanded with the Audiomack+ subscription program, which offers MTN subscribers seamless access to premium Audiomack content – including uninterrupted streaming and offline downloads – through three flexible subscription plans. “We have a monthly subscription, a weekly subscription and a daily subscription, because we figured that people sometimes just buy premium for the day,” says Bwana, adding that 41% of Audiomack users use MTN. “They don’t need it for a month, or they can’t afford to pay that for the month. But if a big artist drops an album today, and they just want to listen to the album, they just pay for premium for the day.”
Still, Africa’s low internet penetration rate poses a problem for users without MTN coverage. According to the International Telecommunication Union’s Facts and Figures 2024 report, just 38% of the continent is able to use the internet, while only 11% have access to a 5G network. Bwana notes that offline downloads are “everybody’s favorite feature” on the app, with Audiomack reporting 1.9 billion offline downloads since 2020. “You’re able to listen to the music on the go whenever you’re not connected,” she says. “This is a premium feature for many DSPs, and for us, it’s a feature that you still can access on the ad-based tier.”
Charlotte Bwana
This gets to the second major hurdle Audiomack has been tackling: payment. While the company is making sure its different subscription models are suitable for African users’ limited internet access, it’s also ensuring the payment methods are just as convenient. “In Africa, [there are] 54 different countries, and you’re working with many currencies. As you’re scaling a business, you have to figure out how to accommodate the entire continent,” says Bwana. “Seventy percent of the population [in South Africa] is banked, so they have access to credit and credit cards, and they can pay for stuff online. Then you go to Kenya, where everybody uses mobile money. With every country that I’ve been to, not only am I talking to the artists to market them and create content, but I’m also talking to telcos and fintechs and trying to figure out payment systems so we can make it seamless for people to pay for music.”
Last year, Audiomack partnered with Flutterwave, Africa’s largest payment network, to leverage its expertise in secure and reliable payment processing so artists can “monetize their art effectively,” Audiomack CEO/co-founder David Macli said in a press statement. Audiomack can reach even more users in Africa via seamless payment options, including bank transfers, local cards and mobile money. This year, the company also partnered with Carry1st, Africa’s leading mobile games and digital content publisher, to tap into its proprietary payment solution, Pay1st, so consumers can purchase their subscriptions using local payment methods including mobile money, popular digital wallets and bank transfers. “A lot of people on Audiomack are Gen-Z, they’re in that age where they’re discovering music but they’re also gaming,” says Bwana. “We were thinking of how do we bridge the gap between music and gaming, and also, how do we make sure that the artists are earning more royalties and being discovered even by the gamers.”
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Outside of accessibility and affordability, artist discovery is another one of Audiomack’s priorities. The platform has been identifying the continent’s rising stars before they gain global recognition through Keep the Beat Going, an annual campaign that focuses on amplifying artists’ profiles and introducing them to new global markets through billboards in major cities, playlists, digital ads, creator workshops and more. Since its launch in 2022, Keep the Beat Going has highlighted 72 artists from Ghana, Tanzania, Nigeria, South Africa and Kenya, including Ayra Starr, Burna Boy, Rema and Uncle Waffles.
Aside from artists, Audiomack is also keeping its fingers on the pulse of new trends coming out of the continent. Bwana believes Nigerian street pop is the “next big thing,” as evidenced by Asake and Seyi Vibez’s success on the platform. The latter is the most streamed artist in Nigeria, accumulating 1.4 billion plays on Audiomack since 2020, while the former is a close second with 1.2 billion plays. To date, Asake’s 2023 album Work of Art is the most streamed Afrobeats album on the platform with 476 million plays, while his hit “Lonely at the Top” from the album is the most streamed Afrobeats song on Audiomack with 87 million plays.
“We have a lot of people achieving their first hundred thousand or million streams on Audiomack,” says Bwana. “[We’ve] accommodated both listeners and artists, and this is what really sets us apart from a lot of the other streaming platforms.”
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.pngYveto2024-12-12 17:07:282024-12-12 17:07:28How Audiomack Became a Streaming Power Player in Africa
Today (Dec. 12), Daft Punk’s 2004 anime film Interstella 5555: The 5tory of the 5ecret 5tar 5ystem is screening in more than 800 theaters in 40 countries. While some of these theaters will host additional screenings over the weekend, this cinematic event is largely a one night only affair.
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And in the numerology-centric Daft Punk universe — the group announced its breakup on 2/22/21 and livestreamed Interstella 5555 on Twitch exactly a year later, 2/22/22 — this screening happening on 12/12/24 is obviously not accidental.
“I think it’s a just a fun way to find a date to release something,” says Pedro Winter, who managed Daft Punk from 1996 to 2008. “Most of the time we do things for fun.”
A quarter-century ago, creating an animated companion piece to the duo’s 2001 Discovery seemed like one such fun idea. The project would, however, also become an expensive, multi-year process that was a huge undertaking in an era when animation was still done by hand and resulted in a film that was only seen in full by a select few.
“I let you imagine the face of the accountant when you tell him you want to produce 14 videos that cost hundreds of thousands of dollars each,” says Winter.
Animated by legendary Japanese anime artist Leiji Matsumoto in collaboration with Japan’s Toei Animation studio and scored by Discovery, Interstella 5555 was created as a series of music videos set to each of the album’s 14 perfect songs. (See an exclusive clip of the remastered film’s “Harder, Better, Faster, Stronger” section below.)
Daft Punk’s Thomas Bangalter and Guy-Manuel de Homem-Christo conceived of the idea for the project, which tells the story of an evil music industry tycoon who kidnaps and brainwashes an alien rock group, transforms them into cookie cutter pop stars, brings them back to Earth and weasels them to the top of the charts. (The film “was written 25 years ago…. and it’s so relevant in 2025,” says Winter.)
While his memories of the creation process are reasonably hazy 25 years on, Winter says he’s pretty sure Bangalter and de Homem-Christo “produced the music first and then wrote the film around it. They needed the sound as a skeleton.” Once they had the script, they had to get Matsumoto onboard, knowing the artist – whose manga series Space Pirate Captain Harlock had been turned into an animated show the Daft Punk members watched as kids – might get their vision.
“While on a promo trip in Japan they met with Leiji Matsumoto, the legendary creator of the Space Pirate Captain Harlock anime to discuss their project with him,” says Emmanuel de Buretel, the founder of Because Music and former head of Virgin Records who signed Daft Punk to the latter label. “He was excited and quickly agreed to work with them on a manga movie inspired by Discovery.”
Daft Punk – Interstella 5555
The project would be expensive, but Bangalter and de Homem-Christo had the will to make it happen and “pitched the concept themselves to Virgin Records,” recalls Winter. “Luckily the head of Virgin at the time was de Buretel, the only major label’s CEO who could understand Daft Punk’s vision… He was the one who fought and managed to get the approval from the whole EMI group.”
Ordering 14 custom-made anime music videos from one of the world’s great masters of the style may have seemed like a flight of fancy to the accounting department — but then again, at one point the idea of two guys playing electronic music while dressed as robots probably did too.
“Great artists are rare,” says de Buretel. “Great, hardworking and humble artists are even rarer. Visionaries like these are few and far between, and you can’t help but be inspired and motivated by their vision and work ethic.”
Bangalter and de Homem-Christo initially planned to finance the film themselves, although Virgin ended up fronting the money for a project that de Buretel says “very quickly became highly complex and costly, since they had to fly to Japan every month to finish editing, while also promoting the project. We, at Virgin, decided to help them finance it to finish quickly — that was a result of really believing in the project and their vision.” (Winter says “Virgin records was putting up the money, but at the end it was Daft Punk who paid the bill.”)
There was also one major benefit to Virgin helping with the financing: “They also made a very nice concession to do another album,” says de Buretel. (2005’s Human After All would complete Daft Punk’s three-album run on Virgin.)
Once financing was sorted, work on Interstella began in Japan, where Matsumoto worked in collaboration with animation studio Toei Animation. “We all went to Tokyo in early 2000,” recalls Winter. “We met Leiji Matsumoto at his place. It was magical, for real. He was a living legend. We grew up with his characters on French TV. He loved the robot characters of Daft Punk. They were speaking the same language; it was just amazing to see the band and Leiji getting along so well.”
A group of creators who may have seemed worlds apart found they actually had a lot in common. De Buretel calls the film “a blend of two cultural movements exploding at the same time, electronic music and anime. The modernity of the concept: using science fiction to explore themes of artists’ exploitation, could only have been done by such powerhouse thinkers as Leiji and Daft Punk.”
Daft Punk – Interstella 5555
Daft Punk creative director Cédric Hervet soon joined the team to help develop the screenplay and the characters. While the idea was to launch the film at the same time as the album, that was not to be, with the film ultimately released two years after Discovery came out in February of 2001. (The album spent 30 weeks on the Billboard 200 across spans in 2001 and 2015.)
“Animation is such a long-term process,” says Winter, who recalls “receiving faxes from Toei Animation every week” with updates. “I loved the way the characters evolved, how the whole story took life,” he says.
Clips for the album singles “One More Time,” “Aerodynamic,” “Digital Love,” and “Harder Better Faster Stronger” were released first, and the complete film screened at the 2003 Cannes Film Festival, along with a limited run in approximately 30 French theaters. A DVD of the full project them came out in late 2003. (“The animated House Musical,” the DVD’s cover reads.)
Daft Punk – Interstella 5555
But until now, Interstella 5555 has never had a wide cinematic release in its full, hour-long form. The screenings are happening in partnership with Trafalgar Releasing, which specializes in special event cinema distribution and also worked on the 2023 cinematic releases of Taylor Swift‘s The Eras Tour concert film and Renaissance: A Film by Beyoncé.
The remastered version showing globally today has been, de Buretel says, “upgraded to fit current standards and give all fans the opportunity to engage in it.” He adds that this global event is an opportunity for fans to “discover and re-discover the group’s magic artistically and sonically,” to celebrate Matsumoto, who passed away last year at age of 85, and to stir up some fun and celebrate a work that, like so much of Daft Punk’s output, was ahead of its time.
“The project seemed difficult 24 years ago,” says de Buretel. “It probably seems straightforward today, but it was very risky and hard to wrap your head around at the time. I think that’s why it is a cult movie now.”
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.pngYveto2024-12-12 17:07:282024-12-12 17:07:28Daft Punk’s 2003 Anime Film Is in Theaters Today – Those Who Were There Recall Its Creation: ‘It Was Magical, For Real’
After two weeks away from No. 1 on the TikTok Billboard Top 50 chart, Yeah Yeah Yeahs’ “Maps” is atop the survey yet again, zooming 5-1 on the Dec. 14-dated tally.
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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 Dec. 2-8. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Maps,” released in 2003 as part of Yeah Yeah Yeahs’ debut album Fever to Tell, initially reigned on the TikTok Billboard Top 50 for seven weeks between the surveys dated Oct. 12 and Nov. 23. It fell to No. 10 on the Nov. 30 chart, but just when it seemed like its rule was over, it rebounded to No. 5 last week, followed by its latest coronation.
In all, “Maps” now boasts eight weeks at No. 1, second most since the chart began in September 2023 behind the 10-week run of Tommy Richman’s “Million Dollar Baby” this year.
Despite the rebound, the trends driving “Maps” remain the same as they did upon its initial ascent. The song’s chief driver is a dance, often set to a sped-up version of the tune. A variety of different mixes of the song, including a Jersey club one, also exist, generally using the sped-up vocals. While the dance represents most of the high-performing uploads these days, creators have also used “Maps” to soundtrack a trend where they use a filter to remove their facial features and then have them cascade back down onto their face.
“Maps” reigns over a brand-new entry on the chart in the I’ll Take You There Choir’s version of “Like a Prayer,” recorded for the movie Deadpool & Wolverine. A choir version of Madonna’s three-week No. 1 on the Billboard Hot 100 from 1989, the sound has been used in a variety of edits (often to make a scene more dramatic), while a more recent trend tells a story while slowing zooming in on the face of Pepe from The Muppets.
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Tyler, the Creator’s “Like Him,” featuring Lola Young, jumps to a new peak of No. 3 on the TikTok Billboard Top 50, while Mariah Carey’s “All I Want for Christmas Is You” breaks into the top five for the first time this holiday season, rising 7-4. “Like Him” initially bowed at No. 6 on the Nov. 9 ranking and experienced a previous best of No. 4 the following week. More recently, creators have also used the sound to recap their 2024s, while another cuts in dialogue from the Spider-Verse franchise.
Besides “Like a Prayer,” one other song debuts in the top 10: Malcolm Todd’s “Chest Pain,” which starts at No. 6. The newly released song (Dec. 4) was teased on TikTok for weeks prior to its official premiere, and many of the top-performing uploads feature creators showing off their loved ones. The song racked up 557,000 official U.S. streams in just two days (Dec. 4-5) of its first Billboard tracking week.
Ariana Grande’s “Sweetener” also hits the top 10 for the first time, leaping 15-10 in its second week on the tally. The title track from Grande’s 2018 album (No. 1 on the Billboard 200 for a week that September) has a dance-related trend attached, with two people trading off different moves. It helps drive “Sweetener” to a 74% gain in listens to 1.1 million streams.
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.pngYveto2024-12-12 17:01:132024-12-12 17:01:13Yeah Yeah Yeahs’ ‘Maps’ Back at No. 1 on TikTok Billboard Top 50
Host Tetris Kelly talks to some of the Billboard Music Awards finalists, including Tyla, Shaboozey, SEVENTEEN, Stray Kids and so many more! These artists share what fans can expect from some of their performances, play games, and so much more.
Who are you excited to see on tonight’s show? Let us know in the comments below!
Fuerza Regida:
Hey, yo what’s cracking? Fuerza Regida.
Tyla:
Hey, Billboard, it’s Tyla.
SEVENTEEN:
We are SEVENTEEN and this is the Billboard Music Awards pre-show yay!
SEVENTEEN:
What’s up party people? It’s Tetris, and it’s pre-show time. The Billboard Music Awards are going down tonight, and we’re giving you a sneak peek at the hottest performers and some of the biggest finalists ahead of the show, starting with one of my faves, it’s k-pop sensation. My boys SEVENTEEN. I am so happy to be hanging out with you guys again. It’s been a long time, but you’re here for the Billboard Music Awards, and you guys took over the Santa Monica Pier. You guys are also doing SEVENTEEN THE CITY there, so how did that feel?
SEVENTEEN:
About six months ago, I visited Santa Monica while traveling, and hearing that we’ll be performing in that same space is truly exciting. I feel like it’s going to be a unique experience.
I mean, I know it’s gonna feel different for you. Mingyu, but Joshua, you’re basically the king of LA. You grew up walking these streets. So how was that for you as well?
SEVENTEEN:
I mean, Santa Monica in general, is like the place that I used to hang out the most with my friends, like on the weekend. So it means a lot that we’re gonna be able to perform there and to have a studio event at Santa Monica Pier.
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Wicked and Conclave tied for the most nominations in this year’s Critics Choice Association Awards – 11 each. Dune: Part Two and Emilia Perez were closed behind with 10 nods each.
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Wicked stars Cynthia Erivo and Ariana Grande are nominated for best actress and best supporting actress, respectively. The film is nominated for best picture and best acting ensemble.
The film is already the second-highest grossing film based on a Broadway musical (just behind Mamma Mia!). The soundtrack album has so far reached No. 2 on the Billboard 200.
Selena Gomez failed to receive a supporting actress nod for her work in Emilia Pérez, though “Mi Camino,” which she performs in that film, was nominated for best original song. The film is nominated for best picture and best acting ensemble.
The Bob Dylan biopic A Complete Unknown is nominated for best picture. In addition, star Timothée Chalamet is nominated for best actor, while Edward Norton is nominated for best supporting actor for his portrayal of Pete Seeger.
The six nominees for best original score were exactly the same as those nominated for Golden Globe Awards on Monday: Volker Bertelmann for Conclave; Daniel Blumberg for The Brutalist; Kris Bowers for The Wild Robot; Clément Ducol and Camille for Emilia Pérez; Trent Reznor and Atticus Ross for Challengers; and Hans Zimmer for Dune: Part Two.
There was just one difference in the nominations for best original song between the Critics Choice Awards and the Golden Globes. “Harper and Will Go West” from Will & Harper by Sean Douglas and Kristen Wiig is nominated for Critics Choice, whereas the Globes nominated “Forbidden Road” from Better Man (music and Lyrics by Robbie Williams, Freddy Wexler, Sacha Skarbek).
The other five nominees are the same for both shows: “Beautiful That Way” from The Last Showgirl, “Compress/Repress” from Challengers, “El Mal” from Emilia Pérez, “Kiss the Sky” from The Wild Robot and “Mi Camino” from Emilia Pérez.
“This year brought us an incredible wealth of storytelling and performances, leading to indescribably close races for nominations,” Critics Choice Association CEO Joey Berlin said in a statement. “We are honored to be able to celebrate our landmark 30th year of the Critics Choice Awards with this talented group of nominees and are thrilled to bring viewers our best show yet. Knowing how close the balloting for nominations was, we anticipate an exciting evening of high drama on January 12.”
The 2025 Critics Choice Awards take place on Sunday, Jan. 12, beginning at 7 p.m. ET and will air this year on E! Chelsea Handler is set to host.
Here’s the full list of nominations for the 2025 Critics Choice Awards.
Best Picture
A Complete Unknown
Anora
The Brutalist
Conclave
Dune: Part Two
Emilia Pérez
Nickel Boys
Sing Sing
The Substance
Wicked
Best Song
“Beautiful That Way” – The Last Showgirl – Music by: Andrew Wyatt Lyrics by: Andrew Wyatt, Miley Cyrus, Lykke Li
“Compress/Repress” – Challengers – Music by: Trent Reznor, Atticus Ross Lyrics by: Trent Reznor, Luca Guadagnino
“El Mal” – Emilia Pérez – Music by: Clément Ducol, Camille Lyrics by: Clément Ducol, Camille, Jacques Audiard
“Harper and Will Go West” – Will & Harper – Sean Douglas, Kristen Wiig
“Kiss the Sky” – The Wild Robot – Music & Lyrics by: Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi
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You better believe Nick Cannon knows all about the magic of Christmas. The host of The Voice was, after all, married to the Queen of Christmas, Mariah Carey, for six years. Plus, with a dozen children on his nice list, shopping for holiday gifts is probably a part-time job for the always-hustling radio/TV star.
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He slowed down recently, though, to make a special holiday memory with three of his brood — three-year-old twins Zillion and Zion and two-year-old daughter Beautiful – when the fam got together for a traditional Christmas holiday photo shoot with Santa. In the snap uploaded on Wednesday (Dec. 11), Cannon and the children’s mother, Abby De La Rosa, gather around, with Cannon holding Zion and Beautiful on his lap, while De La Rosa has a smiling Zillion sitting on her lap in the snap captioned, “The magic of Christmas is FAMILY.”
Cannon first became a dad when he and Carey welcoming their twins, Moroccan and Monroe, in 2011, followed by Golden Sagon in February 2017 with Brittany Bell, Powerful Queen with Bell in December 2020 and the couple’s third child, Rise Messiah, in September 2022. Next were Zion Mixolydian and Zillion Heir with De La Rosa in June 2021, Zen with Alyssa Scott in June 2021, Legendary Love with Bre Tiesi in July 2022 and Onxy Ice Cole with LaNisha Cole in September 2022. De La Rosa and Cannon said hello to their third baby, Beautiful Zeppelin, in November 2022, followed by his second child with Scott, Halo Marie, in December 2022.
That might explain why Cannon insured his “family jewels” for $10 million in June in a promotion with Dr. Squatch’s Ball Valuation Tool.
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