Rauw Alejandro turned his acclaimed Cosa Nuestra Tour into a heartfelt tribute to Mexico and its most famous festivity, Día de Muertos (Day of the Dead), on Tuesday night when the Puerto Rican star, his dancers and musicians all appeared with their faces painted as Mexican skulls for the first of five shows at the Palacio de los Deportes in the capital city.
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In a stunning surprise for the 18,000 attendees who packed the venue, according to Ocesa figures, Rauw, elegantly dressed in a 1960s-inspired outfit, resembled the character El Catrín — the eternal lover of La Catrina, the legendary skull created by Mexican cartoonist José Guadalupe Posada, who in Mexican tradition is her eternal companion in celebration on life and death.
“I’m singing here in one of my favorite cities,” Rauw said with emotion to the crowd, who erupted in a warm ovation. “Today’s story is a little different, when two cultures become one, when Cosa Nuestra meets Mexico with lots of love and affection, with great respect for everyone.”
The fact that the dancers and musicians accompanying the artist also appeared with their faces painted as Mexican skulls made the experience even more emotional and intimate for his local fans, who, adhering to the singer’s dress code, wore short sequined dresses, feathers, berets, and classic-cut suits.
Día de Muertos is traditionally celebrated on Nov. 1-2. Over the weekend, the performer had shared a series of snapshots on his Instagram account, where he and his team appeared with their faces painted as a skulls enjoying traditional tacos and tequila in Mexico, where he has 10 fully sold-out shows scheduled.
The Mexican leg of his Cosa Nuestra World Tour began on Nov. 2 in the northern city of Monterrey and continues in Mexico City with five shows, from Nov. 4 to 9. He will also stop in the city of Guadalajara on Nov. 15 and 16.
Rauw Alejandro participated on Monday (Nov. 3) in the Billboard Live Music Summit 2025 in Los Angeles, where he spoke with Billboard’s Leila Cobo and Hans Schafer, senior vp of global touring at Live Nation, about how his partnership with the entertainment giant helped him create a Broadway-inspired show that could “travel the world.”
The Cosa Nuestratour is a high-concept, 1970s New York-inspired spectacle supporting Rauw’s 2024 album of the same name, which hit No. 6 on the Billboard 200. The tour grossed $91.7 million across spring and summer legs in North America and Europe before heading to South America and Mexico. The trek will conclude at the end of this month with a five-date residency at San Juan’s Coliseo de Puerto Rico José Miguel Agrelot.
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.pngYveto2025-11-05 22:33:042025-11-05 22:33:04Rauw Alejandro Becomes Day of the Dead Skull for ‘Cosa Nuestra’ Show in Mexico: ‘When Two Cultures Become One’
There are a lot of happy New Yorkers out there celebrating the victory of Zohran Mamdani in the 2025 mayoral race, and some of them — including Gracie Abrams, Halsey and more — are also big-name musicians.
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In response to the 34-year-old Democratic Socialist triumphing over opponents Andrew Cuomo and Curtis Sliwa after the election wrapped up Tuesday night (Nov. 4), numerous stars shared messages of excitement and congratulations on social media. Abrams shared a number of posts about Mamdani’s win on her Instagram Story, writing that she was “SCREAMING” and adding, “I keep getting chills over and over.”
On X, Halsey wrote, “I just got off stage from an AMAZING show and Zohran Mamdani is mayor of New York and I am NOT GONNA BE ABLE TO SLEEP I’m too ALIVE!”
Lorde also weighed in, sharing a “New York” graphic on her Story and typing, “Change … Have a Nice Day” while tagging Mamdani’s account.
All three of those singer-songwriters are based in NYC, which showed up for Mamdani on Election Day with more than 1,036,051 ballots cast in his favor, according to The Associated Press. Running on a platform of lowering the cost of living in the city, the assemblyman earned an estimated 50.4% of the vote, while Cuomo and Sliwa split the rest 41.6% and 7.1%, respectively.
Many other musicians celebrated the results in the comments of Mamdani’s posts on Instagram with Clairo dropping a fire emoji and Lizzy McAlpine writing, “YAYYYY.”
“he’s home!” Rachel Zegler replied, while King Princess commented, “I think we should throw a party ?”
Lauren Jauregui chimed in, “thank God!! May you be protected and guided!! Yayyyy!”
The outpouring of happiness in response to Mamdani’s win reflects the unprecedented grassroots momentum he was able to curate with his campaign. Backed by politicians such as Bernie Sanders and Alexandria Ocasio-Cortez, the Ugandan-born immigrant leaned into social media strategy and pop culture throughout the race, at one point coming out on stage during PinkPantheress’ October concert in Brooklyn.
Mamdani also got himself in the good graces of Swifties by shouting out Taylor Swift’s “Only the Young” — as well as “Hate It or Love It” by The Game featuring 50 Cent and “Right Above It” by Lil Wayne featuring Drake — when he was asked to summarize his campaign in three songs.
Here’s a story that captures everything wrong with Washington: Billion-dollar corporation asks Congress to force car manufacturers to install AM radio in every vehicle — a government tech mandate worth billions of dollars to its bottom line — while refusing to pay the artists and rights owners whose music is the very foundation of their business.
Last Congress, lawmakers such as House Democratic Leader Hakeem Jeffries saw through this scheme and stood firm. Radio lobbyists went home empty-handed. Now they’re back, asking for the same corporate handout, and still refusing to pay artists a dime.
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Before you say, “But who listens to AM/FM radio in 2025?”, ask yourself this question: Why are corporate radio lobbyists fighting so hard for this government mandate? Because keeping radio in cars is worth almost $14 billion in advertising every year. And why is it worth that much? Because hundreds of millions of Americans still listen to AM/FM radio every week.
Big Radio spent over $13 million lobbying Congress last year, which doesn’t even include the millions they contributed to political campaigns, to protect their golden goose at the expense of artists.
Corporate radio lobbyists engage in a cynical game of claiming something we all know isn’t true. They claim artists should be satisfied that “promotion” on radio is good enough compensation. But the days of Americans discovering music on AM/FM radio are long gone. Social platforms like YouTube and TikTok are where music breaks now. Last year, 84% of Billboard Global 200 songs went viral on TikTok first. Radio adapted by abandoning discovery and repeatedly playing popular songs radio listeners already know — in a single day recently, one iHeart station played songs by six major artists 112 times. One station. In a single day. Without paying a penny to the performers.
That isn’t promotion. It’s exploitation.
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That’s why the last Congress rejected radio lobbyists’ efforts to pass the AM in Every Vehicle Act. And why they must again reject it unless radio corporations agree to tie it to the American Music Fairness Act that ensures artists are paid fairly for radio plays.
Under the American Music Fairness Act, small and community stations would only have to pay between $10 and $500 a year to play all the music they want. The bill also gives radio corporations the opportunity to tell the independent Copyright Royalty Board what they think the performance royalty rate should be. If radio conglomerates believe their airplay has promotional value, they can make their case.
For some reason, AM/FM radio companies think they are special and that the principles of copyright shouldn’t apply to them. Every other platform pays artists for the work they do. Spotify. Pandora. SiriusXM. Only AM/FM radio — the most established music platform — claims it should be exempt from this concept.
For years, corporate radio lobbyists engaged in cynical practices to block music legislation. But now they are the ones who want Congress to act. And that gives music creators power — and they are speaking out with one voice.
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And just this week, Boyz II Men, Gloria Gaynor, Mike Love, Sammy Hagar, Smokey Robinson and others called on congressional leaders to pair the AM bill with the American Music Fairness Act. Their message was simple: “When you save the radio industry by mandating its technology remain in cars, we ask that you save the musician too and allow us to be paid fairly when our music is played.”
Artists have never been this fired up. Perhaps that’s because, like the rest of America, they are fed up with our workers being taken advantage of. This is about priorities. Big Radio corporations want Congress to mandate that their product be installed in every new car sold in America — government intervention to protect corporate profits. Meanwhile, musicians are simply asking to be paid for their work.
The solution is simple: If radio corporations want billions in government-mandated protection, they need to start paying the workers whose labor generates their wealth.
No corporate handouts without worker fairness. No radio without royalties.
Michael Huppe is the president and CEO of SoundExchange, where he champions creators and spearheads the use of technology, data and advocacy to power the future of music. To date, SoundExchange has distributed more than $12 billion in digital performance royalties to a growing community of more than 800,000 music creators. Michael is also an adjunct professor at Georgetown Law School, a published author, lecturer and active community member. He is a member of YPO, Forbes Business Council, and Fortune Brainstorm Trust, with opinions published in Variety, Rolling Stone, The Wall Street Journal, Music Business Worldwide, Billboard and The Hill.
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.pngYveto2025-11-05 21:57:542025-11-05 21:57:54No Radio Without Royalties: New Rules for a New Era (Guest Column)
Brandi Carlile breaks the record for most No. 1’s by a woman on Billboard’s Top Rock & Alternative Albums chart, as her latest album Returning to Myself debuts atop the Nov. 8-dated tally.
In its first week, ending Oct. 30, Returning to Myself earned 35,000 equivalent album units, according to Luminate. That sum includes 32,000 in album sales.
Returning to Myself is Carlile’s fifth No. 1 on the ranking, all achieved consecutively. She first led with 2015’s The Firewatcher’s Daughter, followed by 2018’s By the Way, I Forgive You, 2021’s In These Silent Days and this year’s Elton John collaboration Who Believes in Angels?.
Carlile’s five leaders are the most by a woman or woman-led act since Top Rock & Alternative Albums began in 2006. Previously, she was tied for the mark with Florence + the Machine and Paramore. (The distinction may be short lived; the former’s new album, Everybody Scream, was released Oct. 31 and will hit next week’s Billboard charts, dated Nov. 15.)
Elsewhere, Returning to Myself marks Carlile’s second No. 1 on Top Album Sales, and first since By the Way, I Forgive You. Of the new set’s 32,000 in sales, 15,000 are via vinyl; as a result, the LP starts at No. 2 on Vinyl Albums.
On the all-format Billboard 200, Returning to Myself opens at No. 7, marking Carlile’s fifth top 10, where she first ranked with the No. 10-peaking Bear Creek in 2012. Her personal best on the chart was set by By the Way, I Forgive You (No. 5).
Returning to Myself’s title track lead single reached No. 12 on Adult Alternative Airplay (Oct. 18). Its follow-up, “Human,” is bubbling under the list.
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.pngYveto2025-11-05 21:37:432025-11-05 21:37:43Brandi Carlile Rewrites Record on Top Rock & Alternative Albums With Latest No. 1 Album
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The $180 blanket is crafted of an ultra-fluffy material and reversible print that gives you two blankets wrapped into one. With the hefty price tag, smart shoppers on TikTok have made the investment first to investigate if Barefoot Dreams’ throw blanket is really worth the Kardashian stamp of approval. The short answer? It is. TikTokers can’t stop obsessing over the blanket and how comfy it is with user @tinx even going as far as to say she “would die” for the home decor piece.
“Not only would I pay another $180 for this blanket, I would give them my car, my first born — this blanket is life-changing,” she says in a review video that’s racked up 5.6 million views. “It feels like if peach fuzz and cashmere did a collaboration.”
Each Barefoot Dreams throw is affixed with a leopard print and comes in three colorways including a soft gray, cream and black, giving buyers a slew of styling options to match your space’s aesthetic. Unlike your favorite wearable blanket, this designer throw will effortlessly add a chic yet homey touch to your couch.
Even reviewers are impressed with the blanket’s design praising the size and coverage of the design. “I always tuck my feet inside my throw blankets and I feel like it makes them shorter at the top by my arms,” one shopper commented. “My Barefoot throw has a stretch to it, which makes it have plenty of room without feeling small.”
Another reviewer also raved over how “the softness is truly addicting. I never want to be on the couch or bed without one of these throws!” If you’re not ready to make the splurge yet, ShopBillboard found some Barefoot Dreams throw blanket dupes you can shop below.
Best Barefoot Dreams Throw Blanket Dupes
To help you get the best dupe for the least amount of money, we put together a couple of alternatives you can buy online.
These leopard-printed throws from Wayfair are the most affordable option we’ve seen thus far, and they’re a dead-ringer for the OG Barefoot Dreams throw. The best part? They’re currently a whopping 72% off. The throw is 50 inches by 60 inches and is made out of easy-to-clean and ultra-breathable cotton. Like the Barefoot OG, this blanket is also reversible. You’ve also got three colorways to choose from, including Blue, Beige and Charcoal. It’s all the same facets that you loved about the Kardashian-approved style, but with an affordable price tag.
Another affordable option, this time from Macy’s. The Premier Comfort Cozy Plush Printed Throw retails for $30. This throw comes in a white and black leopard print with a dimension of 50 inches x 70 inches. The blanket is crafted of a soft plush material, like our other options, and is easily machine washable. The only downside is this throw isn’t reversible, something to keep in mind if you’re looking for a two-in-one situation, however, you do have 10 colorways to choose from that can alleviate that diversity problem.
Snuggle Sac is brining all the coziness with its reversible leopard throw blanket that’s just $25.99. More than 900 have been purchased on Amazon in the past month and the throw has also been labeled an Amazon Choice for its popularity and quality. You can also choose from a mix of 11 patterns and three sizes depending on what your needs are.
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.pngYveto2025-11-05 21:27:152025-11-05 21:27:15These Ultra-Soft Celeb-Loved Blankets Should Be the Number One Thing on Your Holiday Shopping List
Tyla storms in at No. 1 on the Billboard U.S. Afrobeats Songs chart as “Chanel” bags the top spot of the list dated Nov. 8. The new champ, an Afrobeat, amapiano and pop composition, namechecks the iconic designer brand and centers on the repeated lyrical refrain “Say you love me, put me in Chanel.” It leads the streaming and sales-based ranking and becomes Tyla’s third leader on the chart, which launched in April 2022.
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“Chanel,” released on FAX/Epic Records, traces its chart-topping entrance to 2.1 million official streams and a few hundred song downloads in the United States for the tracking week of Oct. 24-30, according to Luminate. Among other starts, “Chanel” begins at No. 5 on the World Digital Song Sales chart and has international appeal, debuting at No. 1 on the U.K.’s Official Afrobeats Chart.
With “Chanel,” Tyla achieves her third No. 1 on Billboard U.S. Afrobeats Songs. She first regined with the crossover hit “Water,” which dominated for 55 weeks on the tally in 2023-24 as it soared to No. 7 on the all-genre Billboard Hot 100. The singer-songwriter’s second No. 1 “Push 2 Start,” ruled for 20 frames in 2024-25. Notably, both prior leaders still have a presence on the newest chart: “Water” rests at No. 3, while “Push 2 Start” is at No. 5.
As “Chanel” captures the crown, it knocks MOLIY, Silent Addy, Skillibeng and Shenseea’s “Shake It to the Max (Fly)” from No. 1 on the Billboard U.S. Afrobeats Songs chart. The former champ, which led for the last 25 weeks, slides to No. 2.
Despite their battle for the No. 1 spot, MOLIY and Tyla combine forces for another debut on this week’s Billboard U.S. Afrobeats Songs chart. Their collaboration, “Body Go,” starts at No. 9 largely through 325,000 official streams. With the start, Tyla claims her 15th top 10 on the chart, while MOLIY earns her second visit to the upper tier.
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.pngYveto2025-11-05 21:27:152025-11-05 21:27:15Tyla Bags Her Third No. 1 on U.S. Afrobeats Songs Chart With ‘Chanel’
The Scottish producer has locked in a two-year residency at Wynn Las Vegas, where he’ll play the resort’s mega-club XS and its poolside Encore Beach Club. The first three dates at XS will happen Jan. 16, Feb. 13 and Feb. 21, with more shows to be announced.
“Calvin Harris is a legend whose influence on music and nightlife is undeniable,” said Ryan Jones, Vice President of Wynn Nightlife. “This residency reflects Wynn Nightlife’s dedication to curating unforgettable experiences and maintaining our position as the leader in nightlife.”
The news is a full circle of sorts, with Harris’ first ever Las Vegas residency in 2011 also taking place at Wynn Nightlife. This residency began during — and helped launch — the era when EDM was redefining and revitalizing entertainment on the Las Vegas Strip and transforming the city into a global dance music hub, a title it retains to this day.
Harris’ most recent Las Vegas residency was at the nearby Fontainebleau Las Vegas, where he was a 2024 resident in the property’s venues LIV Las Vegas and LIV Beach. His 2025 dates in the U.S. have been limited to a set in Austin, Texas in May and a set at RISE Festival near Las Vegas in October.
Harris is one of the architects of the EDM genre and its attendant boom, releasing era-defining songs including “We Found Love,” “Feel So Close” and “One Kiss.” His most recent release, “Blessings” featuring Clementine Douglas, is currently at No. 16 on Hot Dance/Electronic Songs, where the track is in its 25th week on the chart.
The rest of Harris’ 2025 dates include performances at Ushaïa Dubai, the Soundstorm festival in Riyadh, Saudi Arabia, Indonesia’s Jakarta Warehouse Project and Creamfields Asia.
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.pngYveto2025-11-05 21:04:162025-11-05 21:04:16Calvin Harris Moves Down the Las Vegas Strip For a New 2026 Residency
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Kicking off their 100th anniversary, the Rockettes are set to headline their annual Christmas Spectacular showcase this holiday season. Performances start on Thursday (Nov. 6) and go until Jan. 5 at Radio City Music Hall in New York City.
Tickets to the show first went on sale through Ticketmaster, while the retailer’s Face Value Exchange program is an option for fans to resell tickets online.
Since a number of the dates have either sold out or are very close to selling out, one of the best ways to find Christmas Spectacular tickets online is through third-party sites, such as StubHub, Vivid Seats, SeatGeek and others — all of which guarantee authentic tickets in time for the event.
In addition, tickets are all delivered digitally, so you can get them sent instantly to your smartphone or email. Prices may also be above or below face value at times.
Where to Find ‘Christmas Spectacular’ Starring the Radio City Rockettes Tickets Online
Looking for cheap seats to see the Christmas Spectacular live? Here’s where to find tickets still available and on sale online.
StubHub has Rockettes tickets available. StubHub’s Fan Protect Guarantee ensures valid tickets or your money back. And if your event is canceled and not rescheduled, you’ll receive 120% in credit or be given the option of a full refund.
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Find ‘Christmas Spectacular’ Tickets at Vivid Seats
You can also find Rockettes tickets online at Vivid Seats, which lets you search by price, location and “Super Sellers,” which denotes reputable sellers with the best deals on tickets.
Vivid Seats is great for group tickets: the site has a rewards program that gives you your eleventh ticket free (in the form of a credit) after you buy 10 tickets online. And as a bonus, you can use our exclusive promo code BB30 to take $30 off your purchase at VividSeats.com.
One of the lowest prices we’re seeing for Rockettes tickets is at SeatGeek, which has stubs from $50 and up. Use our discount code BILLBOARD10 to save an additional $10 at checkout.
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Find ‘Christmas Spectacular’ Tickets on TicketNetwork
TicketNetwork has tickets to the Christmas Spectacular at Radio City Music Hall concerts with all-in pricing that lets you see exactly what you’ll pay up front (fees included). For a limited time, you can use our exclusive code BILLBOARD150 to save $150 off $500 or BILLBOARD300 to save $300 off orders of $1000 and up.
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.pngYveto2025-11-05 20:47:422025-11-05 20:47:42How to Get Affordable Tickets to ‘Christmas Spectacular’ Starring the Radio City Rockettes Online
Let’s talk about sex, baby. For decades, the Billboard Hot 100 has documented the hottest songs in the country — but some of them have been particularly hot, if you catch our drift.
From George Michael to Salt-N-Peppa to Drake, numerous artists have scored hits on the chart with songs about S-E-X. Whether it’s about having it, wanting to have it or not having enough of it, music that touches on the topic — in varying degrees of detail — has proven to do quite well commercially.
Only a handful of performers, however, can say that they’ve created the absolute biggest sex-related tracks of all time by Hot 100 standards, and those are the ones who Billboard is choosing to recognize today. Below, we’ve rounded up the 25 most successful songs on the subject by looking back through all of the entries with the word “sex” or “sexy” in the title and scoring them based on chart performance and longevity. Not all of them have aged super well — and with that, we’re mostly referring to the two songs credited to R. Kelly, who in 2022 was sentenced to 30 years in prison on charges of sex trafficking and abuse — so be sure to keep in mind that these tunes were selected by data, not personal opinion.
With that, it’s time to strip down to only the hottest of hits that have made it onto the Hot 100 to date. Keep reading to see all 25, but take caution — this list is definitely not safe for work.
This ranking is based on weekly performance on the Billboard Hot 100 from its Oct. 20, 1958, start through Oct. 25, 2025. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
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.pngYveto2025-11-05 20:47:422025-11-05 20:47:42Ooh, La La: These Are The 25 Biggest Songs About Sex on the Billboard Hot 100
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard 200 dated Nov. 15, we look at the chances of a handful of albums to reach a top 10 still dominated by Taylor Swift and KPop Demon Hunters.
Florence + The Machine, Everybody Scream (Polydor): The screaminess of the latest set from Florence Welch is less about traditional spooky scaries than the horrors of the life-threatening ectopic pregnancy Welch recently suffered, as well as the indignities of being a veteran woman artist in the music industry. Regardless, the Halloween-released set seems to be resonating for its more adult terrors, drawing some of the best reviews of the year for a major release.
The set is not expected to stream in exceptional numbers — Florence + The Machine have never scored a real breakout hit during the streaming era, outside of collaborations — but it should sell well, as the outfit’s albums traditionally have. Helping will be a multitude of options available for purchase: six vinyl variants and four CD variants, including a signed copy in each format, as well as deluxe digital and streaming editions that include four “chamber versions” bonus tracks, featuring stripped-down arrangements of some Scream highlights.
With its relatively minimal presence on DSPs, it’s unlikely that Everybody Scream will be able to challenge streaming behemoths like Taylor Swift and the KPop Demon Hunters soundtrack at the very top of the Billboard 200 next week. But the set does appear on pace to debut in the top 10 — which would mark Florence + The Machine’s fifth consecutive album to reach the region — and could also have a shot at the outfit’s first top five album since 2018’s High as Hope.
Tyler, the Creator, CHROMAKOPIA (Columbia): CHROMAKOPIA of course already debuted atop the Billboard 200 last November, with career-best first-week numbers for Tyler, The Creator despite arriving with an incomplete first tracking week. But for the set’s one-year anniversary, the rapper has reissued the set as CHROMAKOPIA+, with the bonus track “Mother” — featuring mid-song interjections and wisdom from his mom Bonita Smith, and previously only available on the album’s physical release — now inserted into its tracklist on DSPs.
In addition to the new song on streaming — which was featured near the top of Spotify’s New Music Friday and is streaming solidly, albeit not as much as an official new Tyler singler would — the “Plus” set has also been reissued for physical purchase on CD and vinyl. It’s also on sale in two boxed sets, each of which contains a branded merch item in a branded box, along with a copy of the CD.
The original CHROMAKOPIA has still yet to leave the Billboard 200, currently ranking at No. 117 in its 53rd week on the chart. But the additional sales and streaming interest from the reissue should be enough to give it a big boost for next week, perhaps all the way back to the chart’s top 10.
Michael Jackson, Thriller (Epic): And of course, the week after Oct. 31, you can’t discount the chart impact of actual Halloween-friendly music on the Billboard 200. As is often the case in recent years, Michael Jackson’s Thriller seems to be leading the pack on streaming — thanks to classics like its midnight-movie title track and vaguely spook-adjacent “Billie Jean” — followed by fellow holiday perennials like the Nightmare Before Christmas soundtrack and Andrew Gold’s Halloween Howls: Fun & Scary Music.
However, the timing of the tracking week may be dissuasive towards any of these albums making too big a jump. With Halloween falling on a Friday this year — the first day of the new tracking week — the lead-up excitement for the holiday is all contained to the previous tracking week (hence Thriller already climbing 46-30 on this week’s Billboard 200), and interest in such jams usually falls off quickly and dramatically once the calendar turns to November. But perhaps with a full weekend to celebrate, interest will sustain just enough this year for Thriller to return to the top 10 — or at least the top 20.
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.pngYveto2025-11-05 20:37:412025-11-05 20:37:41Will Albums by Florence + The Machine, Tyler, The Creator or Michael Jackson Crack the Top 10 Next Week?
