The hosts of Podcrushed — actor Penn Badgley with Nava Kavelin and Sophie Ansari — are tackling a brand-new medium with this week’s release of Crushmore: Essays on Love, Loss, and Coming-of-Age. And at 5 p.m. ET/2 p.m. PT Thursday (Oct. 16), the trio will join Billboard Book Club for a livestream to chat all about the essay collection and sell signed copies.

For the latest installment of Billboard Book Club, the trio behind Podcrushed — a podcast launched in 2022 to explore the awkwardness and heartbreak that defines adolescence — will talk about their Crushmore book, which continues the journey to unpack the importance of middle school self-discovery. Guests on the Podcrushed podcast have included Ariana Grande, Jonas Brothers, Jenna Ortega, Drew Barrymore and Badgley’s Gossip Girl co-star Leighton Meester.

Powered by TalkShopLive, the Podcrushed live shoppable interview will air at 5 p.m. ET/2 p.m. PT on Thursday, where fans can order a copy of the book, including a version signed by Badgley, Kavelin and Ansari. The full conversation will be available for anyone to watch in the video player above or on Billboard socials.

Billboard Book Club first launched in April, with its kick-off interview with Spice Girls’ Geri Halliwell-Horner. The singer joined Billboard to talk about her book Rosie Frost: Ice on Fire, the sequel to New York Times bestseller Rosie Frost & the Falcon Queen. In June, Victoria Monét joined Billboard Book Club to chat about penning Everywhere You Are, an adorable illustrated children’s book about a moon who comforts a young star as they part ways at dawn. And just this week, Canadian singer/songwriter Jessie Reyez joined Billboard Book Club for a shoppable interview around her The People’s Purge poetry collection.

You can find all of Billboard‘s shoppable TalkShopLive interviews here, including past chats with Garth Brooks, Sabrina Carpenter, Shaboozey and more.

Nick Offerman loves wood — both literally and in terms of Taylor Swift songs.

While guesting on The View on Thursday (Oct. 16), the Parks and Recreation alum — who is coming out with a new wood-crafts book titled Little Woodchucks — shared his thoughts on “Wood,” the slightly NSFW song on the pop star’s The Life of a Showgirl album. At first, Offerman joked that he and Swift had coordinated the releases of their respective projects, as “we didn’t want to soak the market with wood-related things.”

The actor went on to say, “I do not want to sound cocky when I’m talking about my woodworking, but I did do sort of an interpretive reading of the lyrics for my wife, and we’re in negotiations.”

“I sent it to her, she said she’s got some ideas, because I wasn’t sure what the whole song was about,” he continued. “I do work with redwood trees on occasion.”

Offerman’s wife is actress Megan Mullally, who has appeared alongside her husband in multiple projects — including Parks, in which Offerman’s character, Ron Swanson, is also a big fan of woodworking. The actor’s new book shows families how to execute fun projects involving wood.

On the song “Wood,” Swift sings about a very different kind of material. Though she frames the track around good-luck rituals such as knocking on wood, it’s clear that the innuendo-packed lyrics also refer to fiancé Travis Kelce’s you-know-what — something he played coy about on an episode of New Heights.

“It’s a great song,” he said. “I love that girl … any song that she would reference me in that way …”

When brother Jason Kelce pointed out that the song’s lyrics — including “Redwood tree, it ain’t hard to see/ His love was thе key that opened my thighs” — are definitely about a certain “appendage,” Travis continued to dance around the topic. “I think you’re not understanding the song,” he teased.

Watch Offerman talk about wood and “Wood” on The View above.

Kenshi Yonezu’s “IRIS OUT” continues to dominate the Billboard Japan Hot 100 for the fourth straight week, on the chart dated Oct. 15.

The Chainsaw Man – The Movie: Reze Arc theme tops streaming, video views, and karaoke metrics this week, while coming in at No. 4 for downloads, No. 9 for CD sales, and No. 11 for radio airplay. The song logged 24,143,874 streams for the week, pushing its cumulative total past 100 million — the fastest in chart history to reach the mark. While both streaming and downloads saw a slight decline, video and karaoke numbers climbed sharply, with video up 130% and karaoke up 150% from the previous week.

Also holding steady at No. 2 is Yonezu and Hikaru Utada’s “JANE DOE.” The ending theme for the same animated movie continues to show gains in karaoke performance, reaching No. 55 in the metric.

Debuting at No. 3 is BE:FIRST’s “Stare In Wonder.” The opener for the anime series Wondance rules downloads with 25,323 units sold, while also coming in at No. 8 for streaming, No. 3 for radio, and No. 2 for video.

=LOVE’s “Love Song ni Osowareru” jumps 67-4, fueled by its highest-ever first-week CD sales of 346,768 copies. The single tops sales and comes in at No. 54 for downloads and No. 33 for streaming. Mrs. GREEN APPLE’s “GOOD DAY” slips two notches to No. 5. The track is at No. 1 for radio, No. 5 for streaming, No. 8 for downloads, and No. 9 for video, with radio gaining 110% week over week.

Three other songs debut in the top 10 this week. Hitting No. 6 is Juice=Juice’s “Shinogono Iwazu Satto Wakarete Ageta,” the title track off the group’s new double A-side single paired with “Moré! Mi Amore.” The song sold 91,941 copies to hit No. 2 for sales and also came in at No. 11 for downloads. Bowing at No. 9 is MATSURI’s second single “Agave no Hana,” while Spitz hits No. 10 with “Hi wo Mamoru,” the veteran band’s first new release in about two and a half years, being featured as the opener for the anime series SPY×FAMILY Season 3.

Elsewhere on the Japan Hot 100, Taylor Swift’s “The Fate of Ophelia” debuts at No. 19. The track has ruled the U.S. Billboard Hot 100 and all twelve songs from its parent album The Life of a Showgirl have accomplished the remarkable feat of filling the chart’s top twelve positions.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 6 to 12, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

Tyla announced on Wednesday (Oct. 15) that she’s dropping a new designer single, “Chanel,” next Friday, Oct. 24.

“PRE SAVE LINK IN BIO for the girls fighting me onlineeeee!!!! We did our big one,” she wrote on Instagram while sharing pictures of her on set sporting a blonde bob. She posted another IG announcement Thursday (Oct. 16) writing, “This one is for all us girlies coz we deserve it alllllllllllllll!!!!!!”

Zara Larsson commented that she “luvvvvvvv” the literally wig-snatching a capella snippet of “Chanel” Tyla shared on IG earlier this week. “The smack is crazy,” Doechii also commented about Tyla smacking her wig cap.

She previewed “Chanel” during her performance at Global Citizen Festival 2025 the Great Lawn of Central Park in New York in September. Earlier that month, Tyla wore Chanel at the 2025 MTV Video Music Awards, where she won best Afrobeats for a second consecutive year with “Push 2 Start.”

“Chanel” is set to arrive three months after her four-track WWP EP, which includes her “Dynamite” collaboration with Wizkid and the “Bliss” single she performed for the first time at Coachella. WWP, which stands for We Wanna Party, reached No. 11 on World Albums. Since the project, she’s appeared on Cardi B’s long-awaited Billboard 200-topping sophomore album Am I The Drama? (“Nice Guy”), Teyana Taylor’s Escape Room (“Pum Pum Jump” with Jill Scott) and Lojay’s XOXO (“Memories”). The South African star also collaborated with Damiano David and Nile Rodgers on “Talk to Me.”

“Shake It to the Max” hitmaker MOLIY also announced that she teamed up with Tyla on her “Body Go” single that’s dropping on Friday (Oct. 17).

See Tyla’s single announcement below:

In the fall of 2000, songwriter Steven Dale Jones (“Ten Thousand Angels,” “Singles You Up”) played a club in Atlanta the night he’d learned that Arista planned to release his song “One More Day.”

“I remember saying, ‘This is going to be a Diamond Rio single, and I hope you hear it so much you get tired of hearing it,’” Jones recalls.

Twenty-five years since the song’s Oct. 27, 2000, release, “One More Day” has been heard more than 5.5 million times on the radio, according to BMI, putting it in league with such titles as The Beatles’ “Penny Lane,” Dolly Parton’s “9 to 5,” Eric Clapton’s “Tears in Heaven” and Marvin Gaye’s “What’s Going On.”

Diamond Rio has never been a band that commands constant media attention, so “One More Day” reached that level through a workman-like route, finding its place in people’s lives through its utilitarian value: the harmony-drenched chorus has ideal sing-along qualities, it’s an attractive wedding song and even more suited for funerals. The song – and the band – stealthily established a place in culture by assisting people through big personal moments, both in solitude and with company.

“I can never explain it exactly,” Diamond Rio frontman Marty Roe reflects. “You understand why in hindsight. You never expect it, never want it, but there it is, and it’s a blessing that something we did has helped people through all that. It’s a sobering thing to go, ‘Wow, that’s impactful. And I didn’t have anything to do it.’”

More accurately, everyone who had a role in “One More Day” seems to have allowed the song to find its way. Its path has proven quite timely, too, helping the country process its grief in the aftermath of a plane crash in 2001, the death of NASCAR Dale Earnhardt and the tragic loss of life in the 9/11 terrorist attacks. Even now, its 25^th anniversary coincides with developments for songwriter Bobby Tomberlin (“A Good Day To Run,” “Someday It’ll All Make Sense”): he’s been affiliated with Curb | Word Publishing for 30 years, and he just published his autobiography, I’ve Lived Country Music.

“How wild is that,” Tomberlin says. “You know, none of that was planned.”

Tomberlin wasn’t planned either. He was given up for adoption after his birth in Mobile, Ala., but was fortunate enough to be taken into a safe, nurturing home at just four months. “The first thing the foster parent told them when they picked me up in Montgomery was ‘The only time this baby cries is when the radio is turned off,’” Tomberlin notes. “So it was like I was consumed with music from the very beginning.”

Tomberlin got into radio, and when he picked up a gig at WLAY Muscle Shoals, he met Jones, a loan officer at a local bank, on his second day in town. A decade later, both of them had relocated in Nashville, and in late-1998, Tomberlin was missing some loved ones during the holidays. He wrote part of an opening verse, concluding it with a wish for “one more day with you.” The next day, he presented it to Jones at a writing appointment, and Jones immediately linked it to a three-note melody he’d been carrying that fit the “One More Day” title. Jones shifted from his usual guitar to piano, a move that forced him to keep the song simple.

They finished it that day, and Jones turned in a quick demo, and got a quick response. The Clark Family Experience put it on hold, though they let it go a short time later. Alabama considered it for about three days, then Mark Wills, and finally it got pitched to Brooks & Dunn, though Ronnie Dunn thought it sounded like it was best-suited for Diamond Rio.

The band heard it on the bus among a slew of potential songs, and they were fatigued enough from listening that nobody made a big deal about it. Although they all quietly agreed it was a song they should take it seriously.

“There was none of this ‘We know it’s going to be a hit,’” keyboardist Dan Truman suggests. “There was none of this super-excited stuff that you hear these stories about. It’s so subtle, and it’s so simple, but we were all luckily in agreement: ‘Let’s put that one on hold.’”

They developed their own simple treatment – nothing flashy, but enough to take advantage of their trademark, bluegrass-tinged harmonies and Jimmy Olander’s double-bender guitar. And they played in communal spirit, mixing some unison riffs with tradeoffs in the background: Gene Johnson’s mandolin flowed into Truman’s piano into Olander’s guitar so gracefully that it felt like one musician was playing all the parts.

“One More Day” was not a first choice for a single. But when RCA Music Group Nashville president Joe Galante played new music at a meeting in Los Angeles, a woman in the room sent him a note suggesting that he present that song. The response was so overwhelming that the label changed plans and released it quickly. Radio programmers reacted similarly – many added it into rotation early, even though it wasn’t the standard uptempo song that broadcasters routinely seek.

“We really didn’t hear a whole lot about, ‘Oh, it’s getting great spins,’” Roe recalls. “It was more about how it affected them. And that was different – never [happened] before or since.”

At KZLA Los Angeles, personality Shawn Parr told listeners before playing it for the first time that hearing “One More Day” had inspired him to shuffle his schedule and have lunch with his son. Country radio responded. So did syndicated adult contemporary host Delilah, who ultimately put it in rotation on her national show. “One More Day” swelled to No. 6 on the Billboard AC chart.

When 10 people associated with the Oklahoma State basketball team died in a plane crash near Boulder, Colo., on Jan. 27, 2001, KXXY Oklahoma City remixed the song – then positioned at No. 17 on Hot Country Songs – with audio related to the tragedy to pay tribute to the victims. Three weeks later, it was at No. 8 when NASCAR driver Dale Earnhardt died during the Daytona 500. It got another remix with related audio, which Roe heard in the cab on the way from Earnhardt’s funeral on Feb. 22. “One More Day” subsequently surged to No. 1 on the March 10 list, then returned to the pole position on March 31. At that year’s Country Music Association Awards, video provided another cultural connection with images from 9/11 playing behind the band as it performed live. The group members, including drummer Brian Prout and bassist Dana Williams, couldn’t view the screen behind them, but they saw the emotional response in the artists on the front row, including Shania Twain and Tim McGraw.

They saw it in their concerts, too. People brought posters with the names of friends and family who died and placed them in the vacant seat next to them. The group sometimes struggled to get through “One More Day” on stage.

“For eight or 10 years after that song was out, I swear over half the audience was in tears,” Truman says. “I was so moved by that, I probably cried two or three dozen times while we played it, watching other people.”

Diamond Rio played it for a memorial again during a 2010 funeral in Mississippi for 11 workers who died in the Deepwater Horizon oil rig explosion.

BMI has since declared “One More Day” a standard. Tomberlin earned a greater appreciation for it when his mother died in 2020, and again when he lost his father in January. He decided to write I’ve Lived Country Music after that, and his understanding of the song’s significance grew.

“Writing this book, I’ve gone back, and I’ve read old emails and messages from people, and, of course, I still get them from people where the song has connected with them and helped them heal,” he says. “I’ve sung it at many memorials, but I don’t know that I realized how big of an impact the song has had on so many people.”

Diamond Rio certainly does. Fans have repeatedly shared their stories of grief and regret during meet and greets, and the members had to learn how to hear those stories, offer support, but not carry the weight of all that hurt with them. The group has seen first-hand reaction 25 more years since the release of “One More Day,” and they continue to appreciate the power that’s possible in music.

“You got to be careful what you record,” Williams says, “because these songs are a little bit more than just three minutes on the radio. It means something to people.”