Blackpink's Rosé Beats BTS And Makes Radio History — Again
Rosé's solo hit "Apt" climbs to a new peak on the Adult Contemporary chart, outlasting BTS's ... More "Butter" and charting across all three major U.S. pop radio formats. NEW YORK, NEW YORK - OCTOBER 13: Rosé aka Roseanne Park MBE is seen in Midtown on October 13, 2024 in New York City. (Photo by TheStewartofNY/GC Images)
Blackpink's Rosé just won't let go of American radio — and at this point, why should she? The K-pop superstar's breakout solo hit "Apt." is still holding on across multiple Billboard airplay rankings this spring, and with every passing frame, it continues to make history. As the months roll on, Rosé finds herself not just lingering on important U.S. lists, but steadily climbing — and, in the process, inching past some of the most recognizable names in the genre she helped globalize.
"Apt." lifts from No. 17 to No. 16 on the current edition of the Adult Contemporary chart, hitting a new high point on that ranking. The list — one of three Billboard rankings that measures success at pop-centric radio formats in the U.S. — has become a reliable home for the tune throughout the past few months.
Rosé's "Apt." has now spent 11 weeks on the Adult Contemporary chart. This latest frame helps the track break out of a tie and stand alone as the fourth-longest-charting release by any K-pop artist on this particular list.
While "Apt." doesn't sound like a typical K-pop single, Rosé's association with the genre is easy to pinpoint. Her success with Blackpink catapulted her to international stardom, and that connection still follows her into solo territory, even when the music veers in a more Western pop direction.
At 11 weeks, "Apt." has now outlasted BTS's 'Butter' on the Adult Contemporary chart, pushing that fan-favorite down to fifth place on the all-time list of the longest-running hits by K-pop acts. Until this week, both singles had spent 10 frames on the tally, but now Rosé pulls ahead.
Further up on the ranking of the most successful tunes by K-pop stars on this list sit a trio of other global smashes. BTS's 'Dynamite' and 'My Universe' — the septet's collaborative effort with Coldplay — are tied for first, with 20 weeks each on the roster. Just ahead of "Apt." is 'Cupid' by Fifty Fifty, which has held on for 13 frames. That's now the next hurdle for Rosé, and looking at how well "Apt" continues to perform, it might not be long before she matchesthat hit as well.
Rosé's solo hit doesn't just appear on one pop radio ranking this week – it finds a home on all three of Billboard's major tallies focused on the genre's airplay. In addition to its new peak on the Adult Contemporary chart, "Apt." also lifts from No. 5 to No. 4 on the Adult Pop Airplay list.
The track does slide slightly on the Pop Airplay chart, backing down from No. 7 to No. 9. "Apt." previously reached No. 1 on that ranking, so a slight decline is hardly a setback.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Forbes
17 minutes ago
- Forbes
Netflix, Martha Stewart, T.O.P And Lil Yachty Welcome You To The K-Era
Lil Yachty, Martha Stewart and T.O.P appear in Netflix's new K-content campaign. Let's face it—a collaboration between lifestyle mogul Martha Stewart and South Korean rapper and actor T.O.P was something no one saw coming, but that's precisely what happened when Netflix revealed its latest ad for Korean content. The two-minute video on Netflix's YouTube channel also features American rapper Lil Yachty, himself a longtime K-culture fan who famously paid tribute to the iconic K-pop boy band BIGBANG (of which T.O.P is a former member) in 2016 by freestyling to their songs. (And seeing as how T.O.P is clearly his favorite BIGBANG member based on that clip, it was probably only a matter of time before he and the real T.O.P found themselves in the same video.) In Netflix's promotional clip, Stewart is caught crying while watching the hit K-drama When Life Gives You Tangerines. When told that she doesn't speak Korean, Stewart responds, 'I don't, it speaks to me.' Stewart is later seen actively engaging with and taking cues from other blockbuster Korean shows like Squid Game, All of Us Are Dead and Physical: 100. She also chats with Lil Yachty about Single's Inferno while wearing a snail mucin sheet mask on her face—one of (many) items popularized by the ever-growing K-beauty trend. T.O.P (real name Choi Seung-hyun), who plays Thanos in Squid Game season 2, appears in Stewart's dressing room in the latter half of the video and flashes her the classic Korean 'finger heart' sign. At this point, the camera cuts to a barrage of additional K-culture references found throughout the room, from the song 'Like Jennie' by BLACKPINK member Jennie blasting from a speaker to a tray filled with Korean snacks and beverages to Stewart wearing an Extraordinary Attorney Woo T-shirt. 'I've seen this before… You're in deep on K-content. Don't worry, she'll be fine,' T.O.P remarks, at least according to the English subtitles. (A more literal translation of what he actually says would be something like: 'Oh, I see you're hooked on not only K-content but Korean culture as well. Don't worry, that happens to everyone.') He then makes his exit with the now-iconic 'Skrrt!'—which all three stars repeat at the very end while dressed in Squid Game tracksuits. Social media reactions to the unexpected collab have been overwhelmingly enthusiastic, with many users praising Netflix for the surprise video and gushing over T.O.P's appearance in the clip. Some of the user comments on the "Welcome to Your K-Era" video on Netflix's YouTube channel More user comments on Netflix's new K-content promotional video Commenter on YouTube references the 2016 BIGBANG tribute video in which Lil Yachty raps and talks to ... More cardboard cutouts of BIGBANG members. Screenshot of a post on X Netflix's slogan for its 'Welcome to Your K-Era' campaign is 'You Don't Have to Speak It to Love It' (for anyone who's interested, a more literal translation of the Korean phrase would be: 'Even if you don't know the language, you know the feeling!'), acknowledging the power of K-content to resonate with audiences across the globe despite the language barrier. That said, as an aside, it should be noted that the Korean language is also experiencing a worldwide boom these days. For instance, a recent study by the Modern Language Association found that out of the 15 most commonly taught foreign languages at U.S. colleges and universities, Korean was the only language to show remarkable growth between 2016 and 2021—a whopping 38.3% increase in enrollment over that five-year period. Biblical Hebrew and American Sign Language were the only other languages that showed increased enrollment—9.1% and 0.8% respectively—while all other foreign languages showed a marked decline in enrollment over that time period. To feed your K-content obsession—and perhaps help you improve your Korean listening comprehension skills—Netflix now has a 'Welcome to Your K-Era' panel on its interface, which serves as a one-stop shop to find all your favorite Korean films and shows on Netflix. (Tip for those new to Korean movies and shows: ALWAYS watch them subbed, NEVER dubbed!) Residents of Los Angeles, California might have also seen these Netflix billboards along Sunset Boulevard featuring Korean-only captions, often superimposed on ads for popular Netflix Korean shows: Billboard in LA with Netflix's new K-content slogan "You Don't Have to Speak It to Love It" written ... More in Korean (a more literal translation would be: "Even if you don't know the language, you know the feeling!") Netflix billboard in LA for 'Squid Game' that reads, "It's now time to end the game" in Korean Netflix billboard in LA for 'Single's Inferno' that reads, "Jun-seo over Tae-oh, you've crossed the ... More line" in Korean Netflix billboard in LA for 'The Glory' that reads, "You've messed with the wrong person" in Korean There's also a video billboard in New York City's Times Square that shows all of these ads along with a few more featuring other Korean shows. Below is a still frame for the K-zombie thriller All of Us Are Dead: Netflix digital billboard in Times Square for 'All of Us Are Dead.' The Korean words read, "Now our ... More school is in the middle of a survival class." Netflix's K-content promotional campaign comes on the heels of its global fan event Tudum, which featured many K-culture moments both during and in the lead-up to the live event held in Los Angeles on Saturday, May 31st. That weekend, Tudum coincided with other events in Los Angeles that celebrated K-culture, including an epic sold-out concert by K-pop boy band Stray Kids (whose global fanbase is predominantly non-Korean), a concert by Korean singing legend Baek Ji-young, and 88rising's annual Head in the Clouds music festival, which saw many K-indie and K-pop artists take the stage at the Rose Bowl, including BIGBANG's leader G-Dragon (dubbed by many fans as the 'King of K-pop') and iconic K-pop girl group 2NE1. As I've mentioned before, it's a K-content world, and we're all just living in it. And Netflix is one of the players leading the Korean Wave, known as 'Hallyu" (한류) in Korean.
Los Angeles Times
an hour ago
- Los Angeles Times
There's more to Korean music than K-Pop. Young composers show how in L.A. Phil's Seoul Festival
K-pop. Oscar-celebrated cinema. Samsung in the living room. Political urgency in the press. However prominent Korean culture seems to be, there is surprising lack of coverage of the classical scene at large. Already at 21, Yunchan Lim, winner of the 2018 Van Cliburn International Piano Competition, has reached superstar status. Myung-Whun Chung, whose conducting career began as an assistant to Carlo Maria Giulini at the Los Angeles Philharmonic in 1977, was just selected, over a veteran Italian conductor, to head La Scala in Milan with the blessing of Italy's nationalist president, Giorgia Meloni. And now the L.A. Phil has turned to the South Korean capital for an eight-day Seoul Festival as a follow-up to its revelatory Reykjavik and Mexico City festivals. Unsuk Chin, today's best-known Korean composer, is the curator. She is, in fact, today's only Korean composer who's well known internationally. Despite a seeming wealth of renowned performers, Korea remains a musically mysterious land. Most of what happens, even now, in Seoul's classical music scene doesn't roam far from Seoul. The mostly youngish composers and performers in the first L.A. Phil festival event, an exceptional Green Umbrella concert of new music at Walt Disney Concert Hall on Tuesday night, were all discoveries. Korean music is a discovery for much of the world. But California does have a head start. Chin, whose music has a visceral immediacy, has long fit in to L.A., championed by Kent Nagano at Los Angeles Opera and by Esa-Pekka Salonen, Gustavo Dudamel and Susanna Mälkki at the L.A. Phil. Moreover, ancient Korean court music and its instruments became an obsession with the echt-California composer Lou Harrison. Its noble gentility has been subtly adding to the DNA of the California sound. Only two Korean composers before Chin have made an indelible impression on the world stage, and both, as is Chin, became avant-gardist emigres. As outsiders, they have striking relevance. Isang Yun ((1917–1995) had a shocking career. A brilliant pioneering composer who melded traditional Asian music with contemporary techniques, Yun had been briefly arrested for his participation in the Korean independence movement of the early 1940s. He fled to West Germany, where he became a prominent composer before being kidnapped and returned to Korea. Imprisoned, tortured and threatened with a death sentence, he was eventually freed thanks to pressure from a consortium of internationally influential musicians (Igor Stravinsky, György Ligeti and Herbert von Karajan among them) and returned to West Berlin. And then there was Nam June Paik (1932-2006). Though famed for having been the first major video artist, Paik was a classically trained pianist and composer who began his career following in Schoenberg's footsteps by writing 12-tone music. His route to video was an erratic one that began when he fell under the spell of John Cage and became one of the more outrageous members of the anarchic Fluxus art and performance movement. I once asked Paik, who taught briefly at CalArts when it opened, about whether he always considered himself a composer. He said only a yuppie — 'you know, those people who work in a bank during the day and only go to concerts at night' — would think he wasn't. The Yun and Paik zeitgeist of going your own original and expressive sonic way while always being aware of tradition, whether embraced or rejected, pervades Chin, 63, and the generation of Korean composers who came after her and whom she has invited to the festival. Chin herself left Seoul to study with Ligeti in Europe. The Hungarian composer's music, thanks to Salonen's advocacy, is also in the L.A. blood. The orchestra has, of course, had a Ligeti festival. For the Green Umbrella concert, Chin revealed a great range of approaches among the four exceedingly interesting next-generation composers. She also invited a dazzling array of soloists specializing in Western and Korean instruments as well as the magnificent Ensemble TIMF, which joined the L.A. Phil New Music Group. All were making debuts alongside the luminous and poetic young conductor Soo-Yeoul Choi. In the four pieces (each about 15 minutes), Korean, European and American traditions can serve as sources for reinvention. Juri Seo's Concertino for Piano and Chamber Orchestra, given a dashing performance by pianist HieYon Choi, consists of short movements that include a jazz fughetta and Schumann-esque romanticism. Sun-Young Pahg's austerely formal 'L'autre moitié de Silence' for daegeum and ensemble featured Hong Yoo as soloist bending notes and bending time on the bamboo flute used in Korean folk and traditional music. In Yie-Eun Chun's spritely Violin Concerto, which was commissioned by the L.A. Phil for the festival, scale-like passages got the Paganini treatment from soloist SooBeen Lee. Dongjin Bae's 'reflective — silky and rough' for standard western flute and spacey strings, another L.A. Phil commission, had an ancient feel with its silences and breathy solos played with enthralling focus by Yubeen Kim. Chin's 'Gougalon (Scenes From a Street Theater),' which ended the program, is a riotous evocation of Hong Kong. Rather than musically reproduce street sounds and people sounds, Chin transforms them into spectacular orchestral chatter. The effect is what their joy must sound like, what their meals must sound like, what their walking and talking and laughing and crying must sound like in a language you don't understand because exhilaration isn't language. All of this is music by distinct personalities, each striving for something sonically personal. Musically mixing East and West dispenses with regulations when crossing borders and becomes an an act of individuality and often resistance. Chun's do-re-me scales become cockeyed before you grasp what's happening. Bae's silky flute, when rough underneath, evoke the feeling you might get when taking a break from Bach an instant before the world's most compelling composer overtakes your own senses. The conductor Soo-Yeoul Choi favors transparency and sensuality at the same time with expressive gestures that seem to magically mold sound. Each piece had different instrumental combinations involving both L.A. Phil and TIMF players. Everything worked. The festival continues with weekend orchestra concerts featuring different mixes of four more new Korean scores commissioned by the L.A. Phil, Chin's 2014 Clarinet Concerto and a pair of Brahms concertos. A chamber music concert with works by Schumann and Brahms played by Korean musicians is the closing event Tuesday. Meanwhile, for a better idea of what Unsuk Chin is up to, last month in Hamburg Kent Nagano conducted the premiere of her new opera, 'The Dark Side of the Moon.' It is a philosophical reflection on the relationship between quantum physicist Wolfgang Pauli and Carl Jung that profoundly reflects how ideas and traditions interact. It can be watched on YouTube.
Yahoo
an hour ago
- Yahoo
Tiësto & Sexyy Red Get Slinky on New Collab ‘OMG!': Stream It Now
Tiësto and Sexyy Red are revving their engines with the just-released collab 'OMG!' The slinky song, in which Sexyy Red opines about maxing out credit cards, breaking the rules and being 'too high to be cool' over the Dutch producer's woozy beat, comes from the forthcoming soundtrack to the Brad Pitt-starring racing film F1. More from Billboard Ed Sheeran, ROSÉ of BLACKPINK & More Are Off to the Races on 'F1' Movie Soundtrack Monkees' Micky Dolenz Reveals He Lost Out on 'Happy Days' Fonzie Role to Henry Winkler: 'I Almost Got It' Lil Wayne's Unreleased 'Tha Carter VI' Song With U2's Bono Soundtracks NBA Finals Promo 'Who would have thought that Tiësto would have a collab with Sexyy Red?' the producer recently told Billboard backstage at EDC Las Vegas. 'No one, absolutely no one, but here it is, and it's an amazing track. I think people will really like it. It's super dance.' 'OMG!' has been in the works for awhile, with Tiësto playing it during a huge performance in October at the annual dance gathering ADE. The track comes from the F1 the Album soundtrack, with the corresponding film hitting theaters on June 27, the same day the soundtrack will be released. This soundtrack brings together a collection of musical titans including music by Dom Dolla (who's slick contribution 'No Room For a Saint' came out last month), Doja Cat, ROSÉ, Peggy Gou, Chris Stapleton, Ed Sheeran, Raye, Burna Boy, Roddy Rich, Madison Beer, Tate McRae, Don Toliver and Myke Towers. Tiësto, a known racing fan, also makes a cameo in the film, which stars Pitt as an aging F1 driver who returns to the sport after a long absence, along with Damson Idris, Kerry Condon and Javier Bardem. F1 The Movie was directed by Joseph Kosinski, who also directed the global blockbuster Top Gun: Maverick. Listen to 'OMG!' below: Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
