Latest news with #ThaCrossroads'
Yahoo
2 days ago
- Business
- Yahoo
Hit Songs Are Lasting Longer on the Charts – But Why?
Teddy Swims makes history on this week's Hot 100: 'Lose Control,' the singer-songwriter's soulful pop-rock anthem, spends its 92nd week on the chart, breaking the record that it shared with Glass Animals' 'Heat Waves' as of last week and setting the new longevity mark for the nearly 67-year-old song chart. After debuting on the Hot 100 back in August 2023, 'Lose Control' only topped the chart for 1 week, back in March 2024. Yet the song remains in the top 20 more than a year later (coming in at No. 11 on the latest chart), after spending a record-setting 63 weeks in the top 10. More from Billboard Zak Starkey Rubbishes Reports He Retired from The Who, Insists He Was 'Fired' Lorde Makes Surprise Appearance at Aotearoa Music Awards Bone Thugs-N-Harmony Perform 1996 Hit 'Tha Crossroads' on 'Everybody's Live' 'The burn has been minimal,' Alex Tear, Vice President of music programming at SiriusXM + Pandora, tells Billboard of the breakthrough hit's maintained momentum. 'The audience reaction is something that we completely adhere to — subscribers tell us what they want to hear, and how often they want to hear it… And ['Lose Control'] is still undeniable, pure mass appeal.' Swims' smash hasn't been alone in spending months upon months in the Hot 100's upper tier. Before Morgan Wallen's new album I'm the Problem cleared out a sizable chunk of the chart this week with its 29 new debuts, the top half of the Hot 100 was littered with hits that had spent months — and in some cases, over a year — on the tally. Some of them, like 'A Bar Song (Tipsy)' by Shaboozey, 'Die With a Smile' by Lady Gaga & Bruno Mars and 'I Had Some Help' by Post Malone and Wallen, have stuck around after logging multiple weeks at No. 1; others, like Benson Boone's 'Beautiful Things,' Gigi Perez's 'Sailor Song' and Sabrina Carpenter's 'Espresso,' never reached the top spot, but have lingered near it since mid-2024. Kendrick Lamar and SZA's 'Luther' may have just spent 13 straight weeks atop the Hot 100 before being dethroned by Wallen and Tate McRae's 'What I Want' this week, but even that smash collaboration spent 12 weeks on the chart before reaching its peak in late February. The Hot 100 always includes a wide swath of ubiquitous hits — but rarely have so many of those hits endured at once. On the Hot 100 dated May 24, zero songs in the top 10 had spent a single-digit number of weeks on the chart. The average number of weeks spent on the chart by the songs in the top 20 was 30.35 weeks; five years ago (on the Hot 100 dated May 30, 2020), that average was 18.75 weeks. On the recent Hot 100, a total of nine songs in the top 20 had spent 30 weeks or more on the chart; 10 years ago (on the Hot 100 dated May 30, 2015), that total was one song in the top 20. What's causing this period of smashes that last forever on the chart? Part of the explanation for the lack of 2025 chart movement is the glut of new pop voices from 2024 spilling over into a new year, says Spotify editorial lead Talia Kraines. 'I think that 2024 was such a crazy year for pop music, and incredible new songs and artists, that was years in the making,' she says. Kraines points to artists like Chappell Roan, whose 'Pink Pony Club' is approaching 50 weeks on the Hot 100, and Charli XCX, whose 2020 song 'party 4 u' is just now hitting the chart, who helped define the mainstream last year while also boasting ample back catalogs for fans to explore on streaming services. 'They were fully formed propositions,' says Kraines. 'I feel like a whole new generation found their new favorite artist and their new favorite song, and they're digging in on that.' Chart longevity may also be a product of post-pandemic timing, says Michael Martin, SVP of programming at Audacy. After all, before 'Lose Control' logged 92 weeks on the chart, The Weeknd's 'Blinding Lights' and Glass Animals' 'Heat Waves' were quarantine-era anthems that previously set the record in April 2021 and October 2022, respectively. The fact that the record has been reset three times in the past five years nods to how the lifespan of a mega-hit changed to account for audience appetites. 'Everybody wanted comfort food, right?' says Martin of pandemic-era pop. 'People wanted things they knew, like their favorite TV show that they binge-watched again. There's something about that familiar song that they loved and wanted to keep hearing.' Yet Kraines points out that the key difference between the music industry of five years ago and the industry today is how viral hits are located and promoted by labels to set up longer chart runs. At the dawn of the TikTok era, unknown artists with a viral spark were quickly signed and pushed to radio programmers and streaming services; now, artists like Swims (who was signed to Warner Records in late 2019 after some YouTube covers made noise) are often developed for years before a single receives mainstream promotion. 'We're seeing that the whole nature of artist development takes time,' says Kraines. 'And songs that maybe don't come out of the gate super hot are definitely growing.' Case in point: 'Lose Control' debuted at No. 99 on the Hot 100, then spent 32 weeks climbing to the top of the chart. 'People are taking more time to sit with music and enjoy it — they're not just one-and-done,' adds Kraines. Meanwhile, the streaming era has included less distinction between singles being actively promoted by artists and album cuts that have no shot at extended chart runs. Last year, Billie Eilish launched her Hit Me Hard and Soft era with 'Lunch' as the focus track, but quickly pivoted when fans embraced 'Birds of a Feather' on streaming services. Demand for 'Feather' has remained strong across platforms since its release — so radio programmers kept playing it, streaming services kept it high on their flagship playlists, and the song just crossed the one-year mark on the Hot 100. One key to that type of extended run, says Tear, is the smart deployment of follow-up singles — songs from a popular artist that prevent listeners from getting tired of their mega-hit, but don't necessarily get in its way, either. A generation ago, radio stations couldn't feature multiple songs by the same artist in heavy rotation, but now that streaming has blurred those lines, programmers can balance a handful of songs by the same artist and ultimately extend the life of a smash. 'The audience wants to hear more than one song being played over and over again,' Tear explains. 'I'm now able to go two, three, four songs deep [per artist], like we do with Sabrina Carpenter, Benson Boone and Teddy Swims. That relieves a little bit of the fatigue, and they stay around longer.' Paradoxically, the fragmentation of popular music — and how the streaming era has affected the number of songs that reach cultural ubiquity — may be the reason why we now have so many smash hits that stick around forever. Veteran radio programmer and consultant Guy Zapoleon has spent his career chronicling 10-year music cycles of popular radio, and says that modern 'lack of consensus' caused by the proliferation of music platforms means that, when a song does become huge, it stays huge for longer. 'Because there's so many different sources to go to, it's difficult for songs outside the very biggest songs to become hits,' says Zapoleon. 'And because of that, those songs take a while to become hits, and then they stay there for the longest period of time — longer than we've ever seen in the history of music.' The good news is that this industry era of extended chart runs emphasizes hit songs regardless of who they're coming from. While A-listers like Kendrick Lamar, SZA and Morgan Wallen have topped the Hot 100 in recent months, the top 10 has been rife with new artists scoring their first chart hits in 2025, just as it was last year. 'You can keep delivering listeners songs like 'Lose Control' that they're just not tired of, but you can also deliver the new artists that they're asking about — Doechii, Sombr, Alex Warren, Lola Young, Ravyn Lenae,' Martin points out. 'So I don't think there's stagnation in new product, or in new artists.' 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
Yahoo
3 days ago
- Entertainment
- Yahoo
How Curaçao Became the Heart & Soul of Ryan Castro's New Album ‘Sendé'
On a humid and cloudy day in Curaçao, with its endless ocean views and pastel colonial buildings lining the streets, Colombian star Ryan Castro is eager to talk about the roots that shaped him as an artist and as a person. This isn't the all-too-familiar story of a global music sensation, but more an intimate look at the places, people, and moments that inspired his second album, Sendé (out May 29), an ambitious love letter to the Caribbean. Here, on the narrow streets of Jan Thiel, inside a Jeep Wrangler, Castro retraces the steps he walked years ago as a teenager juggling everyday jobs while writing songs and dreaming big. On this occasion, Billboard Español had the privilege of joining him on an intimate experience around the island. More from Billboard Zak Starkey Rubbishes Reports He Retired from The Who, Insists He Was 'Fired' Lorde Makes Surprise Appearance at Aotearoa Music Awards Bone Thugs-N-Harmony Perform 1996 Hit 'Tha Crossroads' on 'Everybody's Live' 'It was while I was living on the island that I blew up in Colombia,' the artist recalls. 'I think it was the right time to share that with everyone and let them know about my life here and my cultural influences too, because I love dancehall. A lot of the things Castro does are deeply connected to this island.' It was during those formative years on the island — where he spent a couple seasons because his mother lives here — that he refined his sound and began gaining recognition back in Medellín, ultimately laying the groundwork for the artist he is today. Hours later, we visit the nursing home where his mother, a nurse, works to this day — a place where Castro did shifts as a young man — while secretly ditching work and chasing his dreams. As we step inside, Castro reflects on the sacrifices his mother has made and how their journey together has shaped not only his life but also the personal story he shares on Sendé. Zipping across the island's sunlit landscapes, he shares laughs with old friends and waves to delighted fans, who call out to him for selfies as he explores the streets of his second home. With his sophomore album, Castro, 31, moves away from 'El Cantante del Ghetto' and fully embraces a more vulnerable, romantic side of himself. A love letter to Curaçao — the LP not only reflects a place where he lived and worked hard but also one where he unearthed a deeply personal part of his identity that had remained semi-hidden. 'Sendé is a very personal project that reflects everything I lived and learned in Curaçao,' Castro shares. 'It's full of emotion, Caribbean influences, and that dancehall vibe that's always been part of my style. In this album, Castro masters the fusion of genres like dancehall, kizomba, afrobeat and reggae, all infused with his signature urban style. He also collaborated with an impressive lineup of international artists, including Shaggy ('Exclusiva'), Peso Pluma ('Un Trío'), Manuel Turizo ('Menos el Cora'), and Curaçao's renowned local singer, Dongo, on the song 'Sanka', a title that means 'unfortunately' in Papiamento, a Creole language based principally on Spanish and Portuguese, spoken and written in the islands of Curaçao, Aruba and Bonaire in the Netherlands Antilles. But beyond the big names and captivating rhythms, the album is an invitation to explore his story and connect with the cultural roots that have profoundly shaped his artistic vision. 'The title [Sendé] comes from Papiamento and means feeling good, positive vibes, and that's exactly what I want to put out there,' he adds. In an exclusive interview with Billboard Español, Ryan Castro shares the moments that shaped his life, his deep connection to Curaçao, and how Sendé became his most personal project to date. Curaçao holds a special place in your life. How do you feel being back now on the island? I came to visit my family. My mom and siblings live here. Right now, we're driving through a neighborhood called Jan Thiel. There are really beautiful houses here where wealthy people live, and a lot of Dutch folks too. We're heading to a restaurant called Perla del Mar. I like going there because I used to work as a waiter and did a lot of things in the kitchen as well. Whenever I come to Curaçao, I bring my friends, family, or partner. I love reminiscing about those moments and sharing them with people who are super proud and happy to see me. Today, we're on our way to grab lunch, eat some fish, and recharge. From , inspired by your upbringing in Medellín, Colombia, to , a project rooted in Curaçao — how do you feel about sharing this part of your story and reflecting on those key moments in your life? I feel really happy because I think my fans were missing this side of me. I've shared a lot about my story in Medellín — life in the ghetto, singing on buses, where I came from, which is so special. But I hadn't talked much about this side, which is also something very emotional for me. It was while I was living on the island that I blew up in Colombia. I think this was the right moment to tell them about it and let them know what life was like for me here, as well as my cultural influences, because I love dancehall. The words I often use, like 'awoo,' are for them to understand where all of that comes from. A lot of the things Ryan Castro does are closely connected to this island. We've noticed that you also speak Papiamento and use phrases from this language in your music. What do these expressions mean to you? 'Awoo' comes from the local language here, Papiamento. It's a very street-style word. People here use 'awoo' like 'hey' or as a greeting. In Colombia, we use words like 'oe' or 'nea.' 'Awoo' isn't a formal word for conversation, but when I got here, I heard it all the time. I use it on my social media, and the fans embraced it — they even call out 'awoo, awoo' now to me. So, I started working with the word. This album, called Sendé — another word from Curaçao — means 'lit' or 'fire.' But here, people use it to mean that everything's good. You can say 'awoo' to someone, and they'll reply 'sendé.' On the streets, it's used to say we're feeling great, hyped, happy, partying, or full of energy. It's a very lively word. When did you move to Curaçao? You mentioned that your mom has been living on the island for quite some time. My mom has been living here since I was a kid. Basically, I was born, and about a year later, my mom came here looking for a better future for herself and for me as well. I came here when I was around 13 or 14 years old. My mom's intention was for me to stay and live here because she was already settled — she had her husband and everything in place. But I was too young, and I couldn't handle it. I was in school, and I ended up going back to Colombia. When I finished school, around 16 or 17 in Medellín, I sang on buses and hustled to make it. Once I felt more prepared, I told my mom I was ready to come back. I moved to Curaçao when I was about 20 years old. I came to spend time with her, to look for a new future in music, work, and my dreams. In , you worked with genres like dancehall, Afrobeat and some reggae. How has Curaçao's musical culture influenced your creative process for this album? Here in Curaçao, there's a lot of amazing music — party vibes and romantic tunes, at least around here. I learned a lot about kizomba, reggae, and carnival music. I think it's super cool because during the carnivals, you hear a very unique style of music called tambú, which is a really intense drum-based sound. At that time, I was already doing dancehall, rap, and reggae before coming here. But I'd hear those rhythms and think, 'How would my voice sound on that?' Or, 'I want to make a song and experiment with those flows.' I would go to recording studios, and there were Dutch, Jamaican or Curaçaoan people — I didn't even know how to communicate. So that pushed me too. I'd say, 'Bro, I need to learn their language to understand their music and culture.' I had to learn the language, and I did it through music, by listening to songs from here and picking up the street language. Culturally, I absorbed so much — the rhythms, the language, the way people talk, the carnivals, the parties, the music they play at the beach and in the restaurants — I loved it all. That inspired me a lot while making this album, and I even brought my creative team here so they could experience the music. I took everyone who collaborated with me on the album — producers, artists — to the boats and boat parties, the restaurant, the ocean, so they could feel the vibe of the island, and we ended up with an incredible album. You collaborated with artists like Peso Pluma, Shaggy, Sean Paul and Manuel Turizo. Tell us, how do you decide who to collaborate with? Honestly, I'm a bit particular about that. I like collaborating with artists I vibe with, where there's good energy between us. Of course, this is also a business, and it's great to work with someone who's super popular, but honestly, that's the least important thing to me. For me, it's key that there's chemistry and mutual respect. The song belongs to both of us, so we both need to be willing to put in the work — whether it's media, videos, content, performing it live, and everything else that comes with it. I've had cases where there are artists I admire a lot and have always wanted to record with, but when I meet them, I don't vibe with them. So, I'd rather not collaborate to keep admiring them and not lose the respect I have for them. For me, making a song is an intimate and special moment between artists, and both of us need to be fully committed for the result to be something truly beautiful. What do you hope listeners take away when they hear the album? I hope it makes them want to hit the beach and visit Curaçao. I want them to connect more with me — my style, my flow, my roots, who I am. The idea behind the album is also to put Curaçao a little more on the map, in people's eyes and ears. I even included an artist from here, named Dongo, on the song 'Sanka.' He might not be very well-known outside the island, but here, he's highly respected. For me, the album is also a way to give back to Curaçao for all the motivation and inspiration it has given me. Stream Ryan Castro's Sendé below. Note: The trip to report this story in Curaçao was sponsored by Ryan Castro's team, who provided funding for airfare and accommodations. 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
Yahoo
3 days ago
- Entertainment
- Yahoo
John Mulaney fights three teenage boys in finale of live Netflix talk show
Comedian John Mulaney has officially had a fight with three teenage boys on the final of his live Netflix talk show after weeks of teasing. At the end of April, Mulaney suggested that he was going to fight a group of boys on Everybody's Live With John Mulaney in response to the viral question about whether '100 men could beat one gorilla' in a fight. At the time, the 42-year-old said: 'It has prompted a debate in our writers' room about whether three 14-year-old boys could beat me up.' 'Is this legal?', he jokingly asked. 'So far, we think so. It's not assault, we know that. And we're vetting every step of it. I've been led to believe that if it's for TV, it's a lawful practice.' Mulaney said that the fight was going to take place on the season one finale of his show but it remained to be seen whether he was actually going to go through with the contest. In his opening monologue of the latest episode, Mulaney said: 'I will fight three 14-year-olds in a fight to the death, reputationally speaking. We've been hyping this fight all month and the response to all of this hype has been overwhelming.' The episode itself was dubbed 'What is on the mind of teens?' and featured guests Adam Sandler, Sean Penn and comedian Joe Mande, who all recounted stories of their own teenage years. Punk band Sleater-Kinney, featuring comedian and actor Fred Armisen on drums, were the first musical guests, performing a cover of Kim Wilde's 'Kids In America'. When it came to the actual fight, which took place in a wrestling ring and was officiated by a referee, it proved to be a very one-sided affair. The teenage boys, who were dubbed 'Three Truant Teens' and all wore suits and protective head gear, overwhelmed Mulaney by grabbing him by the waist and persistently trying to sweep his legs. Once the boys wrestled Mulaney to the ground, they all piled on top of him, with one of the trio also placing him in a headlock. Within seconds of being grounded Mulaney had no choice but to submit – thus awarding the contest to the teenagers. The show closed out with a performance from hip-hop group Bone Thugs-N-Harmony and a rendition of their song 'Tha Crossroads' while awarding a championship belt to the teenage boys. In April, Mulaney revealed that he was nearly scammed by a fake manager while trying to book the group. ''After a little investigating, I have come to believe that the man I was talking to was not the manager of Bone Thugs-N-Harmony. In fact, several sites list a different person,' he said. 'I'm concerned now that I never had any direct contact with Bone Thugs-N-Harmony.' In January, Deadline reported that Mulaney's show was expected to be renewed for a second season although no release date had been confirmed.
Yahoo
3 days ago
- Entertainment
- Yahoo
Thom Yorke Releases ‘Dialing In' as Theme to Apple TV+ Series ‘Smoke'
Radiohead frontman Thom Yorke has unveiled a new song, with 'Dialing In' serving as the theme to Apple TV+'s forthcoming series Smoke. Released on Wednesday (May 28), and recorded with Sam Petts-Davies, the haunting track presents a dark and brooding atmosphere as Yorke's trademark vocals warmly accompany a tender and eclectic musical bed. More from Billboard Zak Starkey Rubbishes Reports He Retired from The Who, Insists He Was 'Fired' Lorde Makes Surprise Appearance at Aotearoa Music Awards Bone Thugs-N-Harmony Perform 1996 Hit 'Tha Crossroads' on 'Everybody's Live' The song also soundtracks the recently-released trailer for Smoke, which – according to a descriptor – follows Taron Egerton and Jurnee Smollett as they 'attempt to get as close to the truth as possible—without getting burned.' For diehard fans, 'Dialing In' won't be an entirely new experience, with its origins being found in Yorke's unreleased track 'Gawpers,' which had been performed during a run of European dates in 2019, but has since evolved before its 2025 release date. Yorke announced the release of 'Dialing In' by noting on social media that the track is 'now available to stream on your least crap streaming service.' According to the song's credits on Tidal, Yorke's daughter Agnes is also featured as a backing vocalist. 'Working with Thom Yorke was as much an honour for me as working with Clint Eastwood, Martin Scorsese or Richard Price,' said Dennis Lehane, Smoke creator and executive producer. 'I've somehow been blessed with collaborating with living legends who were also formative influences on my own creative life. Thom is definitely that. 'In addition, he took a basic concept I gave him and delivered a song that perfectly embodies the show and absolutely crushes.' 'Dialing In' is the latest release from Yorke this month, who also released the album Tall Tales, created alongside Mark Pritchard, on May 9. 'Mark sent me a large file of MP3s of ideas during lockdown,' Yorke explained of their long-distance collaboration. 'There were so many great ones, I knew straight away that I had to drop what I was doing. It felt very much that I had not been anywhere like this before — both as soon as I put my headphones on and started trying to find the vocals, words and sounds, but also, as it progressed, watching Jonathan [Zawada] respond so freely and spontaneously with all his video and artwork ideas. 'It was mental, and I feel lucky to have been involved,' he added. 'Tall Tales is very important to me. I hope people get it, and get to hear it!' Listen to 'Dialing In' 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
Yahoo
3 days ago
- Entertainment
- Yahoo
Zak Starkey Rubbishes Reports He Retired from The Who, Insists He Was ‘Fired'
The saga around Zak Starkey's departure from The Who continues to rumble on. In a new Instagram post on Wednesday (May 28), the band's former drummer called reports that he 'retired' from his position in iconic group as 'f-kin total bollox' while insisting that he was, indeed, 'fired' from the group. Starkey's position as the band's drummer has been uncertain since a show at London's Royal Albert Hall in March. Reports suggested that Daltrey was unhappy with Starkey's playing on the night, and a number of songs were cut short. Starkey – Ringo Starr's son and a prolific session drummer – has been a part of the live lineup since 1996. In a statement, the band said, 'The band made a collective decision to part ways with Zak after this round of shows at the Royal Albert Hall. They have nothing but admiration for him and wish him the very best for his future.' More from Billboard Lorde Makes Surprise Appearance at Aotearoa Music Awards Bone Thugs-N-Harmony Perform 1996 Hit 'Tha Crossroads' on 'Everybody's Live' John Fogerty Reclaims Creedence Songs With New 'John's Version' Recordings His position was reinstated briefly after 'communication issues' were resolved, but following the announcement of The Who's farewell tour dates in North America, guitarist Pete Townshend confirmed that time had 'come for a change' in relation to their drummer, and that Scott Devours would be taking on the role. On Monday (May 26) the drummer shared an Instagram post stating that Daltrey had said that Starkey had not been 'fired,' but 'retired' to work on his project with supergroup Mantra Of The Cosmos, which includes Starkey and members of Happy Mondays. The group's upcoming debut LP features a song written by Oasis' Noel Gallagher; Starkey was Oasis' drummer from 2004-2008. Two days later, on Wednesday (May 28), Starkey shared a new update with a screengrab of a news story that again indicated that he 'retired' from the group. He called the report 'f-kin total bollox,' insisted that 'I was fired' and that Daltrey's 'new word for it is 'retired' to complete my other musical projects.' He continued, 'I called Roger last week and told him in person I had spent nearly 2 months at my studio in Jamaica completing my studio projects. That I had a mantra of the cosmos single out next week and then I was completely available for the foreseeable future… he was a little surprised but understood. It's true – I have no plan's whatsoever for the fall as I thought I was touring with The Who and my mantra band mates are v busy in oasis and happy Mondays until the new year . So this is simply a load of bollox … Am I fired , retired, deffo not tired as I'm 20 years younger than these guys as they keep saying. Starkey added, 'Dropping two beats on our second show is not a firing offence – I've watched the show on tv I can't see where I dropped them – I looked everywhere- it's the who ffs if it was perfect it would be so f–king boring …' A spokesperson for The Who offered no comment on the latest update when approached by Billboard U.K. The Who will kick off the U.S. leg of their farewell tour on August 16 at the Amerant Bank Arena in Sunrise, FL. 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
