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Yahoo
a day ago
- Entertainment
- Yahoo
Is Monday Morning Officially Tyler, The Creator Time Following the No. 1 Debut of ‘Don't Tap the Glass'?
For the second straight year, Tyler, The Creator debuts atop the Billboard 200 with a new album — and for the second straight year, he does it with just over half a week of consumption to his credit. With just a couple days' notice, Tyler released new set Don't Tap the Glass the morning of July 21 — a Monday, already three-plus days into the Friday-starting tracking week — about nine months after dropping Chromakopia at the same time of the week. And like Chromakopia, which bowed at No. 1 with 299,000 first-week units (according to Luminate), Glass also debuts at No. 1, albeit with fewer units moved (197,000). More from Billboard Jonas Brothers Address Whether They Still Feel 'Guilt' Over 2013 Breakup: 'It Needed to Happen' Billie Eilish Says Irish Fans Make Her Feel 'So Seen' in Dublin Everclear Celebrate 'Sparkle and Fade' With Full Album Tour Down Under Has Tyler's Monday-release strategy been validated by the back-to-back No. 1s? And will this be his first year ranking among the country's top tier of pop stars? Billboard staffers answer these questions and more below. at No. 1 with 197,000 first-week units. Is that number lower, higher or about what you would've expected for the album's bow? Mackenzie Cummings-Grady For only four days worth of numbers, that number is very high. It's right in line with what I would think a Tyler release would do at this point. His fans have become unbelievably rabid and cult-like, and will devour anything he drops regardless of what day of the week it is. Kyle Denis: This is about what I expected. I was hoping it would be able to inch past the 200,000-unit mark, but it's hard to be unhappy with 197,000 units in just four days of tracking. Angel Diaz: That number is very impressive being that it really didn't have a rollout and Chromakopia dropped less than a year ago. I think this leaves no doubt that Tyler is not only one of the biggest rappers out, but also one of music's biggest acts. He deserves to be mentioned with the likes of Beyonce, Taylor Swift, Drake, Kendrick, etc. He has the numbers to back it up. Jason Lipshutz: Higher. Even with the understanding that Tyler is unquestionably an A-list star in popular music, earning a nearly 200k first-week bow with a surprise album, in a shortened chart week, less than a year after his last album, represents an over-the-top success. Last year, Chromakopia represented a smash — and one of Tyler's strongest front-to-back listens to date — so to come up with another of those so quickly highlights just how scorching Tyler's current hot streak is at this point. Andrew Unterberger: Maybe a little lower, just because that Chromakopia number is a full 100k higher. But then again, 197k is still more than Justin Bieber was able to do with a surprise drop in a full week — which is pretty damn crazy to think about when you zoom out on it. 2. Between this and 2024's , it's been two straight early-Monday album releases for Tyler, The Creator. Do you think the responses to the two albums so far justifies this unconventional release strategy for him? Mackenzie Cummings-Grady: Absolutely. It also just shows the power of his fanbase. His supporters are following him specifically as an entity, rather than just routinely checking in for new music every Friday. The fans follow Tyler's every move, and with listeners that dedicated it's clear Tyler can keep dropping whatever he wants whenever he wants. Kyle Denis: Undoubtedly. For two LPs in a row, Tyler has charted the entire tracklist on the Hot 100, pulled in over 100,000 pure sales first-week, and over 90 million opening week on-demand official streams. Already an A-tier music star, Tyler's mid-week releases have allowed him to truly create a spectacle out of his albums that dominates the cultural conversation for the following week and weekend. The tracking week may be shorter, but each album's time in the zeitgeist lasts a bit longer than the timeframe a traditional Friday release might have yielded. Angel Diaz: I definitely think the response justifies this strategy. Now, as a rap writer, I'm not sure which approach I prefer because we have to come up with knee-jerk reactions whether he drops on a Friday or on a Monday. I do appreciate only having to listen to one project on a release day, though. I would like these surprise albums to drop with all the feature and production credits ready to go too, so that we're not playing guessing games as we try to write about them. Jason Lipshutz: The Monday release strategy is a curious one for a major artist like Tyler, who could have collected much bigger first-week debuts with a standard Friday drop but instead prioritized issuing his albums on a day of the week with zero other competition. The buzz that both Chromakopia and Don't Tap the Glass generated upon their respective releases makes up for the missed first-week album units, though: this strategy underlines the fact that Tyler cares less about streaming metrics and more about creating an authentic moment for listeners, an anti-commercial artistic philosophy that has surely been compelling for fans. Andrew Unterberger: Basically. But selfishly, I would like to see him go back to the Friday release on his next one — maybe even with a little more of a promo rollout — just because I want to see what kind of full-first-week number Tyler can pull at his absolute commercial peak. 3. Largely due to the album's mid-week release, the album only charts one song in the Hot 100's top 40 ('Big Poe' at No. 33), but launches all 10 tracks onto the Hot 100. Do you see any of them becoming breakout hits from the set, or is it too much about the full album for one track to stand out like that? Mackenzie Cummings-Grady: I see 'Big Poe' and 'Sugar On My Tongue' branching out a little bit just because of how infectious they are, but at this point I consider Tyler to be an album guy. His fans come for the full experience of his projects, rather than just for a hit song here and there. Kyle Denis: I think 'Ring Ring Ring' probably emerges as the breakout hit from the set. It's dance-forward, has legitimate potential for a top 40 radio breakthrough and features a timeless interpolation of Cherrelle & Alexander O'Neal's 'Saturday Love.' I'd also keep an eye on 'I'll Take Care of You.' Angel Diaz: I'd put my money on 'Stop Playing With Me' and 'Don't You Worry Baby' featuring Madison McFerrin as the breakout hits when the dust settles. However, a 10-track album that clocks in at just under 30 minutes makes it easy for the listeners to press play and let it ride. In a couple years kids are going to hear their parents hit play on 'Big Poe' on a Saturday morning and they're gonna know it's time to clean the house. Jason Lipshutz: 'Sugar On My Tongue' functions like no other Tyler, The Creator tracks that had preceded it, a dance-funk fantasia with more bounce than something like 'EARFQUAKE' and a more propulsive tempo than anything on Chromakopia. This summer has sorely needed a smash hit like 'Sugar On My Tongue,' and I'm guessing it helps highlight the back half of the season on the charts. Andrew Unterberger: I'll say 'Stop Playing With Me' just because it's the one that already has a (great) music video. But honestly, 'breakout hit' is always sorta relative with Tyler, and I think doubly so on this surprise 10-track release. I doubt we'll know what the true fan favorite from the set is until we see which song is unexpectedly still appearing on the Spotify daily charts two years from now. 4. Tyler has never dropped albums in back-to-back years before, nor had a release with such a short rollout. Do you think that means the album will ultimately be considered more of a detour/side project for him, or will it ultimately be viewed on the same tier as his highly acclaimed last few sets? Mackenzie Cummings-Grady: It feels more like a side project, and with Tyler telling us prior to its release to keep our expectations in check, it's safe to say he feels the same way. Whether it goes on to be as highly acclaimed as his other efforts, only time will tell. Kyle Denis: I think it depends on how he continues to roll the album out. If the Los Angeles no-phones listening party, the New York City pop-up and the album's striking imagery are anything to go by, it's more likely than not that Don't Tap the Glass ends up as respected as any studio LP from Tyler. Angel Diaz: At first, I felt like this would be a side thing for him, but given the overwhelming positive reaction it's gotten, I can see some folks holding this tape in high regard because it features some of his best production to date. It's also a lot more fun than Chromakopia. Jason Lipshutz: While Don't Tap the Glass stands apart from Chromakopia sonically, it's hard to separate the two projects right now — especially considering that Tyler is still touring arenas behind Chromakopia. I think that will change over time, though: this is not a Kid A/Amnesiac situation, where a quick follow-up to an album is clearly composed of material from the same studio sessions, and thus tethered loosely together forever. In a few years, these two albums will sound different enough — and represent different sides of Tyler's artistry — that they won't be linked together by their release-date proximity. Andrew Unterberger: When it comes to end-of-decade or all-time lists that only have one or two spots max available for Tyler albums, I doubt Glass will be one that they go with. But I do think fans will certainly cherish it — it's just so much fun, so unlike any other release in the rap great's catalog, and such a fantastic showcase of him at the peak of his powers. Most importantly, it just keeps his winning streak going, and the one he's on currently can only be rivaled by a handful of artists in all of popular music. 5. Though he's been an honorable mention in 2021 and 2024, Tyler, The Creator has yet to finish in our Greatest Pop Stars year-end top 10. Should he make the list for the first time this year, or does he still have more to prove? Mackenzie Cummings-Grady: He should definitely make the list. At this point Tyler deserves all the accolades. His power in mainstream music is undeniable. Kyle Denis: Between Chromakopia's success bleeding into 2025, his massive tour in support of that album and now this new phenomenon of Don't Tap the Glass, I'd say his case damn near solidified. Angel Diaz: I would like to see the list if Tyler isn't top 10 this year, so I can boo it. He's already one of the biggest rap stars in the world, so that automatically makes him one of the biggest pop stars. He writes his own songs, makes his own beats, makes his own clothes, and always has something to say. He should easily be in the conversation in 2025. Jason Lipshutz: Definitely. Two big albums (with 2024's Chromakopia carrying hits into 2025), a major tour, significant festival headlining slots and buzz worthy pop-culture moments, with still five months to go? I'd be shocked if he doesn't crash his first top 10. Andrew Unterberger: It's gonna take a hell of an end to the pop year for this to even be in question. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Four Decades of 'Madonna': A Look Back at the Queen of Pop's Debut Album on the Charts Chart Rewind: In 1990, Madonna Was in 'Vogue' Atop the Hot 100 Solve the daily Crossword
Forbes
a day ago
- Entertainment
- Forbes
Tyler, The Creator Hits No. 1 For The First Time With His Surprise New Album
Tyler, The Creator's new album Don't Tap the Glass debuts at No. 1 on multiple charts in the United ... More Kingdom, bringing the hip-hop superstar to the top spot for the first time. HOLLYWOOD, CALIFORNIA - FEBRUARY 01: Tyler, the Creator attends the U.S. Premiere of "Jackass Forever" at TCL Chinese Theatre on February 01, 2022 in Hollywood, California. (Photo by Axelle/Bauer-Griffin/FilmMagic) Tyler, The Creator shocked fans recently with the surprise release of his brand new album Don't Tap the Glass. The set arrived in the middle of a tracking week, which meant it had only a few days to accumulate sales and streams before reaching charts everywhere. That compressed timeline didn't seem to hinder its success, as the collection manages to open in lofty positions on rankings around the globe, and it accomplishes an impressive showing in the United Kingdom. Tyler, The Creator Scores Multiple No. 1s Don't Tap the Glass starts at No. 1 on multiple tallies in the U.K. As the full-length debuts, it earns Tyler his first leader on three of those rosters. The set opens atop the Official Albums Sales, Official Physical Albums, and Official Vinyl Albums charts. While the Grammy winner has previously reached the top 10 with several releases on each of those rosters, this week marks the first time one of his efforts has conquered the trio of lists. Don't Tap the Glass Rules the Hip-Hop and R&B Chart Tyler's latest studio effort dominates the Official Hip-Hop and R&B Albums chart as it arrives. This week isn't the first time he has led that genre-specific ranking, though. Igor earned him his first No. 1 back in 2019. He doubled that total in late 2024 with A Chromakopia. Several other Tyler releases like Goblin, Wolf, Cherry Bomb, and Call Me If You Get Lost narrowly missed the throne by just one space each, while Flower Boy peaked at No. 3. Tyler Comes Close to No. 1 on the U.K. Albums Chart On the main Official Albums chart, which tracks the biggest full-lengths and EPs in the U.K. using a general consumption methodology, Don't Tap the Glass opens at No. 2. It starts at No. 8 on the Official Albums Streaming tally, and misses the top 10 entirely on the Official Albums Downloads roster, where it debuts at No. 24. Physical format sales appear to be the driving force behind the album's rapid success, as digital purchases played a less significant role in its arrival.
Forbes
4 days ago
- Entertainment
- Forbes
‘The Marvels' Cost Four Times More To Make Than Sci-Fi Film ‘The Creator'
The level of spending on 'The Marvels' has been highlighted by the significantly lower budget of ... More 'The Creator' Photo courtesy of Marvel Studios. © 2023 MARVEL. Marvel Studios' president Kevin Feige claims he has found the magic formula for making cheaper movies and he wants everyone to know about it. Earlier this week the baseball cap-wearing boss of the super hero studio told Variety that it has been been given tips by the team behind The Creator, the 2023 sci-fi epic which earned an Oscar nomination for its visual effects even though it was reportedly made for a fraction of the cost of a Marvel movie. It has now come to light exactly how cheap it was. The Creator is set in a dystopian future where the western world is at war with New Asia, fictional region which is under the spell of a rogue artificial intelligence system. An ex-special forces agent played by Tenet's John David Washington is recruited to bring an end to the battle by hunting down and killing the Creator, the elusive architect of the AI. Along the way he comes across a potential savior in the form of a child who can control electronics with her mind which eventually saves the day. It was a breakout role for Madeleine Yuna Voyles, a then 7-year-old actress from San Diego who has yet to appear in other major productions. The most well-known members of the rest of the cast are perhaps Eternals actor Gemma Chan, Ken Watanabe, the Japanese star of The Last Samurai, and Ralph Ineson, who provides the motion capture for the villain in this month's the Fantastic Four: First Steps. The Creator lacked a line up of big household names which helped its director Gareth Edwards keep costs down. 'The Creator' was nominated for an Oscar for its low-budget visual effects © 2023 20th Century ... More Studios. All Rights Reserved. The movie was also shot on the low-cost prosumer Sony FX3 camera and instead of recreating locations with sets or costly computer generated imagery, Edwards sent a small crew to film in 80 locations using natural lighting and limited sound recording. There's no need to speculate about the impact this had on the cost. Interior scenes and stuntwork for The Creator were shot at Pinewood Studios in the United Kingdom and this shines a spotlight on how much was spent on the movie. The cost of making films in the United States is a closely-guarded secret as studios tend to combine their spending on individual pictures in their overall expenses and don't itemize the budgets of each one. In contrast, studios filming in the U.K. benefit from its Audio-Visual Expenditure Credit which gives them a cash reimbursement of up to 25.5% of the money they spend in the country. To qualify for the reimbursement, movies must pass a points test based on factors such as how many of the lead actors are from the U.K. and how much of the production work is done there. Furthermore, at least 10% of their core costs need to relate to activities in the U.K. and in order to demonstrate this to the government, studios set up a separate Film Production Company (FPC) there for each picture. The terms of the reimbursement state that each FPC must be "responsible for pre-production, principal photography/shooting and post-production of the film; and for delivery of the completed film." In summary, the FPC's financial statements have to show the production's entire costs, not just those incurred in the U.K. Likewise, studios aren't allowed to hide costs in other companies as the terms also state 'there can only be one FPC in relation to a film.' Each FPC has to file annual financial statements which lift the curtain on everything from salaries and social security payments to the total cost of the production and the level of reimbursement. It takes a bit of detective work to get the information. The companies usually have code names so they don't raise attention with fans when filing permits to film on location. Tallying the company names with the productions they are responsible for requires deep industry knowledge which my colleague and I have built up over nearly 15 years reporting on the movie industry. We are the only journalists worldwide who specialize in covering the financial statements of U.K. film production companies for national media and we have reported on them for more than 10 leading titles including The Times of London, The Guardian, The Daily Telegraph, The Independent and the London Evening Standard. The Creator was distributed by Disney-owned 20th Century Studios and the FPC behind it is named NeoAsia Productions after the renegade region which embraces AI in the movie. NeoAsia Productions is ultimately owned by billionaire Israeli businessman Arnon Milchan who was one of the producers of the movie and founded the production company Regency Enterprises which was also behind it along with Entertainment One. Milchan has been involved with more than 130 pictures including 12 Years a Slave, JFK, Heat, Fight Club and Mr. & Mrs. Smith. The Creator was one of the cheapest. 'The Creator' was made for only a quarter of the budget of 'The Marvels'. © 2023 20th Century ... More Studios. All Rights Reserved. In 2023 Variety claimed that the movie cost $80 million to make and put it to Edwards. "I'm a bit embarrassed it was $80 million," he responded. "We should've done it for less." He wasn't exaggerating. There were two reasons why Edwards was embarrassed. Firstly, the latest financial statements for NeoAsia Productions reveal it is indeed correct that Edwards should have made the movie for less as they state that its "budget has been exceeded". They also reveal that it cost more than $80 million to make. Not much more though as the financial statements show total expenditure of $93.5 million (£75.3 million) which was reduced by a $7.5 million (£6 million) reimbursement. The U.K.'s reimbursement is calculated on up to 80% of core expenditure so in order for a production company to get back the maximum 25.5% of the money it spends in the country, it needs to ensure that at least 20% of its core costs are incurred elsewhere. The Creator had no problem with this and amongst its many filming locations a good deal of principal photography took place in Thailand. There is no limit to the amount of reimbursement that a production company can receive in the U.K. and that's not all. In addition to claiming on direct spending in the U.K., studios can also get a pro rata reimbursement on what are known as neutral costs throughout the production such as insurance and payment to senior producers, writers and directors. These costs can be claimed in proportion to the amount of the activity in the U.K. so, for example, if the spending there represents 22% of the total budget then 22% of the neutral costs will also qualify for reimbursement. Accordingly, the level of reimbursement can rise close to a third of the total costs which is a blockbuster sum. The reimbursement received by NeoAsia Productions only represented around 8% of its total costs but this still brought the net expense down to just $86 million which is a tiny sum compared to similar movies made by other studios. Testimony to this, two months after The Creator was released, Disney debuted its own sci-fi flick, The Marvels, which cost a massive $374 million (£307.8 million) to make as this report revealed. It was precisely four times the sum spent on The Creator making it a much bigger gamble, even after a $66.7 million (£54.9 million) reimbursement reduced its expenses to a net $307.3 million. Neither movie was particularly well-received. Review aggregator Rotten Tomatoes shows that The Marvels earned 62% from critics and 79% from audiences whilst The Creator's critics score was five percentage points higher and its rating from audiences was four percentage points lower. In contrast, The Marvels grossed $206.1 million according to industry analyst Box Office Mojo whilst The Creator's tally came to just $104.3 million. Studios typically receive around 50% of the takings which left The Marvels with an estimated $204.3 million loss at the box office whilst The Creator was only $33.9 million in the red. It's not a dream ticket but it makes it a lot easier for a film to make a profit in theaters and for Marvel that really is a whole new world.
The Onion
5 days ago
- Entertainment
- The Onion
Artist Profile: Tyler, The Creator
On Monday, Tyler, The Creator released his ninth studio album, Don't Tap The Glass . The Onion shares everything you need to know about the artist. Birthplace: Vans store Birth Name: Tyler, The Friendly Ghost Genre: Guy-who-has-a-pet-tarantula rap Vocal Range: Subwoofer Vocal Signature: Can make the sound a cat makes before throwing up HTML Coding Level: Intermediate Biggest Rap Beef: Internalized homophobia Thing You Accomplished In The Nine Months That He Released Two Albums: Bought one new pair of pants that don't even fit that well
Geek Tyrant
22-07-2025
- Entertainment
- Geek Tyrant
Kevin Feige Met with THE CREATOR Team to Learn How to Cut MCU VFX Costs — GeekTyrant
Marvel Studios head Kevin Feige is on a mission to revitalize the MCU, and part of that strategy involves making movies smarter, not just bigger. One surprising source of inspiration? Gareth Edwards' sci-fi epic The Creator . In an interview with Deadline, Feige revealed he met with the team behind The Creator to learn how they pulled off such a visually stunning film on a fraction of a typical blockbuster budget. Feige explained: 'The movies made over the last two years have been upwards of a third cheaper than they were two years before that. Deadpool & Wolverine, Captain America, Thunderbolts and Fantastic Four are all significantly cheaper than films from 2022 and 2023, and they would have been even cheaper if it wasn't for the strikes.' Considering The Creator cost just $80 million but looked like a $200 million spectacle, Feige clearly sees value in that approach. Edwards and his team shot extensively in Thailand, using real-world environments and enhancing them with VFX rather than relying on massive soundstage builds. That's a sharp contrast to recent MCU outings like Thunderbolts* and Captain America: Brave New World , each with reported budgets of around $180 million. While Marvel has scaled back spending on most projects, the studio isn't holding back when it comes to the big guns. Forbes reports that Avengers: Doomsday and Avengers: Secret Wars are shaping up to cost even more than Avengers: Infinity War and Avengers: Endgame combined, films that together nearly hit the $1 billion mark in production costs. But with Endgame earning $2.8 billion, Marvel is betting big that lightning can strike twice. Before we get to the multiverse madness, the next major MCU release is The Fantastic Four: First Steps , starring Pedro Pascal as Reed Richards, Vanessa Kirby as Sue Storm, Joseph Quinn as Johnny Storm, and Ebon Moss-Bachrach as Ben Grimm. Reportedly costing $200 million, the film is projected to open strong with $100 million to $110 million domestically, according to Deadline. Feige's renewed focus on cost efficiency, and lessons learned from The Creator could be a game-changer for Marvel moving forward. The question now is whether these leaner, smarter productions can reignite excitement for the MCU.
