While (G)I-DLE wowed K-pop listeners with provocative singles like “Tomboy” and “Nxde” in 2022, two of its members are bringing a “Sweet Dream” early in 2023.
(G)I-DLE’s Miyeon and Yuqi teamed up to sing the new song, “Sweet Dream,” as one of the official singles for Netflix’s upcoming Korean drama series Love to Hate You. With all the markings of a modern-day power ballad, the track lets Miyeon showcase her well-known sweet and strong vocal prowess (previously heard in her excellent solo single “Drive” last year). At the same time, Yuqi switches up her signature husky timbre for the song’s soothing melodies.
The special music video mixes scenes of Miyeon and Yuqi singing in a recording studio with clips from the upcoming K-drama to preview a messy, entertaining romantic comedy between acclaimed actress Kim Ok-vin and singer-actor Yoo Teo.
Kim and Yoo play opposite one another as an attorney and A-list actor, respectively, to whom “love means nothing – until they’re forced to date each other,” as teased by Netflix. The forthcoming series is Kim Ok-vin’s second venture with Netflix after starring in 2019’s fantasy drama Arthdal Chronicles that included BLACKPINK‘s Jisoo in the show’s cast.
The accompanying soundtrack singles to Love to Hate You will also include new songs from other top K-pop stars, including NCT‘s Taeil, rapper-singer BIG Naughty, plus NMIXX‘s Lily and Sullyoon, that will be released before and after the series premiere. Love to Hate You begins streaming on Netflix on Friday, Feb. 10.
Watch Miyeon and Yuqi’s “Sweet Dream” video below:
While everyone knows SEVENTEEN divide its 13 members into three sub-groups of the Hip-Hop Unit, Vocal Unit and Performance Unit (ask Wednesday‘s Emma Myers for a crash course), “BSS” is another unit that any fan of the chart-topping group should know after releasing their first single “Just Do It” nearly five years ago.
Consisting of members Seungkwan, DK and Hoshi, SEVENTEEN’s BSS dropped their first EP, Second Wind, today (Feb. 6), consisting of three new tracks and two unexpected featured guests. Led by the new single “Fighting,” the boys teamed up with breakout Korean hip-hop star Lee Youngji, marking the first time SEVENTEEN or any of its sub-units featured a rapper in a song. A high-energy anthem, “Fighting” is a perfect fit for three of SEVENTEEN’s most animated and energetic members as the stars empathize with the struggles and stresses of daily life but pledge to encourage and cheer for the listener.
Like the sporty highlight medley video, BSS embrace an athletic theme for the accompanying “Fighting” music video, rocking stylish and sporty looks, including a soccer jersey and pieces from an Adidas and Gucci collaboration. Youngji makes an appearance for her verse, spitting fire during the bridge while Seungkwan, DK and Hoshi offer comic relief with cameos in the background.
Alongside “Fighting,” Second Wind also features the retro, synthesizer-focused track “Lunch,” plus Norwegian singer-songwriter Peder Elias features on the solemn-but-hopeful pop cut “7PM.” Like nearly all of SEVENTEEN’s music, all the tracks have the group’s primary producing member Woozi and go-to producer BUMZU on the credits. SEVENTEEN’s leader S.Coups also co-wrote “Fighting,” showing how, even if only three members perform new music, the K-pop group is always tightly and creatively knit.
Eminem‘s daughter Hailie Jade announced her engagement on Monday (Feb. 6) via social media.
“Casual weekend recap… 2.4.23… i love you @evanmcclintock11,” the 27-year-old music industry progeny captioned the snapshots of her fiancé Evan McClintock’s romantic, intimate proposal, peppering the caption with a pink heart, diamond ring and crying emoji.
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While Hailie’s famous father hasn’t publicly commented on her big news, she received heartfelt support from celeb pals in the comments section of her post.
“You’re all grown up…congrats Hailie!” Aly & AJ wrote, while Skylar Grey — who collaborated with Eminem on Dr. Dre’s 2011 single “I Need a Doctor” and co-wrote the Rihanna-assisted “Love the Way You Lie” and “Love the Way You Lie (Part II)” — commented, “Omg congrats!!!!”
Earlier this year, 50 Cent let slip that he’s currently working with Eminem to turn the latter’s semi-autobiographical 2001 film 8 Mile into a television series. (“I think it should be there for his legacy,” 50 Cent told Big Boy TV at the time.)
Back in November, Hailie was on hand for her dad’s induction into the Rock & Roll Hall of Fame as part of the class of 2022 alongside Dolly Parton, Eurythmics, Carly Simon, Duran Duran, Lionel Richie, Pat Benatar and Neil Giraldo.
After being inducted by Dr. Dre, Eminem performed a scorched-earth medley of hits that included “My Name Is,” “Rap God,” “Stan,” “Not Afraid” and more. In his acceptance speech, Eminem told his daughter to “plug [her] ears” as he recounted his struggles with drug addiction, which led to an accidental overdose in 2007.
See Hailie Jade’s sweet engagement announcement below.
Following his Grammy night loss for best R&B album, Chris Brown took to Instagram to project his frustrations onto the category’s winner: 12-time nominee and five-time Grammy winner Robert Glasper for his album Black Radio III. “Y’all playing. Who da f— is this?” Brown wrote on his Instagram story, with a series of cry-laughing emojis.
Less than 24 hours later (and after a slew of social media critique), the chart-topping R&B singer re-evaluated his actions and sent an Instagram direct message to Glasper, apologizing for his mistake. Here’s what Brown said in the DM, posted to his Instagram Story:
“Congratulations my brother.. I would like to apologize if you took offense to my reaction at the Grammys.. you were not the intended target and I know I came off really rude and mean. After doing my research I actually think your amazing…THE ORGANIZATION ISN’T DOING US BLACKS OUR DUE DILIGENCE. YOU AND I SHOULD never be in the same [category].. two totally different vibes and genres. So from one black man to another.. CONGRATULATIONS. HOPE YOU ARE ABLE TO FEED YOUR FAMILY FOR LIFE. God bless my G.”
What Brown’s research may have led him to realize is Glasper’s innumerable accomplishments and contributions as one of the most lauded jazz, R&B and hip-hop instrumentalists of his time. Glasper has worked with 2023 best rap album winner Kendrick Lamar, as well as Mos Def, Lauryn Hill, Lupe Fiasco, Jill Scott, H.E.R., Ty Dolla $ign and Erykah Badu across his many collaborative albums and instrumental work, in addition to his frequent sold-out residencies at New York City’s famed Blue Note Jazz Club.
Following his win, Glasper was all smiles, telling Billboard on the Grammy red carpet he was “ecstatic” about the honor. His tone was far different from Brown’s, offering praise for the R&B star’s nominated project, Breezy (Deluxe), and expressing the feeling that one of his fellow nominees would take the award, adding, “They all have amazing albums.”
It’s officially a wrap on all the festivities surrounding music’s biggest night.
The 65th annual Grammy Awards took place on Sunday night from Los Angeles’ Crypto.com Arena, and the ceremony itself — chock-full of showstopping performances, including Bad Bunny’s shimmy-worthy mambo and merengue fusion of “El Apagon” and “Después de la Playa,” a hits-filled medley with the biggest names in hip-hop over the past 50 years, and a team-up between Stevie Wonder, Smokey Robinson and Chris Stapleton to pay tribute to Motown — concluded with several surprises before its famous attendees jetted off to star-studded afterparties.
Samara Joy won best new artist and best jazz vocal album for her 2022 sophomore effort Linger Awhile. Naturally, the New York City native was all smiles when it came time to party, showing up at the Universal Music Group afterparty looking like the winner she is and posing for photos alongside the record label’s CEO Lucian Grange.
Kim Petras — who won the award for best pop duo/group performance for her and Sam Smith’s “Unholy” and became the first transgender winner in the category in one fell swoop — was also in attendance at the Universal Music Group afterparty, where she posed alongside EVP Michele Anthony for a snap.
Album of the year winner Harry Styles also made an appearance at the afterparties, posing with country artist Orville Peck and several label executives at Sony Music Entertainment’s post-Grammys reception after a big night at the ceremony, which also included wins in the best pop vocal album for Harry’s House and a dazzling performance of “As It Was.”
See more artists, including friendship duos SZA & H.E.R. and Olivia Rodrigo & Conan Gray, in Billboard‘s Grammy afterparties gallery below.
Sunday night’s Grammy Awards found their biggest audience in three years, early TV ratings indicate.
Fast national ratings from CBS and Paramount+ show that 12.4 million viewers tuned in to the 2023 Grammys on Sunday night, according to The Hollywood Reporter. (THR will have final ratings on Tuesday morning.) The 2022 show drew 9.59 million viewers, meaning this year’s telecast saw a 30 percent bump year over year.
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The last bigger audience for the Grammys was at the pre-pandemic January 2020 awards show, which drew 18.69 million viewers.
Paramount+ says the 2023 Grammys drew the biggest livestreaming audience in the streamer’s history, though no exact numbers were provided to The Hollywood Reporter.
The 2023 Grammy Awards, emceed by third-time host Trevor Noah, awarded the night’s Big Four prizes to a quartet of artists: Harry Styles’ Harry’s House won album of the year, Lizzo’s “About Damn Time” won record of the year, Bonnie Raitt’s “Just Like That” won song of the year, and jazz singer Samara Joy won best new artist.
Miley Cyrus spread the love Monday (Feb. 6) after her hit song “Flowers” topped the Billboard Hot 100 for a third week in a row.
“Flowers is spending [its] 3rd week at #1 & as magical as this moment feels I know it doesn’t happen by chance,” the pop star wrote on social media alongside outtakes from the track’s music video. “This song & it’s success represents the power of YOU! This is your moment & it’s my honor to be the messenger.”
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Ever since it bloomed in the middle of January, the lead single from Cyrus’ upcoming album Endless Summer Vacation has only continued to plant its roots deeper and deeper as fans around the world find solace in its message of independence, self-empowerment and living life with no regrets. (In addition to extending its reign on the Hot 100, the track also holds steady this week at No. 1 on both Billboard Global charts, with the anthem now notching three of the five biggest streaming weeks on the charts since their inception in 2020.)
“Flowers” has found plenty of high-profile fans over the last few weeks as well — from Gloria Gaynor praising it on Instagram for “encourag[ing] everyone to find strength in themselves to persevere and thrive” and Diane Keaton jamming out to it in her backyard to Lauren Alaina using the song as the perfect vocal warm-up ahead of her show at the famed Ryman Auditorium in Nashville.
Cyrus’ forthcoming album is set to be released March 10 via her new label home, Columbia Records. Check out the star’s reaction to the continuing chart domination of “Flowers” below.
Flowers is spending it’s 3rd week at #1 & as magical as this moment feels I know it doesn’t happen by chance. This song & it’s success represents the power of YOU! This is your moment & it’s my honor to be the messenger. pic.twitter.com/ekVb103LTj
Miley Cyrus’ “Flowers” leads the Billboard Hot 100 for a third week, encompassing its entire run on the chart so far, dating to its launch at No. 1. With its continued command, it ties the three-week rule of her prior leader, “Wrecking Ball,” in 2013.
Meanwhile, The Weeknd’s “Die for You,” back up to its No. 6 best on the Hot 100, becomes the most-heard hit on radio, reaching the top of the Radio Songs chart, and Lil Uzi Vert notches his seventh Hot 100 top 10 as “Just Wanna Rock” rises from No. 12 to No. 10.
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The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 11, 2023) will update on Billboard.com tomorrow (Feb. 7). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
“Flowers,” released on Smiley Miley/Columbia Records, drew 56.4 million radio airplay audience impressions (up 38%) and 48 million streams (down 20%) and sold 37,000 (down 43%) Jan. 27-Feb. 2, according to Luminate.
The single spends a third week at No. 1 on both the Streaming Songs and Digital Song Sales charts and blasts 11-6 on Radio Songs, where it becomes Cyrus’ fourth top 10 – and first since “Wrecking Ball” (No. 4 peak, 2013). She first reached the region with “The Climb” (No. 7) and returned with “Party in the U.S.A.” (No. 8), both in 2009.
With “Flowers” having drawn 48 million weekly streams in the latest tracking week, after it posted 59.7 million the week before and 52.6 million the week before that, it’s the first non-holiday song with three consecutive weeks of 40 million streams or more since Olivia Rodrigo’s “Good 4 U” logged four such frames in a row (May 29-June 19, 2021).
“Flowers” likewise links a sales streak not achieved since 2021, as it’s the first song to sell over 30,000 in three consecutive weeks, after moving 65,000 a week ago and 70,000 the week prior to that, since Coldplay and BTS’ “My Universe” sold over 30,000 in each of its first four weeks (Oct. 9-30, 2021).
“Flowers” introduces Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.
SZA’s “Kill Bill” ranks at its No. 2 Hot 100 best for a fourth week, with 48.6 million in radio reach (up 28%), 32.5 million streams (down 5%) and 2,000 sold (down 3%). It tops Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for an eighth week each. The track also becomes her first top 10 as a lead artist on Radio Songs (15-10), and her third overall, following her featured roles on Maroon 5’s “What Lovers Do” (No. 5, 2017) and Doja Cat’s “Kiss Me More” (No. 2, 2021).
Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” rises to a new No. 3 high on the Hot 100, from No. 4; Taylor Swift’s “Anti-Hero” slips 3-4, after leading for a personal-best eight weeks; and Sam Smith and Kim Petras’ “Unholy” holds at No. 5, after it ruled for a week in October.
The Weeknd’s “Die for You” rebounds to its No. 6 Hot 100 best, from No. 7, as it hits No. 1 on Radio Songs, up 5% to 85.2 million in airplay audience. The track tops Radio Songs over six years after its original release on The Weeknd’s album Starboy, sparked by a surge of interaction on TikTok in recent months, which led Republic Records to officially promote it to radio.
The Weeknd adds his fifth Radio Songs No. 1, following “Earned It (Fifty Shades of Grey)” (for four weeks), “Can’t Feel My Face” (seven) and “The Hills” (five), all in 2015, and “Blinding Lights,” which dominated for a record 26 weeks in April-October 2020.
Starboy previously generated two top-three Radio Songs hits: its title cut (No. 2, 2016) and “I Feel It Coming” (No. 3, 2017), both featuring Daft Punk. (“Die for You” completes the longest journey from a title’s release to its coronation on Radio Songs since the chart began in 1990.)
David Guetta and Bebe Rexha’s “I’m Good (Blue)” descends 6-7 on the Hot 100, after reaching No. 4, as it leads the multi-metric Hot Dance/Electronic Songs chart for a 20th week; Drake and 21 Savage’s “Rich Flex” is steady at No. 8 on the Hot 100, after it reached No. 2, as it tops the multi-metric Hot Rap Songs chart for a 12th week; and Harry Styles’ “As It Was” holds at No. 9 on the Hot 100, following 15 weeks at No. 1 beginning last April, the fourth-longest rule in the chart’s history.
Rounding out the Hot 100’s top tier, Lil Uzi Vert’s “Just Wanna Rock” jumps 12-10 with 28.7 million in airplay audience (up 10%), 15 million streams (up 5%) and 1,400 sold (up 14%).
The rapper lands his seventh Hot 100 top 10 with the stand-alone single, following his featured turn on Migos’ “Bad and Boujee” (three weeks at No. 1, 2017) and his own “XO TOUR Llif3” (No. 7, 2017), “Futsal Shuffle 2020” (No. 5, 2019), “Baby Pluto” (No. 6, 2020), “Lo Mein” (No. 8, 2020) and “Silly Watch” (No. 9, 2020).
Rock on: “Just Wanna Rock” is the first Hot 100 top 10 with “rock” in its title since … well, just last month, when two holiday classics decorated the tier: “Rockin’ Around the Christmas Tree,” by Brenda Lee, and “Jingle Bell Rock,” by Bobby Helms, ranked at their respective Nos. 2 and 3 peaks. One other such song has rolled to the top 10 in the ’20s: DaBaby’s “Rockstar,” featuring Roddy Ricch, reigned for seven weeks beginning June 2020. Not that “Just Wanna Rock” is considered a rock song (having not appeared on any of Billboard’s rock-based charts; it holds at its Nos. 2 and 5 highs on Hot Rap Songs and Hot R&B/Hip-Hop Songs, respectively). The last rock chart hit with “rock” in its title to hit the Hot 100’s top 10? Nickelback’s “Rockstar” smashed its way to No. 6 in 2007.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 11), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 7).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Prosecutors in Laclede County have filed charges against a previously convicted drug-trafficker for allegedly committing the crime again.
41-year-old Scott Bonner is charged with possession of drugs and trafficking of drugs. He served a 16 year sentence for similar charges in 2018, but was paroled last year.
Investigators say they attempted to stop Bonner along Owl Drive in Lebanon over the weekend, but he led authorities on a pursuit that finally ended near the intersection of Taylor and Mizer Street.
He then led Laclede County Sheriff’s deputies on a foot chase before being apprehended.
When they searched the vehicle, officers say they found 3.5 pounds of meth, 12 grams of heroin and over $5,000 in cash.
Growing up in south Florida, the closest Christian Breslauer got to Hollywood was a nearby beach named after it. The cinephile looked up to renowned film director David Fincher, who also helmed music videos for Madonna and Billy Idol early in his career. After high school, he started directing clips for local artists. He moved to California in 2016 with sights set on working with London Alley Entertainment, a full-service production company behind award-winning videos for artists including Kendrick Lamar (“Alright”) and Logic (“1-800-273-8255”). Breslauer jokingly recalls that he reached out to founder/executive producer Luga Podesta dozens of times before first working with the company on a 2019 Cîroc commercial. However, London Alley didn’t start representing him until the following year, after Podesta saw the video for Roddy Ricch’s “The Box,” which earned an MTV Video Music Award nomination for best hip-hop video. “Our job as a company is seeing a director’s career long term instead of just per project,” says Podesta. “We strategize about who are the artists they want to work with and who manages those artists.”
Since then, Breslauer has become a go-to creator of visuals that are equally eye-popping and purposeful, working with superstars including The Weeknd, Doja Cat, John Legend and Lil Nas X (The latter’s “Industry Baby” clip with Jack Harlow won three VMAs). At the beginning of 2023, Breslauer directed the video for SZA’s “Kill Bill,” which has over 20 million views — and most recently, he helmed the ultimate Black girl superhero visual for Lizzo’s Special title track. “We helped [Christian] form the relationships with Lizzo and SZA,” says Podesta, also noting that the team “did four or five videos with SALXCO management and then finally got [him] to work with The Weeknd.” Adds Breslauer: “We try to build little Marvel universes for every artist I work with. That’s why artists like to come back and keep working with me.”
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Tyga x Doja Cat, “Freaky Deaky”
Christian Breslauer and Doja Cat on the set of the “Freaky Deaky” music video.
After Tyga texted Breslauer about shooting a “futuristic” video for “Freaky Deaky,” a Doja Cat collaboration from his forthcoming album, Breslauer imagined a sexy cat-and-mouse game, with Doja capturing Tyga in various traps during a late-night rendezvous. The lyrics helped inspire some of them, including “Black Barbie, perfect and you gnarly,” which reminded Breslauer of a scene from Joe Dante’s 1998 film Small Soldiers when action figures punch out of their plastic boxes. “I put a lot of intention in breaking down the song,” says Breslauer. He often leans on artists to bring their own flair during shoots, noting that Doja Cat’s chastity belt lock featuring a phallic keyhole was an addition by her stylist Brett Alan Nelson.
Lizzo, “About Damn Time”
Lizzo and Christian Breslauer on the set of the “About Damn Time” music video.
Last year, Lizzo’s team asked Breslauer to direct three videos for her Grammy-nominated album Special. But once the newly minted record of the year “About Damn Time” went viral and subsequently reached No. 1 on the Billboard Hot 100, that visual took priority. The two set out to make something uplifting, with Breslauer running with Lizzo’s idea to open in a support group setting. The visual won video for good at the 2022 VMAs, with Lizzo dubbing Breslauer “Tittylauer” during her acceptance speech. “We have so many funny moments. She brings such a bubbly energy where you just can’t help but love her,” he said, calling the recent “Special” video his favorite one from her album.
SZA, “Kill Bill”
SZA and Christian Breslauer on the set of the “Kill Bill” music video.
For SZA’s latest video, Breslauer wanted to incorporate the singer’s idea of shibari rope bondage during the outro — a second sequence soundtracked by fellow SOS track “Seek & Destroy” — while still largely referencing Quentin Tarantino’s Kill Bill films. “It seemed too on-the-nose to have an Uma [Thurman] cameo, but Vivica [A. Fox] was right to me,” says Breslauer of one of its driving scenes. “She’s got the look, she’s got the swagger.” He adds that they wrapped that shot around 5 a.m. as part of a 19-hour-long shoot that happened just days before Christmas. The video came out two weeks later — which Podesta says is “definitely the fastest video we’ve done in a while.”
