The song gained 16% in plays July 21-27, according to Luminate. In all but one of its six chart weeks dating back to its July 1 debut, it has made double-digit percentage gains.
By climbing to the top, Minogue replaces Rita Ora’s “Praising You,” which features Fatboy Slim via a sample of his 1999 classic “Praise You.” That track had been No. 1 since before “Padam” entered the chart, beginning its six-week reign on the June 24-dated tally.
The two No. 1s before Ora’s were also collaborations, with David Guetta, Anne-Marie and Coi Leray teaming up on “Baby Don’t Hurt Me” (three weeks) and Calvin Harris and Ellie Goulding on “Miracles” (two). On average, collaborations have ruled for three of every four weeks in the last three years (73% of the last 157 frames), with Minogue one of just nine solo women to get to No. 1 since summer 2020.
But Minogue is no stranger to the top spot, though it has been a while. She last led with “Red Blooded Woman,” for two weeks in May 2004. That track was sandwiched between her other top 10s: “Slow” reached No. 7 in 2003 and “I Believe In You” hit No. 4 in 2005 (marking her last top 10 until “Padam”).
“Padam Padam” is Minogue’s second Dance/Mix Show Airplay chart-topper and 10th chart entry, although her career pre-dates the list’s 2003 launch; she first reached rankings in 1988. She boasts five top 10s on the Top Dance/Electronic Albums chart, with Disco having become her first No. 1 in November 2020.
Meanwhile, being promoted to pop and adult radio, “Padam Padam” — the lead single from Minogue’s album Tension, due Sept. 22 — debuts at No. 40 on the Adult Pop Airplay chart. It’s her first entry on the chart since “Can’t Get You Out of My Head,” which reached No. 23 in April 2002. That song became her second of two top 10s, reaching No. 7, on the all-genre, multimetric Billboard Hot 100, after “The Loco-Motion” hit No. 3 in November 1988.
In celebration of Taylor Swift’s six sold-out SoFi Stadium shows in the Los Angeles area starting this week, the Grammy Museum presents a special pop-up exhibit, “I Can See You (Taylor’s Version) (At Grammy Museum),” open now through Sept. 18.
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The exhibit, which is on display in the museum’s fourth floor theater gallery, immerses the visitor into the world of Swift’s recent “I Can See You (Taylor’s Version) (From the Vault)” music video, with a display of 11 costumes and two instruments from the video. The costumes were all worn during Swift’s original Speak Now era.
The music video features actors Joey King and Taylor Lautner breaking Swift out of a museum vault while Presley Cash waits in the getaway car. This is said to be a symbolic representation of how it has felt for Swift to have her fans help her reclaim her music through their support of her first three “Taylor’s Version” re-recordings, all of which have entered the Billboard 200 at No. 1. Swift wrote and directed the music video, with help from director of photography Jonathan Sela, ASC.
“Taylor Swift is about to make history in Los Angeles by setting the SoFi stadium record for the most performances as a headliner,” Jasen Emmons, chief curator and vice president of curatorial affairs at the Grammy Museum, said in a statement. “We’re thrilled to honor this achievement by creating an immersive space for her fans and our community to continue celebrating her all month long.”
Swift’s Speak Now album topped the Billboard 200 for six weeks in 2010-11. The album spawned five top 20 hits on the Billboard Hot 100 – “Mine” (No. 3), “Back to December” (No. 6), “Mean” (No. 11), “Sparks Fly” (No. 17) and “Ours” (No. 13). The album received a Grammy nomination for best country album, but was passed over for an album of the year nod. “Mean,” which Swift wrote in response to her critics, won two Grammys – best country solo performance and best country song.
Speak Now (Taylor’s Version) spent its first two weeks at No. 1 on the Billboard 200. It is the first of the “Taylor’s Version” re-releases to accomplish that feat.
For more information regarding ticket reservations for the exhibit, visit the Grammy Museum’s website.
Exhibit highlights include 13 artifacts, all of which were worn or played by Swift during her original Speak Now era. The first nine artifacts listed here are from the Speak Now tour:
Swift’s vintage lace dress from her Speak Now Tour
Swift’s Eric Winterling dress from her Speak Now Tour
Swift’s custom REEM ACRA dress from her Speak Now Tour
Swift’s Valentino gown from her Speak Now Tour
Swift’s Jenny Packham dress from her Speak Now Tour
Swift’s Susan Hilferty dress from her Speak Now Tour
Swift’s Jenny Packham dress from her Speak Now Tour
Swift’s Gibson Les Paul red sparkle top guitar from her Speak Now Tour
Swift’s Deering banjo from her Speak Now Tour
Swift’s Zara dress from her “Mine” music video
Swift’s Temperley dress from her “Mean” music video
Swift’s vintage flapper-style dress from her “Mean” music video
Joey King’s Monsoon white dress and wig from Swift’s “Mean” music video
Springfield City Utilities and Nixa Utilities say they are making headway at restoring power to everyone who lost power during the weekend storm.
C-U Manager Joel Alexander says there were 950 customers without power at 8:45 PM Tuesday.
He said crews would continue working through the overnight hours.
Director of Communications for the City of Nixa Drew Douglas said the number of people in the Nixa city limits without power was now just in the dozens and not hundreds.
A Springfield man has been sentenced in federal court for shooting at a deputy.
A press release from the Department of Justice says 41-year-old Richard Friederich has been sentenced to 13 years and 10 months in federal prison, without parole, for firing a 9 mm semi-automatic pistol at a Greene County deputy in August of 2022.
The deputy was assisting U-S Marshalls arrest him after he escaped a halfway house in Springfield.
Friederich pleaded guilty to assaulting a federal law enforcement officer with a dangerous and deadly weapon and discharging a firearm during a crime of violence.
Just nine weeks after Chayanne captured his first top 10 in over 14 years on Billboard’s Tropical Airplay chart, he is back in command – with his first No. 1 since 2008 – as “Bailando Bachata” rises 2-1 to rule the Aug. 5-dated list.
The song earns Greatest Gainer honors for the week fueled by an 18% increase in audience impressions, to 8.9 million, earned in the week ending July 27, according to Luminate.
“Honestly, I always do things because I feel them and since we started working on the album, bachata was considered,” Chayanne tells Billboard. “With the excessive amount of competition these days I wasn’t expecting it, but I am very grateful for this No. 1.”
“Bailando Bachata” is the third single from Chayanne’s forthcoming studio album (released date TBD). It follows two top 10 singles: “Te Amo y Punto” and “Como Tú y Yo” reached No. 6 and No. 7, respectively on Latin Pop Airplay in late 2022.
“Bachata” tops the list 14 years after Chayanne’s last leader, “Amor Inmortal,” dominated for five weeks in late 2008. The over 14-year window between new rulers is the longest gap by any artist since Dec. 2016, when Jennifer Lopez ended a 17-year wait between No. 1s when “Olvídame y Pega La Vuelta,” with Marc Anthony, topped the list. It was her first No. 1 since “No Me Ames,” also with Marc Anthony, in 1999.
As bachata proliferates on a global level, more artists are basking on its popularity. Notably, five of the six songs that have arrived at the summit on Tropical Airplay in 2023 belong to the genre. Here’s the recap:
Title, Artist, Peak Date, Total Weeks at No. 1 “Monotonia,” Shakira & Ozuna, Jan. 7 (nine) “El Pañuelo,” Romeo Santos & Rosalia, Feb. 4 (four) “La Bachata,” Manuel Turizo, Feb. 11 (14) “Me EnRD,” Prince Royce, July 8 (four) “Bailando Bachata,” Chayanne, Aug. 5
About the genre’s craze, Chayanne feels differently: “I love both bachata as much as all tropical rhythms. All the songs on the new album are special, I always surround myself with professionals and I only record what I feel I like, that suits me and that the public may like, not necessarily because there is a trend.”
As “Bailando Bachata” takes charge of Tropical Airplay, it ejects Prince Royce’s “Me EnRD” from its four-week command with a 17% dip in audience, to 8.4 million.
Further, “Bailando Bachata” concurrently delivers extra goods for Chayanne with a 5-3 lift on the overall Latin Airplay list, matching his career-high for almost a decade, as “Humanos a Marte” landed and at an equal No. 3 high in Aug. 2014.
“In my case, inspirations go hand-in hand with rhythm and lyrics,” Chayanne adds. “I like songs that denote joy and invite to dance. This one most certainly will be included on my next tour; I want all to dance it with me.”
All charts (dated Aug. 5, 2023) will update on Billboard.com tomorrow (Aug. 2). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
With the release of his latest album Vida Cotidiana, it’s been a busy past few months for Juanes, but the Colombian star took time to sit with Billboard‘s Leila Cobo to talk candidly about a variety of topics. From his mental health journey to overcoming the stress about writing a “hit,” Juanes keeps it real discussing situations that have, at times, impacted his career or personal well being.
The interview happened during the singer-songwriter’s visit to New York, just a day after his concert at Central Park’s SummerStage was halted due to “excessive crowds.” He, of course, addressed what happened saying that it was upsetting he not only didn’t get to perform for his fans but wasn’t able to sing songs from his new album. Vida Cotidiana is Juanes’ his first studio album with completely original music in four years, which made performing these new tracks in front of a crowd all the more special.
“I never sensed anything but excitement and happiness from the fans that were there,” he says. “I was like I’m playing this new song and people are happy, that’s all I was thinking about. I love that people give me a chance to share my music with them because I love this.”
Juanes’ love and respect for music has also led him on another important journey. While the Grammy- and Latin Grammy-winning artist has in the past spoken out about mental health issues, this time he talks about how doing a reset on his life was one of the most important things he’s ever done. “In 2010, something terrible happened to me. I started to really hate myself. I couldn’t stand myself. I’m a human. I’m not a product and after working for 10 years I got burned out. It was to the point that I had to make the very drastic decision of saying, ‘I need to stop right now and do a reset of my life. It was one of the most important things I’ve done.”
Watch Juanes’ interview above where he also talks about staying true to his process of making music and an upcoming tour.
On Christian Airplay, the song ascends 3-1 after gaining by 4% to 6 million impressions in the July 21-27 tracking week, according to Luminate. It also climbs 3-1 on Christian AC Airplay, up 3% in plays.
Tomlin adds his 11th and 10th leader on each respective list. He co-authored “Holy Forever” with Jason Ingram, Brian Johnson, Jenn Johnson and Phil Wickham.
“I remember over 20 years ago being told that radio wouldn’t play worship music,” Tomlin tells Billboard. “So, fast-forward to today and not only do I have another No. 1 at radio, but also the ongoing opportunity to help give people a voice to worship God through radio, streaming, live events and through songs being led in the church. It’s something I will never take for granted. I could never have imagined the doors and opportunities God would open up, and I am so excited, and expectant, for what’s next.”
Tomlin last led Christian Airplay for six weeks starting in October 2020 with “Who You Are to Me,” featuring Lady A. His run of No. 1s began in April 2006 with “How Great Is Our God.”
In between his two latest Christian Airplay No. 1s, Tomlin scored two top 10s: “Thank You,” featuring Thomas Rhett and Florida Georgia Line (No. 6, December 2021), and “Always” (No. 5, October 2022).
With 11 Christian Airplay No. 1s, Tomlin moves to within one of the record among soloists, as Jeremy Camp, tobyMac and Matthew West have 12 apiece. MercyMe leads all acts with 18 No. 1s.
Camp’s 13 Christian AC Airplay leaders mark the most among solo artists, with Tomlin and West tied for second with 10 each. Overall, MercyMe likewise has the most, with 19.
Tori Kelly received a kind gesture from one of the biggest pop stars on the planet. The “Cut” singer shared a glimpse at what home life has been like amid her reported hospitalization, and revealed that Beyoncé sent her flowers.
The carousel of photos features Kelly reuniting with her dogs — who were kind enough to write her a “Get Well Soon” card — playing games on her Nintendo Switch while relaxing a special text about Bey’s special delivery. “Hi! Hope you’re feeling good! Beyoncé sent flowers to the house. No one was home so they left them under this tree,” the text read. “Ummmmm Beyoncé?” Kelly responded incredulously.
The following picture in the carousel featured Kelly smiling and hugging a large white bouquet of roses, likely from the “America Has a Problem” singer. The kind gesture from Bey comes less than a week after Kelly shared a handwritten note to her Instagram giving an update on her health.
“Hi friends…As you may have heard, I’m dealing with some unexpected health challenges. It’s been a scary few days but I can feel your prayers & can’t stop thinking about you,” she wrote. “I’m feeling stronger now & hopeful but unfortunately there are still some things to uncover. I’m so grateful for the amazing doctors & nurses who have been looking after me.”
The American Idol alum was reportedly rushed to the hospital four days before her note while out to dinner in Los Angeles with friends. According to TMZ, ICU doctors found blood clots in her lungs and legs, and were trying to see if there were more clots surrounding her heart.
Bebe Rexha is going through a break up. The “I’m Good (Blue)” singer revealed during her July 28 London concert that she and her boyfriend of three years, Keyan Safyari, have ended their relationship.
Rexha confirmed the split before performing her track “Atmosphere.” Before launching into the song, she told the crowd, “Now I just went through a breakup so I might get a little emotional, so you need to help me here.”
Last month, Rexha shared a text message, likely from Safyari, to her Instagram that stated she had gained weight in recent months.
“Hey. I never said you weren’t beautiful and I never said I didn’t love you. In fact I said how beautiful you are and how much I loved you,” the text read. “But I always said I would be honest with you and your face was changing so I told you it was.”
“That was the conversation we were having and you asked…” he continued. “Because I care, would you rather I lied to you? You gained 35 pounds obviously you gained weight and your face changes? Should I just pretend it didn’t happen and that it’s ok?”
The message concluded with Safyari saying, “You know I always found you to be beautiful and loved you no matter what” and asking Rexha if she needed any clarity regarding his comments.
Rexha is currently on her Best F*n Night of My Life Tour. Taking place in Europe, the singer will be hitting up the Netherlands, Sweden and Lithuania now through Aug. 5.
Paul Reubens’ final performance as Pee-wee Herman is widely considered to be the feature film Pee-wee’s Big Holiday, produced by Judd Apatow and released by Netflix in 2016. But Reubens actually returned as the character at least one more time, albeit in a completely different format: radio.
Airing Nov. 26, 2021, the Pee-wee Herman Radio Hour was a one-time broadcast that saw the iconic character play KCRW music DJ, with guest appearances from Jack White and Charo as well as Pee-wee’s Playhouse characters like Chairry (Alison Mork), Conky (Josh Myers) and Miss Yvonne (Lynne Marie Stewart). While ostensibly a way to port Pee-wee into a new format, one of the broadcast’s producers — Maximum Fun owner/founder Jesse Thorn — says it also fulfilled a longtime fantasy for Reubens, who died Sunday (July 30) at age 70 following a six-year bout with cancer.
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“We had ideas to incorporate elements of the Playhouse and all of that, but central to it was that Paul loved the idea of being an FM radio DJ” of the sort that dominated the airwaves during the FM radio revolution of the 1960s and ’70s, says Thorn. In fact, Reubens was so earnest about the gig that while recording the broadcast, Thorn says that he, fellow producer Julia Smith and Myers — who wrote much of the broadcast with Reubens — “had to remind Paul repeatedly that it was a comedy show,” adding, “It was very clear that this was a sincere career dream of his.”
While the press release announcing the project contained a letter written by “Pee-wee” that made it sound like the result of a last-minute, fan-driven campaign, in reality, the broadcast took nearly three years to come to fruition. It began, says Thorn, after a KCRW staffer read an interview with Reubens in which he mentioned his affinity for the station. That led to a meeting between Reubens and then-KCRW program director Gary Scott; the station subsequently reached out to Thorn to produce.
Thorn’s first meeting with Reubens about the project took place at Café 101 in Hollywood, where Reubens told him his reasons for wanting to debut the character in the radio format. “He loved doing Pee-wee Herman and was trying to find ways to do Pee-wee Herman without having to go through what he had to go through in his 60s to be Pee-wee Herman on screen,” Thorn remembers.
Produced on a budget of just $10,000, the show proved to be a time-consuming process in part because Reubens was “an extraordinary perfectionist,” says Thorn. Paul Bennun, then KCRW’s chief content officer who oversaw the project for the station, says Reubens was “a natural producer” who was “punctilious and demanding” (the show went through countless rounds of edits before making it to air, says Thorn) but also “joyful and gentle and inclusive.”
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“He found himself in this position with moral and commercial ownership over this character, and he wanted to make sure that it was projected in ways that were as true to his moral objectives as to anything else,” says Bennun.
For added star power, Reubens enlisted celebrity friends Charo (who had previously appeared on a 1988 Pee-wee’s Playhouse Christmas special) and White — who first met Reubens when the actor appeared in a Raconteurs music video — to guest star on the broadcast.
For the show’s music playlist, Reubens leaned heavily on classic soul, weaving in such tracks as “Back Stabbers” by The O’Jays, “You Got the Love” by Rufus, “I Can’t Get Next to You” by The Temptations and “Come Back Baby” by Aretha Franklin.
“Paul had a specific vision, and the vision was driven by that idea of being a classic FM radio DJ, like being Sly Stone on KSOL in San Francisco before he was a singer,” says Thorn. “There was never a moment where he said, ‘What if we threw Huey Lewis in there?’ It was always going to be Stevie Wonder and Aretha Franklin.”
Neither Thorn nor Bennun knew that Reubens had cancer when they worked with him on the project, but in hindsight, Thorn believes Reubens’ desire to play the character on the radio — which exacted less of a physical toll — may have been a clue. “The only indications that I had were that I knew that he didn’t have it in him to do the character physically anymore,” he says.
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While there were discussions to produce additional episodes, the Pee-wee Herman Radio Hour remained a one-off. Being the fastidious performer Reubens was, it simply couldn’t be done to his standards on a regular basis with the kind of budget the station had to work with. “[KCRW had] this idea, like, ‘Oh, we could just make a bunch more of these,’” says Thorn. “And I was like, ‘I would love to, but Paul does not want to do the cheap version of this.’”
“There was a lot of goodwill and we really wanted to find out a way of extending the life of that project,” says Bennun. “But sadly, we weren’t in a position to make any very firm commitments at the time.”
Thorn and Bennun both have fond memories of collaborating with Reubens.
“He was the sweetest, most humble person to work with…He really cared about how the character was portrayed,” says Bennun. “It really mattered to him that the finest detail was going to be done in the way that Pee-wee would do it.”
For Thorn, who had watched Pee-wee on screen while growing up, working with Reubens was the realization of a childhood dream.
“My job is to meet people I admire,” says Thorn, who also hosts the Maximum Fun/NPR interview podcast Bullseye. “It’s a big deal to sit in a room with Pedro Almodóvar or talk to David Letterman. But I was sitting in that studio in KCRW and I [thought]…the rest of my life I can say, ‘I made something with Pee-wee Herman.’”
You can listen to the full Pee-wee Herman Radio Hour broadcast here.
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