Earlier in the month, My Chemical Romance posted a teaser trailer, only revealing “9/23/16″ which incidentally got fans’ hopes up that a reunion tour would be taking place. The band later commented that no reunion would be happening and that a 10th anniversary edition of their landmark album, The Black Parade, would be getting a commemorative re-release. Now, the details behind the new edition have been revealed.
The release will arrive under the title The Black Parade / Living With Ghosts exactly one month ahead of the official 10th anniversary of the platinum-selling record. In addition to the original studio disc, the release will contain 11 tracks of bonus content featuring unreleased demos, rarities and songs from the album’s recording sessions. The re-issue will come with two format options: a CD bundle or a three LP vinyl set, both of which will be packaged with an exclusive My Chemical Romance flag.
Out on Sept. 23, fans can pre-order their copy here and will receive an instant digital download of the bonus track “The Five of Us Are Dying” (rough mix), which later became the hit song “Welcome to the Black Parade.”
After recording four studio albums, My Chemical Romance announced their breakup on March 22, 2013, despite initially having plans to write and record a fifth album. Both The Black Parade and its predecessor, Three Cheers for Sweet Revenge, have been certified platinum by the RIAA.
My Chemical Romance, The Black Parade 10th Anniversary Re-Issue Bonus Tracks
01. “The Five of Us Are Dying (rough mix)
02. “Kill All Your Friends (live demo)
03. “Party At The End Of The World (live demo)
04. “Mama (live demo)
05. “My Way Home Is Through You (live demo)
06. “Not That Kind Of Girl (live demo)
07. “House of Wolves, Version 1 (live demo)
08. “House of Wolves, Version 2 (live demo)
09. “Emily (rough mix)
10. “Disenchanted (live demo)
11. “All The Angels (live demo)
Iron Maiden kicked off the world tour in support of last year’s standout effort, The Book of Souls, on Feb. 24 and after making more than 70 stops in over 35 countries, Eddie and the Boys have special plans for the final night of the trek. The Brits will be presenting a live stream of their headlining performance at this year’s Wacken Open Air festival in Germany.
With the band set to hit the stage at 9:30PM CET on Aug. 4, fans can catch the entire show on Livestream courtesy of ARTE Concert. The stream can be viewed through both ARTE and Wacken‘s dedicated sites. On this run, Maiden have been playing new material off The Book of Souls as well as the classics with some surprises in store in the setlist and onstage.
Commenting on the opportunity, longtime manager Rod Smallwood said, “We decided to finish the tour at Wacken as it is the ideal way to end this magical tour playing to 80,000 core metal fans at this legendary metal festival. Wacken has become such as international event with many thousands of fans from many other countries around the world joining and celebrating with the German fans, so it is perfect for the final show of a memorable tour. Everywhere we’ve played the fans have been amazing and the reaction to the new songs and stage show has been phenomenal. The band has loved every minute onstage.”
“So when Wacken and ARTE asked us to consider a live stream of our performance there, we jumped at the chance to give our fans an end of tour gift,” he continued, adding, “Streaming this final show live globally allows us to thank the many fans we played to so far, and, for those who couldn’t get to see us this time round, a chance to see just how spectacular the live concert is and what they missed!”
Wolfgang Bergmann of ARTE said, “The festival summer by ARTE concert is heading for an exceptional highlight, showing a live stream of British legends Iron Maiden performing their final show of an incredible tour at the Wacken Open Air. An audience of millions, in Europe and for the first time worldwide, know by now that ARTE is taking the festivals to anywhere you are.”
This tour saw Iron Maiden venture out with their upgraded Ed Force One, a Boeing 747-400 jumbo jet that hauled all the equipment, crew and band around the globe. The aircraft took on some damage during a ground accident where two engines were badly damaged. The incident caused no delays in the tour and was up and running just over one week later.
We’ve got incredible news to share with you all! Max & Iggor Cavalera will be embarking on a North American tour to celebrate the 20th anniversary of Sepultura’s Roots album. Throughout the entire string of dates, the brothers will be performing Roots in its entirety!
Sepultura’s Roots marked a dynamic shift in the Brazilian thrash band’s career as the musicians took inspiration from the native music of their home country. The experiment paid off, with Roots selling over 2 million albums worldwide and remaining a major point of celebration in thrash’s rich history. Neither Max nor Iggor is in Sepultura anymore, but they are the founding members of the legendary band.
“Metalheads! It’s time,” declares Max Cavalera. “20 years ago, we released the Roots album and changed the face of metal forever. Now, we’re returning to ‘the roots’ to show everybody the magic and inspiration of the Roots live experience! You cannot miss this RETURN TO ROOTS 2016!”
Iggor Cavalera adds, “I am very proud to play Roots again, to reaffirm that after 20 years, it still moves people! We hit the stage again with Roots to destroy everywhere we pass by!” Max and Iggor will perform their set with their Cavalera Conspiracy brothers, guitarist Marc Rizzo and bassist Johny Chow.
The tour will feature direct support from The Black Dahlia Murder, Combichrist, Allegaeon, All Hail the Yeti and Oni. Fans who attend the shows will be able to purchase special meet and greet passes from Max & Iggor’s merch booth. The brothers will take photos with fans who grab meet and greet passes and sign copies of the Roots CD, cassette or vinyl.
Tickets for most markets are on sale beginning at 10am ET today (July 29) and can be purchased via each individual venue. Visit your local Return to Roots tour venue’s website for more information or visit the tour’s official website for updated ticket links as they become available.
Max & Iggor Cavalera Return to Roots Tour Dates:
9/12/2016 – Las Vegas, Nev. @ LVCS w/ Combichrist, Allegaeon
9/13/2016 – Albuquerque, N.M. @ Sunshine Theater w/ Combichrist, Allegaeon
9/15/2016 – Nashville, Tenn. @ Exit / In w/ Combichrist, Allegaeon
9/16/2016 – Louisville, Ky. @ Diamond Concert Hall w/ Combichrist, Allegaeon
9/17/2016 – Rochester, N.Y. @ Montage Music Hall w/ Combichrist, Allegaeon
9/18/2016 – Philadelphia, Pa. @ Rock Allegiance Festival (line-up)
9/19/2016 – Knoxville, Tenn. @ The Concourse w/ Combichrist, Allegaeon
9/20/2016 – Athens, Ga. @ Georgia Theater w/ Combichrist, Allegaeon
9/22/2016 – Oklahoma City, Okla. @ Diamond Ballroom w/ Combichrist, Allegaeon
9/23/2016 – Dallas, Texas @ Gas Monkey w/ Support TBA
9/24/2016 – Houston, Texas @ Houston Open Air Festival
9/25/2016 – New Orleans, La. @ Southport Music Hall w/ All Hail The Yeti
9/30/2016 – Jacksonville, N.C. @ Hooligans w/ Combichrist, All Hail The Yeti, Oni
10/1/2016 – St Petersburg, Fla. @ State Theater w/ Combichrist, All Hail The Yeti, Oni
10/2/2016 – Ft Lauderdale, Fla. @ Culture Room w/ Combichrist, All Hail The Yeti, Oni
10/6/2016 – Chicago, Ill. @ Reggie’s w/ Combichrist, All Hail The Yeti, Oni
10/7/2016 – Detroit, Mich. @ Harpos w/ Combichrist, All Hail The Yeti, Oni
10/8/2016 – Dayton, Ohio @ Oddbodys w/ Combichrist, All Hail The Yeti, Oni
10/9/2016 – Pittsburgh, Pa. @ Rex Theater w/ Combichrist, All Hail The Yeti, Oni
10/10/2016 – Ottawa, Ontario @ Mavericks w/ The Black Dahlia Murder, Allegaeon, Oni
10/11/2016 – Toronto, Ontario @ Opera House w/ The Black Dahlia Murder, Allegaeon, Oni
10/12/2016 – Montreal, Quebec @ Les Foufounes Electriques w/ The Black Dahlia Murder, Allegaeon, Oni
10/14/2016 – Quebec City, Quebec @ Imperial Theatre w/ Allegaeon, Oni
10/15/2016 – Worcester, Mass. @ Rock N Shock Festival w/ Combichrist, All Hail The Yeti, Oni
10/16/2016 – Cleveland, Ohio @ Agora Ballroom w/ Combichrist, All Hail The Yeti, Oni
10/17/2016 – Sauget, Ill. @ Pop’s w/ Combichrist, All Hail The Yeti, Oni
10/20/2016 – Los Angeles, Calif. @ The Regent w/ All Hail The Yeti, Oni
10/21/2016 – Tempe, Ariz. @ Club Red / D-Low FEST w/ Soulfly, Incite, Lody Kong, Oni
10/23/2016 – Sacramento, Calif. @ Aftershock Festival
Contained within the hit-producing machine that is the Korean pop industry are a number of mostly anonymous producers and songwriters from Stockholm and Seoul alike, who carefully draw influences from pop, dance, R&B and hip-hop to churn out tunes that fans around the world will put on repeat. Producers have risen in the ranks, with some gaining fans who seek out their specific sound and some segueing into their own music careers; onetime EXO and VIXX producer and songwriter Deanfluenza is now R&B soloist Dean.
Producers and songwriters DR and Ryan Jhun, however, seem content with living their lives off the well-lit stage; a cameo on Produce 101, a girl-group-focused reality competition in the vein of The X Factor or the short-lived Popstar, introduced them to viewers all over Korea. They were there to produce tracks for a number of the girl-group hopefuls, but in between the jokes and banter, it was all about making the tracks, which is their number one priority. “I get to wake up every day and write and produce music!” DR says. “Everyone has a dream, and that was mine.”
DR and Ryan Jhun are best known for their work with K-pop powerhouse SM Entertainment, the industry giant home to renowned acts such as BoA and Girls’ Generation. DR and Ryan sat with Billboard to discuss how they ended up in the industry, what went into some of their most notable SM hits, what they have on their plates for the latter half of 2016 (hint: lots of MBK Entertainment tracks!), and where they see K-pop headed in the next few years.
DR, born Denzil Remedios, met Ryan Jhun in a hip-hop session about seven years ago while working on a track for Soulja Boy. Ryan asked if he could take some of DR’s tracks to Korea, and Ryan came back with placements. DR studied jazz and classical music in college in Toronto, which he says comes in handy when it comes to arrangements and chord progressions. “I do find that K-pop music, it’s not the regular turnaround pop that you’d hear on U.S. radio, meaning it’s not just the two or three quick progressions that you can just loop over and over again — that is not K-pop,” he explains. “That’s the opposite of K-pop. K-pop is a lot more complicated, a lot more changes, a lot more structural arrangements that have variation. [Ryan] will play a track for me sometimes and he’s like, ‘This is a great song. Now we need to put some variation in it so that it can become K-pop.’ You gotta change it enough that the short attention span, if you will, of the listener is pleased by these quick [changes].”
Ryan Jhun was born in Korea and moved to New York at 10, which began his love affair with American pop. Ryan’s always had a passion for music; as a teen, he tried to audition for K-pop boy band Shinhwa, but his parents insisted he pursue other dreams. In 2009, he went to Korea and tried to submit his music to all the labels, but according to Ryan, “No one accepted our record, no one accepted our demo. But SM, they’re the [only] ones who [were] interested in our song.” SM Entertainment’s response came as a blessing after he faced numerous rejections in both America and Korea. “I wrote songs for American artists, but nobody really accepted me, ’cause like…’You’re Asian and I don’t know you. Where are you from? You have background [experience]?'”
That’s all changed now. Below, the pair tell the stories behind their biggest hits.
“Lucifer” by SHINee (2010)
Ryan (producer and writer): That track is my very first record [where I was] really hands-on. [Lucifer] took about three months to finish. I wrote the song for a female, actually. The hook was “Soulectriontic, hippoponic, never heard this before.” One of [SM Entertainment’s] A&R heard the song. They were like, “This is it. We need this song.” Again, that song only had a hook. We were struggling to write that song, to try to take it to the top. But one of the producers from SM — his name is Yoo Young Jin — he wrote lyrics, he wrote a melody, and he was supporting us to finalize the song. But I’m Christian, so I didn’t like the concept of Lucifer. I didn’t like the concept of Lucifer, the devil thing, but when they explained [it] to me, they just described the girl as a devil because she’s temptation. I was like, “You know what? That’s fine then!”
“Chitty Chitty Bang Bang” [by Lee Hyori] is my debut song, but right after that, “Lucifer” made me who I am now, because everybody recognized my song. And also, that song made SHINee [who they are] now. That is a signature song for SHINee.
“View” by SHINee (2015)
Ryan (writer): LDN Noise, Adrian [McKinnon], the four of us [said], “Why don’t we deliver some UK pop, UK deep house in Korea?” [and] LDN Noise wrote that UK sound. We try to launch something new, [something] never heard before — it’s a part of our strategy. Deep house, no one did before here in [the K-pop scene], that’s why we delivered that new sound. SM did a lot of European sounds before, but they never did the UK sound. SM was questioning it, like “What’s [the] UK sound about?” But I told them, “Deep house, UK sound has a unique color to it, so let’s just try it.” They said, “Okay, let’s give it a shot.”
“Love Me Right” by EXO (2015)
DR (producer and writer): “Love Me Right” — I started crafting that [while] I think I was listening to a Chris Brown album, actually, at that time. I was just playing with some chords and stuff, like, “Yo, this sounds kinda cool, this sounds kinda cool.” It was turning out to be too much like a Chris Brown track, so I started switching it up with different instrumentation, different drums, different chord progressions, reversing it — instead of it going this way or that way. And then [Ryan] came in and said, “Yo, live guitars would be great on this!” Okay, cool, so we put that in. “Live bass would be great on this!”
Ryan (producer and writer): Everything has to be live.
DR: So we mixed this hybrid of an electro, very manufactured sound, with live instrumentation, which gave it this whole new energy and identity, and that’s kinda how that song came to life. The writers that we were working with at that time just came in and honestly, they just sang the song right away, like they just came up with the lyrics, came up with the melody, they didn’t have to rewrite anything. It just came out of their heads and that’s it — it just sounded like a smash. The A&Rs at SM came in and they heard it; right away, they were like, “That’s the single for EXO.” Done. That’s it. In probably 20 minutes, they just knew that was the single for them.
Ryan: It took about a month to write the song. DR created the opening, but when I closed it, I tried to do…I would say more friendly music. Everybody can sing [along.] I wanted [the] listener to sing. That was a part of [the] concept. Thankfully, a lot of people sing the song at karaoke.
“You Think” by Girls’ Generation (2015)
DR (producer and writer): “You Think” is a really cool track because it’s very unique, it’s like a hybrid of writers and producers on the track, and that’s kinda why it sounds that way. The main writer, SAARA, she’s a YouTube personality, and [the track] kinda sorta sounds like her personality — it’s spunky, it’s got variation, ’cause she’s really good at going left, going right. Ryan and myself, we just came in and said, “Okay, let’s take what she did and turn it into K-pop and turn it into a track for SM.” We switched up stuff, wrote some new parts, and that’s how it came together.
“Dumb Dumb” by Red Velvet (2015)
Ryan (writer): Purposely we wrote [“Dumb Dumb”] a little bit more complicated. We tried to deliver the storyline of the song. Like usually, when you listen to K-pop, there’s a lot of love stories, right? But that, to me, to [DR], it’s kinda boring.
DR: Played out. It’s done.
Ryan: But we tried to deliver the idea on the record. I always wanna put the concept of the song. So the track maker was LDN Noise, but two writers [were] really hands on in the music: one main person is Taylor Parks, she’s like a number one writer in [the] US right now, she did [stuff for] Ariana Grande, she did Fifth Harmony, Chris Brown, Mariah Carey, everybody! She’s [a] big-time producer, big-time writer. Another [writer], she was a Disney writer, her name is Deanna Dellacioppa, both of them wrote the melody together. LDN Noise built up the track, but Taylor Parks and Deanna, they’re the ones who created the melody and created the structure. But [as] soon as I heard it, I’m like, “Guys, this is not gonna work. Can you guys tweak [it]?” Again, variation! It’s like a storyline, start at [the] beginning, then build up and build up, like [a] drama scene. I wanted to make [the] song more dramatic — that’s why it sounds complicated, but it’s interesting. Keep on going, running, running.
That song put them on the map. [People] may not remember “One of These Nights” — they still remember “Dumb Dumb.” They may not remember “Ice Cream [Cake]” — they remember “Dumb Dumb.”
“I” by Taeyeon (2015)
Ryan (writer): Taeyeon’s “I” was by [Bennett Armstrong and Justyn Armstrong of] My Crazy Girlfriend — they’re artists here — and DQ [David Quinones], he’s a vocal producer for Beyonce.
Once I heard the song, I’m like, “Okay, this is very catchy, very unique modern rock.” Soon as I heard it, I’m like, “Guys, I want to fix it, like this, this, this, and that, and let’s just pitch [it] to Girls’ Generation.” But SM took the song for Taeyeon, and once we presented the song to Taeyeon, she loved the song. When we wrote the song together, I was [saying] to the writers, “Hey guys, I want to make this sound like a girl’s running in New Zealand. I wanna imagine fields and grass, sunshine, maybe a little bit of rain, and I wanna hear that type of inspiration on the song.” Ironically, in the music video, they made it like that, even though we didn’t tell them.
You two had an incredibly busy 2015. What’s up ahead for you?
Ryan: I’m working on DIA, T-ara, Shannon [Williams] — MBK acts.
DR: I’ll be DJ’ing and performing a few more times this year. My personal music is more electro based, which you might hear hints of when I produce and write for K-Pop as well. I’ll also be doing a lot more production and writing in the K-Pop and J-Pop worlds this year. I signed my publishing deal with Avex Music Publishing last year — it’s a Japanese publishing company — so I’ve been going between Japan and Korea on a few projects for the past few months, working with labels and artists in both countries. I’m also working with Ryan on projects involving the I.O.I girls from Produce 101, continuing new songs with SM Entertainment, just co-wrote with JYP, and continuing writing and producing for MBK Entertainment after the successful album that we did with Hyomin. Also working with DIA from MBK as well, so it’s going to be a pretty busy rest of the year.
Trap had its moment in American pop, while tropical, dancehall, and house influences are appearing more frequently in pop these days. Which sound trends do you see rising in K-pop within the next year or two?
Ryan: We tried tropical house on I.O.I’s “Crush.” We put a little bit of a tropical vibe there.
DR: The nature of K-pop is really diverse; it could be trap, it could be bubblegum pop, it could be hip-hop, it could be acoustic, soul, R&B. To put it in a nutshell, it stays varied, it stays new, it stays fresh. Tomorrow when you hear K-pop, you just know it’s not gonna be the exact same thing you heard yesterday because it’s such a varied genre.
Ryan: As long as we’re working! [Laughs]
Everybody’s just focusing on making hits. But I think differently. Think about it, music is the same thing as cooking. When you cook, if you use really fresh ingredients [and] you put it together, that delivers really good food. You’re gonna love it. If you put MSG, if you don’t use fresh [ingredients], if you’re thinking, “Okay, I’m just gonna sell this product no matter what,” that’s why you’re putting lots of chemicals — it tastes good, but it’s gonna hurt your stomach. That’s how I see it.
Our writers and producers, they always think carefully; before we write a song, we always talk; “How are we gonna write this song [and] make it nice?” We always have a good meeting. For example, Fiestar’s “Apple Pie” — it took almost a month to write that song. And sometimes writers and producers come out, “Yeah, I wrote this song in five minutes” — I don’t respect that, because they didn’t put enough time, enough effort to make the song amazing.Us, we’re like chefs. We always try to put it together properly and [it] doesn’t matter how long the song takes, maybe a month or two months, maybe a year.
K-pop is the same as fashion. The fashion always [comes] full circle. Korean pop is always about a year behind American pop, so if you look at what’s hot right now in U.S., they’ll have it in a year. Right now in Korea, hip-hop is really popping off. You never know what’s coming up — house, maybe EDM again. [DR and I], we are working on bubblegum pop, ’cause no one’s doing it right now, so we’re [a] half step ahead. We’re like trend-setters.
Christina Grimmie’s team will release four new music videos for the late singer’s final songs in August, all of them premiering exclusively through Billboard (dates below).
“August will be a visual celebration of Side A,” Grimmie’s manager Brian Teefey shared. “I couldn’t be more proud of her and everyone involved for the labor of love that was put into this project.”
“Snow White”: Aug. 11
“Anybody’s You”: Aug. 18
“Deception”: Aug. 25
Without Him: Sept. 1
Grimmie had been working on videos for her EP Side A prior to her tragic death on June 10. According to Brian, the videos were shot back in February and include choreography and artistic elements in the creation of a short story that follows Jessica Blue on “her journey to find her voice and her path in life only to find they are one in the same.”
The videos for “Snow White,” “Anybody’s You,” “Deception” and “Without Him” will be released on Grimmie’s YouTube channel and will exclusively premiere through Billboard throughout August. The first video, for “Snow White,” is set to premiere Aug.11. Brian asks fans to include #ChristinaGrimmie along with their support for each video to make August a month of remembering the late Voice singer.
The Bernie supporter says she will vote for Hillary Clinton “with gusto” in November.
Sarah Silverman — a Bernie Sanders supporter — took the stage on Day 1 of the Democratic National Convention Monday night (July 25) in Philadelphia to urge other Sanders supporters to rally behind Hillary Clinton in order to defeat Donald Trump and continue Sanders’ causes, such as overturning Citizens United. But while the comedian has clearly accepted Clinton as the Democratic presidential candidate, it seems many in attendance at the DNC had not.
“Hillary heard the people with the passion behind Bernie and brought those passions into the party’s platform. And that is the process of democracy at its very best,” Silverman told the crowd. “Hillary is our Democratic nominee and I will proudly vote for her.” She also tossed in one joke before attempting to leave the stage: “It’s so inspiring. Just a few years ago she was a secretary, now she’s going to be president.”
After Silverman’s comments, many cheered, but some of Sanders’ supporters kept chanting his name over and over. Facing a divided crowd, Silverman and Al Franken (who spoke earlier in the night) returned to the stage to address the unrest.
“Can I just say to the Bernie or Bust people — you’re being ridiculous,” Silverman said to massive cheers. “Thank God they can fix this in post [production],” she joked.
After a few awkward moments, Franken and Silverman ceded the spotlight to Paul Simon, who performed “Bridge Over Troubled Water,” certainly a fitting choice given the raucous convention.
Sia scores her first leader as an artist, while Paul returns to the top after 10 years, as “Cheap Thrills” replaces Drake’s “One Dance” after 10 weeks at No. 1. Still, Drake, and Desiigner, set streaming chart records.
Sia’s “Cheap Thrills,” featuring Sean Paul, crowns the Billboard Hot 100 (dated Aug. 6), rising 3-1 to become Sia’s first Hot 100 No. 1 as an artist, while Paul earns his fourth topper and first in more than 10 years. The song unseats Drake’s “One Dance,” featuring WizKid and Kyla, which led the Hot 100 for 10 weeks, marking both the longest-leading No. 1 of 2016 and of Drake’s career.
As we do every Monday when the Hot 100 is refreshed, let’s run down the top 10. Highlights of the airplay, sales and streaming-based Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.
“Thrills,” released on Monkey Puzzle/RCA Records, and from Sia’s album This Is Acting, becomes the 1,056th No. 1 in the Hot 100’s history (which dates to Aug. 4, 1958). While it’s Sia’s first No. 1 as an artist, she previously reigned as a writer, having co-written Rihanna’s “Diamonds,” which led for three weeks in 2012. “Thrills,” meanwhile, was intended to be recorded by Rihanna for her Anti album, but, as fortune would have it, Sia wound up recording it herself.
Paul tallies his fourth Hot 100 No. 1, following “Get Busy” (three weeks, 2003); as featured on Beyonce’s “Baby Boy” (nine weeks, 2003); and his own “Temperature” (one week, April 1, 2006). Paul ends the longest break (10 years and four months) between Hot 100 leaders since Dr. Dre went 12 years, two months and three weeks between “No Diggity,” by Blackstreet featuring Dr. Dre, in 1996, and “Crack a Bottle,” his collab with Eminem and 50 Cent, in 2009.
Katy Perry’s ‘Rise’ & Britney Spears’ ‘Make Me’ Debut on Hot 100
Then, there’s this, from reader Eric M.:
“Great news regarding Sia: if ‘Cheap Thrills’ goes to No. 1 on Hot 100, she’ll be the first female over 40 to reach the top since Madonna and Cher back in 2000 and 1999. Madonna was 42 when ‘Music’ led for four weeks in 2000, and Cher was 52 when ‘Believe’ reigned for four in 1999.”
As Sia was born Dec. 18, 1975, she’s just past 40 years and seven months of age.
17 Songs You Didn’t Know Sia Wrote
More Sia superlatives: “Thrills” reaches No. 1 on the Hot 100 in its 23rd week on the chart, completing the longest climb to the summit since John Legend’s “All of Me” led at last in its 30th week on the chart dated May 17, 2014. As for songs by women, the rise to No. 1 on the Hot 100 for “Thrills” is record-tying: it matches the 23-week ascent of Patti Austin’s “Baby, Come to Me,” with James Ingram, which hit No. 1 on Feb. 19, 1983. (The record for steadiest climb to No. 1 among all acts: 33 weeks for Los Del Rio’s “Macarena,” which originally reached No. 45 in 1995, then, powered by its Bayside Boys Mix, re-entered the Hot 100 after a four-month break and ruled for 14 weeks beginning nearly 20 years ago, on Aug. 3, 1996.)
As “Thrills” reaches No. 1 on the Hot 100, it holds at its No. 2 high on the Digital Songs sales chart, up by 34 percent to 122,000 downloads sold in the week ending July 21, according to Nielsen Music, the song’s best weekly sales (and Sia’s top sales frame as a lead act); the increase is good for the Hot 100’s top Digital Gainer award (aided in part by 69-cent sale-pricing in the iTunes Store). “Thrills” also keeps at its No. 3 peak on Radio Songs (142 million in airplay audience, up 7 percent), while, on Streaming Songs, it pushes 7-6, hitting a new high (13.1 million U.S. streams, up 4 percent). “Thrills” is the first song to lead the Hot 100 while not ruling any of the chart’s three main component tallies (Digital Songs, Radio Songs and Streaming Songs) since Rihanna’s “Work,” featuring Drake (April 30).
“Thrills” additionally becomes Sia’s first No. 1 on Billboard’s mainstream top 40-based Pop Songs radio airplay chart (2-1). Paul earns his third Pop Songs No. 1 and first since “Temperature” in 2006, and his 10-year, two-month and three-month gap between Pop Songs No. 1s is record-breaking, passing Mariah Carey’s wait of nine years, four months and two weeks between “One Sweet Day,” with Boyz II Men (1995-96), and her own “We Belong Together” (2005).
Chart Beat Podcast: RCA’s Joe Riccitelli on Zayn, Britney Spears, Justin Timberlake & More
“Thrills” first found global success earlier this year and built further buzz following Sia’s April 17 Coachella set, when Kristen Wiig, Paul Dano, Tig Notaro and Dance Moms‘ Maddie Ziegler (aka, Sia’s go-to stand-in for her videos and live performances) appeared either onstage or onscreen, accompanying her vocals.
RCA Records executive vp/GM Joe Riccitelli predicted the chart-topping status of “Thrills” on the Billboard Chart Beat Podcast back in May, based on the song’s success in Europe and as it was rising on U.S. radio (then ranking in the 30s on Pop Songs). “I really believe that, come the end of this summer, this is going to be one of the biggest songs of the summer,” he said.
(As for Sia’s public persona, whereby she remains obscured by her trademark wig, Riccitelli said that “not showing her face comes from the fact that she does not want to be famous.” But, “she is not shy in person. When you talk to her, she talks a mile a minute. She is so quick-witted. She is so endearing.”)
Drake’s ‘Views’ No. 1 on Billboard 200 Chart for 11th Week, NeedToBreathe Debuts at No. 2
Drake’s “Dance” drops to No. 2 on the Hot 100, although it posts a record-breaking 14th week atop the audio subscription services-based On-Demand Songs streaming chart (15.8 million on-demand U.S. streams, down 3 percent). It passes Macklemore & Ryan Lewis’ “Thrift Shop,” featuring Wanz (13 weeks, 2013) for the most time atop On-Demand Songs since the list began in 2012.
“Dance” dips 2-3 on the overall Streaming Songs chart, which it led for a week (May 21), with 17.5 million U.S. streams (down 2 percent); scores a fourth week at No. 1 on Radio Songs as the most-heard song on U.S. airwaves (155 million in audience, down 3 percent); while, on Digital Songs, which it topped for two weeks, it slips 7-9 (56,000 downloads sold, down 5 percent). “Dance” rules Billboard’s Hot R&B/Hip-Hop Songs chart for a 12th week and the Songs of the Summer chart for an eighth week, having led the seasonal running tally each week since the ranking relaunched.
Summer ’16: Drake’s ‘One Dance’ Is Frontrunner for Song of the Summer
More history for the superstar: Drake has now spent 45 consecutive weeks in the Hot 100’s top 10, dating to the Oct. 3, 2015, Hot 100, when “Hotline Bling” bounded 16-9. He matches the mark for the most consecutive weeks spent in the top 10 among males, as The Weeknd logged 45 straight weeks in the region from March 7, 2015, through Jan. 9, 2016. (Notably, The Weeknd was the lead artist in all 45 of those weeks; Drake has been credited as the lead on songs in 34 weeks of his current 45-week streak.) The record among all acts: Katy Perry ranked in the Hot 100’s top 10 for 69 consecutive weeks (all as a lead) in 2010-11.
Taylor Swift Co-Wrote Calvin Harris’ ‘This Is What You Came For’ Under Swedish Pseudonym
Calvin Harris’ “This Is What You Came For,” featuring Rihanna, hits a new high on the Hot 100, lifting 4-3. It rises 3-2 on Streaming Songs (18.4 million, up 5 percent) and 5-4 on Radio Songs (122 million, up 7 percent) and, despite falling 3-5 on Digital Songs, gains by 1 percent to 67,000 sold, all perhaps spurred partly by Harris’ confirmation July 13 that his ex-girlfriend Taylor Swift co-wrote the song, as this week’s Hot 100 covers the first full tracking week since that juicy news broke. (Still, “This” has sold more than 67,000 in seven different weeks, dating to its May 21 Digital Songs debut with 123,000, its best weekly total.) “This” concurrently tops Billboard’s Hot Dance/Electronic Songs chart for a second week.
After debuting at No. 1 on the Hot 100 (May 28), becoming just the 26th single to start on top in the chart’s history, Justin Timberlake’s “Can’t Stop the Feeling!” descends 2-4. It drops to No. 4 after logging its first 10 weeks on Digital Songs at No. 1 (87,000, down 6 percent) and stays at No. 2 after five weeks atop Radio Songs (147 million, down 6 percent).
Rounding out the Hot 100’s top five, The Chainsmokers’ “Don’t Let Me Down,” featuring Daya, holds at No. 5 after reaching No. 3.
Twenty One Pilots’ “Ride” remains at its No. 6 Hot 100 high, and rules the Hot Rock Songs chart for a seventh week, and Rihanna’s “Needed Me” likewise keeps at its No. 7 Hot 100 highpoint.
Kent Jones’ breakthrough hit “Don’t Mind” returns to its No. 8 Hot 100 peak, from No. 9, and takes over atop Billboard’s Hot Rap Songs chart. Desiigner’s fellow debut hit, his former two-week No. 1 “Panda,” drops 8-9 on the Hot 100 (and departs the Hot Rap Songs throne after 15 weeks). Still, “Panda” breaks the record for the most weeks, 14, totaled atop Streaming Songs (20.1 million, down 8 percent). Dating to the chart’s January 2013 inception, two songs previously topped Streaming Songs for 13 weeks each: Miley Cyrus’ “Wrecking Ball” (2013-14) and Iggy Azalea’s “Fancy,” featuring Charli XCX (2014).
Capping the Hot 100’s top 10, Adele’s “Send My Love (To Your New Lover)” ranks for a second week at its No. 10 high, after entering the top 10 last week. The third single from her album 25 (and second top 10, following the 10-week No. 1 lead single “Hello”) continues to gain in all metrics, rising 9-8 on Radio Songs (90 million, up 15 percent), earning the Hot 100’s top Airplay Gainer award, and bulleting at No. 11 on Digital Songs (51,000, up 1 percent) and No. 22 on Streaming Songs (8.7 million, up 4 percent).
Find out more Hot 100 news in Billboard’s new weekly original video series, Charts Center, featuring chart information and commentary, interviews with artists, exclusive performances and more, posting this week. Also look for the weekly “Hot 100 Chart Moves” column later this week and visit Billboard.com tomorrow (July 26), when all rankings, including the Hot 100 in its entirety, will refresh. The Hot 100 and other charts will also appear in the next issue of Billboard magazine, on sale Friday (July 29).
Donald Trump closed out the Republican National Convention on Thursday with the Rolling Stones’ “You Can’t Always Get What You Want,” and The Stones aren’t too thrilled about it.
The band took to Twitter to clarify that the song use is not an endorsement for Trump. “The Rolling Stones do not endorse Donald Trump. You Can’t Always Get What You Want was used without the band’s permission.”
The Rolling Stones do not endorse Donald Trump. You Can’t Always Get What You Want was used without the band’s permission.
— The Rolling Stones (@RollingStones) July 22, 2016
The Rolling Stones have continuously asked Trump to refrain from using their music. In May, Trump walked out for his Indiana primary victory speech to “Start Me Up,” with a rep for the band telling Billboard at the time, “The Rolling Stones have never given permission to the Trump campaign to use their songs. [The band] have requested that they cease all use immediately.”
Prior to Trump’s campaign use of “Start Me Up,” The Stones made public their distaste for the use of “You Can’t Always Get What You Want” and “Brown Sugar” during Trump’s campaign. The Rolling Stones are one of many artists who have asked Trump to stay clear of their hits while campaigning for the presidency, including Adele and R.E.M.
Katy Perry tweeted a GIF of Democratic Presidential candidate Hillary Clinton making a shrug gesture on Wednesday (July 13) shortly after her name was brought up in Calvin Harris’ Twitter spree about his ex, Taylor Swift.
Taylor Swift Co-Wrote Calvin Harris’ ‘This Is What You Came For’ Under Swedish Pseudonym
The Harris-Swift situation started when a rep for Swift confirmed she had a hand in writing his Rihanna collaboration “This Is What You Came For.” Shortly after that, Harris complimented Swift for being an “amazing lyric writer” but tweeted that it was “hurtful” the way the news was leaked. The DJ went so far as to compare the move to Swift trying to “bury [him] like Katy,” referencing the alleged feud between the two pop stars.
Although Perry has not directly commented on Harris’ tweet, and it is unconfirmed whether the Clinton tweet is related, a GIF does say a thousand words.
Burning Man organizers are disputing their $2.8 million bill from the federal government — the cost last year of hosting its popular outdoor festival in the Black Rock Desert, a national conservation area in Nevada.
The festival takes issue with the Bureau of Land Management’s discretion over the week long counterculture celebration, claiming that the authority has been overstaffing and overcharging without fully explaining the tab, as first reported by the Reno Gazette-Journal.
“If they can’t explain all of it, than we’re asking for all of it back,” said Ray Allen, the San Francisco-based Burning Man organization’s lawyer.
Burning Man Reportedly Expanding to Europe
But the case also pulls back the curtain on the logistical hurdles and an evolving backstage power struggle behind an event once considered an extreme camping experience that has now achieved widespread popularity with millions in revenue.
Held in Nevada since 1990 and known for art displays, dust storms and communal living, this year’s sold-out, 9-day festival in August and September is expected to draw tens of thousands of people to the scorching hot dry lake bed about 100 miles north of Reno. Burning Man — named for the large effigy burned during the festival — estimates more than $30 million in revenues from the 2015 event.
The festival’s special recreation permit from BLM is the largest of its kind in the country. Burning Man agrees to and pays for a cost estimate before the event and the final accounting is provided months after, following a post-event inspection of the site.
A BLM spokesman declined to comment on the 2015 cost appeal, but its formal response submitted noted that Burning Man officials were provided with a detailed summary of costs with receipts and that “(f)ederal government agencies are obligated to recover the full cost of providing a special benefit…”
Burning Man 2016 Sells Out 30,000 Tickets in 30 Minutes
The festival is taking the issue to the Interior Department’s internal appeals court, where an administrative law judge will decide on the case. This arbitration process, which could last more than a year, is commonly used for challenges related to grazing or mining uses and fees.
BLM contends that Burning Man demands year-round planning and an unparalleled response to protect the public lands given its scope and nature. The 2015 event required 84 law enforcement officers, as decided by the BLM.
The festival argues that that many officers aren’t necessary given that more than a thousand Burning Man volunteers also patrol the event and that it has a clean record of taking care of the land. Burning Man said in its appeal that more than half the BLM bill was to pay for labor costs, but that the paperwork lacked specific information about the duties they actually performed.
In recent years, a more openly adversarial partnership has surfaced between the festival and the increasing number of local authorities assigned to oversee it. Allen said Burning Man has been stomaching dramatically increasing costs since 2011, when its permit was $730,000.
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Meanwhile, there’s been a noted crackdown on crime, which in the past has largely been drug-related. A tipping point also came last year when the BLM was forced to publicly rescinded its request for upgraded accommodations for its workers, from flushing toilets to Choco Tacos ice cream, that were derided as lavish and outlandish.
But there’s also been recent BLM leadership changes in Nevada. Both the federal authority and Burning Man organizers said planning for the 2016 festival has been going smoothly. The new state director John Rush said BLM staffing numbers are expected to go down this year because communication between both sides are now much improved.
“We want to work collaboratively with the system,” Allen said. “New BLM leadership will help us long term. We just need to get over this speed bump. We want the policies clarified moving forward.”