SEOUL, SOUTH KOREA - JANUARY 23: Girl group BlackPink performs on stage during the 8th Gaon Chart ... [+] K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)
The South Korean girl group's win stands out as the only visual from an all-female band of any kind to make it to that figure, and now just a handful songs performed by Korean stars have managed to enter this very exclusive club of some of the most popular and successful treatments of all time.
The "How You Like That" music video is now just the fifth upload by a Korean musician to accrue at least 20 million likes on YouTube.
Two music videos are currently tied as the most-liked by Korean musicians of all time, as YouTube rounds numbers to the lowest million, as long as the clip has actually reached that specific sum. Both BTS's "Dynamite" and Pinkfong's "Baby Shark" (Pinkfong isn't properly a band, but it counts as a Korean musical entity in this case) have thus far racked up 27 million likes on the site, and either one of them could pull ahead and advance to 28 million sometime soon.
Several million thumbs ups behind both of those viral sensations comes BTS's other massive smash, "Boy With Luv." The global hit, which credits American pop singer Halsey as a featured vocalist, has already been liked by 22 million people, and it's a favorite among fans of the South Korean septet, so that number could also improve.
Psy's pioneering "Gangnam Style" is just one million (or probably fewer) likes behind "Boy With Luv," as it sits steady at 21 million endorsements on YouTube.
Best pop songs of the last 30 years | Entertainment | messenger-inquirer.com
Stacker put together a list of the 50 best pop songs of the last 30 years based on the Billboard Pop Songs chart from its inception all the way up to Sept. 30, 2017.
While pop music has origins as far back as the 1920s , it didn't really take shape as a genre until the 1950s. In the decades that followed, the term was largely used to denote a specific type of catchy sound or style, which usually overlapped with other genres like rock, country, folk, soul, R&B, and electronic. As the trend persisted into the 1980s and 1990s, the concept itself continued to evolve to the point that "pop music" didn't overlap with peripheral genres as much as it did swallow them whole. To keep pace, the Billboard Pop Songs Chart debuted on Oct. 3, 1992.
Stacker is listing out the greatest pop songs of all time, based on weekly performance on the Billboard Pop Songs chart from its inception all the way up to Sept. 30, 2017. Artists and songs are ranked by way of an inverse point system, with weeks at #1 earning the greatest value, and weeks at the lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various respective periods. Artists are then ranked based on a formula blending performance—as outlined above—of all their Pop Song chart entries.
Being that the list is bound by specific parameters, there's an absence of names like Michael Jackson or Madonna. Meanwhile, The Goo Goo Dolls and Bruno Mars have three songs on the chart—the most among all the artists. Nickelback, Bruno Mars, Timbaland, OneRepublic, Maroon 5, Kelly Clarkson, and 3 Doors Down all have two songs on the chart. Everyone else has one song on the chart. OK, enough with the spoilers. Here are the best pop songs of all time.
In 2012, Taylor Swift continued to stray from her country roots to forge a broader pop aesthetic. Putting that newfound sensibility on full display was this hit single from her wildly successful album, "Red." With its palpable dubstep influence, the song sees Swift experimenting in terms of sound and style, but sticking close to familiar subject matter. Specifically, the song is about a break-up, albeit one that Swift saw coming from a mile away.
Proving Taylor Swift isn't the only artist who can channel bad romance into a hit song, Lady Gaga unleashed this infectious dance single in 2009, cementing her status as pop royalty. Along with the catchy music came an eye-popping video, which in 2018 was named by Billboard as the best music video of the 21st century .
Chris Brown may be as famous today for his endless legal troubles as he is his music. In 2005, however, he was among the industry's newest and brightest stars. Giving him a formidable boost was this aggressive hip-hop song, which was co-produced by then-hitmaker Scott Storch. Rap artist Juelz Santana provided additional lyrics.
Popstar Ellie Goulding certainly isn't the only one who prefers to sleep with the lights on , but she might be the only one to turn that habit into a chart-topping single. In somewhat fitting style, the song proved to be a sleeper hit, taking its sweet time before landing on the Hot 100 chart, where it stayed for more than a year.
By the mid-'90s, female R&B outfit En Vogue dominated MTV and radio by way of numerous hit singles. One of those singles was "Don't Let Go (Love)," which was included on both the "Set It Off" soundtrack as well as the group's 1997 album,"EV3." The song may have been En Vogue's bestselling number to date , but that didn't stop member Dawn Robinson from leaving the group soon after "EV3" hit the shelves.
An Anthem About Hugging Your Friends Again, and 10 More New Songs - The New York Times
Every Friday, pop critics for The New York Times weigh in on the week's most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter , a once-a-week blast of our pop music coverage.
Who better than Frank Turner, the punk-intense British folk singer, to underscore the imminent joy of reconnecting with others? Turner is barking on "The Gathering" — which casually features Dom Howard (from Muse, on drums) and an inquisitive guitar solo from Jason Isbell — and fully in pulpit mode: "I've been missing the feeling when we close up the gaps between us/It's better than the best benediction, more bracing than blood lust." Generally, this sort of earnestness can be wearying (even after a very wearying year-plus of isolation), but Turner succeeds because he sounds like he's just stomped out of a stuffy meeting to go yell on a street corner, frantic with euphoria. JON CARAMANICA
In Lump, which releases an album called "Animal" in July, Laura Marling sets aside her virtuosic acoustic guitar to collaborate with Mike Lindsay, the electronics wizard from the folktronica group Tunng. For the album's title song, she gives herself terse syllable counts — "All that you want/Is to be heard" — as Lindsay supplies steady pulses and blips. But midway through, the metronomic pulse breaks down and Marling leaves her deadpan monotone to wail, "I need more." Then she submits once again to the digital grid. JON PARELES
Rostam, formerly of Vampire Weekend, zeros in on the awkward intimacy of a particular moment: the cab ride to the airport, a last bit of togetherness before a strictly defined parting. "I am happy you and I got this hour," he croons, over a nervous six-beat rhythm and echoey piano chords and guitar tones; the relationship stays tentative, conditional. PARELES
"Maré" means tide, and in his new single, the Brazilian songwriter Rodrigo Amarante compares destiny to a tidal ebb and flow, singing with a tone of weary acceptance. His music has its own push and pull, with three-against-two rhythms and a tangle of instrumental lines — guitars, percussion, a nasal synthesizer, a horn section, some whistling — that interlock but sound like they might collide at any moment. It sounds charmingly ramshackle; it's not. PARELES
"Hardheaded," the fascinating new self-produced EP from the Houston rapper Marcellus Juvann, is full of clever, quirky, urgent and oddball beats. They're uniformly potent, and a strong match for Juvann's rapping, which he delivers in a lightly croaky, lightly stumbling, lightly swinging voice that telegraphs confidence and disaffection all at once. CARAMANICA
A fan edit of this track has been making the rounds on TikTok, but this version is different, with a new Playboi Carti verse. Trippie Redd remains underappreciated and committed to SoundCloud rap staccato, and Carti sticks with his mewling yelps, all over a beat that suggests a starship shifting into warp gear. CARAMANICA
Turns Out Tom Holland Nearly Performed Another Iconic Pop Song On Lip Sync Battle Before
Tom Holland's performance on Lip Sync Battle hit the right note four years ago . At the time, Holland was only relatively known after his Spider-Man casting and Broadway roles. But going full out on the competition series endeared him to the public ,especially Marvel fans. But his iconic performance of pop superstar and businesswoman Rihanna's "Umbrella" almost didn't happen as another iconic pop song was planned in case the act wasn't approved.
To celebrate the Lip Sync Battle episode's fourth anniversary, Insider talked to the crew behind the viral music moment, and the in-depth story revealed an unexpected secret. Instead of performing "Umbrella," Spider-Man: No Way Home star Tom Holland almost performed the legendary tune "Oops!... I Did It Again" by pop music icon Britney Spears .
According to the publication, the producers didn't get approval from "Umbrella" co-writers Kuk Harrell and Tricky Stewart until the last minute, and the signature Spears tune served as a backup if Lip Sync Battle didn't get their approval. As a result, the plans for "Oops!... I Did It Again" were already in motion, just in case. According to a creative brief obtained by Insider, the performance would've recreated the iconic music video with Tom Holland sporting Spears' signature red latex jumpsuit while the pop superstar played the astronaut.
Those involved in the episode's production shed some light on potentially using the Spears tune. The show's costume designer, Jeanie Cheek, revealed about the backup song:
We actually created two different sets of costumes for him and all of the dancers. Just in case "Umbrella" didn't go through, we had a backup performance.
But it wasn't just the set and costume design departments who had to worry about the possible switch. Tom Holland's iconic "Umbrella" choreography would've never happened. When it came to the "Oops!... I Did It Again" choreography, Lip Sync Battle choreographer Danielle Flora told Insider:
I don't remember [the backup Britney song] at all. I'm sure I choreographed it. And I'm sure that it was traumatic for me at the moment, choreographing two numbers and not knowing which one. I think we always wanted it to be "Umbrella."
So if Rihanna hadn't worked out, the Lip Sync Battle team had Britney Spears in their back pocket. Just imagine Tom Holland dancing in a red jumpsuit along with Spears. That would've been a moment but, in the end, Holland's "Umbrella" performance is the viral moment that keeps on giving.
It's incredible Tom Holland still gets recognized more for his Lip Sync Battle performance even more than for his film roles. But it just proves how talented the actor is outside of his blockbuster roles. The fan-favorite performance is a prime example of the actor getting to branch out and do other things, and let's hope he gets to dabble in more unique productions as time goes on.
PINOY FIRST | 'P-Pop' boy band SB19 Nominated in Billboard Music Awards 2021 | Tony M. Maghirang
Pinoy pop group SB 19 capped an incredible run to the top with their latest nomination as Top Social Artist at the 2021 Billboard Music Awards (BBMAs). They will vie for the honor pit against four other finalists namely Ariana Grande, BTS, Blackpink, and Seventeen.
The Billboard Music Awards for Top Social Artist is one of three categories based on fan votes. According to Billboard, among the criteria for nomination are key fan interactions with music to include social media engagement, online streaming, radio play and results of voting by fans around the world.
Previous winners of the BMMAs' Top Social Artist honors are Justin Bieber who ruled the award from 2011 to 2016 and K-pop global phenomenon BTS who had their own winning streak from 2017 to 2020.
Over the past two years, they slowly made their mark on the charts with hits like "Alab," "Hanggang sa Huli," "'Wag Mong Ikunot ang Iyong Noo," "Love Goes," and "Ikako" which topped Billboard's LyricFind Global chart.
Their debut album Get In the Zone dropped in mid-2020 and entered the US @iTunes Top Albums chart hours after release. It immediately dominated online music platforms.
In a press statement, Sony Music, SB 19's record label, said the highly anticipated debut album "pushes the envelope of pop music. Mashing together various music influences with top-tier production and global appeal, the nine-track release features six original compositions, along with the EDM version of "Love Goes" and two instrumental songs.
Sony Music pointed out that thematically speaking, Get in the Zone maps their creative and personal journey.
The band added, "We wanted to incorporate all the things that we have experienced during trainee days into this album by putting all the emotions that we went through into our music. It was an emotional rollercoaster, but we pulled through and we hope that we get to inspire people with our story."
In March this year, SB 19 released their comeback single titled "What?" which is likely the first new music from the band for their upcoming sophomore album. It trended in social media as expected but more than that, the song itself suggests a mature, more agile five piece rewiring their K-Pop roots to the contemporary issues that foreground Original Pilipino Music today.
Nancy Wilson of Heart: "We weren't looking to marry or date the Beatles.
Acclaimed guitarist and singer-songwriter Nancy Wilson joined host Kenneth Womack to talk about her new album " You and Me ," being on the Beatles' "amazing ride" through the years and much more on " Everything Fab Four ," a podcast co-produced by me and Womack (a music scholar who also writes about pop music for Salon ) and distributed by Salon.
Wilson and her older sister Ann make up the legendary, Rock and Roll Hall of Fame-inducted band Heart – the first hard rock group fronted solely by women – who were behind such hit songs as "Magic Man," "Crazy On You" and "Barracuda." As Nancy explains to Ken Womack, they grew up in a "musical family," but it wasn't until she and Ann saw the Beatles on "The Ed Sullivan Show" in 1964 that the "lightning bolt" hit.
"I've had no real job to speak of except for music," says Wilson. "We didn't have a clue we were breaking any glass ceilings at first. We didn't attach sexual identity to it – we just wanted to be players." And that was evident when they attended the Beatles' show at the Seattle Coliseum in 1966 and "didn't scream. We were there to study them."
Describing each new Beatles album released as "going to class and learning a new language," it certainly paid off. As host Womack states, Heart's songs are "structurally interesting" and tend to take "otherworldly journeys." And Wilson continues to be impressed with Paul McCartney's latest work (which Womack wrote about for Salon ) and still applies a "dreamful" approach to her own songwriting, such as in " 4 Edward " – the touching tribute to Eddie Van Halen on " You and Me ," her first ever solo album, which is out now.
Will Songwriting Survive Streaming? Abba's Bjorn Ulvaeus Is Worried. - The New York Times
In Abba, Bjorn Ulvaeus tasted the highest reaches of musical fame, selling millions of albums that defined earworm 1970s pop and remain an inextricable part of the pop-culture fabric. Somewhere around the world, at least in normal times, a wedding reception is always bopping to "Take a Chance on Me" or "Dancing Queen."
Ulvaeus, like many others , is worried that the streaming economy that now dominates the music industry has put songwriters at a severe financial disadvantage. Low payouts, split among teams of writers, mean that even the composers of major hits make a relative pittance from streams — despite the clear importance of songwriters and producers in crafting the material that propels the careers of star performers.
"The song has always been where it all begins in the music industry," Ulvaeus said in a video interview this week from his home near Stockholm.
Last month, Midia Research, which specializes in music and digital media, released a study, " Rebalancing the Song Economy ," that was commissioned by Ulvaeus. It includes some surprising findings — in a survey, twice as many streaming users said a song mattered more to them than the artist who performed it, rather than the opposite — and sounds an alarm about the need to reform the economics of streaming to better support songwriters.
Streaming has been a boon for the music industry. Why has it not benefited songwriters, and what can be done about that?
So it's time for change. And I think because of the pandemic, there will be change. There's movement now, on both sides of the Atlantic. There's a realization that the song is such a valuable asset to the industry and that we need to treat the songwriters better.
Everyone is going to find out that more of the songwriters have turned to driving Ubers instead of songwriting. There will be a lot of do-it-yourself people. But people with long careers? Oh, that's going to be very, very difficult in the current climate.
How do you get ordinary fans to care about songwriters? They tend to care the most about the performing artists and not know as much about the writers.
That was the case up until the Beatles came along. Then every group wrote their own songs, and for a while the songwriters were well known. But now we're back into pure songwriters and artists. [Laughs.]
Lloyd Price, 'Personality' Hitmaker, Is Dead at 88 - The New York Times
The cause was complications of diabetes, said Jeffrey Madoff, the writer and producer of "Personality: The Lloyd Price Musical," a stage show scheduled to open next year in Pennsylvania.
Nicknamed Mr. Personality after his most recognizable hit, which reached No. 2 on the Billboard singles chart in 1959, Mr. Price found success with Black and white audiences alike. He was a prolific songwriter as well as a gifted singer — a combination that was relatively uncommon at the time — and his songs were covered by many others. Among the artists who recorded versions of "Lawdy Miss Clawdy" were Elvis Presley and Paul McCartney.
Mr. Price found success early: He was still in his teens when he recorded "Lawdy Miss Clawdy," its title an exclamation borrowed from a local disc jockey, for Specialty Records, an independent label founded by Art Rupe. On that session, recorded in New Orleans, he was accompanied by a band, led by the local musician and songwriter Dave Bartholomew, that included the pianist Fats Domino.
"Lawdy Miss Clawdy" topped the Billboard R&B chart for seven weeks and introduced Mr. Price's emotionally direct vocal style and infectious New Orleans beat to white listeners years before the term "rock 'n' roll" was in wide use. Mr. Rupe later recalled, "That was the first Black record that wasn't intended to be a white record — it became a white record, versus the previous Black records which were designed for the white market."
Mr. Price's career was interrupted by Army service, and by the mid-1950s other Black artists, among them Chuck Berry, Little Richard and Mr. Domino, were achieving comparable crossover success. Mr. Price made up for lost time with huge pop hits of his own.
Along with his successful music career, Mr. Price had an entrepreneurial streak: He founded record labels, managed other performers, owned nightclubs, promoted boxing matches, ventured into real estate and even promised to champion the sweet potato with his company Lloyd Price Icon Food Brands.
But the songs came first. "Music brings my soul more joy than anything else does, or can," he once said. "It makes my heart beat faster with excitement; and my love for music has never changed! If you love music, you know what I'm talking about."
A high school dropout, Mr. Price started his first band, the Blue Boys, at age 18. To the dismay of his parents, he also got a job at a New Orleans nightclub, but he quit at their insistence to work construction.
His breakout success with Specialty Records came to an end when he was drafted in 1953, leaving the label to focus instead on Little Richard and Larry Williams, Mr. Price's onetime chauffeur.
This Week In K-pop World: Song Joong Ki In K-pop MV, TWICE Comeback And More
Besides all this, DJ Snake, who previously claimed to be working with Blackpink member Lisa on a new song, deleted his tweets about their supposed collaboration. As per usual, there was a whole lot to catch up with the k-pop fans over the week.
K-pop 's biggest group BTS has been nominated for the MTV Movie & TV Awards this year. The group's documentary series titled Break the Silence: The Movie has been nominated in the Best Music Documentary award category.
The 90-minute documentary encompassed footage taken over the course of the 14 months journey of BTS, which released on September 9, 2020.
@BTS_twt Alert your ARMY 🧈 Break the Silence is nominated for Best Musical Documentary at the #MTVAwards ! Vote on @MTV 's Instagram story on MONDAY! pic.twitter.com/fCtBaNW5IT
K-pop idol and actor Cha Eunwoo will be holding two fan meetings, named Just One 10 Minute for global fans on June 4, and for Chinese fans on June 5.
The ones interested in the global fan meeting on June 4 can purchase tickets through three different platforms: JUSE TICKET for Japanese fans, Thai Ticket Major for Thai, Indonesian, Malaysian, Filipino, and Vietnamese fans, and BBANGYA TV for Korean and other international fans. The tickets for the fan meeting will be going on sale on May 7 at 2 pm KST.
During a video press conference today in Seoul for her upcoming film Those Who Wish Me Dead , Angelina Jolie revealed that she would love to act in a Korean movie someday.
The Hollywood actor expressed her fondness for Korean cinema and said , "It would be nice to appear in Korean movies or participate in directing".
Girl group TWICE have announced their next comeback which is scheduled for June 9. The announcement about their 10th mini album Taste of Love came in through the group's official social media channels.
Interview: Alex Porat Talks Entering a New Pop "dimension" in Her Latest Single - Atwood
I n her own words, Alex Porat's music is "pop but a little off center with a dash of internet." It's fitting then, that her latest single, " dimension ," is reminiscent of a digital party that everyone wants to be invited to. The song's video circles around Porat, who dances to the pulsing electronic beat under red lights and against a cotton-candy sky backdrop.
Online musical exploration has defined the 23-year-old artist's journey – the Youtube channel she launched in 2010 has garnered more than 145 million views and caught the attention of Shawn Mendes in 2018. It was her gateway into music but simultaneously, she has noted in an interview with Nextshark the "tall barrier" between cover artist and singer/songwriter.
Today, Porat steps seamlessly between both. One can find a cover of Pink Sweat$'s "At My Worst" on her Youtube channel posted just weeks ago. Porat, who has been singing and dancing since she was a child, also noted that the music video for "dimension" was a full-circle moment.
Porat, who has Chinese and Polish heritage, also added that being able to present herself online, both as a cover artist and a singer-songwriter, carries special meaning because she lacked musicians of Asian heritage to look up to as she was growing up.
"Idolizing musicians that looked nothing like me became discouraging at times," Porat said. "So to be here today with music out and people that love the music seriously means the world. If little me knew I would be able to do this today she might have had an easier time growing up."
"Covers are interpretations of someone else's song. Original work is straight from the heart and feels more like self-expression rather than interpretation," she said. "I enjoy both but original music is more rewarding, even though it comes with the cost of being vulnerable."
Within her original works, Porat continues to explore genres that will allow her to fully capture her emotions. Her discography has immense range in terms of atmosphere, subject and production. "Dimension" is a dance-y electronic track, while her 2020 track " forgot to forgive " is more intimate.
"Nobody is upbeat all the time and nobody is in their feels all the time, so I'm thankful to be able to release both sides and show the variety in the music," she said.
Since Atwood first spoke to Porat in September 2020, she has continued expanding her range and garnered recognition from Amazon Music as one of their 2021 breakthrough Canadian artists. Her song " girlfriend ," which Amazon Music highlighted, was Porat's first foray into the pop realm.
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