It’s ABBA-Mania once more in the land Down Under, as the reunited pop legends blast to No. 1 on the national albums chart with Voyage (Universal).

ABBA’s first studio LP in 40 years is an immediate hit in Australia, bowing at the summit of the ARIA Albums Chart.

It’s the second ABBA album (and first studio set) to top the ARIA chart following the ABBA Gold compilation, which logged four straight weeks at No. 1 in December 1992.

Prior to the launch of the ARIA Charts in 1983, ABBA had leaders here with ABBA (11 weeks, December 1975 to February 1976), The Best of ABBA (16 weeks, March 1976 to July 1976) and Arrival (8 weeks, November 1976 to January 1977), the charts compiler reports.

Also, in 2018, the Mamma Mia! soundtrack, a collection of ABBA covers, hit No. 1 on the ARIA Albums Chart.

Australia has a deep connection with ABBA which dates back to the ‘70s, when Agnetha, Björn, Benny and Anni-Frid toured these parts at the height of their popularity. The Melbourne-originated tribute brand Bjorn Again has been giving ABBA fans their fix since the late ‘80s and, in the ‘90s, the Aussie indie film Muriel’s Wedding introduced a new generation to the supergroup’s catalog.

Voyage is also expected to blast to No. 1 in the U.K., where, at the midweek stage, it was outselling the rest of the Top 40 combined.

With ABBA’s comeback effort enjoying a fast start, Ed Sheeran’s = (equals via Atlantic/Warner) drops 1-2, while Radiohead’s Kid A Mnesia, a repackaged release of Kid A (from 2000) and Amnesia (2001), along with a third bonus disc of previously-unreleased goods, starts at No. 3. Kid A Mnesia (XL/Inertia) is the week’s best-selling vinyl album in Australia.

Over on the ARIA Singles Chart, Elton John and Dua Lipa’s “Cold Heart” (Warner/Universal), remixed by Sydney trio Pnau, enters a second week at No. 1 while the top new entry belongs to Post Malone and The Weeknd, with their collaborative track “One Right Now” (Universal), new at No. 9. It’s Posty’s tenth Top 10 on the ARIA Chart, and Abel Tesfaye’s 12th, including three in 2021.

Travis Scott‘s team have issued a new statement, asking families of those impacted by the tragedy at his Astroworld festival in Houston last week to get in touch via email.

Nine people died as a result of a fatal crowd-crush incident that took place during Scott’s headlining set at the NRG Park event last Friday (November 5). The audience began to compress towards the front of the stage, causing injuries, shortness of breath and, for some, cardiac arrest.

“Over the last week, Travis Scott and his team have been actively exploring routes of connection with each and every family affected by the tragedy through the appropriate liaisons,” a new statement from Scott’s representatives reads.

“He is distraught by the situation and desperately wishes to share his condolences and provide aid to them as soon as possible, but wants to remain respectful of each family’s wishes on how they’d best like to be connected.”

The statement directs families to send an email to AW21information@gmail.com, where they will “have a team on hand to assist”.

In the days following the festival, Scott took to social media to make two separate statements: a brief, written one on Twitter and a longer video posted to Instagram. In the first, the rapper said he was “absolutely devastated” and that he was “committed to working together with the Houston community to heal and support the families in need”.

In the second, Scott said he could “never imagine the severity of the situation” and said that he always wants to “leave [his fans] with a positive experience”. He added: “Anytime I can make out what’s going on, I stop the show and help them get the help they need.”

Earlier this week, Scott announced that he would pay for the funeral costs of victims of the incident, and announced he had partnered with counselling app BetterHelp to provide online therapy for those in need.

A press release issued at the time said Scott was “in active conversations with the city of Houston, law enforcement and local first responders to respectfully and appropriately connect with the individuals and families of those involved.

“These are the first of many steps Travis plans on taking as a part of his personal vow to assist those affected throughout their grieving and recovery process.”

In the wake of the tragedy, lawsuits have continued to grow against Scott, festival promoters Live Nation, and more in recent days, while experts have claimed that Astroworld organisers “weren’t prepared” for the huge crowd.

Earlier this week, the head of Houston Police claimed he had “expressed concerns” to Travis Scott ahead of Astroworld 2021. This was followed by comments from the Houston fire chief, who said Scott should have stopped the show earlier.

The post Travis Scott is asking families of Astroworld victims to contact him via email appeared first on NME.

TWICE have released their much-anticipated third studio album, ‘Formula Of Love: O+T=<3’.

READ MORE: Every TWICE song ranked in order of greatness

The 14-track record, which moved over 700,000 copies in pre-orders alone, according to JYP Entertainment, dropped alongside a music video for its lead single ‘Scientist’. The clip follows the girl group hard at work in the “TWICE Love Lab”.

“The song says that love is not something you can calculate, study and try to find an answer to but is something you should follow with your heart,” Nayeon said, per Yonhap News Agency. “I hope you get a bit of strength and energy while listening to our music.”

The album also features “unit” tracks from TWICE, each sung by three members of the group. Jihyo, Sana and Dahyun take on the upbeat and cheeky ‘Push & Pull’, while Nayeon, Momo and Chaeyoung’s vocals take centre stage on the laid-back ‘Hello’. Additionally, Jeongyeon, Mina and Tzuyu team up on the Latin pop-inspired dance track ‘1, 3, 2.’

The digital edition of ‘Formula Of Love: O+T=<3’ also includes the girl group’s recent English-language single ‘The Feels’ and a remix of ‘Scientist’ in collaboration with Moroccan-Dutch producer DJ R3HAB. On the other hand, the physical edition of the album includes a new Korean version of ‘The Feels’.

Meanwhile, TWICE’s Momo recently released a cover of Lee Bo-ram’s ‘The First Time In The First Place’, in celebration of her 25th birthday. The song’s accompanying video featured scenes of the Japanese-born K-pop idol recording the track in the studio, as well as visiting birthday posters and advertisements posted around Seoul.

TIWCE also previously revealed that they’re interested in doing an album entirely in English, but noted that it will depend on how well ‘The Feels’ performs. Sana said in an interview with Forbes that the likelihood of an English-language album will “depend on how our single [‘The Feels’] is met and what kind of response we will get worldwide”.

The post TWICE unveil third full-length album, ‘Formula Of Love: O+T=<3’ appeared first on NME.

Red (Taylor’s Version) feels very different than Fearless (Taylor’s Version), in the way that Taylor Swift’s fans — both casual and diehard — are approaching the releases. While the excitement around Fearless (Taylor’s Version) was palpable, anticipation for Red (Taylor’s Version) ahead of its release reached a deafening fever pitch, signaling one of the biggest releases of the fall — an amazing prospect for an album that’s primarily a re-recorded version of a past album.

After Swift announced her plans to re-record her first six studio albums, Fearless, the 2008 breakthrough LP, was the first one to be reimagined, resulting in a release that thrilled her longtime supporters and piqued the curiosity of onlookers. Fearless (Taylor’s Version) turned out to be a loving visit back to her old songs, as well as the unearthing of unreleased songs “From The Vault,” yielding one of the biggest album debuts of 2021 upon its April release.

But Red, her fourth full-length released in 2012, is different — an indispensable fan favorite, with songs so personal to Swift and crucial to unlocking her mass appeal that it’s hard to imagine her current artistry without it. Along with re-recorded versions of hits like “We Are Never Ever Getting Back Together,” “I Knew You Were Trouble” and “Everything Has Changed,” Red (Taylor’s Version) boasts nine “From The Vault” tracks — including never-before-heard collaborations with Phoebe Bridgers, Chris Stapleton and Ed Sheeran, as well as a staggering, 10-minute version of album apex “All Too Well.”

The entire project is worth digging into, and all nine “From The Vault” songs are strong enough to have ended up on the original track list. Here’s our humble, preliminary ranking of those newly revived songs, from Taylor Swift’s second re-recorded album, Red (Taylor’s Version):

9. Babe

Co-written with Train’s Pat Monahan and eventually given to Sugarland (who received guest vocals from Swift on their version), Swift’s version of “Babe” offers levity on the Red (Taylor’s Version) track list, even in the context of a breakup song. Swift and Jack Antonoff produce a warm mix of keys, slide guitar and percussion, re-creating the glow of Swift’s turn-of-the-decade country-pop that rolls downhill as the lyrics look back on personal missteps.

8. Forever Winter

“Forever Winter” combines one of the more intricate productions of the “From The Vault” tracks with a nuanced, wide-ranging vocal take from Swift, who races through lines then lingers on syllables, and minimizes her voice to a whisper then blows out the chorus, as horns, flutes and guitars swirl around her voice. The concern cuts through it all: Swift sings toward someone she hasn’t been able to read, and grasps at ways to help him out of the dark.

7. The Very First Night

Dizzying memories of inadvertent love sparkle on “The Very First Night,” a piece of blissful bubblegum that sounds at home next to Red songs like “22” and “Stay Stay Stay.” As is often the case, the high points come from the lyrical details — Swift remembering casual words that end up meaning the world, and wishing she could go back in time to perfect the scene — but the danceable country-pop stomp is handy for those who simply want to move around to a starry-eyed anthem.

6. Run feat. Ed Sheeran

Although Ed Sheeran was featured on the Red single “Everything Has Changed,” Swift’s Folklore/Evermore era didn’t feature an assist from her fellow stadium-playing superstar. “Run” is a belated means of amending that, so to speak: although the song has been saved from the vault, Aaron Dessner’s co-production recalls Swift’s recent foray into indie-folk. And the rustic sound fits the duet pair nicely, a twiddling guitar lick and orchestral gestures popping up amongst breathless romantic gestures.

5. I Bet You Think About Me feat. Chris Stapleton

A few songs before the 10-minute kiss-off to end all kiss-offs on the track list, Swift gives us another not-so-fond farewell to an oblivious rich kid on “I Bet You Think About Me,” a free-wheeling and lushly produced jam alongside Chris Stapleton. One of Swift’s more subtle attributes as a performer is how funny she can be — even more so than Stapleton’s soulful vocal assists or the harmonica runs, Swift deadpanning lines like “The girl in your bed has a fine pedigree / And I’ll bet your friends tell you she’s better than me / HEH!” is the highlight here.

4. Better Man

The song that Swift sent to Little Big Town — and ultimately became a Hot Country Songs chart-topper for the quartet upon its 2016 release — finally receives a tender rendition from its songwriter, as Swift refracts the tale of post-breakup pain back through her own lens. The harmonies that made “Better Man” a Little Big Town standout are honored here, as Caitlin Evanson and Liz Huett provide backing vocals to Swift’s dashed dreams.

3. Message in a Bottle

Red was the first album in which Swift worked with Max Martin, and the pairing between the superstar and legendary producer resulted in smashes like “We Are Never Ever Getting Back Together” and “I Knew You Were Trouble.” Martin’s only credit in the “From The Vault” tracks here comes as a co-writer on “Message in a Bottle,” a compact, propulsive dance track that carries the same energy (and crackling charm) as the hits that pushed Swift’s sound toward mainstream pop leading into 2014’s 1989.

2. Nothing New feat. Phoebe Bridgers

Between Punisher, Folklore and Evermore, Phoebe Bridgers and Taylor Swift offered some of the most incisive and affecting songwriting of 2020 — and while Swift is the sole scribe on “Nothing New,” the revived track works pristinely as a shared showcase for both artists’ lyrical sensibilities. Amidst understated cello and violin, Swift and Bridgers trade slicing lines and rhetorical questions about unfair social expectations on young women (“How did I go from growing up to breaking down?” is a knockout punch) before ruminating on a meeting with the next generation: “She’ll know the way and then she’ll say she got the map from me / I’ll say I’m happy for her, then I’ll cry myself to sleep.”

1. All Too Well (10 Minute Version)

One can certainly pore over the lyrics — a profane keychain? A missed 21st birthday? Who was “some actress”?? — of this super-sized version of what was already a magnum opus on the Red track list, and rightfully so; Swift understands that her fans will simultaneously embrace and investigate every detail of one of her most famous breakup songs. Yet the 10-minute “All Too Well” deserves to be celebrated not just for the Easter eggs, but for the story that they comprise. Like the original version released nine years ago, this new “All Too Well” is a towering songwriting achievement, made even more impressive now as its tale of misbegotten love never flags or sounds overstuffed across its mammoth run time. The production hums along, each line pierces skin, and Swift is at her most commanding — she gives her most ardent supporters what they want by sharing her full, unvarnished truth.

Taylor Swift’s Red (Taylor’s Version) — the second in the superstar’s promised series of re-recorded albums — has arrived.

The original Red was released in October 2012 and includes the hit singles “We Are Never Ever Getting Back Together,” “I Knew You Were Trouble” and the title track. Now, Swift is back with the beloved project, re-recording the original 16 tracks and tacking on 14 additional songs. New features from Chris Stapleton, Ed Sheeran and Phoebe Bridgers are included on the “From the Vault” tracks, as well as a long-awaited 10-minute version of the fan favorite “All Too Well.”

Speaking of “All Too Well,” Swift will also release a short film based on the song at 7 p.m. ET on Friday.

Red (Taylor’s Version) follows the April release of Fearless (Taylor’s Version), which shot straight to No. 1 on the Billboard 200 albums chart. Swift is on an ambitious mission to re-record her first six albums after Scooter Braun purchased her master recordings in 2019. It’s unclear which of Swift’s projects will be re-recorded next, though fans are following the star’s bread-crumb clues to 2014’s 1989 being next up.

Listen to Red (Taylor’s Version) in full below:

Eight-plus months after we were gifted with the debut Silk Sonic single “Leave the Door Open,” the duo’s first album — An Evening With Silk Sonic — has arrived.

The nine-track project, guest-hosted by funk legend Bootsy Collins, includes the two-week Billboard Hot 100 No. 1 hit “Leave the Door Open,” as well as the previously released “Skate” and “Smokin Out the Window.”

Silk Sonic is made up of solo stars Bruno Mars and Anderson .Paak, who met while touring together in Europe in 2017 on Mars’ 24K Magic World Tour. Mars told Apple Music in March that one of the songs on the album dates back to a phrase he came up with on that tour, which quickly morphed into a hook that “snowballed” into seriously intense studio sessions. “It was like, ‘Well, want to come back tomorrow?’” Mars said. “And we kept coming up with music. It felt like why you fall in love with music in the first place. And jamming with your buddy… There’s no plan, just working out the parts and trying to excite each other… that’s why this wouldn’t happen if it didn’t make sense and it didn’t feel natural and organic. This was a series of events that led us to ‘Man, why don’t we just do it?’”

And so they did! Listen to An Evening With Silk Sonic below:

LOS ANGELES –  American Olympic gymnastics gold medalist Sunisa Lee said in an interview with media outlet PopSugar that she was recently pepper sprayed in an anti-Asian attack while out with friends in Los Angeles. Lee said in the interview posted Wednesday that she and friends were waiting for an Uber ride when a car […]

The post Olympic gymnastics gold medalist Lee says she was pepper sprayed in racist attack appeared first on Inquirer Sports.

Graeme Edge, best known as the longstanding drummer, poet and founding member of prog-rock icons the Moody Blues, has passed away at age 80. No cause of death has been confirmed at the time of writing.

Edge’s passing was confirmed in a statement shared to the Moody Blues’ social media yesterday (November 11), with frontman Justin Hayward writing: “It’s a very sad day. Graeme’s sound and personality is present in everything we did together and thankfully that will live on.

“When Graeme told me he was retiring I knew that without him it couldn’t be the Moody Blues anymore. And that’s what happened. It’s true to say that he kept the group together throughout all the years, because he loved it.”

Raised in the East Staffordshire village of Rocester, Edge formed the Moody Blues in 1964 alongside guitarist Denny Laine, bassist Clint Warwick, keyboardist Mike Pinder and flautist Ray Thomas. Edge remained with the band until his death, standing as the last founding member associated with it (the Moody Blues’ two current members, Hayward and bassist John Lodge, both joined in 1966).

Edge performed on all 16 of the Moody Blues’ studio albums (and is the only member to have done so), as well as ten live albums and three videotapes, and a suite of standalone releases. Among the band’s biggest hits were ‘Go Now’ – which topped the UK charts in 1964 – ‘Question’ and ‘Nights In White Satin’.

As well as its drummer, Edge contributed to the Moody Blues as a poet, penning ‘Morning Glory’ and ‘Late Lament’ for Pinder to narrate on their 1967 album, ‘Days Of Future Passed’. On the next year’s follow-up, ‘In Search Of The Lost Chord’, Edge made his own vocal debut with the opening poem ‘Departure’.

When the band went on hiatus in 1974, Edge formed his own project, The Graeme Edge Band. Alongside vocalist/guitarist Adrian Gurvitz and bassist Paul Gurvitz, the new act went on to release two studio albums: 1975’s ‘Kick Off Your Muddy Boots’ and 1977’s ‘Paradise Ballroom’. The Moody Blues reformed the following year, with Edge continuing his dual role as drummer and poet.

In 2018, Edge was inducted into the Rock and Roll Hall of Fame as a member of the Moody Blues. Outside of the band and his own project, Graeme was known to have an affinity for sailing, golf and science fiction, practiced transcendental meditation, and is often credited – alongside Sussex University professor Brian Groves – as the creator of the first electronic drum.

Paying tribute to Edge on Twitter, Lodge wrote that he considered the sticksman “the White Eagle of the North with his beautiful poetry, his friendship, his love of life and his “unique” style of drumming that was the engine room of the Moody Blues”.

Take a look at Lodge’s post, and more tributes, below:

“When the White Eagle of the North is flying overhead” …sadly Graeme left us today. To me he was the White Eagle of the North with his beautiful poetry, his friendship, his love of life and his “unique” style of drumming that was the engine room of the Moody Blues… pic.twitter.com/hlDtJyWZHU

— John Lodge (@JohnLodgeMusic) November 11, 2021

I will miss you Graeme…. pic.twitter.com/3IxHq7oJHT

— John Lodge (@JohnLodgeMusic) November 11, 2021

The post The Moody Blues drummer Graeme Edge has died aged 80 appeared first on NME.

Never let it be said that Pete Davidson can dish, but not take it.

The 27-year-old funnyman was the brunt of some brutal jokes back in 2016 for the Comedy Central Roast of Rob Lowe. One particular burn was so harsh, it would have left a mark on anyone.

He took it like a champ. Fast-forward five years, and the SNL cast member is dishing it out, and it’s the Jonas Brothers who need to suck it up.

On Nov. 23, Netflix premieres Jonas Brothers Family Roast, which is pitched by the streaming giant as a “one of a kind comedy special” and one where the boys get a “roasting they’ll never forget.”

Davidson is happy to help with that. The stand-up specialist is apparently a JoBros “superfan,” so he knows all their pressure points. He finds some of them in a trailer, now streaming on YouTube.

“I’m a huge fan,” he admits. “I listen to the Jonas Brothers every time I’m in a supermarket.”

The JoBros can laugh. Their Remember This tour, one of the first true post-pandemic treks, has earned $300 million, and counting.

Feel the burn below.

‘Fighting Demons’, a new posthumous album from Juice WRLD, is set to be released next month.

READ MORE: Juice WRLD, 1998-2019 – the NME obituary

The announcement of ‘Fighting Demons’, out on December 10, came via a trailer posted to YouTube, showing archival footage of the late rapper – real name Jarad Higgins – on tour, and a voiceover of him speaking about mental health issues.

The trailer is also soundtracked by a new cut titled ‘Already Dead’, which arrived today (November 12). The release of the song was teased last month, with Lil Bibby announcing its release date after fans have waited years for the song’s release.

Listen to ‘Already Dead’ in full below.



The trailer for ‘Fighting Demons’ opens with text that reads: “You are not your struggles. Addiction, anxiety, depression do not define you.”

“There was never really no filter in my head,” Juice can be heard saying in the trailer. “Music kinda helps the situation pass. I have detachment – pretty much you feel detached from yourself all the time.”

“Me talking about certain things could help somebody else through what they’re going through. If you feel like you could have anxiety and depression, they’re going to look at you like you’re crazy. That’s not how things should be, but that’s how it is, and that needs to change.”

Watch the full trailer below.

The album announcement also quashes the rumour that the next posthumous release from the rapper, who died in late 2019, would be titled ‘The Party Never Ends’. It’s unclear whether this album was renamed, or is something separate.

It was previously reported that the next posthumous release from Juice WRLD would be the first instalment of a trilogy, following the release of his first posthumous album ‘Legends Never Die’ last year.

Back in May of this year, two new songs of Juice WRLD’s were shared to commemorate the third anniversary of his 2018 debut album ‘Goodbye & Good Riddance’.

Higgins will also be the subject of a forthcoming documentary titled Juice WRLD: Into The Abyss. Set to air on December 16, the film will close out a series of music documentaries titled The Music Box, airing exclusively on HBO Max.

For help and advice on mental health:

‘Am I depressed?‘ – Help and advice on mental health and what to do next
Help Musicians UK – Around the clock mental health support and advice for musicians
Music Support Org – Help and support for musicians struggling with alcoholism, addiction, or mental health issues
YOUNG MINDS – The voice for young people’s health and wellbeing
CALM – The Campaign Against Living Miserably for young men
Time To Change – Let’s end mental health discrimination
The Samaritans – Confidential support 24 hours a day

The post New posthumous Juice WRLD album ‘Fighting Demons’ set to drop next month appeared first on NME.

Universal Music Group’s 10:22PM label has created a new virtual supergroup, KINGSHIP, comprised of four characters from the Bored Ape Yacht Club non-fungible token (NFT) project. Billed as the first group of its kind, KINGSHIP marks a potentially important step forward in the music industry’s adoption of NFTs.

Bored Ape Yacht Club is one of Web3’s most successful NFT projects to date. It started when the U.S.-based company Yuga Labs minted 10,000 original ape cartoons as individual NFTs in April 2021. For buyers, purchasing a Bored Ape is viewed as both an investment and a status symbol (many owners set their social media avatars to the Ape they purchased to flex their ownership). All owners of Bored Ape NFTs have monetization rights to the characters, and the prices of the NFTs regularly reach six-figure sums. In September, a set of 107 Bored Ape Yacht Club NFTs sold for $24.4 million in a Sotheby’s auction, according to Reuters.

In a press release, the KINGSHIP project is billed as a “landmark, first-ever exclusive agreement to create a metaverse group.” Under the initiative, the team behind 10:22PM — a Web3, creator-focused record label founded by Celine Joshua — will develop and release new KINGSHIP music and products. Akin to pre-existing virtual idols like Miquela (or perhaps even a band like Gorillaz, who hid their human identities behind animated characters), KINGSHIP will be the front-facing digital performer used to cultivate a community and fanbase around the music.

Jimmy McNeils, an avid NFT collector who goes by the username j1mmy.eth, is supplying the Apes for KINGSHIP from his personal collection, including the rare Golden Fur and Bluebeam characters. The initiative to form a musical act around the cartoons will allow McNeils to monetize his Apes’ likeness and drive up their value, providing new potential use cases for NFT buyers and sellers.

The KINGSHIP project arrives on the heels of Mark Zuckerberg’s recent rebranding of Facebook to Meta, a reference to the metaverse. With interest in Web3 and the metaverse growing swiftly over the last year, 10:22PM is now setting its sights on creating the first musical icon of the burgeoning new era.

“Creating KINGSHIP has been incredibly fun and imaginative. I started 10:22PM to push the boundaries of innovation in the music industry and with KINGSHIP, we’re literally inventing what’s possible in real time,” said Joshua in a statement. “Just as we would with any artist or creator, my team and I will work with KINGSHIP to sharpen their vision and develop their unique sound. Each member of the group has their own story and personality that influences and contributes to KINGSHIP’s overall narrative. Through music and events across the metaverse, we will bring the Apes in KINGSHIP to life by building communities and utility, and entertaining audiences around the world.”

McNeils added, “This deal is a leading example of how powerful commercial rights are for collectible NFT projects and their collectors. I’m incredibly excited to explore this new area of NFT ownership with Celine Joshua and 10:22!”

Dr. Luke ranks at No. 1 on Billboard’s Hot 100 Producers chart for the first time, thanks to production work on three songs on the Billboard Hot 100.

Doja Cat’s “Need to Know” and “You Right,” the latter with The Weeknd, place at Nos. 8 and 16, respectively. Dr. Luke solely produced both songs. He also co-produced, with Vaughn Oliver, Latto’s “Big Energy,” which rises 88-76 in its second week.

Dr. Luke has additionally spent 36 weeks and counting at No. 1 on the R&B Producers chart and seven weeks through this week atop R&B/Hip-Hop Producers. (Billboard’s producer and songwriter charts began in 2019.)

Dr. Luke maintained a regular presence on the Hot 100 dating to his debut producing and writing credit on Kelly Clarkson’s “Since U Been Gone” in 2004. He’s produced 17 Hot 100 No. 1s, the third-most in the chart’s history after George Martin and Max Martin (23 apiece).

Dr. Luke (real name: Lukasz Gottwald) was accused of rape, sexual assault and emotional abuse by Kesha in October 2014. That case was dismissed in 2016, and Luke’s defamation trial against Kesha still looms.

The weekly Hot 100 Songwriters and Hot 100 Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100; plus, genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).

The full Hot 100 Songwriters and Hot 100 Producers charts, in addition to the full genre rankings, can be found on Billboard.com.