Producer Sidney “Omen” Brown has died at age 49. According to NBC News, Omen was found in his Harlem apartment on Saturday by his sister, Nicole Iris Brown. “He was holistic and healthy. So we don’t know of him being […]
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Lady Gaga makes a lively entrance on the Billboard Hot 100 with her latest single, “The Dead Dance.”
The track launches at No. 40 on the Sept. 20-dated Hot 100 with 8.7 million official streams, 7.8 million in radio airplay audience and 5,000 sold in the United States Sept. 5-11, according to data tracker Luminate, after it was released Sept. 3. Boosting its profile, Gaga performed it, via a taped performance, in a medley with prior single “Abracadabra,” Sept. 7 on the MTV Video Music Awards, broadcast on CBS.
The superstar earns her 29th career top 40 Hot 100 hit and the fourth from her album Mayhem, released in March, with “The Dead Dance” now included on its deluxe edition. “Disease” hit No. 29 last November; “Die With a Smile,” with Bruno Mars, ruled for five weeks beginning in January; and “Abracadabra” conjured up a No. 13 peak in February.
Mayhem topped the Billboard 200 in its debut week in March, marking Gaga’s seventh No. 1.
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The last time a Gaga album had generated as many as four top 40 Hot 100 entries? 2013, when Artpop also produced four: “Applause” (No. 4 peak); “Dope” (No. 8); “Do What You Want,” featuring R. Kelly (No. 13); and “Venus” (No. 32).
Two other Mother Monster albums achieved the feat, led by 2011’s Born This Way, which houses five top 40 Hot 100 hits, including four top 10s: the title cut (six weeks at No. 1); “The Edge of Glory” (No. 3); “You and I” (No. 6); “Judas” (No. 10); and “Hair” (No. 12).
Plus, Gaga’s 2008 debut LP, The Fame, includes four breakout classics that surged to the Hot 100’s top 10: “Just Dance,” featuring Colby O’Donis (No. 1, three weeks); “Poke Face” (No. 1, one week); “LoveGame” (No. 5); and “Paparazzi” (No. 6).
Beyond Mayhem, “The Dead Dance” is featured in the second season of Netflix’s Wednesday, in which Gaga appears. In August, she attended Netflix and Spotify’s Graveyard Gala in New York. “I’m so excited for you to see it,” she teased of the show’s return. She added that she had a “wonderful time” working on it and shouted out star Jenna Ortega and director/executive producer Tim Burton.
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It’s been a massive year for Lady Gaga, who returned to the top of both the Billboard Hot 100 and Billboard 200 albums chart (with “Die With a Smile” alongside Bruno Mars and Mayhem, respectively), headlined Coachella and launched an acclaimed arena tour. This month, she continues her winning streak with an acting turn on the hit Netflix series Wednesday, and the accompanying new song “The Dead Dance.”
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After an incomplete first week of tracking following its Wednesday, Sept. 3 release, “The Dead Dance” debuts at No. 40 on the Hot 100 in its first full week of release. It’s Gaga’s third top 40 hit of 2025 on the chart, following “Smile” and the No. 13-peaking “Abracadabra” — and shortly after its release, it was also included on a newly expanded edition of Mayhem, along with two additional new tracks, “Can’t Stop the High” and “Kill for Love.”
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Is the song’s debut higher or lower than we expected? And is this Wednesday/”Dead Dance” era now a major part of Gaga’s 2025? Billboard staffers discuss these questions and more below.
1. Lady Gaga’s “The Dead Dance” debuts at No. 40 on the Hot 100 this week in its first full week of tracking. Is that bow lower, higher or about what you expected?
Katie Atkinson: Top 40 feels about right, as an end-of-Mayhem, Wednesday-cameo treat for all the Little Monsters. This is a fun song with a great beat that’s cut from the same cloth as morbid disco classics like “Murder on the Dancefloor” or “Heads Will Roll,” and Gaga is one of only a handful of artists who can say Tim Burton directed a music video for them. But after a steady year of Gaga output, there might not have been as much anticipation for new music as there had been. Having said that, “The Dead Dance” did debut in the top 10 of the Global 200 chart, so international fans were hungrier for more ghoulish Gaga.
Chris Claxton: I think that’s actually lower than expected. This track had everything going for it, a major VMA performance, a viral TikTok dance, a feature in Netflix’s big summer hit Wednesday, a Tim Burton–directed video, and more yet it only peaked at No. 40. Not that No. 40 is bad by any means, but given how perfectly Lady Gaga executed every move, I was expecting it to chart much higher.
Stephen Daw: Higher that what I would have originally expected — mostly because I was not expecting a one-off single written and performed for a Netflix show to do huge numbers on the chart — but lower than I thought it might get after I heard it for the first time. It’s extremely catchy, fits into the sound of her last album and has a very well-produced music video. With all of that, and a live debut at the VMAs, I thought the song might get a bigger boost, but breaking into the upper echelons of this chart has proven to be harder and harder lately.
Kyle Denis: Definitely lower. Between a Wednesday sync, a new music video and a VMAs performance — not to mention an accompanying dance that’s clearly jockeying for TiKTok virality à la “Bloody Mary” — I expected a 5op 25 debut at the very least.
Andrew Unterberger: Given the unusual timing of the release, and the fact that Gaga’s solo streaming debuts aren’t always the flashiest, I think “Dead Dance” creeping into the top 40 is probably a little better than I expected. The real question is how long it can hang on the chart, which may be up to whether or not radio ends up picking up on it.
2. “The Dead Dance” received a big look at the VMAs as part of Gaga’s medley performance from her satellite gig at MSG — did the performance change your perception of or feelings about the song at all?
Katie Atkinson: I don’t love a satellite performance at an awards show – especially when the Mother herself was actually (briefly) in the building that night to pick up some hardware. This did mark the TV debut of the broken-doll choreography that perfectly matches the song, and for anyone who hasn’t yet seen the Mayhem Ball in person, it was a glimpse into Gaga’s latest live spectacle. But overall, I don’t know if the remote performance moved the needle for the song.
Chris Claxton: No, the performance didn’t change my view, I was already a fan of the song, and the show only amplified that feeling. Lady Gaga has always known how to put on a spectacle, and this track is no exception. The performance captured everything that makes her world so unique: theatrical visuals, flawless vocals, and that bold mix of art and pop she’s mastered throughout her career. It fits seamlessly into the Gaga universe, where music isn’t just heard, it’s experienced. For longtime fans, it felt like a reminder of why she’s one of the greatest performers of our time, and for newer fans, it was a perfect introduction to her artistry.
Stephen Daw: As a staunch Gaga lover, I was pretty immediately into “The Dead Dance” when it came out — so while that really well-done performance for the VMAs certainly made me happy, it didn’t really alter how much I was already into the track.
Kyle Denis: Not particularly, but that may have been because Gaga paired “The Dead Dance” with the much stronger (and still infectious) “Abracadabra.” It was a very solid performance, though!
Andrew Unterberger: I was impressed with how big and how immediately familiar “The Dead Dance” felt as part of that performance, like it’s always been a fixture of the Mayhem era. I do hope, though, that next time she’s in the building for the VMAs, she can hang around for long enough to perform there too.
3. Between “The Dead Dance” and her Wednesday cameo, does this moment feel like its own mini-era within Gaga’s 2025, or is it more of a footnote to her year?
Katie Atkinson: It feels more like Gaga is tying a shiny black bow on the Mayhem era than kicking off anything new. Even the Wednesday cameo fits into the aesthetic of her sixth album. Last August, she and Bruno wanted to die with a smile, and now, more than a year later, she still has one last breath in her to leave it all on the dance floor.
Chris Claxton: This honestly feels like its own mini-era. As a Wednesday fan, I can’t separate the two anymore: I associate the song with the show and the show with the song. Hearing the track and watching the performances almost feels like seeing Wednesday come to life in real time. I even half-expected Gaga to bring Jenna Ortega out during her MSG show. Either way, Lady Gaga is in the middle of an incredible 2025, and “The Dead Dance” is only adding to the momentum.
Stephen Daw: This, to me, feels like a coda for the Mayhem era, a little musical (and cinematic) motif to celebrate this particularly excellent album year that she’s found herself in. Even her appearance on Wednesday feels like it’s part and parcel with Mayhem — they’re both gothic, campy, horror-adjacent art pieces where Gaga gets to try some very fun new stuff.
Kyle Denis:This feels like more of a footnote — especially since “The Dead Dance” has been added to Mayhem on streaming services. I don’t think “The Dead Dance” and her Wednesday season two cameo quite replicated the 2022 fervor “Blood Mary” did, which makes this month feel like an extension of Mayhem’s momentum instead of an entirely different juggernaut. And that honestly has more to do with the new Wednesday season having a far less feverish reception than the last.
Andrew Unterberger: I think combined with Wednesday and some of the tour visuals, it’s been a really effective bonus extension of Mayhem in general — a way to keep Gaga and this era of hers in the pop culture mix at a time when album cycles usually don’t last long beyond their first month or two.
4. When you go back to Mayhem, will it be the deluxe version with this song, “Kill for Love” and “Can’t Stop the High” or are you good sticking with the original?
Katie Atkinson: Reissues often seem like afterthoughts to me, but I think “The Dead Dance” deserves to be in the mix on this project — so I’m voting for the deluxe. In the grand scheme of reissues, three extra songs is just a little icing on the already-delicious cake.
Chris Claxton: I’ll definitely be going back to the deluxe version — honestly, the more tracks the better. Songs like “Kill for Love” and “Can’t Stop the High” just add more depth to the project, and I feel like they expand the world of Mayhem in a really exciting way. The original holds up on its own, but the deluxe feels more complete, and that’s the version I see myself returning to.
Stephen Daw: I’m a big fan of all three new songs, so I will definitely be revisiting with the new additions. I especially appreciate that Gaga thought about where to place each of these songs on the album instead of simply tacking them onto the end as a series of bonus tracks. “Perfect Celebrity” bleeds perfectly into “Can’t Stop the High,” and “Kill for Love” is a great transition from “Don’t Call Tonight” into “Shadow of a Man.” The only one I wish she would’ve put at the end is “The Dead Dance,” if only because I already loved the album going from “Zombieboy” to “LoveDrug.”
Kyle Denis: I’m…. good with the original. “Vanish Into You” is still in constant rotation. These new songs are all fine, but none of them get anywhere near my personal favorites on the original Mayhem tracklist. It’s pretty clear to me why these were relegated to bonus track/soundtrack status.
Andrew Unterberger: I tend to be kind of a purist when it comes to album tracklists, so when I return to Mayhem it’ll almost certainly be the original version. But the new songs are all fairly strong, so if I accidentally end up queueing the deluxe instead, they’ll be pleasant surprises to me when they hit.
5. Gaga has been pretty active throughout 2025 — is there anything else she can still do to finish the year strong, or do you think she should just finish out her Mayhem Ball dates for the year and otherwise keep it low-key?
Katie Atkinson: She can (and should) coast through the end of the year on all the good will she’s built up over the past 12 months. After all, she just announced a 2026 extension of the tour, so people clearly want more Mayhem on a stage near them.
Chris Claxton: If Gaga decides to do more, that would be great, but honestly, if she just focuses on finishing out her Mayhem Ball dates, that’s more than enough. She’s been really active all year and has already given fans so much to take in. Either way, she’s been doing incredibly well, so whether she keeps the momentum going or chooses to keep it low-key, it still feels like a win for her fans.
Stephen Daw: While we have been spoiled for content with Gaga this year, I am holding out hope for just one more video. Gaga is the queen of visuals, and we have gotten four from this particular era. But the thought of there being a definitive, truly insane video for a song as chaotic and fun as “Killah” would be the cherry on top of this already very excellent year for her.
Kyle Denis: I think she should finish out Mayhem Ball and announce her next film role to close out the year. She’s steered the Mayhem era brilliantly, especially for a pop star of her stature this deep into the streaming era. She deserves a low-maintenance end to a banner year.
Andrew Unterberger: I don’t think she needs to do anything else — but if she can add a couple big Grammy nominations to her resumé in November, that’ll be a pretty nice note to end her extremely successful 2025 on.
From Ozzy Osbourne to Roberta Flack to Sly Stone and beyond, Billboard remembers the artists who left us this year.
Barbra Streisand is remembering one of her most iconic onscreen love interests following Robert Redford‘s death at the age of 89 on Tuesday (Sept. 16).
Shortly after the legendary actor’s publicist confirmed in a statement to the press that he’d passed away in his Utah home earlier that morning, the Broadway icon shared a black-and-white photo of herself and Redford circa 1973 on Instagram. “Every day on the set of The Way We Were was exciting, intense and pure joy,” Streisand wrote in her caption, referencing the quintessential Sydney Pollack romance in which the pair starred as star-crossed lovers.
“We were such opposites: he was from the world of horses; I was allergic to them!” she continued. “Yet, we kept trying to find out more about each other, just like the characters in the movie. Bob was charismatic, intelligent, intense, always interesting — and one of the finest actors ever.”
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“The last time I saw him, when he came to lunch, we discussed art and decided to send each other our first drawings,” she added. “He was one of a kind and I’m so grateful to have had the opportunity to work with him.”
Though both Streisand and Redford boast two of the most illustrious acting careers in Hollywood history, their performances in The Way We Were are arguably some of their most beloved. The former played Katie Morosky while the latter starred as Hubbell Gardiner, two opposites who nevertheless found themselves attracted to one another. Streisand’s performance of the film’s theme, “The Way We Were,” won best original song at the Academy Awards.
“It was great fun to work with Bob,” the actress wrote of Redford in her 2023 My Name Is Barbra memoir, according to People. “He and I had a real rapport and the audience could sense it. It’s hard to explain why a certain combination of two actors works, but in one interview, Bob tried: ‘Barbra … her femininity brings out the masculinity in a man, and her masculinity brings out a man’s femininity, vulnerability, romanticism, whatever you want to call it.’ No wonder I liked him. He’s very perceptive.”
In her statement on Redford’s death, publicist Cindi Berger noted the acclaimed performer had died “at his home at Sundance in the mountains of Utah — the place he loved, surrounded by those he loved.”
“He will be missed greatly,” she added. “The family requests privacy.”
Redford’s career extends far past his unforgettable performances in films such as Butch Cassidy and the Sundance Kid and All the President’s Men. He was also a distinguished director of projects such as Ordinary People — for which he won the best director Oscar in 1980 — as well as a devoted environmentalist. He is a five-time Golden Globe winner.
He is survived by his wife, artist Sibylle Szaggars, daughters Shauna Redford Schlosser and Amy Redford, and seven grandchildren.
During CMA Fest in 2024, K. Michelle introduced herself to a Nashville stadium full of country fans from a small satellite stage at the far end of the venue with “Jack Daniel’s,” a song that embraced bourbon as if it were a fellow human being.
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Her voice was big, her look was bold, the song was clever, and a portion of the 50,000 or so in attendance — largely unfamiliar with K. Michelle and her R&B history — didn’t know quite what to make of her. But she belted out “Jack Daniel’s” with an unrepentant swagger, referencing the city’s honky-tonk district across the river from Nissan Stadium in the process. And she did, in fact, amass some new fans with that first-time exposure.
“It’s a feel record,” she says. “It’s addictive, and those who caught the lyrics, I knew that they would be able to relate with me about ‘Jack Daniel’s.’ So it was really a good moment for me, and just to see people — even after I sang it — in my DMs, to go to Broadway, and people asked about the record. I know that there was something with the record.”
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Long before K. Michelle sang about a romantic relationship with Jack Daniel’s, she had a business relationship with the manufacturer. In 2017, she helped develop a Southern peach cocktail brand, including the packaging, which featured a first-ever gold cap for the bottle. In the process, she became the first Black woman named an ambassador for one of the best-known alcohol trademarks.
“I had a great experience with Jack — not only just loving the product,” she says. “They taught me more about business than I’ve ever learned. Like the song says, ‘Something here’s different, something feels right.’ ”
Her background with Jack Daniel’s the company helped fuel “Jack Daniel’s” the song. K. Michelle was a fan of Morgan Wallen’s Dangerous: The Double Album, and as she dug into the credits, she realized the songs she most liked were written by ERNEST. Her manager set her up with a co-write circa 2021, and when ERNEST came to her house, she ended up recounting her “Jack” history.
“I do jam sessions, so I make sure everybody has food — a lot of food — and we all get comfortable,” K. Michelle says. “I was telling this story, and I was saying that I have something I’ve been saying my whole career, and that’s ‘Jack Daniel’s is the only man I trust.’ That’s been with me for years, so we ended up writing about it from that perspective after I said that line.”
They kicked into it sequentially from the opening verse, with ERNEST describing Nashville’s busy Downtown night scene in conjunction with short, choppy phrases in the initial lines. The pre-chorus became more elongated, while No. 7 was introduced into the plot. No. 7 is, of course, a key part of the Jack label, though listeners can be forgiven if — before they become fully familiar with it — they associate the number with NASCAR drivers.
They segued into a high-energy chorus that starts with stark, descending quarter notes, recognizing in the process how many times the woman has “been let down like a bottle just collecting dust.” Jack offers what she needs — “He keeps me warm, I keep him close” — working its way to the “only man I trust” payoff.
Overall, they pulled together a strong framework for “Jack Daniel’s,” made a simple demo, then let it simmer. Eventually, K. Michelle decided “Jack” was worth finishing, and she called on songwriters Rocky Block (“Cowgirls,” “Man Made a Bar”) and Jordan Dozzi (“Pour Me a Drink”) to bring it home. One of their most important duties was to ensure the listener didn’t know Jack was a whiskey, rather than a guy, in the song’s opening frames.
“We double-checked everything and made sure we didn’t give it away until the chorus,” Dozzi says. “That was definitely intentional.”
K. Michelle was adamant that it needed a bridge — “I just don’t think a record is complete without one,” she says — and they fashioned one around a “shot in the Broadway dark,” pushing the melody to a higher, more challenging peak. “She’s so aware of her voice and not afraid to sing that high and that powerfully,” Dozzi notes. “That’s her just going, ‘Hey, I’m going to sing my ass off here.’ That’s all her.”
Producer Jeff Balding (Megadeth, BeBe Winans) lined up a recording session at Blackbird Studio D, where the goal was to create a track full of intensity. “She wanted it to have a raw feel, to push it,” Balding says, “to really just have some angst to it.”
Guitarist Tom Bukovac developed a 1990s alt-flavored guitar opening with a simple riff that changed the phrasing on the descending melody from the chorus. The rhythm section, bassist Craig Young and drummer Shannon Forrest, borrowed from R&B, with Young playing an active, aerobic part. K. Michelle belted her vocals without restraint.
“The headphones are a huge part of it, making sure we’ve got the right mix,” Balding says. “Once we get that locked in, she doesn’t seem to be shy about just going for it.”
She wanted to give “Jack Daniel’s” every chance to succeed, so she asked Kristian Bush if he had any further production ideas, and they ended up doing more work on it. Guitarist Benji Shanks offered a fiery solo before the bridge and stabbing, descending lines at the end of the chorus.
“We have this awesome little place in Atlanta,” Kristian says. “It’s like a 600-square-foot room with a bathroom in it and a kitchen, and we leave the doors open, and all the high school kids walk by. It’s just a Downtown Atlanta thing, and Benji was in there screaming that lead.”
Brandon Bush also tailored a new Hammond B-3 part to suit K. Michelle’s vocals. “You can control the Hammond in such a way that you figure out where the singer’s actual frequency of their voice is, and you hollow that out on the Hammond so that that frequency doesn’t exist in the instrument,” Kristian says. “Imagine it’s a raft that you can sit in and it buoys you on all sides, but in the middle, you’re down in it. That’s the way you use a Hammond organ for a lot of women’s voices.”
BBR Music Group released “Jack Daniel’s” to digital service providers on Aug. 29, and K. Michelle hopes that her relationship with the song and the manufacturer helps in her efforts to build a relationship with the country fan base.
“I kind of just want to be the bridge,” she says. “Music is the universal language, and I want to bring people together. I always do it through food, music and Jack Daniel’s.”
Keke Palmer and Sean Evans sitting in a tree, K-I-S-S-I-N-G.
On the Monday (Sept. 15) episode of Hot Ones, the singer-actress and web-series host brought the heat by sharing a kiss on camera, marking a major moment in their relationship after Evans previously said he had a crush on Palmer. The exchange came right at the end, with the Nope star telling her lunch date, “I saw an interview where you said, like, I was your favorite guest, and all this really sweet stuff.”
“I know we’ve just had some wings, but I thought that maybe we could just have a quick smooch to see if there’s a spark,” Palmer added, flashing a shy smile.
Evans agreed without hesitation, and the pair stood up and shuffled over to each other in front of the chicken wing-strewn table they’d just been sitting at. With Palmer’s hands on the host’s shoulders and his around her waist, they leaned in and touched lips.
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“The sparks are sparking!” the True Jackson, V.P. alum cheered, while Evans said, “When I’m dying, and my life flashes before my eyes, I’ll have that snapshot.”
The episode marks Palmer’s third time guesting on Hot Ones. After her first two appearances in 2017 and 2021, Evans told Amelia Dimoldenberg on Chicken Shop Date in 2023 that of all his guests, Palmer was the one he had a “crush” on.
“Very charming,” he’d said of the Broadway star at the time. “Very charming woman.”
Palmer’s latest Hot Ones visit comes shortly after The Pickup — in which she starred alongside Eddie Murphy and Pete Davidson — premiered on Prime Video in August. Her next film, Good for Fortune, arrives in theaters in October.
She’s also fresh off the release of her album Just Keke, which dropped in June. On the cover, Palmer appears as a plastic doll packaged inside a plastic box, the meaning of which she spoke to Evans about on Monday’s Hot Ones.
“Growing up in the industry, I’ve always been seen as a product and I’ve always had to see myself as a product,” she explained. “It’s really a metaphor for that, but also at the end of the day, having this conversation with my audience through the visuals, like, ‘I’m just a girl at the end of the day. I’m just a mom. I’m just Keke.’”
Watch Palmer and Evans share a spicy kiss on Hot Ones above.
Hooshmand Aghili passed away on Sept. 4, 2025, at 88. We were with him, grateful for a lifetime of music that felt like home to millions.
He was born in Isfahan in 1937, the city of poets and blue tiles. As a teenager, he trained with the great Taj Esfahani, and by his early years, he was already on Radio Isfahan, a voice people would stop to hear.
In Tehran, he kept studying — ever the student — and stepped onto national stages. When Iranian National Television launched, he sang with the National Orchestra and worked alongside master composers and virtuosos, a circle that sharpened his classical phrasing and broadened his reach.
If you grew up in a Persian household anywhere in the world, there’s a good chance one song unlocked a hundred memories: “Farda To Miayee”. It’s the tune that plays when a living room becomes a dance floor and cousins become a choir. For many in our community — and for our family — its first notes are instantly recognizable.
He carried other favorites with him too — “Cheraghe Khooneh,” “Darya,” “Ghesehgoo” — songs that traveled across oceans, pressed into vinyl and tape and, later, playlists spanning generations.
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In 1977, he moved to the United States and built a new life while keeping Iran close. For us — and for so many in the diaspora — his voice became a bridge between places: A few notes and suddenly you were back in your grandparents’ kitchen, or on a moonlit drive down Valiasr.
That was the artist. Here is the man. He was the life of the party — telling jokes, reciting poems, captivating every room with that easy charisma. He was the kindest, sweetest presence, always giving of himself and, often, his belongings. He was a doting father who did the school drop-offs, taught us how to ride a bike, exposed us to all kinds of wonderful experiences — the daily work of unconditional love. He lives on within us, and in his grandson, who bears Hoosh as his middle name, a quiet echo of his legacy. After losing the love of his life, our mother, Farideh, in 2007, he never remarried. Sometimes the truest performance was in the life he lived offstage.
What did he mean to Persians — and to music — everywhere? He showed how a classical sensibility could meet popular feelings without losing either one. He proved that a song could be both refined and welcoming, both rooted and open-armed. For decades, he gave Iranians an anthem to gather around and a repertoire that could turn a lonely evening into a remembered celebration. That was his gift: to remind people where they come from and who they belong to — together.
To everyone who shared a wedding dance to “Farda To Miayee,” kept “Cheraghe Khooneh” on repeat during long drives or dreamed of the beach while listening to “Darya” — thank you for letting our father’s voice live in your homes and hearts. We’ll keep singing with you.
With love and gratitude,Mae & Mike
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