The Weeknd is back with new music but the Canadian is sticking with the old formula, and we can’t blame him.

With the final single from his last album, After Hours, still in the top 20 on the Billboard Hot 100, The Weeknd’s new era is coming so soon that it feels very much like an addendum to the last one. And with the ’80s pop style of “Take My Breath,” it sounds like the singer is sticking with the sound that gave him record-breaking success.

The “Take My Breath” video takes place at party that gives the kind of sexy, druggy, rock-n-roll-y energy we’ve come to expect from Abel. It, of course, ends with a dominatrix type trying to, err, take the singer’s breath.

Would it be a Weeknd video if death wasn’t a theme? Click play.

In January of 1977, KC and the Sunshine Band released “I’m Your Boogie Man” as the third single from the group’s fourth album, Part 3. Written by group members Harry Wayne Casey and Richard Finch, the song is a brilliant example of how the best songwriters can make you think they’re talking about one thing when they’re really talking about something else. While the lyrics might lead you to believe that its being sung from the perspective an infatuated loverboy, the song is actually an ode to the Miami DJ — the metaphoric “boogie man” — who first played the group’s first No. 1 hit, “Get Down Tonight.”

“I’m Your Boogie Man” would become KC and the Sunshine Band’s fourth No. 1 on the Billboard Hot 100 and one of the biggest singles of 1977. Click play and get your entire life.

BadGalRiRi is officially a billionaire.

According to Forbes, Rihanna is now worth $1.7 billion, making her the wealthiest woman in music and the second-wealthiest woman in entertainment — only after Oprah Winfrey, who is worth $2.7 billion.

The bulk of RiRi’s fortune — $1.4 billion — comes from her 50% stake in Fenty Beauty, the makeup line she launched in 2017. The rest of her wealth comes from her stake in Savage X Fenty ($270 million) and her earning as a musician and actress.

Key takeaways:
1. A$AP Rocky is even luckier than we thought.

2. We might never get that album.

But he didn’t.

According to Billboard, DaBaby’s team reached out to multiple festival promoters — including the ones at Lollapalooza — to let them know that the rapper would be making a recorded apology for his ridiculous comments at Rolling Loud. The video was to be played before his performance at Lollapalooza and was supposed to make up for his trash apology on Twitter — which came after he had initially doubled down. The video was also aimed at saving DaBaby’s spots at the various festivals, which were now in jeopardy as public outcry grew louder.

Unfortunately, the video was never made, which is why Lollapalooza yanked him from their lineup just hours before he was scheduled to take the stage.

Sweet baby J.

They’re making an example of this man and we can’t even feel sorry for him because he asked for it.

In the last few hours, Music Midtown, the Austin City Limits Festival, and iHeart Radio Music Festival have all announced that DaBaby will no longer be performing at their respective festivals.

At least seven festivals — including Parklife Festival, Lollapalooza, Governors Ball, and Day N Vegas — have now dropped the rapper from their lineups. He has also been removed from his headlining slot at the Can’t Wait: Live! benefit concert.

UPDATE: Terry Kennedy has been charged with first-degree murder and is facing life in prison.

Skateboarder Terry Kennedy may face homicide charges after the man he assaulted passed away over the weekend.

Kennedy had been arrested on Tuesday for assaulting 23-year-old Josiah Kassahun at an Illinois motel. The man suffered a fractured skulll and concussion, and passed away on Sunday.

According to TMZ, Kennedy has already been charged with aggravated battery in a public place and threatening a public official — during his arrest, he allegedly said, “I will kill one of you police. We kill police where I’m from.”

Bruno Mars & Anderson.Paak — also known as Silk Sonic — released the much-anticipated follow-up to “Leave the Door Open” this past Friday, and quite frankly, they got one with “Skate.” The duo sticks with the ‘70s R&B sound, but this time around, they up the tempo a little bit.

Overall, “Skate” is a lot easier to like than it’s predecessor. And even though it definitely sounds like a song Bruno Mars would make, it feels a lot less like Anderson.Paak was added as an afterthought — which is exactly what “Leave the Door Open” was giving.

Watch the “Skate” video below.

In December of 1997, Janet Jackson released “Together Again” as the second single from her fifth studio album, Velvet Rope. Written by Miss Jackson and frequent collaborators Jimmy Jam & Terry Lewis (along with her then-husband, René Elizondo Jr.), the song is a tribute to loved ones lost. Jackson was inspired to write the song when she learned that a friend had lost a battle with AIDS, and also by a letter from a fan who had lost his father.

Jackson is known for pop-infused R&B, but on “Together Again,” she gives us house-infused pop. The song was originally written as a ballad and the arrangement took 30 minutes to construct. Jackson drew inspo from Donna Summer’s “Last Dance” and Nuyorican Soul’s “Runaway” while writing the song. Two remixes were made for the song — one contemporary R&B remix and one neo soul ballad remix. The latter actually has a whole video for it.

It is common for people to dismiss Janet Jackson as a subpar vocalist, and whenever they pull that stunt, “Together Again” is one of the songs I cite as evidence of her chops — that and “Love Will Never Do (Without You).” There are plenty of examples of her doing her thing, but I find these two songs to be the most undeniable demonstrations of Janet Jackson the vocalist.

“Together Again” became Janet Jackson’s eighth No. 1 on the Billboard Hot 100 and sold over six million copies worldwide.

Scarlett Johansson is suing Disney over the company’s decision to make the ‘Black Widow’ available for streaming on Disney+ the same day the movie was released in theaters. The actress is claiming that Disney breached their contract with her by not making the movie exclusive to theaters.

In a lawsuit filed earlier today, Johansson is claiming that box office sales were depressed by the concurrent release of the movie in theaters and on Disney+. Since her compensation is tied to box office performance — bonuses kick when sales hit certain milestones — her lawyers are arguing that “Disney intentionally induced Marvel’s breach of the agreement, without justification, in order to prevent Ms. Johansson from realizing the full benefit of her bargain with Marvel.”

It’s not clear how much Johansson is seeking in damages, but Disney’s decision to release the movie in theaters and on Disney+ concurrently cost her $50 million in bonuses.