Lifestyle
The top songs of the week take a nostalgia trip, courtesy of Eminem
Eminem, performing here during the Super Bowl LVI Halftime Show at SoFi Stadium in 2022, returns to the top 10 of the Billboard Hot 100 chart this week with “Houdini.”
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This week’s dive into the pop charts is a reminder that nostalgia is one powerful trip, from a brand-new single that explicitly references both 1982 and 2002 to a viral cover of a 2006 hit. Meanwhile, Taylor Swift still continues to reign supreme on the albums chart.
TOP SONGS
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, is holding strong with a fourth week at No. 1 on the Billboard Hot 100 songs chart.
We have a new entrant at No. 2, however: rapper Eminem’s “Houdini” — which, I should hasten to note, bears no relation to vampy siren Dua Lipa’s song of the same name, released a mere seven months ago. (A whole eon ago in cultural memory, apparently.)
This “Houdini” is stuffed full of old-fashioned musical magic tricks that urge it towards success. Not only does Em reference his 2002 hit “Without Me” — “Guess who’s back, back again?” — but he interpolates Steve Miller Band’s hit “Abracadabra,” which itself went to No. 1 on the Hot 100 in September of 1982. (You know what kind of music lots of people really like? Music that they know they already really like.)
Rounding out the Billboard 100 top five: Tommy Richman’s “Million Dollar Baby,” Shaboozey’s “Tipsy (A Bar Song)” and Kendrick Lamar’s “Not Like Us.”
TOP ALBUMS
Taylor Swift continues her reign at No. 1 on the Billboard 200 albums chart, scoring a seventh week in the top spot. As Billboard notes, however, her equivalent album sales have continued to fall, notching 148,00 units this week.

It’s still enough to hold off everyone else, at least for now. As on the songs chart, we have newcomers in the second slot on the 200: the eight-member K-Pop band Ateez, with their EP (or, as they like to call it, the “mini-album”) Golden Hour: Part.1. Interestingly, Ateez failed to crack the Hot 100, despite the global success of their single “Work,” which pays tribute to the daily grind. (A brief musicological complaint: the “Work” video opens with one character — buried up to his neck in dirt — pretending to play a flute, although the actual track uses the sound of a clarinet. Since we are discussing cycles of nostalgia and history this week, I must note that this is just like the Jason Derulo “Talk Dirty” video, featuring models “playing” the trumpet, all over again — where the actual song used saxophones, courtesy of a sample of the band Balkan Beat Box. Also, the less said about the technique employed by the fake instrumentalists in both videos, the better.)
Ateez is followed by two returners: Billie Eilish’s Hit Me Hard and Soft, which this week slipped down one spot to No. 3, and Morgan Wallen’s One Thing at a Time at No. 4. This week, Shaboozey debuted on the albums chart at No. 5 with his Where I’ve Been, Isn’t Where I’m Going, which was released on May 31 — an understandable progression given the popularity of his “Tipsy (A Bar Song),” which introduced this album.
WORTH NOTING:
Just in case anyone doubted a particular social media platform’s ability to move the cultural needle, Billboard has been charting the TikTok Top 50 every week since last September “based on creations, video views and user engagement.”
It’s probably no surprise that Tommy Richman’s “Million Dollar Baby,” which first found its audience on TikTok, has been leading this chart for the past five weeks. But the TikTok chart is packed with more offbeat singles than the Billboard 100, including a rather maudlin cover of Gnarls Barkley’s “Crazy,” courtesy of a Canadian comedian, actor and singer named Stephen Kramer Glickman and featuring cellist Marza Wilks. (Just to drive his point home, Glickman made a Joker-themed video for this song.) This version of “Crazy” entered the TikTok chart this week at No. 6. (Say it with me: You know what kind of music lots of people really like? Music that they know they already really like.)
Lifestyle
John Cena wanted to step away from the WWE ring before he became ‘too slow for the show’ : Wild Card with Rachel Martin
A note from Wild Card host Rachel Martin: First a confession: I have never watched a WWE match in its entirety. Don’t get me wrong, I appreciate the athleticism and the performance, it’s just not my thing. But there is something about John Cena I’ve never been able to shake.
Yes, he is a wrestling legend, but he has built a career as an entertainer that transcends the ring. The first time I saw him lead a cast was the 2019 family movie “Playing with Fire” and his rapport with kids in that film didn’t seem like acting at all. The man contains multitudes!
He co-stars with Eric Andre in his newest film, “Little Brother.”
Lifestyle
Great movies you may have missed : Pop Culture Happy Hour
Xie Miao and Yang Enyou in The Furious.
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Norachai Kajchapanont/Lionsgate
There have been some fantastic movies released this year, and we know you can’t see them all. So we’re recommending four recent movies we missed that you should add to your watchlist: The Furious, Tuner, She’s The He, and Heresy.
If you need a few more fun film recommendations, check out these episodes:
Fun movies you may have missed
Our favorite movies on Tubi
We debate the best movies to watch on an airplane
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Lifestyle
A judge says the Kennedy Center must update him on its plans — and address that tarp
A tarp covers the facade of the John F. Kennedy Memorial Center for the Performing Arts in Washington, D.C., on June 13. A federal judge has asked the arts complex’s leadership to explain the purpose of the tarp and the surrounding scaffolding.
Alex Wroblewski/AFP via Getty Images
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On Wednesday, the federal judge overseeing the Kennedy Center lawsuit ordered the center to give him a status report on the center’s operation and programming within the next few weeks. Judge Christopher R. Cooper also said that the Kennedy Center must explain the purpose and status of the tarp and scaffolding that have been placed over the front of the arts complex, where until recently both President Trump and President John F. Kennedy’s names were both displayed.
In a directive issued last Tuesday, Judge Cooper had given Kennedy Center administrators three days to update him on the arts complex’s immediate plans regarding construction, programming and public access. Trump, who now serves as the center’s chairman, had announced July 5 as the date the venue would close for major renovations.

Last Friday, on Cooper’s due date, lawyers for the Kennedy Center filed a request asking for an extension. In that filing, Matt Floca, who was promoted as the center’s president and CEO in March, said that the Kennedy Center’s current management intends to present its board with “an array of options” for trustees to vote on at their next meeting on an unspecified date in mid-July.
According to Floca, the options are a complete closure for extensive renovations; a partial closure “enabling some continued public access and limited programming” while some renovations are undertaken; and “a highly limited series of phased closures to address only the center’s most serious infrastructure needs while scheduling and maintaining a full slate of programming.”
In his newest order, Cooper denied Floca’s request for an extension. And he mandated that the center file a status report within seven days of the center’s July board meeting or by July 31, whichever date is earliest. He also ruled that the report must “indicate the purpose for and status of the tarp and scaffolding,” which were erected by workers over the center’s front signage in the early morning hours of June 13.
When asked for comment Wednesday, the Kennedy Center pointed back to the documents its legal team submitted to the court.
The tarp and scaffolding on the center’s front portico went up after the Kennedy Center’s administration slow-walked the court-mandated removal of President Trump’s name from the front of the center and from all digital materials, which was supposed to happen no later than June 12. Workers removed the lettering overnight into the following morning, hours after the federal court’s original deadline, and covered the center’s sign with a tarpaulin.
As of Monday, the sign remains hidden from the public.

Trump’s name was scrubbed from all of the Kennedy Center’s digital content on June 4, the same day an email order to do so was issued by the complex’s legal team; NPR obtained this memo the day it was sent out to Kennedy Center staff.
These court orders are part of the ongoing lawsuit filed by Rep. Joyce Beatty, D-Ohio, against President Trump and the board of the Kennedy Center. Earlier this year, Cooper ruled that Beatty, an ex-officio member of the Kennedy Center board, must be allowed to participate in board meetings. NPR has asked Beatty if she plans to vote at the July board meeting, but did not receive an immediate response.
It would be very difficult for the Kennedy Center to revive a thriving programming lineup for the months ahead. Over the past year, many prominent artists canceled their planned appearances, citing the politicization of the venue. Most of the center’s programming staff have departed, either via layoffs or resignations. Unlike top administrators at other major performing arts venues around the country, Matt Floca has no experience in artistic direction, fundraising or arts administration; formerly, he was the center’s head of facilities, and he holds a bachelor’s degree in construction management.
Established artists who typically perform at the Kennedy Center generally have their touring schedules set at least a year in advance, if not multiple years ahead. In years past, the center has publicly announced its upcoming season in mid-spring for performances beginning in September and running through the following summer.

Currently, only a handful of outdoor free movie screenings of nostalgic favorites like The Princess Diaries and Clue appear on the center’s calendar of events, along with some participatory workshops for kids. In the past, the Kennedy Center presented over 2,000 arts and education events each year.
The center also recently became ensnarled in litigation with one of its longtime tenants and artistic partners. On June 12, the Washington National Opera, a company formerly in residence at the Kennedy Center, sued the complex for $17 million. It claims that the Kennedy Center had withheld “years’ worth of donor gifts, bequests and endowment funds” that had been intended specifically for the WNO.
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