With his 2020 album After Hours, The Weeknd has proven that he knows how to dominate the charts. Now, he’s looking to dominate the world of cryptocurrency art. The singer announced Friday that he’s planning on releasing new music soon. But instead of sharing a song on streaming services, he’s instead making it available as an NFT.
The singer took to Twitter to share the news. “new song living in NFT space. coming soon…,” he wrote.
The Weeknd didn’t offer much information about exactly what the NFT entails, but he’s far from the first musician to break into the industry. Earlier this week, Ja Rule was able to make good on his Fyre Festival scandal by selling a painting of the event’s logo as an NFT for $120K. Grimes also made an eye-catching amount of money on the NFT market. The musician released an entire collection of digital art through an NFT auction, and ended up making $6 million in under 24 hours.
While The Weeknd may be breaking into new territory with his first-ever NFT, he’s also leaving behind some more traditional aspects of the music industry: namely, the Grammys. After he was snubbed for a Grammy Award this year, The Weeknd recently announced that he would be boycotting the ceremony going forward. The singer said that he will no longer submit his music for Grammy consideration by the Recording Academy “because of the secret committees.”
“Trust me girl / You’ll wanna be high for this.” Quite the bold statement coming from someone who you couldn’t even make out in a crowd.
The lyrics from “High For This,” The Weeknd’s House Of Balloons opener, embody everything the artist stood for: drugs, dependency, and defenselessness. It’s hard to picture The Weeknd (born Abel Tesfaye) as anything but an international megastar. But upon the release of his debut mixtape, which celebrates its 10th anniversary today, he was merely a faceless enigma.
At the time, no one knew what a “The Weeknd” was. It was unclear if Drake’s right-hand producer Noah “40” Shebib was behind it after Drake’s manager Oliver El-Khatib posted a handful of The Weeknd’s songs on the OVO blog in 2010. Critics didn’t know if it was a solo act or an R&B group, and fans only saw shadowy black-and-white photos he posted during the mixtape’s rollout. Even the cover art was obscure, featuring a woman in a bathtub whose face was hidden by balloons with only her left breast exposed. All we had was a voice: a light tenor that could go from sweet to dangerous in a quick octave change. The mystery looming over his artistry is what lured listeners in.
“In the beginning, I was very insecure. I hated how I looked in pictures,” Tesfaye revealed in 2013’s career-first interview with Complex. “I was very camera shy. People like hot girls, so I put my music to hot girls and it just became a trend. The whole ‘enigmatic artist’ thing, I just ran with it. No one could find pictures of me. It reminded me of some villain shit.”
And what a villain he was. Rather than the typical monster you see in action films, House Of Balloons introduced Tesfaye as a villain who forced the gloomiest parts of your life into the spotlight.
The mixtape’s title is ironic: a balloon-filled house sparks images of carnival-like bacchanal. But it compared despair to a straggler that simply won’t leave the party. The Weeknd’s music was as captivating as it was chilling, as he utilized his Michael Jackson-inspired falsetto to reveal a revolving door of emotionless sexual escapades that were often brought on by drug binges.
The general public was introduced to The Weeknd when he packaged his 2011 mixtapes (House Of Balloons, Thursday, and Echoes Of Silence) into the major-label Trilogy re-release the following year. But listening to the House Of Balloons mixtape is the only way to ingest its authenticity (he’s since tweeted the original release with its intended mixes and samples will be on all streaming platforms on Sunday).
On Sunday for its 10 year anniversary I’m releasing House of Balloons on all streaming platforms for the first time in it’s original incarnation. With the original mixes and samples. pic.twitter.com/Wi3joxt1fq
Aaliyah’s “Rock The Boat” sample that opens “What You Need” adds to its seductive allure as Tesfaye puts on his dirty macking best. The ending of “The Knowing” is more explosive as he confronts both his and his girl’s infidelities. The singer shares his adoration for dream-pop duo Beach House, as their 2008 song “Gila” is the base for the uncharacteristically heavenly “Loft Music” and “The Party & After Party” samples 2006’s “Master Of None.”
“The Party & After Party” is a nearly eight-minute-long opus, with The Weeknd promising that he’ll provide his girl with an endless supply of cocaine and sex. The track turns sadder and more manipulative in the second half. “Gimme right attention or I’ll start drowning from my wrist,” he mutters. It’s a bleak moment that reveals just how dependent he is.
And of course, there’s the definitive trio: “High For This”, “Wicked Games” and “House Of Balloons / Glass Table Girls.” The heart-stopping production of “High For This” isn’t as glossy as the re-released version, with the singer handholding a fearful lover into a world filled with drugs. “Wicked Games” (no relation to Chris Isaak’s 1989 hit) is him at his most vulnerable and sleaziest. Sex is a transactional tool to mask shame, trading it for a baseless promise of fame.
“House Of Balloons / Glass Table Girls,” which has since become The Weeknd’s signature song, is the mixtape’s highlight. This mix is actually glitchier than the mastered version; laid atop a heavy sample of Siouxsie And The Banshees’ 1980 single “Happy House,” “House Of Balloons” is chaotic in its debauchery. It’s peak euphoria that is accented by the rattling bassline, needle-sharp synths, and that hair-raising falsetto. The rapid comedown occurs on “Glass Table Girls” as the singer darkly urges girls to test out the 707 glass tabletops. His creepy advances are bolstered by woozy bassline and chopped & screwed vocals. Singing about drugs isn’t new in music, yet The Weeknd personalizes it with self-deprecation as he shamefully reveals predatory instincts.
House Of Balloons is frightening in its relatability. It forced listeners to confront the loneliness they feel after realizing partying is the only thing that sustains them. There’s no joy in watching the sunrise on the loft’s rooftop. Rather, its harsh sunlight calls attention to bloodshot eyes, a parched mouth following endless rounds of alcohol, a red nose caked with residue, and overall desperation. I can say this all because I was just as reckless. Being only a year younger than Tesfaye, we had parallel coming-of-age experiences: dabbling in similar substances, using all-night college parties as escapism from depression, and ultimately sought comfort in a mixtape that targeted a shared despondency.
The mixtape reflected a doomed generation who grew up with films like Kids, Trainspotting, Requiem For A Dream, and A Clockwork Orange. We didn’t want to be seen. Like Tesfaye, we hid our faces behind Tumblr photos that showed both a brilliant, snarky sense of humor and a not-so-subtle cry for help.
“It definitely changed the culture. No one can do a trilogy again without thanking The Weeknd,” he told Rolling Stone of the mixtape’s impact in 2015. “A lot of artists started doing things faster and quicker after that: Justin Timberlake dropped two albums in a year, Beyoncé dropped a surprise album. I’m not gonna say any names, but just listen to the radio. Every song is House Of Balloons 2.0.”
It’s partly true, as House Of Balloons and its follow-ups found mostly white critics who previously shunned R&B all of a sudden praising it. They dubbed it “PBR&B”, a nod to the inexpensive beer often drank by hipsters. But the movement surrounding The Weeknd and counterparts like Frank Ocean, FKA Twigs, Miguel, and Tinashe surpassed whatever trend critics wanted to brand it as. It sparked a refreshing sonic shift in R&B that called back to the experimentation seen during the late ‘90s neo-soul era and the peaks of Prince, Janet, and Michael Jackson’s careers.
Artists like H.E.R., PARTYNEXTDOOR, and DVSN (the latter two signed with Drake’s OVO Records) were shrouded in similar mystery as Tesfaye, while frequent collaborator Future exposed his dark battle with drug use. Even Drake got into the mix, with Tesfaye’s credits sprinkled atop a murkier-sounding Take Care at the end of 2011 (he later revealed “Crew Love,” “Shot for Me,” and “The Ride” were supposed to be on House Of Balloons). And just last year, The Weeknd sparked controversy after claiming Usher’s 2012 “Climax” single ripped his early sound. He later clarified while co-producer Diplo acknowledged the influence. “When I heard those early records they blew my mind,” he tweeted. “Soulful in their silences, and a spacey iconic voice that felt uniquely internet. The idea of R&B having dark edges was what I wanted to bring to Usher.”
The Weeknd’s career trajectory is absolutely bonkers. There have been more sinister moments pre-crossover fame (Echoes Of Silence’s terrifyingly coercive “XO/The Host” and the nightmarish “Initiation” that alludes to gang-rape, and the John Carpenter-inspired screams on 2013’s Kiss Land title track). But he’s now a bonafide pop star; he was Oscar-nominated for 2015’s “Earned It,” won three Grammys, he teamed with pop masters Max Martin and Daft Punk, he has five chart-topping singles, he had a Super Bowl halftime show (he tributed “House of Balloons / Glass Table Girls”), and his recent single “Blinding Lights” made history was the first song to spend a year on Billboard’s Hot 100 top ten.
But the remnants of House Of Balloons haven’t dissipated, from haunting singles like “The Hills” and “Party Monster” and the entirety of 2018’s bleak My Dear Melancholy to his continued work with the mixtape’s original producers Illangelo and Martin “Doc” McKinney. There are still broken pieces to Tesfaye. But he’s now learned how to piece them all together.
The Weeknd released his debut mixtape House Of Balloons in 2011, before he was signed to XO Records. The project was an early indication of the singer’s massive success as it instantly put The Weeknd on the map. This Sunday officially marks the 10-year anniversary of the mixtape’s release, so to celebrate, the singer has decided to upload the project to streaming services in its original form for the first time.
The Weeknd shared the exciting news to social media, saying all of the original samples have been cleared for streaming, including Beach House’s “Master Of None” and Aaliyah’s “Rock the Boat.” “On Sunday for its 10 year anniversary I’m releasing House of Balloons on all streaming platforms for the first time in it’s original incarnation,” the singer wrote. “With the original mixes and samples.”
On Sunday for its 10 year anniversary I’m releasing House of Balloons on all streaming platforms for the first time in it’s original incarnation. With the original mixes and samples. pic.twitter.com/Wi3joxt1fq
Ahead of announcing that the album is going to be made available for streaming, The Weeknd took aim at the Grammys just before their ceremony Sunday. The singer had previously called the Recording Academy “corrupt” after his acclaimed album After Hours did not receive a single nomination. This time, The Weeknd declares that he’s boycotting the event for good. In a statement given to the New York Times, The Weeknd said: “Because of the secret committees, I will no longer allow my label to submit my music to the Grammys.”
House Of Balloons will be made available on streaming services 3/21.
Charm La’Donna is a woman of many talents and she’s ready to let them all unleash. She’s an all-in-one creative outfit who can write a good song and a choreographed routine to go with it. Looking for visual creative direction? Charm can handle that too.
In fact, some of the biggest names in the industry have put their faith in her abilities such as Selena Gomez, Rosalía, Madonna, and even once opened up for fellow Compton native Kendrick Lamar. The greatness only gets greater, though. More recently, Charm choreographed Dua Lipa’s electrifying Grammy performance with DaBaby and she also was the woman behind The Weeknd’s prodigious half-time performance at this year’s Super Bowl.
In between all of that, somehow she also has found time to create for herself in the midst of the pandemic. Her track “So & So” is one of the first songs she’s released and the video features cameos from some of her closest friends including Selena Gomez (of course), Meghan Trainor, and Fulani, among others, lip-syncing the words to the catchy number.
Following the release of her track “Queen” and its captivating video, Charm talks to Uproxx about her barrier-breaking music career and what it was like once being a dancer during a Super Bowl half-time show with Black Eyed Peas to choreographing The Weeknd’s for this year’s performance.
Philip Cosores
Tell me about the single and the creativity behind your video for “Queen.”
“Queen” stems from me wanting to have a song that felt empowering, that embodied strength and everything of where I’m from. The visuals as well. It’s literally being taken a journey through all of my endeavors, everything that I love. I threw it all in “Queen.” The culture, my culture, where I’m from, how I feel now, how I felt growing up, it’s all in there.
What are some things to you that maybe you included in the video that represents being a queen? What’s a queen to you?
A queen is someone who is powerful in their own right, who is strong, who is also vulnerable, who exudes greatness and follows whatever that is for themselves. One thing for me, I could even say in the video, I love gold. I’ve always loved gold and I love bamboo. So I decided to do something and play with that in the visual and the video. It’s how I rock my bamboos in a way. You see the gold on the dresses and the bamboo and how I rock them and just me being in a swap meet top type of situation. It shows where I’m from and how I grew up, to how I live now. Also, getting my hair braided is very important.
How would you say a queen moves in life and in this industry?
A queen… It’s about being yourself. Being yourself and not compromising your morale and who you are and going after everything you want. Going out to everything you want and people say wearing many hats, I just say wearing many crowns.
That’s kind of my next question because you do so many things. I know you did the Super Bowl choreography for The Weeknd. You’ve done choreography for so many people. You’ve opened up for Kendrick Lamar and all of that. I noticed this industry is dominated by men. It’s so much testosterone. How do you maintain your crown in a room full of men?
Myself, knowing where I come from, knowing who I am as a woman and not compromising that and believing that I can do anything that anyone else can do.
Do you ever feel intimidated or were there ever times where you did feel intimidated and had to make yourself come out of that or evolve out of that?
I don’t think I’ve ever felt intimidated. I felt more-so nervous. When you embark on something new or you try something that people are not known, they don’t know you for trying. You get a sense of maybe nervousness. There was never any form of intimidation though because I come through. I feel like I’m a strong woman and I’m raised by a bunch of women. I don’t think I’ve ever felt intimidated.
How involved are you with your visuals and the creative?
I’m heavily involved in my business. I do my creative. I do my choreography. I’m hands-on with styling. I’m hands-on.
How do you find time? How do you balance it all?
Oh, with a great team. Very great. To be honest, as I am now putting out music I’m still choreographing, I’m still creative directing for different artists as well as myself. It’s just balance; it’s just balance and structure in the best way, but my team has been amazing in helping me do that.
Now, how many more singles do you have coming before you drop a full-length project?
I think I have one more single coming and then I’m going to drop a project.
Philip Cosores
During this journey of you creating your project, creating the visuals for it, and also in between doing choreography for other people, how has that been while making it a priority because I’m pretty sure you have had to do some readjusting, right?
It organically happened for me in the past year. Due to staying at home and with COVID, I kind of took a pause with the world as well. Then when I took that fall, I had my music. It was a time for me to continue being creative and put my stuff out. To not be nervous, not be afraid, even in a time of the unsure, put my stuff out. That was the beginning of the push. As of right now, I have a great balance. I’m able to help others when I can, and there hasn’t been any controversy or any stipulations with it. It’s been cool.
What artists did you grow up listening to that inspire you?
My inspiration of course are a lot of the artists I work with and I’ve been able to collaborate with. I also find inspiration like my mom and my family, friends. I’m inspired… It sounds super cliche to say but I’m inspired by literally just… I intake a lot of energy from different places. I’m inspired by multiple things.
You said that you were raised by mostly women. Who were those women?
My mom, my god-mom my aunt, my grandma, women, all my past teachers, my mentor Fatima Robinson. All these women have played a role in my life.
What could you say is something that… In what way do they support you? Maybe when you need encouragement or if you need somebody to talk to. In what way and how do they support you?
My mom has encouraged me always to follow and follow my dreams. Hard work, push yourself and you’ll be able to conquer whatever it is that you want. Each woman, I think, played a different role. I’ve learned in the industry from Fatima Robinson. My aunt has always been there to encourage me to continue on because I’ve missed growing up, so many family things.
They never made me feel as if though one thing was more important than the other. They were always supportive of me and my dreams and what I wanted. I think that’s important because my grandma is just always been my rock, always been my rock. Even hearing stories of how she grew up and my grandmother’s 95. Those stories have also inspired me and pushed me to be the best I can be.
Is anybody in your family into music, that you looked up to as well?
My brother, he was a writer and a rapper back in the day. That’s where I kind of got my music. That’s where I got the itch to start rapping and getting in the studio with him when I was younger.
What was that like? Were you like little sister following big brother around or just watching him?
Yeah, it really was. Exactly. He would pick me up from school because my mom was working and I would go to the studio with him before dance class or after dance class until it was time for me to go home. It started off just me doing my homework in the studio and then me getting in the booth and rapping. Now here we are.
I did kind of want to talk about just Super Bowl a little bit, because that’s huge. You choreographed The Weeknd’s half-time performance.
Well, that, from that experience, if you want me to be honest, what I don’t think people know is that we did this literally in the middle of the pandemic. I don’t think people know that. So I say this to say, it’s like the journey, and what it took for us to get this was beyond. I was having Zoom rehearsals because safety is always a priority. I’m trying to keep people away for as long as possible, but the overall experience, I wouldn’t change for anything. I got to choreograph the Super Bowl with amazing people.
It’s crazy, because for me, I danced at a Super Bowl. Fatima choreographed it and I was a dancer, so then you fast forward now I’m choreographing.
Wow, that’s huge. Which Super Bowl was that?
I danced with the Black Eyed Peas at their Super Bowl. I danced at that Super Bowl and then I choreographed this one. It was just a surreal situation. Even with everything going on, all the preparation we had to do. It still is an amazing accomplishment, I think for everybody. I think we delivered a great show in the time and the space that we were allowed to.
Then also I want to talk about the “So & So” video. I thought it was so cute. I know you had some of your friends in there. Tell me how you put that video together.
I dropped something, actually on my birthday last year and at the beginning of a pandemic. They’re trying to figure out what was going on. What I did was I’m calling all my friends asking can you guys sing some of the lyrics to my song, I want to put it in a video. I thought about doing it with my friends because of the songs, a lot of them… actually everybody in the video had already heard it and they loved it anyway.
It was such a girl-empowering kind of a song. It just made sense. Everyone was still everywhere and was trying to adjust to what’s happening in the world. I was very grateful that they, still came through and did it for me because it just was such a difficult time for everyone.
What is it that you love the most about being a music artist?
I think what I love the most is the different form of expression. Me being able to tell my story with words. Me being able to create visuals to go along with my story. Me being… I basically perform this music. I think that’s what means the most to me.
Toronto superstar The Weeknd is finally speaking out. New reports reveal that he will no longer let his label submit his music to the Grammy Awards because of “secret committees,” and the organization has since come forward to speak out. The Weeknd Announces Grammy Boycott The Weeknd announced his own boycott of the Grammys in […]
The Weeknd has been abundantly clear and forthcoming about his displeasure with the Grammy Awards and the Recording Academy after his critical and commercial hit After Hours and its popular singles somehow earned no nominations for the 2021 awards. Now it looks like anything else The Weeknd makes won’t be up for consideration at future Grammy ceremonies either, but this time, it’s his choice: The Weeknd has declared that he is boycotting the Grammys.
In a statement made to The New York Times, The Weeknd said, “Because of the secret committees, I will no longer allow my label to submit my music to the Grammys.”
In response to The Weeknd’s statement, interim Recording Academy president/CEO Harvey Mason Jr. told the publication, “We’re all disappointed when anyone is upset. But I will say that we are constantly evolving. And this year, as in past years, we are going to take a hard look at how to improve our awards process, including the nomination review committees.”
In an email interview with the publication, The Weeknd’s manager, Wassim Slaiby, said he was unclear why his client didn’t earn any nominations and noted, “We were many weeks and dozens of calls in with the Grammy team around Abel’s performance right up to the day of nominations being announced. We were scratching our heads in confusion and wanted answers.”
He also said, “The Grammys should handle their legacy and clean it up to raise the bar to a level where everyone could be proud to hold up that award. This is Harvey’s chance to step up and have his legacy be the guy who got the Grammys finally right.”
The Weeknd was somehow not nominated for any Grammy Awards this year, a fact from which he says he’s moved on. So while The Weeknd won’t get any wins this weekend, the ceremony was preceded by some good news for the Canadian artist: The Juno Awards, Canada’s biggest music awards ceremony, revealed their list of 2021 nominees today. Unlike the Grammys, The Weeknd leads the pack with six nominations.
The Weeknd and his work are up for Juno Fan Choice, Single Of The Year, Album Of The Year, Artist Of The Year, Songwriter Of The Year, and Contemporary R&B Recording Of The Year. Other artists to score big include Justin Bieber, Jessie Reyez, and JP Saxe, who each have five nominations.
The ceremony is set to take place on May 16. In the meantime, check out the nominees in the major categories below and find the full list of nominees here.
Juno Fan Choice
Ali Gatie
Curtis Waters
JP Saxe
Justin Bieber
Lennon Stella
Les Cowboys Fringants
Nav
Shawn Mendes
Tate McRae
The Weeknd
Single Of The Year
“Drink About Me” — Brett Kissel
“If The World Was Ending” Feat. Julia Michaels — JP Saxe
“Intentions” Feat. Quavo — Justin Bieber
“Kissing Other People” — Lennon Stella
“Blinding Lights” — The Weeknd
Album Of The Year You — Ali Gatie Courage — Céline Dion Changes — Justin Bieber Thanks For The Dance — Leonard Cohen After Hours — The Weeknd
Artist Of The Year
Ali Gatie
Celine Dion
Jessie Reyez
Justin Bieber
The Weeknd
Group Of The Year
Arkells
Half Moon Run
Loud Luxury
The Glorious Sons
The Reklaws
Breakthrough Artist Of The Year
Curtis Waters
JP Saxe
Powfu
Ryland James
Tate McRae
Breakthrough Group Of The Year
2Freres
Crown Lands
Manila Grey
Peach Pit
Young Bombs
Songwriter Of The Year
Alanis Morissette — “Ablaze,” “Reasons I Drink,” “Smiling”
Alessia Cara — “Hell and High Water
Jessie Reyez — “Coffin,” “Before Love Came To Kill Us,”
“Far Away,” “No One’s In The Room”
JP Saxe — “A Little Bit Yours” “Golf On TV,” “If The World Was Ending”
The Weeknd — “After Hours,” “Blinding Lights,” “Save Your Tears”
French Language Album Of The Year A tous les vents — 2Freres Notre-Dame-des-Sept-Douleurs — Klo Pelgag Les antipodes — Les Cowboys Fringants Quand la nuit tombe — Louis-Jean Cormier Pour dejouer l’ennui — Pierre Lapointe
Rap Recording Of The Year New Mania — 88GLAM Baby Gravy — 2 Bbno$ & Yung Gravy Baby Cold World — Eric Reprid Good Intentions — Nav Elements Vol. 1 — Tobi
Indigenous Artist Or Group Of The Year
Kîyânaw
The Ridge
North Star Calling
Nunarjua Isulinginniani
Contemporary R&B Recording Of The Year
“Before Love Came To Kill Us” — Jessie Reyez
“Where You Are” — Savannah Ré
“After Hours” — The Weeknd
“Holiday” — Tobi
Producer Of The Year
Akeel Henry
Jordon Manswell
Kaytranada
Murda Beatz
WondaGurl
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
