How Lewis Hamilton helped shape the F1 movie soundtrack
The upcoming Formula One film, "F1," starring Brad Pitt and Damson Idris, is set to feature a massive soundtrack, "F1 The Album," releasing alongside the movie on June 27. The album, spearheaded by Atlantic Records, the team behind the "Barbie" album, will include original music from a diverse array of artists such as Chris Stapleton, Blackpink's Rosé, and Tate McRae.
Film producer Jerry Bruckheimer, director Joseph Kosinski, and Atlantic Records West Coast President Kevin Weaver collaborated to create a soundtrack that mirrors the intensity and global appeal of Formula One. Weaver noted that the selection of artists was driven by the film's narrative needs, aiming to find voices that best complemented specific moments in the movie.
Kosinski emphasised the importance of reflecting the sport's global nature through the soundtrack, incorporating artists from around the world. Ferrari driver and seven-time World Champion Lewis Hamilton, who consulted on the film, reinforced this need for inclusivity. The soundtrack features a mix of genres, including pop, Afrobeat, electronic, and country, resulting in a collection of 17 tracks designed to appeal to a broad audience.
Artists found inspiration in various ways, with some, like Rosé and Chris Stapleton, creating music in response to specific scenes. Ed Sheeran wrote "Drive," with John Mayer and Blake Slatkin, specifically for the film's end credits, inspired by lyrical prompts related to Pitt's character. DJ Tiësto, who also appears in the film, contributed "OMG!" featuring rapper Sexyy Red, blending dance music with high-energy racing vibes.
Roddy Ricch, another contributor, sees his song "Underdog" as a motivational anthem about overcoming doubts and finishing the race of life. Kosinski hopes the soundtrack will introduce listeners to new artists and spark interest in Formula One.
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New York Times
an hour ago
- New York Times
Why Brad Pitt's F1 movie was told ‘no' at Daytona — for the sake of authenticity
Standing in a room before two of the biggest names in Hollywood, David Pettit would've been excused had he questioned himself about the job he had been tasked with. Most people in his position would've been as they spoke to producer Jerry Bruckheimer and director Joseph Kosinski. The team behind the blockbuster hit 'Top Gun: Maverick' had reached out to Daytona International Speedway (DIS) and the International Motor Sports Association (IMSA), one of the preeminent sports car series in the world, about a new movie they were working on centered around Formula One and starring Brad Pitt. For the opening scenes of the then-untitled film, since named 'F1 The Movie,' filmmakers wanted to shoot at Daytona to depict Pitt's character competing in the prestigious Rolex 24 Hours at Daytona sports car endurance race. Advertisement With both Daytona and IMSA owned by the France family (who also own NASCAR), coming to an agreement was fairly straightforward, allowing filmmakers nearly unfettered access to DIS and including actual footage of the race in the movie. But there needed to be a point person to shepherd the production crew, helping them get every shot they wanted, pushing the limits to, and maybe even beyond, what they were allowed. This person was Pettit, IMSA's senior vice president of marketing and business operations. And as he stood before Bruckheimer, Kosinski and others during a rooftop lunch at NASCAR headquarters across the street from the Daytona speedway, he delivered a clear message. ''My job is to help you break rules, to give you what you need,'' Pettit said. From that forward, the team behind 'F1: The Movie' was off to begin producing what would become the opening minutes of the film that establishes Pitt's character, 'Sonny Hayes,' as a former F1 driver who since washing out of the circuit has become a nomadic professional driver in various series around the globe. An integral part of the storyline was to show that, despite being older and past his prime, Hayes still possessed the ability to race at the highest level. To plausibly demonstrate this, it was decided that Hayes should win the Rolex 24 (called the Daytona 24 in the movie), which is realistic as many former F1 exports regularly compete in and win the IMSA-sanctioned race. Similar to how they immersed themselves in the F1 paddock while filming scenes set in that world, the production team did the same at Daytona over several weeks in January 2024. They encamped at the track prior to the Roar Before the 24 practice sessions and stayed through the 24-hour race, with DIS providing space in its massive infield to accommodate production setup. Advertisement 'It was probably the size of two football fields that we had to turn over to the movie production team,' said Frank Kelleher, president, Daytona International Speedway. 'And we all learned really quickly the men and the women that were working for Jerry Bruckheimer and with this production, you had a lot of similarities to the motorsports community — highly educated people, highly motivated people, people that understand work is not done until the job is complete and the product is perfect. They worked a lot of hours. There was a lot of just harmony and collaboration with them. They lived on the property, and it was a labor of love working with that crew. 'They were in awe of the World Center of Racing. They were blown away by just the symphony between competition, the drivers, the fans, the operation of it all, and they blended it right in with everyone involved in the sport.' The producers had a few asks of Pettit and IMSA. 'They're like, 'Well, OK, first thing we want is we want to win the race,' Pettit said. He didn't shut that idea down — in fact, Pettit told them that if they entered as a legitimate competitor — straight-up, with no favoritism — with enough funding, they could field multiple competitive cars and have a real shot at winning. Instead, the producers pivoted to another request: whether they could have a dedicated car in the Rolex 24 with the sole purpose of filming race action. This would be achieved by having the car intermittently return to the garage to change out different filming components, then rejoin the race. For the integrity of the race, IMSA said no. But they did offer an alternative. Series officials suggested partnering with a team entered in the race, with that team carrying multiple cameras to capture the race footage producers were seeking, plus allowing for wider shots of the car speeding around the 3.570-mile road course. Wright Motorsports, which fields a Porsche in IMSA's GTD class — the same make and class Hayes was to drive for in the movie — was selected. That car also had special livery that mirrored what Hayes raced in the film, and the team's pit equipment, uniforms, hauler, and even its garage stall bore branding for 'Chip Heart Racing' — the team Hayes drives for. Advertisement This produced many of the moments during the opening scenes depicting Hayes competing in the race — though, in actuality, Pitt's laps behind the wheel of the No. 120 Porsche never occurred in the race itself. (That entry, co-driven by Adam Adelson, Elliott Skeer, Jan Heylen and Frederic Makowiecki, finished 26th overall in the 59-car field.) The track did make some accommodations to the competition schedule, notably extending an evening practice by 30 minutes so the crew could shoot a pit stop sequence featuring Pitt driving out of his pit stall. 'That sequence is actually in the movie,' Pettit said. 'We gave them a dedicated pit box next to the real team, so all the equipment was there and everything, so they could then stage it and then do a pit stop with Brad Pitt. And when you see that car coming out, it's actually Brad Pitt driving the car. He did a pretty impressive part of making that happen.' Additional scenes were filmed during quiet days at the track, often in the small hours of the night. This allowed the production to fully utilize DIS's circuit by running stunt vehicles and shooting other moments that couldn't be filmed amid the actual race. One such sequence punctuates the message Pettit delivered when this all came together. Kosinski wanted to go to the top of the DIS's scoring tower to see the fireworks that are traditionally shot off at 10 p.m. on the Saturday night of the race, a visual he wanted to incorporate into the movie. But feeling this was a 'normal shoot you'd see on any broadcast,' Pettit suggested an outside-the-box idea. Plopping Kosinski into a golf cart shortly before launch, he drove Kosinski to the staging area, where he then asked the fire marshal how close they could get. And as the fireworks rocketed up into the sky, Pettit brought the broadcast on his phone so that Kosinski could compare. Quickly, the director recognized how he had to frame this shot. 'We got to be down there with the smoke when the cars are coming through it, and the director says, 'Yeah, that's the shot I want.' He was pointing at the track,' Pettit said. 'And in the movie, you'll see the two cars coming through fireworks and everything. And that was all re-staged, so to speak. But that's because he was there. We put him in a place that most people don't go. I've never been to that place before myself, let alone putting somebody there.' Advertisement In every aspect of filming, whether on the F1 side or the IMSA side, filmmakers stressed the importance of 'authenticity.' Their movie would offer a real encapsulation of what motorsports is like, as best they could, while still making a compelling Hollywood film. Kelleher understood this key tenet. So he pushed back when the production crew insisted on filming a particular shot inside Daytona's victory lane — one of the few instances he put his foot down, In the movie, Hayes wins the 'Daytona 24,' necessitating that producers have a scene of Hayes celebrating the accomplishment. They wanted to shoot the scene on the morning of the Sunday of the Rolex 24, while the race was still happening. This was not something the track could agree to due to a litany of 'operational reasons,' something Kelleher explained to the producers by using their desire for authenticity to accentuate his point. Kelleher recalled how the filmmakers opened their pitch by detailing the uphill battles they'd faced with the FIA, F1's governing body, and the complexities of working within F1, and 'how they built trust throughout the last two years.' The filmmakers pointed to a moment in the film where Hayes appears on the grid at Silverstone beside Lewis Hamilton, a shot captured during the actual F1 pre-race. That, they said, was the level of authenticity they were bringing. That's when they told him they wanted to film their victory lane scene during the Rolex 24. 'So, I paused, and I repeated back the majority of the story,' Kelleher said, 'and I said, 'So you describe the challenge of FIA. You describe the challenge of Formula One, and yet here you are successfully shattering glass and doing what you were told 'no' (to). And they're like, 'Exactly.' And I said, 'I'm going to be the first guy to tell you 'no.''' All the producers laughed, feeling as if Kelleher was joking with them. He wasn't. His reasoning was sound. Kelleher reminded them just how often they'd emphasized authenticity — 'I said, 'You must have said the word authenticity 10 times,'' he recalled. He laid it out plainly to the filmmakers: Brad Pitt's character races in the GTD class, which is the last of the four classes to head into victory lane. By the time that car arrives, Kelleher told them, 'Victory lane is already covered in champagne and confetti. When you look out at the photographers and the people working cameras, they are sweaty. It is humid. They're covered in confetti and champagne. 'So, about the time your car rolls in victory lane, victory lane is alive and breathing. You do not want to be the first car rolling into victory lane and doing a victory lane shot. Because if you want to be authentic, the motorsports fan is going to watch that scene and go, 'Wait a minute. There's no way that car would roll in and victory lane would be that clean and pristine.'' Advertisement Kelleher then made an astute recommendation, coming from someone with institutional knowledge, having witnessed many celebrations in DIS's victory lane. 'I said, 'Let's celebrate the authentic (overall) race winning car,'' he said, 'and then we will roll in your car and we'll do the shoot.'' When it was all said and done and filming in victory lane had concluded, the filmmakers acknowledged Kelleher was correct. His preferred way of shooting the scene was the most real way to do it. It offered the very authenticity they sought. This was solidified after filming had finished on that Sunday, when Kelleher received a word from a producer to meet them near victory lane. Once there, Pitt greeted him and his family. The actor then thanked Kelleher for his suggestion, underscoring the close collaboration that existed between DIS, IMSA and the production crew during the duration 'F1: The Movie' spent at the track. 'I'm like, 'Holy s—, that's Brad Pitt, everyone act cool,'' Kelleher said. 'And then Brad Pitt reaches his hand out and he's like, 'Oh man, I can't thank you enough. I can't believe you let us shoot that shot during your actual victory lane celebration. Thank you.'' Top photos: Brad Pitt and Wright Motorsports' 2024 car at Daytona.,
Buzz Feed
8 hours ago
- Buzz Feed
Actors Whose Roles In Movie Were Cut Down Or Scrapped
First, Simone Ashley — fresh off her starring role in Bridgerton Season 2 — was announced to star in F1: The Movie alongside Brad Pitt and Damson Idris. She was spotted filming alongside Damson and even attended the Miami Grand Prix and the F1 Grand Prix in Monaco, in support of the film. However, upon the film's release, Simone's role was reduced to a seconds-long cameo with no dialogue, with director Joseph Kosinski saying, "It happens on every film, where you have to shoot more than you can use. There were two or three storylines that ultimately didn't make it into the final cut." He added to People, "But Simone, she's an incredible talent, incredible actress, incredible singer, and I would love to work with her again." Simone's role being drastically reduced sparked a discussion online with people noticing a pattern of actors of color being cast in movies, only for their roles to be cut down or cut entirely. Ana de Armas was initially cast in Danny Boyle's Yesterday as a character named Roxanne, who was going to become another love interest for Jack, played by Himesh Patel. However, screenwriter Richard Curtis told CinemaBlend that after test audiences didn't like the additional love interest, they ultimately cut Ana from the movie. He said, "That was a very traumatic cut, because she was brilliant in it. I mean, really radiant. And [that] turned out to be the problem." Richard continued, saying, "You know, it's one of those things where it's some of our favorite scenes from the film, but we had to cut them for the sake of the whole."However, Ana was featured in an early trailer for the film, which ultimately led to fans suing Universal over her absence from the movie. In 2018, Harry Shum Jr. was set to appear as the beloved Charlie Wu in Crazy Rich Asians, which is based on the bestselling book series by Kevin Kwan. Charlie is a main character in the books; however, despite filming numerous scenes for the film adaptation — including Astrid and Charlie dancing at the wedding — Harry's role was cut, and he only appeared in a mid-credits scene. Director Jon M. Chu told Entertainment Weekly, "But the problem was, it made Astrid feel like she was leaving Michael for Charlie, and we didn't have enough room to expand on the idea. We just had to stay focused. Ultimately, it's about her independence, so that scene was in there all the way until the very end." Even though Crazy Rich Asians received worldwide praise and box office success, a sequel has been in limbo for years now. The sequel was expected to follow Kevin's second book in the series, China Rich Girlfriend, which shows Astrid and Charlie's romance having a more central role. In 2018, Manny Jacinto was cast as Fritz, a pilot, in Top Gun: Maverick, the highly anticipated sequel to Top Gun. At the time, Manny was in the middle of starring in The Good Place, with Season 3 of the show just airing. But, despite enduring months of training in actual fighter jets and more, when Top Gun: Maverick finally hit theaters in 2022, Manny suddenly had no dialogue, and he was reduced to an extra. In 2024, he told GQ, "It kind of fuels you, because at the end of the day, Tom Cruise is writing stories for Tom Cruise. It's up to us — Asian Americans, people of color — to be that [for ourselves]." He added, "We can't wait for somebody else to do it. If we want bigger stories out there, we have to make them for ourselves." Manny also told GQ, "It's flattering that there was a little bit of an outcry, but it wasn't shocking to me. There was this sense of where the film was going [on set], like I can see them focusing the camera more on these [other] guys and not taking so much time on our scenes. Fortunately, it still was a great experience — you get to see this huge machine at work, see how Tom Cruise works, and you get to be a small part of this huge franchise." Fresh off her work in Moon Knight in 2022, May Calamawy was cast in Gladiator II alongside Paul Mescal and Pedro Pascal. She filmed the movie in Morocco alongside the rest of the cast and was even featured in behind-the-scenes photos from Pedro, but when the movie hit theaters in 2024, she was absent and was only spotted very briefly in the background of a scene. Producers later confirmed to the Hollywood Reporter that May was cut from the movie entirely due to the long runtime, with the movie initially being 3 hours and 40 minutes. Despite producers insisting that runtime concern was the reason May was cut from the final version of Gladiator II, some outlets speculated whether her support of Palestine was a reason, with May being Egyptian and Palestinian. Sterling K. Brown was initially cast in M. Night Shyamalan's Split. This was before he earned critical acclaim for The People Vs. O.J. Simpson and This Is Us. Despite filming numerous scenes, when Split was released in 2016, Sterling's character of Professor Shaw, Dr. Fletcher's neighbor, was totally cut from the final film. Shyamalan said the original director's cut was around three hours, which led to some storylines being trimmed or cut entirely. Before introducing the deleted scene featuring Sterling for the DVD extras, Shyamalan explained that the character and scene took too much attention away from the main character. He said Shaw was initially scripted to give more background into Dissociative Identity Disorder. A year before Grey's Anatomy made her a household name in 2005, Ellen Pompeo was supposed to star in Eternal Sunshine of the Spotless Mind alongside Jim Carrey, Kate Winslet, and many more. Writer Charlie Kaufman originally wrote scenes featuring Naomi, played by Ellen, who was Joel's girlfriend, whom he left to be with Clementine. The scenes showed Joel and Naomi together, but they were ultimately cut from the final movie. In 2025, Ellen spoke about being cut from the film while attending a Tribeca Festival Storytellers event. She said, per People, "And Eternal Sunshine of a Spotless Mind, yeah? Which I got completely cut, got completely cut out of because Kate Winslet is in the movie, of course, like you have Kate Winslet, you definitely don't need me." Kevin Costner was supposed to play Alex Marshall in The Big Chill, but all of his scenes were cut from the final version. The movie notably follows a group of friends coming together after the death of one of their close college friends, Alex. So, ultimately, Alex is not actually seen in the movie at all. In 2025, while appearing on Watch What Happens Live, Glenn Close talked about Kevin being cut from the movie, saying, "Larry Kasdan, who was the director, co-writer of The Big Chill, felt so badly — because Larry is such a good person — that he made him a star in Silverado. He put him in Silverado, and it made Kevin a star.' Glenn also confirmed that the body being prepared was actually played by Kevin. She said, "Yes, it was Kevin because he was supposed to be in the movie. He was in the epilogue, and they cut the epilogue." In 1991, Ed O'Neill was set to appear in John Milius' war film Flight of the Intruder alongside Danny Glover, Willem Dafoe, and Brad Johnson. But, when the movie was screened for a test audience, Ed's appearance was met with laughter because they could not separate him from his role as Al Bundy in Children, which was in its sixth season at the time. Speaking to the LA Times in 1990 about being cut from the film, Ed said, "I don't feel good about what happened. As an actor, it's kind of frightening. It shows what TV can do to you. At the same time, I can't complain about what the series has given me. It's a double-edged sword." According to the LA Times, Ed had done "two days of work" on Flight of the Intruder, and the role was meant to be an unbilled cameo. Ed said, "My scene comes an hour or so into the picture. There's no introduction to my character — I come from out of nowhere. Suddenly, there I am, in a uniform, walking around this table at a court martial. I think that, to audiences who aren't expecting me, it's as if Al Bundy's suddenly appeared. It's like Al Bundy Joins the Army." In The Avengers, Ashley Johnson has a very brief appearance as Beth, a waitress whom Captain America saves during the Battle of New York. But, Ashley's role was initially supposed to be much bigger, with deleted scenes showing Beth actually meeting Steve at the beginning of the movie, and appearing more throughout the battle. There were also rumors she was meant to have a recurring role, even possibly serving as a love interest for Steve. Many fans have joked that Ashley is the most award-decorated MCU actor, having won BAFTAs for her work as Ellie Williams in The Last of Us video games. British comedian Rik Mayall was cast in Harry Potter and the Sorcerer's Stone as Peeves, the mischievous poltergeist who roams Hogwarts. Despite Rik filming scenes as Peeves, the book character was eventually cut from the movie adaptation. Rick reportedly said he was also "sent off the set" because he kept making the cast and crew laugh during filming. Director Chris Columbus said that the first cut of Harry Potter and the Sorcerer's Stone was nearly three hours, which resulted in some things from the book being cut out of the final version, including Peeves. When asked by The Wrap about whether he would ever release a director's cut of the movie, Chris said, "We have to put Peeves back in the movie, who was cut from the movie!" Naomi Scott was cast as Ryoko in Ridley Scott's sci-fi movie The Martian alongside Matt Damon, Jessica Chastain, and more. Despite filming scenes for the movie, Naomi was cut out of the final version. In an interview with Collider in 2021, Naomi explained why her dialogue-heavy scene was likely chopped, effectively cutting her out of the film, saying, "There was one dialogue scene and then I was in scenes, but just there. So there was this one dialogue scene. It was this science jargon. Ridley Scott was behind this curtain, and I was just, mate, I just choked." She continued, saying, "And do you know what? I think it's so important to just talk about moments where you choke, because they really do inform your experiences, and they really do force you to kind of reconcile whatever those insecurities that you have are and face them. Anyone out there, in whatever field of work, and you think of that time that you wanted the ground to swallow you up, let me tell you, we've all been there. I've been there in front of Ridley Scott. I was choking. I couldn't get these words out. I couldn't get these jargon words out." Jack Whitehall was supposed to play Gothi, a troll priest, in Disney's blockbuster hit Frozen. On The Tonight Show in 2018, Jack said he had one line. He went in, recorded the line, and proceeded to "tell everyone I'd ever met I was going to be in Frozen." However, when the movie came out, Jack's character remained, but his one line was scrapped, thus effectively cutting him from the film. In a recent comedy set, Jack joked about all the misses he's had in his career, including Frozen. He said, "Film comes out. I am watching Frozen on the screen. It gets to the bit in the enchanted forest. I see my character there in front of me. Gothi the troll. The fat little fucker, right there. He clears his throat. He goes to speak. And the camera cuts away to Princess Elsa. And she starts singing some lame Disney song about being a princess." In 2016, Jena Malone was set to star in Zack Snyder's Batman V Superman: Dawn of Justice as Jenet Klyburn, a S.T.A.R. Labs scientist. Despite having filmed numerous scenes, Jena's character was cut from the theatrical version of the movie. Her role remained a secret until her scenes were included in the ultimate edition cut that was released. When news of her casting initially broke and she was spotted on set, fans speculated that she might be playing Barbara Gordon/Batgirl. Anna Paquin played Rogue in three X-Men films, starting in 2000. She was slated to reprise her role for X-Men: Days of Future Past, with a pretty significant storyline, but she was cut from the final version, except for a brief cameo. Director Bryan Singer explained at the time, "Like many things in the editing process, it was an embarrassment of riches and it was just one of the things that had to go. Unfortunately, it was the one and only sequence Anna Paquin was in; the Rogue character was in. Even though she's in the materials and part of the process of making the film, she won't appear in it." Speaking about being cut from the movie years later, Anna told Entertainment Weekly, "Those films have really, really interesting, let's call it, processes as far as how the scripts come about and they change so many times over the course of shooting. And having done a bunch of 'em already, I wasn't massively surprised that the stuff shot first week of photography didn't really fit by the end, six months later."In 2019, five years after the release of the movie, fans fought to get Fox to release "The Rogue Cut" of X-Men: Days of Future Past. Katherine Langford was originally going to appear in Avengers: Endgame as an older version of Morgan Stark, Tony and Pepper's daughter. She was set to appear in the metaphysical way station, like Thanos did in Infinity War, after Tony uses the Infinity Stones. Ultimately, Katherine's scenes were cut from Endgame entirely, with director Anthony Russo explaining, "We realized that we didn't feel an emotional association with his adult daughter... It wasn't ringing to us [or] resonating with us on an emotional level." Eventually, when Avengers: Endgame hit Disney+, Katherine's deleted scenes were released. The moment feature Katherine's Morgan telling Tony that she'll be okay, even though he'll be gone. The scene ends with Tony telling Morgan, "I love you 3,000," a callback to an earlier moment in the movie. Shailene Woodley was cast as Mary Jane Watson in The Amazing Spider-Man 2, starring Andrew Garfield and Emma Stone. But when the film was released in 2014, all of Shailene's scenes opposite Andrew's Peter Parker were cut. Speaking about the decision to exclude MJ from the movie, director Marc Webb told the LA Times, "It was very difficult to introduce someone as a competing love interest when so much is on the table with Peter and Gwen." He added, "Shailene is a brilliant actress, and she did a great couple days of work ... It was something we only discovered when we were shooting and then in the edit room." Right after her breakout role in Game of Thrones, Jessica Henwick's first big movie role was set to be in Godzilla vs. Kong in 2018. When the film was eventually released, Jessica Henwick, alongside Zhang Ziyi, was totally scrapped from the movie. Eiza González, who starred as Maia Simmons, said that because of Jessica's role getting cut, she also saw her scenes reduced, saying, "Jessica getting cut out of the movie really affected all of the other characters." Eiza added, "But it wasn't anything to do with Jessica's character. It was just that the storyline changed because the movie is called Godzilla vs. Kong, and it obviously has to serve them."Lance Reddick's role was also reduced to just about two scenes. And finally, Eric Stoltz was originally cast as Marty McFly in Back to the Future. He filmed several scenes from the movie, but was then fired by director Robert Zemeckis. Reportedly, Michael J. Fox was always the first choice for Marty, but he initially couldn't do the movie. However, once Eric was fired, Michael was brought in, and all of Eric's scenes were re-shot. In an interview with Bob Costas years later, Eric explained that they were "pretty far" into filming when he was replaced. Speaking about being fired, Eric said, "[Robert] was very nice, well as nice as you can be when you're firing someone, but he said that I wasn't giving the performance that he wanted for his film, which I can respect." We can't fit everyone into one post, so which other actors were either completely cut from movies or reduced to a much smaller role? Tell us your favorites in the comments below! Do you love all things TV and movies? Subscribe to the Screen Time newsletter to get your weekly dose of what to watch next and what everyone is flailing over from someone who watches everything!
Forbes
12 hours ago
- Forbes
Rosé Matches Jimin's Record — And She's Likely About To Beat Him
Rosé's 'Apt.' with Bruno Mars ties Jimin's 'Who' as the third-longest-running K-pop hit on ... More Billboard's Streaming Songs chart with 34 weeks on the ranking. NEW YORK, NEW YORK - OCTOBER 13: Rosé aka Roseanne Park MBE is seen in Midtown on October 13, 2024 in New York City. (Photo by TheStewartofNY/GC Images) Rosé and Jimin have been racing one another on the Billboard charts throughout the first half of 2025. The BTS star set several records not long ago with his solo single 'Who,' and lately, the Blackpink singer has been matching — and in some cases, beating — his historic showings with "Apt.," her collaboration with Bruno Mars. The two are tied once again on a Billboard ranking as "Apt." continues to stand out as one of the biggest hits in America. Rosé Ties Jimin's All-Time Streaming Record "Apt." returns to the top 40 on the Streaming Songs chart, Billboard's roster of the most-played tracks on platforms like Spotify, Amazon Music, Apple Music, iHeartRadio, Tidal, and others. As it ascends from No. 41 to No. 37, Rosé's team-up with Mars reaches 34 weeks somewhere on the all-genre tally. "Apt." is now tied with 'Who' for the honor of being the third-longest-running win by any K-pop musician in the history of the Streaming Songs roster. Psy Will Likely Always Be the Winner 'Gangnam Style' by Psy, which helped kick off the K-pop craze that continues to this day, is easily in first place on this historic list. That breakout smash remained on the chart for an amazing 122 weeks, and his is a record that will likely never be beaten. "Baby Shark," which comes from South Korean brand Pinkfong, managed 59 stays on the Streaming Songs chart. Rosé will almost certainly beat Jimin's record next week, but she has a long way to go before tying — and perhaps even topping — Pinkfong. It seems almost impossible that the Blackpink superstar, or anyone for that matter, will ever catch up to Psy, who may hold onto that special honor forever. 'Apt.' Remains a Massive Hit in America "Apt." remains a major hit across all consumption methods in the U.S. While the tune is declining on both the Digital Song Sales and Radio Songs charts, it sits in loftier positions there than on the Streaming Songs ranking. Rosé's breakout smash lives at No. 21 on the Digital Song Sales chart and No. 27 on the Radio Songs list, and it remains a top 10 hit on both of Billboard's global tallies.
