Is Monday Morning Officially Tyler, The Creator Time Following the No. 1 Debut of ‘Don't Tap the Glass'?
With just a couple days' notice, Tyler released new set Don't Tap the Glass the morning of July 21 — a Monday, already three-plus days into the Friday-starting tracking week — about nine months after dropping Chromakopia at the same time of the week. And like Chromakopia, which bowed at No. 1 with 299,000 first-week units (according to Luminate), Glass also debuts at No. 1, albeit with fewer units moved (197,000).
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Has Tyler's Monday-release strategy been validated by the back-to-back No. 1s? And will this be his first year ranking among the country's top tier of pop stars? Billboard staffers answer these questions and more below.
1.debuts at No. 1 with 197,000 first-week units. Is that number lower, higher or about what you would've expected for the album's bow?
Mackenzie Cummings-Grady For only four days worth of numbers, that number is very high. It's right in line with what I would think a Tyler release would do at this point. His fans have become unbelievably rabid and cult-like, and will devour anything he drops regardless of what day of the week it is.
Kyle Denis: This is about what I expected. I was hoping it would be able to inch past the 200,000-unit mark, but it's hard to be unhappy with 197,000 units in just four days of tracking.
Angel Diaz: That number is very impressive being that it really didn't have a rollout and Chromakopia dropped less than a year ago. I think this leaves no doubt that Tyler is not only one of the biggest rappers out, but also one of music's biggest acts. He deserves to be mentioned with the likes of Beyonce, Taylor Swift, Drake, Kendrick, etc. He has the numbers to back it up.
Jason Lipshutz: Higher. Even with the understanding that Tyler is unquestionably an A-list star in popular music, earning a nearly 200k first-week bow with a surprise album, in a shortened chart week, less than a year after his last album, represents an over-the-top success. Last year, Chromakopia represented a smash — and one of Tyler's strongest front-to-back listens to date — so to come up with another of those so quickly highlights just how scorching Tyler's current hot streak is at this point.
Andrew Unterberger: Maybe a little lower, just because that Chromakopia number is a full 100k higher. But then again, 197k is still more than Justin Bieber was able to do with a surprise drop in a full week — which is pretty damn crazy to think about when you zoom out on it.
2. Between this and 2024's , it's been two straight early-Monday album releases for Tyler, The Creator. Do you think the responses to the two albums so far justifies this unconventional release strategy for him?
Mackenzie Cummings-Grady: Absolutely. It also just shows the power of his fanbase. His supporters are following him specifically as an entity, rather than just routinely checking in for new music every Friday. The fans follow Tyler's every move, and with listeners that dedicated it's clear Tyler can keep dropping whatever he wants whenever he wants.
Kyle Denis: Undoubtedly. For two LPs in a row, Tyler has charted the entire tracklist on the Hot 100, pulled in over 100,000 pure sales first-week, and over 90 million opening week on-demand official streams. Already an A-tier music star, Tyler's mid-week releases have allowed him to truly create a spectacle out of his albums that dominates the cultural conversation for the following week and weekend. The tracking week may be shorter, but each album's time in the zeitgeist lasts a bit longer than the timeframe a traditional Friday release might have yielded.
Angel Diaz: I definitely think the response justifies this strategy. Now, as a rap writer, I'm not sure which approach I prefer because we have to come up with knee-jerk reactions whether he drops on a Friday or on a Monday. I do appreciate only having to listen to one project on a release day, though. I would like these surprise albums to drop with all the feature and production credits ready to go too, so that we're not playing guessing games as we try to write about them.
Jason Lipshutz: The Monday release strategy is a curious one for a major artist like Tyler, who could have collected much bigger first-week debuts with a standard Friday drop but instead prioritized issuing his albums on a day of the week with zero other competition. The buzz that both Chromakopia and Don't Tap the Glass generated upon their respective releases makes up for the missed first-week album units, though: this strategy underlines the fact that Tyler cares less about streaming metrics and more about creating an authentic moment for listeners, an anti-commercial artistic philosophy that has surely been compelling for fans.
Andrew Unterberger: Basically. But selfishly, I would like to see him go back to the Friday release on his next one — maybe even with a little more of a promo rollout — just because I want to see what kind of full-first-week number Tyler can pull at his absolute commercial peak.
3. Largely due to the album's mid-week release, the album only charts one song in the Hot 100's top 40 ('Big Poe' at No. 33), but launches all 10 tracks onto the Hot 100. Do you see any of them becoming breakout hits from the set, or is it too much about the full album for one track to stand out like that?
Mackenzie Cummings-Grady: I see 'Big Poe' and 'Sugar On My Tongue' branching out a little bit just because of how infectious they are, but at this point I consider Tyler to be an album guy. His fans come for the full experience of his projects, rather than just for a hit song here and there.
Kyle Denis: I think 'Ring Ring Ring' probably emerges as the breakout hit from the set. It's dance-forward, has legitimate potential for a top 40 radio breakthrough and features a timeless interpolation of Cherrelle & Alexander O'Neal's 'Saturday Love.' I'd also keep an eye on 'I'll Take Care of You.'
Angel Diaz: I'd put my money on 'Stop Playing With Me' and 'Don't You Worry Baby' featuring Madison McFerrin as the breakout hits when the dust settles. However, a 10-track album that clocks in at just under 30 minutes makes it easy for the listeners to press play and let it ride. In a couple years kids are going to hear their parents hit play on 'Big Poe' on a Saturday morning and they're gonna know it's time to clean the house.
Jason Lipshutz: 'Sugar On My Tongue' functions like no other Tyler, The Creator tracks that had preceded it, a dance-funk fantasia with more bounce than something like 'EARFQUAKE' and a more propulsive tempo than anything on Chromakopia. This summer has sorely needed a smash hit like 'Sugar On My Tongue,' and I'm guessing it helps highlight the back half of the season on the charts.
Andrew Unterberger: I'll say 'Stop Playing With Me' just because it's the one that already has a (great) music video. But honestly, 'breakout hit' is always sorta relative with Tyler, and I think doubly so on this surprise 10-track release. I doubt we'll know what the true fan favorite from the set is until we see which song is unexpectedly still appearing on the Spotify daily charts two years from now.
4. Tyler has never dropped albums in back-to-back years before, nor had a release with such a short rollout. Do you think that means the album will ultimately be considered more of a detour/side project for him, or will it ultimately be viewed on the same tier as his highly acclaimed last few sets?
Mackenzie Cummings-Grady: It feels more like a side project, and with Tyler telling us prior to its release to keep our expectations in check, it's safe to say he feels the same way. Whether it goes on to be as highly acclaimed as his other efforts, only time will tell.
Kyle Denis: I think it depends on how he continues to roll the album out. If the Los Angeles no-phones listening party, the New York City pop-up and the album's striking imagery are anything to go by, it's more likely than not that Don't Tap the Glass ends up as respected as any studio LP from Tyler.
Angel Diaz: At first, I felt like this would be a side thing for him, but given the overwhelming positive reaction it's gotten, I can see some folks holding this tape in high regard because it features some of his best production to date. It's also a lot more fun than Chromakopia.
Jason Lipshutz: While Don't Tap the Glass stands apart from Chromakopia sonically, it's hard to separate the two projects right now — especially considering that Tyler is still touring arenas behind Chromakopia. I think that will change over time, though: this is not a Kid A/Amnesiac situation, where a quick follow-up to an album is clearly composed of material from the same studio sessions, and thus tethered loosely together forever. In a few years, these two albums will sound different enough — and represent different sides of Tyler's artistry — that they won't be linked together by their release-date proximity.
Andrew Unterberger: When it comes to end-of-decade or all-time lists that only have one or two spots max available for Tyler albums, I doubt Glass will be one that they go with. But I do think fans will certainly cherish it — it's just so much fun, so unlike any other release in the rap great's catalog, and such a fantastic showcase of him at the peak of his powers. Most importantly, it just keeps his winning streak going, and the one he's on currently can only be rivaled by a handful of artists in all of popular music.
5. Though he's been an honorable mention in 2021 and 2024, Tyler, The Creator has yet to finish in our Greatest Pop Stars year-end top 10. Should he make the list for the first time this year, or does he still have more to prove?
Mackenzie Cummings-Grady: He should definitely make the list. At this point Tyler deserves all the accolades. His power in mainstream music is undeniable.
Kyle Denis: Between Chromakopia's success bleeding into 2025, his massive tour in support of that album and now this new phenomenon of Don't Tap the Glass, I'd say his case damn near solidified.
Angel Diaz: I would like to see the list if Tyler isn't top 10 this year, so I can boo it. He's already one of the biggest rap stars in the world, so that automatically makes him one of the biggest pop stars. He writes his own songs, makes his own beats, makes his own clothes, and always has something to say. He should easily be in the conversation in 2025.
Jason Lipshutz: Definitely. Two big albums (with 2024's Chromakopia carrying hits into 2025), a major tour, significant festival headlining slots and buzz worthy pop-culture moments, with still five months to go? I'd be shocked if he doesn't crash his first top 10.
Andrew Unterberger: It's gonna take a hell of an end to the pop year for this to even be in question.
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Yahoo
2 hours ago
- Yahoo
Everyone is listening to secular praise music. Yes, even you.
Artists like Benson Boone, Teddy Swims and Alex Warren have tapped into a genre of music that sounds religious, but isn't. It's working. 'They say, 'The holy water's watered down, and this town's lost its faith,'' a man sings soulfully. This is not a religious condemnation of the terrible things that have happened on Earth. It's a tune that follows you as it plays on car radios, blasts from the grimy speakers in dive bars and rears its head in countless Spotify playlists. You can't escape it — the deep-voiced crooning of a former TikToker who finally cracked mass virality with a hit that sounds religious but isn't. Those words are the opening lyrics to 'Ordinary,' Alex Warren's 2025 breakout hit, which has now spent seven weeks at No. 1 on the Billboard Hot 100. It's just a love song. And it's everywhere. If its sheer ubiquity hasn't given it away, there's a strong chance 'Ordinary' could become 2025's song of summer, according to Billboard's annual chart. Even when the speed and mood of the song pick up, it stays borderline religious. Warren sings about 'the angels up in the clouds,' the 'hopeless hallelujah on this side of Heaven's gate' and 'at your altar, I will pray, you're the sculptor, I'm the clay.' He references the Bible frequently, but he's talking about his real-life, present-day wife. It sounds religious, but 'Ordinary' is part of a growing genre of secular praise music. 'Close their eyes, lift their hands and transcend the moment' As someone who grew up playing music in church, Americana artist Nate Currin has seen the way religious music gets a physical reaction in its audiences. There's something 'inherently emotional about praise and worship music,' he tells Yahoo, that 'invites people to close their eyes, lift their hands and transcend the moment.' Secular praise music takes that feeling and emotion, harnesses those elements and markets it to both religious and nonreligious audiences. It's a trend now, but it's been around forever. 'Artists have long wrestled with themes of God, heaven, mystery and meaning. Some call it 'Christian' or 'worship,' but to me, it's simply a poetic exploration of the universe and what might lie beyond,' Currin says, citing U2 as an example. 'The continued connection people feel to this kind of music reveals something deeply human — a curiosity, a longing, a hope — that maybe there's more to all of this than what we can see.' So, how do you know if a song is secular praise music? For starters, it sounds like something that might be performed by a band in a church, when the congregation is asked to stand and sing along as they worship God. It's a common occurrence for many Americans — 62% of U.S. adults describe themselves as Christians, according to the 2023-24 Religious Landscape Study from Pew Research Center. Those who go to church are listening to many of the same songs — ones that are trending among other members of their denominations and timeless classics — but the sound of worship music has pervaded even nonreligious airwaves. There are at least four other songs like 'Ordinary' on the Billboard Hot 100 right now, including 'Lose Control' by Teddy Swims (No. 9), 'Beautiful Things' by Benson Boone (No. 16), 'Good News' by Shaboozey (No. 24) and 'Backup Plan' by Bailey Zimmerman featuring Luke Combs (No. 44). Take me to church Secular praise songs like these include poetic verses that build to a striking, emotional chorus that singers belt at the top of their lungs. The lyrics appeal to members of a community or to someone powerful — a woman, a family member or the concept of a better time — and when they mention God, it's usually as part of a familiar phrase rather than an actual appeal to a spiritual being. Elements of stomping and clapping in the background — or even the addition of a backing choir — only add to the praise song vibe. Tero Potila, a music producer and composer, tells Yahoo that streaming has shaped this format, because now, 'songs must grab the listener's attention quickly and deliver a strong emotional payoff to keep them engaged.' 'From a producer's perspective, the use of reverb, gospel-like chord progressions and dynamic builds all help create a church-like experience — something that uplifts and draws listeners in,' he says. 'Artists like U2 and Coldplay have done this for years, but what's different now is how emotionally raw and direct this style has become.' Take 'Ordinary,' for instance. Mentions of angels and altars distract from the fact Warren is clearly singing about his wife, who's featured in the song's music video. 'You got me kissin' thе ground of your sanctuary. Shatter me with your touch, oh, Lord, return mе to dust,' he sings. His passion borders on sexually suggestive without going explicit. That means it's fine for the radio. One of the biggest radio hits of all time, Teddy Swims's 'Lose Control' has been on the Billboard charts for a whopping 100 weeks — the first song to crack that milestone. It came out in 2023, when Taylor Swift's 'Cruel Summer' and Morgan Wallen's 'Last Night' were ruling the airwaves, and it's still unavoidable. He sings about his desire for the presence of a woman he loves, saying 'I lose control when you're not next to me,' after crooning that 'the devil's knockin' at my door' when he's left alone. He admonishes himself for acting like an 'addict' and giving into 'bad habits' — admitting his flaws and begging for forgiveness — two common elements in worship songs, sung in that context to God rather than a nameless woman. The religious elements of these two songs make them sound vaguely like they could be played in church. They aren't overtly explicit, so you could play them on a loudspeaker in mixed company. They're slow with repetitive choruses that are easy to memorize, led by smooth, easily digestible voices. All those elements make it easy for them to become radio hits. And once a song is in a radio station's rotation, it's hard for it to get out — just look at 'Lose Control' and Benson Boone's 'Beautiful Things,' which has been on the Billboard Hot 100 for 77 weeks and is still No. 16. That makes it a mainstay on the chart and feeds into its streaming success. These are artists that the music industry sees as culture-making budding superstars — it's no coincidence that Teddy Swims, Benson Boone and Shaboozey were all Best New Artist nominees at the 2025 Grammys. 'Big, cathartic hooks' Though secular praise music is clearly a huge trend at the moment, it's not a new phenomenon. In addition to Coldplay and U2's use of praise music sound in rock, alternative artists like Florence + The Machine, Hozier and Mumford & Sons ushered us into a secular praise music era 10 years ago, music consultant and founder of the artistic development program Music Industry Mentor Atlanta Cobb tells Yahoo. 'This trend in big anthemic production and layered choir-like vocals that sounds like it was made from the church is simply coming back around again 10 years later,' she says. 'What's different now is how listeners use music.' Cobb believes that secular praise songs are still the soundtracks of people's big life moments, and we see that a lot with influencers and content creators. They'll record and upload videos of breakups, breakthroughs and gym sessions and edit them down to mini-cinematic masterpieces, backed by songs like 'Ordinary' and 'Beautiful Things.' The millions of viewers who watch those videos feel particularly emotional with those powerful songs in the background. 'And worship-style production works perfectly for these apps that need music with strong builds, releases and certain lyrical hooks, which work for social media usage,' she says. 'It also performs well on streaming. Slower intros give you space to lean in. Big, cathartic hooks get replayed. It's a clever style of writing.' There are a number of bona fide religious songs on the Hot 100 right now, including 'Your Way's Better' by Christian artist Forrest Frank and 'Hard Fought Hallelujah' by Jelly Roll and pastor/singer Brandon Lake, though they haven't found the same success as secular artists emulating religious songs. However, they are appealing to an untapped market for religious bro music and crafting a new genre which musicologist Kelsey McGinnis calls 'barstool conversion rock.' Those songs include heavy doses of masculinity, faith and party culture, though they're undeniably religious. They're borrowing elements from mainstream songs to elevate Christian messages, whereas secular praise music is borrowing elements from Christian music. Crossing over benefits both sides of the aisle. 'Labels are so desperate for community' There's a reason mainstream artists might want to emulate what church bands and Christian artists are doing. Chad Gerber, a Christian musician who first started playing in church bands when he was 6, has a hunch that members of the mainstream music industry may have noticed how religious artists have maintained audiences. 'Churches do not have to chase listeners because their audiences are already part of the community,' he says. 'Labels no longer get that kind of reliable connection from clubs or festivals because everything else is oversaturated and constantly competing with new forms of media.' He explains that praise music has always been functional — it's written to aid worship rather than to simply be listened to. 'Labels are desperate for community because selling community is the only way they make money now,' Gerber says. 'They see the community, the emotional connection and the numbers, so they copy the sound, the feeling and sometimes even the overall aesthetic.' Praise music is meant to be simple so that 'weekend musicians,' or people who play music as a hobby, can easily pick up the songs and perform them for large congregations without extensive rehearsal. 'The formula now is to simplify the song, repeat the chorus to help people engage in worship and repeat that pattern,' he says. 'The congregations respond most to this, so worship pastors give them more of it.' 'Deeply personal, massively shared' With secular praise music, we're going through that same phase. 'Lose Control' and 'Beautiful Things' haven't fallen off the charts as most songs naturally do, which helps to elevate newer, similar-sounding songs like 'Ordinary.' Though these songs walk the line between pop and rock, it's happening in country music as well, as Shaboozey's 'Good News' and Bailey Zimmerman's 'Backup Plan' also hold firm. Unlike their pop-rock counterparts, they're less about women and more about overcoming bad behavior and bad circumstances to achieve something more in life. Keith Urban tells my colleague Taryn Ryder that it's understandable that country songs have become part of the secular praise trend. 'So much of country music is the existence between a hellacious Saturday night and a redemptive Sunday morning pew,' says the country star, who's currently on his High and Alive tour, says. 'That's so much of where country resides is in those dualities of the human experience.' Secular praise music genres transcend country too, according to Amani Roberts, a music professor at Cal State Fullerton who also works as a DJ. She tells Yahoo that in the 1970s, the Isley Brothers and Earth, Wind & Fire weren't technically gospel artists, but they were spiritual. R&B groups in the 1990s like Boyz II Men ('A Song for Mama'), Jodeci ('Forever My Lady') and En Vogue ('Don't Let Go (Love)') used 'gospel-rooted vocals and lyrical arcs of devotion and redemption.' 'These were secular love songs that hit like sermons,' she says. 'What's different now is how genre-blending and streaming culture have made these songs feel both deeply personal and massively shared. We're in a moment where vulnerability isn't just accepted, it's expected.' So, releasing songs with vague religious elements, as well as memorable, anthemic choruses and family-friendly lyrics can unite listeners across the country despite how we're fractured in other ways by algorithms and political tension. 'Musical tastes are cyclical, and this format is resonating right now because people are craving emotional release,' Roberts says. 'We're living in a time where everything feels loud — digitally, socially, politically. These songs slow things down, pull you in gently and then give you that euphoric burst in the chorus. It's a structure that mimics the arc of a personal breakthrough.' Amen. Solve the daily Crossword
New York Post
3 hours ago
- New York Post
Kristine W feared for life on turbulent Delta Air Lines flight
EDM star Kristine W feared for her life when violent turbulence rocked her Amsterdam-bound Delta Air Lines flight Wednesday, sending 25 passengers to hospital. Now, the 'The Boss' songstress believes she has a concussion after she was sent flying into the overhead compartment aboard the rattling Airbus A330-900, a model of aircraft her lawyers allege has a history of malfunctions and shouldn't have been cleared to fly. 'It was absolutely horrifying … I've been performing for 40 years and I've been on airplanes all over the world, and I've never experienced anything like that. I thought, 'We were not going to make it on this one,'' the singer, whose real name is Kristine Elizabeth Weitz, told The Post in an exclusive interview. 5 Singer Kristine W suffered injuries aboard the turbulent Delta Air Lines flight that made an emergency landing this week. Getty Images for iHeartRadio 'I'm a leukemia survivor, and the last time I felt that kind of terror and hopelessness was when I was diagnosed with leukemia 25 years ago.' Weitz was aboard the fated plane out of Salt Lake City to perform at a festival in Amsterdam — posting a joyful picture of herself and her daughter at the gate shortly before takeoff. They were just about an hour into the flight when the attendants were serving drinks and the plane, which can seat more than 250 people, began rattling violently. Passengers were thrown around with food carts and other belongings flying through the cabin. The turbulence came out of nowhere, so the seatbelt light was still off, Weitz recalled. 5 Weitz and her daughter seen smiling at the gate before the flight. Kristine W /Instagram The 17-time Billboard chart topper was wearing the restraint loosely anyway, but it wasn't enough to hold her down or keep her from smashing into the plastic overhang of her window seat. 'I had broken the plastic up in the roof above my head,' said Weitz, adding that the force was so great that she also has bruises on her hips from her seatbelt. Her daughter, Elizabeth, who was sitting elsewhere in the plane, remained in her seat, but suffered whiplash and back pain. One of the flight attendant carts tipped over her during the turbulence and covered her in food and liquids, she said. 5 Weitz suffered bruising from her seatbelt, seen her over an existing surgery scar. Courtesy of Evan Oshan The pair watched other passengers suffer more violent injuries, including one man who was fully lifted out of his seat. The aircraft made an emergency landing Minneapolis-St. Paul International Airport, where 25 people were carted away to hospitals. Weitz claims she was not seen by emergency services because the responders only paid attention to those who were 'bleeding.' 'They didn't seem ready to handle an incident like that at all. That was the most terrifying part, was watching the disarray,' the singer said. 'We're told they're trained to know what to do with emergencies like this and, wow … that was not the case.' 5 The ceiling sustained damage after some passengers were thrown into the air. Courtesy of Evan Oshan The dance music superstar fears that the incident will have lasting effects both physically and mentally — she's awaiting doctors to confirm her fears that she suffered a concussion, but is more concerned that her anxiety will prevent her from boarding planes in the future. Weitz is currently in Amsterdam for a festival, but says she only made it overseas because of contract obligations: 'I'm not sure, cognitively, if I can remember my lyrics.' Now, her legal team is calling for Delta to ground all Airbus A330-900 aircraft so a federal probe can investigate a string of malfunctions associated with the fleet. 'We believe this was a predictable and preventable occurrence,' said Evan Oshan of Oshan and Associates, who is working with Daily Jones Law Group as co-counsel. 5 Carts carrying food and drink spilled across the cabin, including some items that drenched Weitz's daughter. Facebook / Ricardo Hoogesteger Lawyers filed a formal complaint with the Federal Aviation Administration Friday, alleging that the fleet has a history of critical flight system malfunctions, a pattern of emergency landings and go-arounds, and more. 'They have to find out what was wrong with that plane and what happened, because no one should experience anything like this,' said Weitz. The National Transportation Safety Board said its investigation was too preliminary to determine whether the aircraft had pre-existing defects. Delta Air Lines would not provide new information, and the FAA did not respond to request for comment.
UPI
4 hours ago
- UPI
Trailblazing country music singer Jeannie Seely dies at 85
Hosts Luke Bryan (left), Jeannie Seely and Peyton Manning introduce Miranda Lambert during the 56th Annual Country Music Awards at Bridgestone Arena in Nashville, Tenn., on Nov. 9, 2022. Seely died at 85 on Friday. File Photo by John Angelillo/UPI | License Photo Aug. 2 (UPI) -- Singer Jeannie Seely, who helped transform the image of women in country music, has died. She was 85. Seely died Friday in a hospice in the Nashville area, the Country Music Association said, and her publicist, Don Murray Grubbs told told The Tennessean that she died after an intestinal infection. Seely made her debut at Nashville's Grand Ole Opry in 1966 when she was 25, going on to make 5,397 appearances, including her last appearance on Feb. 22, more than any other performer appearing there. "While I've had the privilege of working with Jeannie Seely over the past 25 years, my immediate grief is deeply personal," Country Music Association CEO Sarah Trahern said. "She mentored countless artists, especially women, and while they learned from her confidence and wit, she reminded us she was learning from them too. That humility was part of her magic." Seely became the first woman to host the Grand Ole Opry show, and in 1985 was the first woman to host a half-segment of the Opry. "I feel very fortunate to be part of the Opry tradition and I truly am indebted to all the wonderful fans who have supported me over the years," Seely once said, according to Between 1966 and 1974, she had more than a dozen Top 40 country hits, including Don't Touch Me, which reached No. 2 on the Billboard country chart and appeared on the mainstream Hot 100. A variety of other singers, including folk singer Carolyn Hester, reggae artist Nicky Thomas and soul music legend Etta James, recorded versions of the the song, which favors emotional commitment over sexual gratification. That song earned her the Grammy Award for Best Female Country Vocal Performance in 1967. It was written by Hank Cochran, who became her husband. They later divorced in 1979, and in 2010 she married Nashville lawyer Gene Ward, who died last year. Other hit singles of heres included All Right (I'll Sign the Papers) in 1971 about divorce; Welcome Home to Nothing in 1968 about a marriage gone bad and Take Me to Bed in 1978. "I think of myself as a feminist," she said. "My idea of 'feminist' is to make sure that women have the same choices that men have always had, and that we are respected for our roles -- whatever they are -- as much as any man is respected for his." Seely changed the image of performers with her songs and wearing miniskirts and go-go boots, including on the usually conservative Opy stage. "I was the main woman that kept kicking on that door to get to host the Opry segments," Seely told the Nashville Scene newspaper in 2005. "I used to say to my former manager Hal Durham, 'Tell me again why is it women can't host on the Opry?' He'd rock on his toes and jingle his change and say, 'It's tradition, Jeannie.' And I'd say, 'Oh, that's right. It's tradition. It just smells like discrimination.'" Seely was born on July 6 in Titusville, Pa., and later changed her name from Seeley to Seely. She first performed on radio station WMGW in Meadville, Pa., at 11 years old. Seely worked at Imperial Records in Hollywood, Calif., as a secretary. She wrote the song Anyone Who Knows What Love is (Will Understand) with Randy Newman and two other collaborators. It reached the the Hot 100 in a version by Irma Thomas in 1964. Boyz II Men and others more than 50 years later recorded the song, which was used in episodes of the science-fiction TV series Black Mirror. In 1965, she signed with Challenge Records, which was owned by Gene Autry. Seely moved to Nashville in 1969 with her husband. She signed with Monument Records, where Don't Touch Me was recorded. The singer turned to bluegrass in the 2000's, including singing a duet with Ralph Stanley. In 2005, in her mid 60s, she sang with country singers Kathy Mattea and Pam Tillis in the Nashville production of The Vagina Monologues. Seely was seriously injured in an auto crash in 1977. Earlier this year, she had back surgery and had complications. She had abdominal surgery in April and then contracted pneumonia before celebrating her 85th birthday on July 6. "Over the past several weeks, I've received so many wonderful messages of love and concern about being missed on the Grand Ole Opry and on 'Sundays with Seely' on Willie's Roadhouse," she told fans in May. "Thank you for those, and I assure you that I miss you just as much!" Notable deaths of 2025 Ryne Sandberg Chicago Cubs Chicago Cubs Hall of Fame second baseman Ryne Sandberg waves to the crowd before throwing out a ceremonial first pitch at Wrigley Field in Chicago on October 12, 2015. Sandberg died on July 28 after a battle with cancer at the age of 65. Photo by Brian Kersey/UPI | License Photo
