The stars of Drake’s hour long video aren’t the pretty girls, or jet set lifestyle, or even Drake’s opening interpretive dance number.

No, the main attraction is a segment featuring his petite blonde mom Sandy, smoking, and her two girlfriends hanging out and having drinks, getting manicures, shopping at Chanel, and even riding in the back of one of the many limos. Drake loves them, and they are certainly a welcome relief in an otherwise plotless film. I wish we’d spent more time with them. I have a lot of questions, such as how they like the opening song that features the line, “I’ll smack that ass until I leave a print.”

“FOMO” has 4.5 million views on YouTube. On the Apple streaming chart, he’s lodged around 15 tracks, a similar number to the songs in the video (21, thanks to the commenter). But on iTunes, just three songs. The “FOMO” credits are a must read, mostly for all the samples.

It’s Drake’s world, and we just live in it. All of this takes place in Canada, but so far no tariffs are involved.

PS I wish “SNL” could do parody of this. Maybe Kenan Thompson could be Drake, and Sarah Sherman his mother. This is really where we needed Chloe Fineman.

Ella Langley’s “Choosin’ Texas” has set records this year for being at the top of the charts. But doesn’t it sound familiar? It reminded me of Albert Hammond’s 1972 hit, “It Never Rains in Southern California.” Hammond has been in situations like this before. Radiohead’s “Creep” is based on his “The Air That I Breathe” that he wrote for the Hollies. So I called him up and asked him to take a listen. He did, and Hammond says Langley’s song does sound a lot like his — only his is better. Imitation is the sincerest form of flattery, right? I sort of stuck them together. But if you can make a mashup of the two hits, send it along to showbiz411@gmail.com.

Well, it’s not like she wasn’t warned.

Miley Cyrus jumped from Columbia Records, where she’d been under the corporate umbrella — RCA records originally — for her whole career.

Thinking the relationship was worn out, Miley made a big deal of going to Atlantic Records — just as Ed Sheeran was leaving after his whole career.

Atlantic was an odd choice. They are not prospering. It wasn’t like she went to Republic or anywhere at Universal Music.

So now we have her “Bass Persuades” album on Atlantic. It’s a dance record, it’s beautifully produced, and there’s no reason why tracks like “Let’s Get Married” or “REDLIGHTS” aren’t hits out of the box. For me to say I’m impressed by the production, you know it’s good.

Alas, the album is a non starter. The bass hasn’t persuaded anyone. Hitsdailydouble.com is now predicting first week sales of 40-45,000 copies. In other words, the album is dead.

This has to be a tremendous disappointment to Miley and her team, who worked hard making this record. But they did nothing to market it. First there was the story I reported that she was set to do the cover of Vanity Fair but backed out at the last minute.

Then, you have the release this week. There’s no sign of her anywhere on TV — no Kimmel or Fallon, no Today or GMA, no CBS Sunday morning. No MTV VMAs this weekend. She’s playing the Hollywood Bowl on October 16th end 18th, which is cool but the album will be long gone by then.

Is it Atlantic’s fault? Or are we seeing a management issue? This is exactly what happened with her last album, on Columbia. She’s the common denominator. But after 20 years in showbiz, and 10 albums, my guess is no one can tell her anything. What a shame. This was a blown opportunity.