Film, Télé et Musique
Billboard Magazine

Billboard Magazine June 13, 2020

Written for music industry professionals and fans. Contents provide news, reviews and statistics for all genres of music, including radio play, music video, related internet activity and retail updates.

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United States
MRC Media, LLC
6,90 €(TVA Incluse)
85,53 €(TVA Incluse)
29 Numéros

dans ce numéro

4 min.
dababy & roddy ricch’s ‘rockstar’ rolls to no. 1

DABABY ACHIEVES HIS FIRST BILLBOARD HOT 100 NO. 1 AS “Rockstar” rises from No. 3. Featured artist Roddy Ricch adds his second leader, after “The Box” dominated for 11 weeks beginning in January. The track — from DaBaby’s album Blame It On Baby, which bowed at No. 1 on the Billboard 200 in May — posts a third week atop the Streaming Songs chart, with 34.8 million U.S. streams in the tracking week, according to Nielsen Music/MRC Data. It lifts 5-4 on Digital Song Sales with 11,000 sold and pushes 44-36 on Radio Songs with 20 million audience impressions. As “Rockstar” supplants Lady Gaga and Ariana Grande’s “Rain on Me,” at No. 5 on the Hot 100 a week after debuting at the summit, Interscope Records banks back-to-back leaders for the first…

2 min.
billboard 200

Gaga’s Sixth No. 1 Lady Gaga notches her sixth No. 1 album on the Billboard 200 with the chart-topping debut of Chromatica. The set starts with 274,000 equivalent album units earned in the United States during the week ending June 4, according to Nielsen Music/MRC Data — the biggest week for any album by a woman in 2020. In addition, Chromatica is just the second title by a woman to hit No. 1 in 2020, following Selena Gomez’s Rare in January. Notably, 65,000 of Chromatica’s first-week units are streaming-equivalent album units. That sum equals 87.2 million on-demand streams of the set’s songs — the biggest streaming week for a non-R&B/hip-hop or Latin album in 2020. Elsewhere on the Billboard 200, G Herbo’s PTSD flies 143-19 (27,000 units; up 260%) after it was reissued…

5 min.
wmg + ipo = omg!

ON JUNE 3, WARNER Music Group went public in the year’s biggest stock offering, and its share price rose 39% over the next two days. The company itself didn’t raise any money — the shares were sold by Len Blavatnik’s conglomerate, Access Industries — but it’s now worth $15.8 billion based on its $31 per share closing price on June 8. After selling $1.86 billion in stock and adding dividends and management fees, Access has taken out $3.34 billion from Warner — slightly more than the $3.3 billion Blavatnik bought the company for in 2011. More important, WMG’s initial public offering marks the music industry’s triumphant return to Wall Street after years spent searching for a sustainable business model. The last recorded-music company to be publicly traded was also Warner Music,…

3 min.
‘a real opportunity for change’

THE WEEK AFTER George Floyd’s killing on May 25 and the protests that followed, Universal Music Group, Sony Music Entertainment and Warner Music Group all launched multimillion-dollar initiatives to fight racism and support social justice, with pledges to curb bias endured by black artists, executives and staffers. It’s not the first time the business has tried to tackle these problems. But UMG executive vp/general counsel and Def Jam interim chairman/CEO Jeff Harleston believes that this effort will lead to real, sustained change. “The particular ingredients that have gone into where we are now have created more opportunity,” says Harleston, who UMG just announced will co-chair the company’s Task Force for Meaningful Change with Motown Records president and Capitol Music Group executive vp Ethiopia Habtemariam. “Certainly, the black community is saying this…

5 min.
dear white music executives

You want to know what it’s like to be a black executive in the music business? Here’s the first major lesson you’re taught: You have to work twice as hard for half the accolades of your white counterparts. Fifteen years ago, when I was starting out in the industry, this was rationalized because the overwhelming share of music industry revenue was generated from pop projects and white artists. But it was foolish of us to assume the playing field would be leveled now that Black Music dominates the streaming platforms that saved the business. For the one or two of us who do prove to be successful time and time again, there’s a head of Black Music title waiting for us. In that role, we will have to report to a…

8 min.
ben mawson & ed millett

AT THE END OF MARCH, THE TAP Music team gathered virtually — calling in from New York, Los Angeles, London and elsewhere — to celebrate the release of Dua Lipa’s highly anticipated second album, Future Nostalgia. The album debuted and peaked at No. 4 on the Billboard 200 (dated April 11) — and set an early precedent for how to successfully promote a project under a pandemic lockdown, including late-night performances in front of green screens and at-home photo shoots. Two months later, on June 2 — when the industry honored #TheShowMustBePaused, an initiative to recognize and take action against police brutality following the murder of George Floyd — the team’s companywide Zoom had a far more somber tone. Artist managers and TaP Music co-founders/co-CEOs Ben Mawson, 42, and Ed Millett, 41,…