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Billboard MagazineBillboard Magazine

Billboard Magazine March 30, 2019

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.

Country:
United States
Language:
English
Publisher:
Prometheus Global Media
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29 Issues

IN THIS ISSUE

access_time4 min.
women are dominating the hot 100

JUST THREE MONTHS into 2019, solo women in lead roles have already matched the time that they spent at No. 1 — 11 weeks — on the Billboard Hot 100 in all of 2018. Ariana Grande’s “7 Rings” rules the chart (dated March 30) for (aptly) a seventh week, matching her first No. 1, “Thank U, Next,” for her personal best. The songs are key to women’s chart supremacy in 2019, along with Halsey’s “Without Me” and Lady Gaga and Bradley Cooper’s “Shallow.” Women’s 2018 and 2019 sums outpace 2017’s — eight weeks, this decade’s low atop the Hot 100 — but pale in comparison to their high point during the last 10 years: 37 weeks at No. 1 in 2011, when Gaga, Adele, Katy Perry, Rihanna and Britney Spears took turns…

access_time1 min.
a letter from the editor

THIS MONTH, WE AT Billboard were devastated to learn that one of our editors had violated our professional standards by sending inappropriate messages to an artist. Although we immediately investigated and subsequently terminated the employee for inappropriate conduct, seven others subsequently came forward to bring further awareness to this matter. As the new editorial director of Billboard, I want to extend a heartfelt apology to anyone who was made to feel uncomfortable or was victimized by a representative of our company. We take such behavior extremely seriously and deeply appreciate the emerging-artist community alerting us to it, a courageous move for a particularly vulnerable group. While the editor in this case oversaw our Pride vertical, it’s important to note that we by no means see this as an LGBTQ-specific issue. During the…

access_time5 min.
billboard

Hannah Karp EDITORIAL DIRECTOR Robert Levine INDUSTRY EDITORIAL DIRECTOR Ian Drew CONSUMER EDITORIAL DIRECTOR Nick Catucci EXECUTIVE EDITOR, MAGAZINE Frank DiGiacomo EXECUTIVE EDITOR, INVESTIGATION/ENTERPRISE Silvio Pietroluongo SENIOR VICE PRESIDENT, CHARTS AND DATA DEVELOPMENT Ross Scarano EXECUTIVE EDITOR, MUSIC Denise Warner EXECUTIVE EDITOR, DIGITAL Christine Werthman MANAGING EDITOR Jennifer Martin Laski PHOTO AND VIDEO DIRECTOR Melinda Newman EXECUTIVE EDITOR, WEST COAST/NASHVILLE Jason Lipshutz SENIOR DIRECTOR, MUSIC Dan Rys NEWS DIRECTOR Leila Cobo (Miami) VICE PRESIDENT, LATIN INDUSTRY LEAD Gail Mitchell EXECUTIVE DIRECTOR, R&B/HIP-HOP Thom Duffy EXECUTIVE DIRECTOR, POWER LISTS EDITORIAL FEATURES EDITOR Rebecca Milzoff • COPY CHIEF Chris Woods • INTERNATIONAL EDITOR Alexei Barrionuevo • AWARDS EDITOR Paul Grein • SENIOR CORRESPONDENT Dave Brooks (Touring/Live Entertainment) • SENIOR EDITOR/ANALYST Ed Christman (Publishing/Retail) • COUNTRY CORRESPONDENT Annie Reuter • SENIOR COPY EDITOR Christa Titus • COPY EDITORS Catherine Lowe, Silvija Ozols, Diane Snyder • SENIOR EDITOR Lyndsey Havens…

access_time5 min.
music’s endangered species

DURING THE PAST EIGHT years, Jim Cressman has built a small but profitable business bringing rock and country shows to Canada’s smaller markets. In 2017, a competitor came calling, asking if he wanted to work on bigger tours in larger markets. The offer intrigued him. But he thought about his life with his young family in British Columbia, considered the grind that awaited him if he sold and essentially told his corporate suitors, “Thanks, but no thanks.” $10.8B Live Nation’s revenue for 2018, according to its year-end financial report “I’m just not as motivated by money as I used to be,” jokes Cressman, whose company Invictus Entertainment has successfully booked sprawling Canadian tours for artists like John Mellencamp and Brett Kissel, the latter of whom played 100 shows in one outing. “They…

access_time3 min.
eu to youtube: pay up!

Record labels, publishers and creators welcomed unprecedented legislation that will change how online platforms like YouTube operate in Europe — and perhaps worldwide — after the European Parliament voted 348-274 to approve an updated version of the European Union (EU) Copyright Directive. The legislation has been debated for years, and it wasn’t a sure thing. The measure that holds internet services responsible for copyright infringement on their platforms proved so controversial that an estimated 100,000 protesters took to the streets before the vote, mostly in cities in Germany and Poland, saying it would lead to online censorship. That measure — originally in Article 13, but moved to Article 17 in the final text — will have the most significant impact on the music business by far. By requiring platforms like YouTube to…

access_time2 min.
who will make mechanicals run?

On March 21, the two groups competing to run the Mechanical Licensing Collective (MLC) created by the Music Modernization Act (MMA) filed their applications with the Copyright Office — and included very different estimates of how much it would cost. The Industry Consensus Group (ICG), sponsored by the National Music Publishers’ Association (NMPA) and endorsed by many mainstream U.S. music organizations and trade groups, projects startup costs of $26 million to $48 million, and an annual operating cost of $25 million to $40 million, in line with the $30 million a year estimated by the Congressional Budget Office. But the competing American Mechanical Licensing Collective estimates it can start and run the MLC for five years for a total of $44 million. In other words, the online services that have to foot…

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