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category_outlined / Film, Télé et Musique
Billboard MagazineBillboard Magazine

Billboard Magazine January 12, 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.

Pays:
United States
Langue:
English
Éditeur:
Prometheus Global Media
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29 Numéros

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access_time4 min.
halsey sittin’ up there, at no. 1

HALSEY EARNS HER second No. 1, and first in a lead role, on the Billboard Hot 100 with “Without Me.” In 2016, the singer-songwriter spent 12 weeks at the summit as a guest on The Chainsmokers’ “Closer.” “Without Me,” which is rumored to chronicle Halsey’s breakup with rapper G-Eazy, reigns with 95.5 million in airplay audience, 32.4 million U.S. streams and 39,000 downloads sold in the tracking week, according to Nielsen Music. Halsey performed the song on Dick Clark’s New Year’s Rockin’ Eve on ABC. Thanks to the song, Capitol Records celebrates its first Hot 100 chart-topper in nearly five years, since Katy Perry’s “Dark Horse” (featuring Juicy J) spent four weeks at No. 1 beginning Feb. 8, 2014. “Without Me” brings a portion of a prior hit to the top of the…

access_time4 min.
braving the market roller coaster

THE LAST TIME THE stock market crashed, in 2008, CD sales had cratered, summer tours were canceled and one of the major record labels faced serious business problems. Now, as the recent stock market decline hints at the possibility of a recession, analysts say the music business may be healthy enough to withstand it better than other sectors. “The economics of the music industry have stabilized,” says Tim Jorstad, business manager for Journey and The Doobie Brothers and chairman of AltaPacific Bank. “And even in a recession, people spend their money going to movies and concerts.” Unlike in 2008, when record companies had yet to transition from 99 cent download sales to streaming, and top concert-ticket prices had ballooned over 760 percent from 1998, pricing fans out, the music business is reasonably…

access_time3 min.
lobbying the ‘napster generation’

AFTER A YEAR-AND-A-HALF transition, Mitch Glazier just became chairman/CEO of the RIAA, succeeding Cary Sherman, who retired in December after more than 20 years at the organization. “Cary is such an icon that I came in today feeling like I was walking into dad’s office,” Glazier told Billboard on Jan. 2. His first official act: promoting to COO Michele Ballantyne, who will manage the organization on a day-to-day basis. “This plays to both her talents and the needs of the organization,” says Glazier. “She’s a phenomenal manager who has great relationships within the music communities in Nashville, New York, Los Angeles and everywhere else.” Glazier, who has worked at the RIAA since 2000, played a key role last fall in pushing the Music Modernization Act over the finish line, forging a last-minute…

access_time4 min.
streaming keeps the biz soaring

The U.S. music industry chalked up its fourth consecutive year of growth in 2018 thanks to streaming, with audio consumption units up 23.3 percent to nearly 618 million, from 501.1 million units in 2017. When factoring in on-demand video, total consumption units showed a 7.1 percent increase, to 695.3 million units (album sales plus track-equivalent albums plus streaming-equivalent albums). The boost was fueled by total on-demand streams growing to 901 billion, a whopping 42.6 percent increase from 631 billion streams in 2017 — on top of a 43 percent increase last year. Audio on-demand streams rose to 611.1 million, a 49.4 percent increase over the 409.1 million streams counted in 2017; video on-demand streams totaled nearly 290 million, a 30.3 percent increase over the 222.5 million counted in the prior year.…

access_time6 min.
danny bennett

THREE YEARS AGO, WHEN Universal Music Group chairman/CEO Lucian Grainge and executive vp Michele Anthony approached Danny Bennett about helming the newly formed jazz-classical hub Verve Label Group, he flashed back to such iconic Verve artists as Dizzy Gillespie, Ella Fitzgerald and Stan Getz. “I’m thinking, literally, ‘These were my aunts and uncles,’” says Bennett. “Dizzy would freak out if he knew that I’d be the keeper of the flame of his works.” The son of Tony Bennett, whom he has managed since 1979, grew up surrounded by the late legends whose legacies he now protects. Since taking over from David Foster in May 2016, Bennett oversees Verve, Decca Broadway and UMG’s U.S. classical labels, including Decca Gold and Universal Music Classics, the stateside home to European imprints like Deutsche Grammophon…

access_time4 min.
‘the mood has changed’

DURING THE PAST TWO DECADES, the major labels have gone from riches to rags — and, more recently, to a remarkable recovery. But some of the online services driving that comeback are now competing with them to sign artists, and the success of independent acts like Chance the Rapper has raised questions about the value of labels in a business increasingly driven by streaming. 658 New artist signings by major labels in 2017, a 12 percent increase over 2014 According to a new report by Larry Miller, a professor in the music business program at New York University’s Steinhardt School, though, labels remain as valuable as ever — they’ve just morphed into service providers, with much deeper experience in some areas than their new digital rivals. (The report, Same Heart, New Beat:…

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