FEED Validator

Congratulations!

This is a valid RSS feed.

Recommendations

This feed is valid, but interoperability with the widest range of feed readers could be improved by implementing the following recommendations.

• line 25, column 0: Use of unknown namespace: com-wordpress:feed-additions:1 (11 occurrences) [help]

  <site xmlns="com-wordpress:feed-additions:1">200641670</site>	<item>
  

• line 83, column 0: content:encoded should not contain decoding attribute (19 occurrences) [help]

  						<img decoding="async" class="c-lazy-image__img lrv-u-background-color- ...
  

• line 83, column 0: content:encoded should not contain data-lazy-src attribute (15 occurrences) [help]

  						<img decoding="async" class="c-lazy-image__img lrv-u-background-color- ...
  

• line 83, column 0: content:encoded should not contain data-lazy-srcset attribute (15 occurrences) [help]

  						<img decoding="async" class="c-lazy-image__img lrv-u-background-color- ...
  

• line 83, column 0: content:encoded should not contain data-lazy-sizes attribute (15 occurrences) [help]

  						<img decoding="async" class="c-lazy-image__img lrv-u-background-color- ...
  

• line 452, column 0: content:encoded should not contain iframe tag (4 occurrences) [help]

  <iframe loading="lazy" class="youtube-player" width="640" height="360" src=" ...
  

• line 466, column 9: content:encoded should not contain relative URL references: /music/dmx (16 occurrences) [help]

  </div>]]></content:encoded>
           ^

• line 1682, column 0: content:encoded should not contain script tag [help]

  <p><iframe title="First Week Vinyl Sales" aria-label="Bar Chart" id="datawra ...
  

• line 2514, column 0: content:encoded should not contain sizes attribute (4 occurrences) [help]

  <figure class="wp-block-image size-large"><img decoding="async" width="1240" ...
  

Source: https://www.billboard.com/pro/feed/

1. <?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
2. xmlns:content="http://purl.org/rss/1.0/modules/content/"
3. xmlns:wfw="http://wellformedweb.org/CommentAPI/"
4. xmlns:dc="http://purl.org/dc/elements/1.1/"
5. xmlns:atom="http://www.w3.org/2005/Atom"
6. xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
7. xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
9. xmlns:georss="http://www.georss.org/georss"
10. xmlns:geo="http://www.w3.org/2003/01/geo/wgs84_pos#"
11. >
12.  
13. <channel>
14. <title>Pro Posts &#8211; Billboard</title>
15. <atom:link href="https://www.billboard.com/pro/feed/" rel="self" type="application/rss+xml" />
16. <link>https://www.billboard.com</link>
17. <description>Music Charts, News, Photos &#38; Video</description>
18. <lastBuildDate>Thu, 02 May 2024 21:26:12 +0000</lastBuildDate>
19. <language>en-US</language>
20. <sy:updatePeriod>
21. hourly </sy:updatePeriod>
22. <sy:updateFrequency>
23. 1 </sy:updateFrequency>
24. <generator>https://wordpress.org/?v=6.4.4</generator>
25. <site xmlns="com-wordpress:feed-additions:1">200641670</site> <item>
26. <title>AI Deepfakes Beware: Copyright Infringement Can Cost Up To $150,000 Per Copied&#160;Work</title>
27. <link>https://www.billboard.com/pro/ai-deepfakes-beware-copyright-infringement-cost-big-money/</link>
29. <dc:creator><![CDATA[Dan Rys]]></dc:creator>
30. <pubDate>Thu, 02 May 2024 21:26:06 +0000</pubDate>
31. <category><![CDATA[Business]]></category>
32. <category><![CDATA[Tech]]></category>
33. <category><![CDATA[artificial intelligence]]></category>
34. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235671756</guid>
35.  
36. <description><![CDATA[Vocal imitations like 2Pac’s verse on Drake's song "Taylor Made Freestyle" can’t be made without ingesting original works. Is that legal?]]></description>
37. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
38. <div class="pmc-paywall">
39.  
40.  
41.  
42.  
43.  
44.  
45.  
46.  
47.  
48.  
49.  
50.  
51. <p
52. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
53. >
54. Drake’s track with an AI 2Pac verse didn’t last long. A day after the Tupac Shakur estate <a  href="https://www.billboard.com/pro/tupac-shakur-estate-drake-diss-track-ai-generated-voice/"  >threatened to sue Drake</a> for using an AI imitation of the later rapper’s voice on “Taylor Made Freestyle,” he <a  href="https://www.billboard.com/music/rb-hip-hop/drake-removes-taylor-made-freestyle-ai-tupac-snoop-1235667030/"  >took down the recording</a>. In using 2Pac’s voice, though, Drake opened yet another important debate about generative AI that reveals just how risky the business is — and how rightsholders may have more power to shape it than they realize.</p>
55.  
56.  
57. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
58. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
60. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
61.  
65. Related
67. </h3>
68. </div>
71. <div class="o-card lrv-u-flex lrv-u-width-100p">
72.  
73. <a  tabindex="0"  href="https://www.billboard.com/pro/tupac-shakur-estate-drake-diss-track-ai-generated-voice/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
76. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
79. <div class="c-lazy-image  lrv-u-height-100p">
81. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
83. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2023/07/Tupac-1994-Source-Awards-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="Tupac Shakur" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
85. </div>
87. </div>
90. </div>
92. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
96. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
97.  
99. </span>
101. <div class="o_category ">
102. </div>
103.  
104. <div class="c_title ">
106. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
107.  
111. Tupac Shakur’s Estate Threatens to Sue Drake Over Diss Track Featuring AI-Generated…
113. </h3>
114. </div>
115.  
118. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
119. 04/24/2024
120. </time>
127. </div>
128.  
129. </a>
131. </div>
132. </div>
133.  
134.  
135.  
136.  
137.  
138. <p
139. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
140. >
141. So let’s get legal! In the cease-and-desist letter he sent on behalf of the Shakur estate, lawyer Howard King referenced both Shakur’s personality rights, which encompasses publicity rights, or what some states refer to as likeness rights, plus the copyrights to the rapper’s recordings and songs. Most coverage of this focused on the former issue, since personality rights are relatively straightforward — Shakur’s estate controls the rights to the rapper’s distinctive style. The second gets complicated, since the recording copyrights — and potentially the song copyrights — have less to do with Drake’s use of 2Pac-style vocals than how he was able to create them in the first place.</p>
142.  
143.  
144.  
145.  
146.  
147.  
148.  
149. <p
150. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
151. >
152. To create such a convincing imitation of 2Pac, an AI model would almost certainly have to ingest — and, in the course of doing so, copy — a significant number of Shakur’s recordings. So King, in his letter, demanded from Drake “a detailed explanation for how the sound-alike was created and the persons or company that created it, including all recordings and other data ‘scraped’ or used.” Any answer Drake gave would have taken the issue into legal terra incognita — an AI’s ingestion of recordings and songs would implicate copyright, although it’s not clear if this could be done without a license under fair use. The stakes would be high, though. As opposed to a California right of publicity violation, which would be relatively easy to prove and incur limited damages, copyright infringement is federal and comes with statutory damages of up to $150,000 per work infringed. That means a company that ingests 20 works to create one would be liable a maximum of $3 million.</p>
153.  
154.  
155.  
156. <p
157. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
158. >
159. For the last year, music creators and rightsholders have been talking about generative AI as something that’s coming — the deals they’ll negotiate, the terms they’ll set, the business they’ll do — once they negotiate the right deals. But technology companies <a  href="https://www.nytimes.com/2024/04/06/technology/tech-giants-harvest-data-artificial-intelligence.html"  rel="nofollow"  target="_blank"  >tend to beg forgiveness</a> rather than ask permission, and it seems some of them have already ingested a considerable amount of music for AI without a license. Think about it: None of the major labels have announced deals for AI companies to ingest their catalogs of recordings, but enough recordings have been ingested to make AI vocal imitations of Drake, 2Pac, Snoop — even Frank Sinatra <a  href="https://www.youtube.com/shorts/8khUcJgCk0E"  rel="nofollow"  target="_blank"  >doing</a> Lil Jon’s “Skeet skeet.” That means that a company or companies could be in big trouble. Or that they have a first-mover advantage over their rivals. Or both.</p>
160.  
161.  
162.  
163. <p
164. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
165. >
166. Part of the reason technology companies forge ahead is that deals that involve new technology get complicated. In this case, how do you value a license you’re not sure you need? If you think that companies need a license to ingest music for the purposes of allowing users to make AI vocal imitations — as seems likely — the price for that license is going to be relatively high, with complicated terms, because rightsholders would presumably want to be compensated on an ongoing basis. (It’s insanely difficult to create a fair one-time license to ingest a catalog of music: first, since copyright law controls copying, the licensor would forfeit any control not specified in the contract; second, it would be hard for a potential buyer to raise the kind of money a seller might want, so the economics of ongoing payments make more sense.) If you think that ingestion would fall under fair use — which is very possible in some edge cases but much less so generally — why would you pay a high fee, much less constrain yourself with complicated terms?</p>
167.  
168.  
169. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
170. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
172. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
173.  
177. Related
179. </h3>
180. </div>
183. <div class="o-card lrv-u-flex lrv-u-width-100p">
184.  
185. <a  tabindex="0"  href="https://www.billboard.com/pro/lucian-grainge-potential-ai-innovation-positive-negative-umg-youtube/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
188. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
191. <div class="c-lazy-image  lrv-u-height-100p">
193. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
195. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2022/07/feat-lucian-grainge-billboard-2020-bb2-austin-hargrave-01-1260.jpg?w=237&#038;h=147&#038;crop=1" alt="Lucian Grainge" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
197. </div>
199. </div>
202. </div>
204. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
208. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
209.  
211. </span>
213. <div class="o_category ">
214. </div>
215.  
216. <div class="c_title ">
218. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
219.  
223. Lucian Grainge Weighs In On the ‘Potential’ of AI Innovation — Positive…
225. </h3>
226. </div>
227.  
230. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
231. 08/21/2023
232. </time>
239. </div>
240.  
241. </a>
243. </div>
244. </div>
245.  
246.  
247.  
248. <p
249. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
250. >
251. The legal cases that will tip the scales in one direction or the other will proceed at the speed of litigation, which moves slower than culture, much less technology. The first big case will be against Anthropic, which Universal Music, Concord, ABKCO and other music publishers <a  href="https://www.billboard.com/pro/universal-music-sues-ai-company-using-songs-train-models/"  >sued in October</a> for training an AI on lyrics to compositions they control. (Universal’s agreement with YouTube <a  href="https://www.billboard.com/pro/lucian-grainge-potential-ai-innovation-positive-negative-umg-youtube/"  >on AI principles</a> might make a ruling that this is fair use somewhat less likely, since it shows that major labels are willing to license their music.) There are already other cases in other parts of the media business — <em>The New York Times</em> <a  href="https://www.nytimes.com/2023/12/27/business/media/new-york-times-open-ai-microsoft-lawsuit.html"  rel="nofollow"  target="_blank"  >sued OpenAI and Microsoft</a> in December, for example — and one of them could set an important precedent.</p>
252.  
253.  
254.  
255. <p
256. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
257. >
258. Until that happens — and maybe after, too — there will be settlements. Very few rightsholders have much of an interest in stopping AI — some could in some cases, but it’s a losing battle. What they really want to do is leverage the power they have to destroy, or at least delay, a nascent business in order to shape it. (“The power to destroy a thing is the absolute control over it,” in the words of <a  href="https://en.wikipedia.org/wiki/Paul_Atreides"  rel="nofollow"  target="_blank"  >Paul Atreides</a>, Padishah Emperor of the Known Universe, who might be exaggerating but certainly has a point.) That will give them real power — not only to monetize music with AI but to shape the terms of engagement in a way that, let’s face it, is likely to favor big companies with big catalogs. It will be interesting to see what they do with it.</p>
259.  
260.  
261.  
262.  
263.  
264.  
265.  
266.  
267.  
268.  
269.  
270.  
271. </div>]]></content:encoded>
275. <post-id xmlns="com-wordpress:feed-additions:1">1235671756</post-id> </item>
276. <item>
277. <title>DMX Is Back in the Top 10 of an Airplay Chart With His First Rock&#160;Hit</title>
278. <link>https://www.billboard.com/pro/dmx-five-finger-death-punch-this-is-the-way-top-10-rock-airplay-chart/</link>
280. <dc:creator><![CDATA[Kevin Rutherford]]></dc:creator>
281. <pubDate>Thu, 02 May 2024 20:55:48 +0000</pubDate>
282. <category><![CDATA[Chart Beat]]></category>
283. <category><![CDATA[Music]]></category>
284. <category><![CDATA[bbnews]]></category>
285. <category><![CDATA[Music News]]></category>
286. <category><![CDATA[rock]]></category>
287. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235672165</guid>
288.  
289. <description><![CDATA[The late rapper ranks in a radio chart’s top 10 for the first time since 2001 via Five Finger Death Punch’s “This Is the Way.”]]></description>
290. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
291. <div class="pmc-paywall">
292.  
293.  
294.  
295.  
296.  
297.  
298.  
299.  
300.  
301.  
302.  
303.  
304. <p
305. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
306. >
307. The late <a href="/music/dmx" rel="">DMX</a> returns to the top 10 of a <em>Billboard</em> airplay chart for the first time in over 20 years, and with his first entry on a rock ranking.</p>
308.  
309.  
310.  
311. <p
312. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
313. >
314. <a rel="" href="/music/five-finger-death-punch">Five Finger Death Punch</a>’s <a  href="https://www.billboard.com/music/rock/five-finger-death-punch-dmx-collab-single-this-is-the-way-video-1235649902/"  >“This Is the Way,”</a> which includes vocals by DMX credited in a featured role, lifts 11-10 on the <a rel="" href="/charts/hot-mainstream-rock-tracks">Mainstream Rock Airplay</a> chart dated May 4.</p>
315.  
316.  
317. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
318. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
320. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
321.  
325. Related
327. </h3>
328. </div>
331. <div class="o-card lrv-u-flex lrv-u-width-100p">
332.  
333. <a  tabindex="0"  href="https://www.billboard.com/music/rock/five-finger-death-punch-dmx-collab-single-this-is-the-way-video-1235649902/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
336. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
339. <div class="c-lazy-image  lrv-u-height-100p">
341. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
343. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2024/04/Five-Finger-Death-Punch-This-Is-The-Way-Featuring-DMX-screenshot-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="Five Finger Death Punch Featuring DMX &quot;This Is The Way&quot;" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
345. </div>
347. </div>
350. </div>
352. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
356. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
357.  
359. </span>
361. <div class="o_category ">
362. </div>
363.  
364. <div class="c_title ">
366. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
367.  
371. Five Finger Death Punch Hit Hard With Surprise DMX Collab Single ‘This Is the Way’
373. </h3>
374. </div>
375.  
378. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
379. 04/05/2024
380. </time>
387. </div>
388.  
389. </a>
391. </div>
392. </div>
393.  
394.  
395.  
396.  
397.  
398. <p
399. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
400. >
401. ”This Is the Way” is a mash-up between DMX’s “The Way It’s Gonna Be,” released in 2009, and Five Finger Death Punch’s “Judgement Day,” from the band’s 2022 LP <em>AfterLife</em>. The collaboration is on the deluxe reissue of <em>AfterLife</em>, released in April. In its original form, the set debuted at No. 1 on the Top Hard Rock Albums chart in September 2022 and has earned 266,000 equivalent album units to date.</p>
402.  
403.  
404.  
405.  
406.  
407. <p
408. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
409. >
410. The track is DMX’s first to hit the top 10 of an airplay list since 2001, when “Who We Be” peaked at No. 9 on Rap Airplay, ending a break of over 22 years. He logged six top 10s on Rap Airplay, including the six-week No. 1 “Party Up (Up in Here)” in 2000.</p>
411.  
412.  
413.  
414. <p
415. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
416. >
417. DMX died on April 9, 2021, of a heart attack.</p>
418.  
419.  
420.  
421. <p
422. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
423. >
424. As for Five Finger Death Punch, “This Is the Way” is the five-piece’s 30th top 10 on Mainstream Rock Airplay, third most in the chart’s four-decade history, behind only <a href="/music/foo-fighters" rel="">Foo Fighters</a> and <a href="/music/shinedown" rel="">Shinedown</a>. Of those 30 top 10s, 14 have reached No. 1 – all in a row leading up to “This Is the Way,” an active streak that marks the longest consecutive run of leaders in the chart’s archives.</p>
425.  
426.  
427.  
428. <p
429. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
430. >
431. <strong>Most Top 10s, Mainstream Rock Airplay:<br></strong>32, Foo Fighters<br>31, Shinedown<br>30, Five Finger Death Punch<br>29, Godsmack<br>28, Metallica<br>28, Tom Petty (solo and with the Heartbreakers)<br>27, Disturbed<br>26, Papa Roach<br>26, Van Halen</p>
432.  
433.  
434.  
435.  
436.  
437. <p
438. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
439. >
440. “This Is the Way” concurrently jumps 28-23 on the all-rock-format, audience-based <a href="/charts/rock-airplay" rel="">Rock &amp; Alternative Airplay</a> chart with 1.6 million audience impressions, up 37%, April 19-25, according to Luminate.</p>
441.  
442.  
443.  
444. <p
445. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
446. >
447. Previously, “This Is the Way” ruled the Hard Rock Digital Song Sales chart dated April 20 – DMX’s first leader on any rock ranking and Five Finger Death Punch’s record-extending 17th on the survey. It rises 6-5 on the multimetric <a rel="" href="/charts/hot-hard-rock-songs">Hot Hard Rock Songs</a> tally dated May 4; in addition to its radio airplay, the song earned 1 million official U.S. streams and sold 1,000.</p>
448.  
449.  
450.  
451. <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube"><div class="wp-block-embed__wrapper">
452. <iframe loading="lazy" class="youtube-player" width="640" height="360" src="https://www.youtube.com/embed/BjK2lPBzGzo?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe>
453. </div></figure>
454.  
455.  
456.  
457.  
458.  
459.  
460.  
461.  
462.  
463.  
464.  
465.  
466. </div>]]></content:encoded>
470. <post-id xmlns="com-wordpress:feed-additions:1">1235672165</post-id> </item>
471. <item>
472. <title>Guy Moot on Five Years as Warner Chappell CEO, the Mid Tier of Artists and Chasing ‘Culturally Relevant&#160;Signings’</title>
473. <link>https://www.billboard.com/pro/guy-moot-warner-chappell-five-years-ceo-interview/</link>
475. <dc:creator><![CDATA[Kristin Robinson]]></dc:creator>
476. <pubDate>Thu, 02 May 2024 17:46:15 +0000</pubDate>
477. <category><![CDATA[Business]]></category>
478. <category><![CDATA[Publishing]]></category>
479. <category><![CDATA[warner]]></category>
480. <category><![CDATA[wcm]]></category>
481. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235671726</guid>
482.  
483. <description><![CDATA[Warner Chappell’s CEO/co-chair explains how he’s changed the company during his tenure, the influence of AI and his plan to keep the publisher standing out from the crowd.]]></description>
484. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
485. <div class="pmc-paywall">
486.  
487.  
488.  
489.  
490.  
491.  
492.  
493.  
494.  
495.  
496.  
497.  
498. <p
499. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
500. >
501. <strong>Guy Moot</strong>, CEO and co-chair of Warner Chappell Music, recently celebrated his five-year anniversary with the major publisher with a <a  href="https://www.billboard.com/pro/warner-chappell-extends-guy-moot-carianne-marshall-contracts/"  >renewed five-year term</a>. It’s easy to see why he’s staying on. Since taking the helm in 2019, Moot, along with co-chair and COO <strong>Carianne Marshall</strong>, managed to turn the company’s slow and steady long-term business, which originated all the way back in 1811 as Chappell &amp; Co., into a modernized, fierce competitor with a honed A&amp;R strategy. He focused on signing artist/songwriters with “cultural relevance” like <a  href="https://www.billboard.com/artist/raye/"  >RAYE</a>, <a  href="https://www.billboard.com/artist/mitski/"  >Mitski</a>, <a  href="https://www.billboard.com/artist/frank-ocean/"  >Frank Ocean</a>, <a  href="https://www.billboard.com/artist/laufey/"  >Laufey</a>, <a  href="https://www.billboard.com/artist/zach-bryan/"  >Zach Bryan</a>, <a  href="https://www.billboard.com/artist/teddy-swims/"  >Teddy Swims</a> and <a  href="https://www.billboard.com/artist/benson-boone/"  >Benson Boone</a>, recruiting the growing “mid tier” of artists, and buying catalogs, like his personal favorite <a  href="https://www.billboard.com/artist/david-bowie/"  >David Bowie</a>, that WCM can actively boost.&nbsp;</p>
502.  
503.  
504. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
505. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
507. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
508.  
512. Related
514. </h3>
515. </div>
518. <div class="o-card lrv-u-flex lrv-u-width-100p">
519.  
520. <a  tabindex="0"  href="https://www.billboard.com/pro/warner-chappell-music-guy-moot-carianne-marshall-interview-photos/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
523. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
526. <div class="c-lazy-image  lrv-u-height-100p">
528. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
530. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2020/11/ftdo-guy-moot-carianne-marshall-billboard-michele-thomas-01-1548-1604515473.jpg?w=237&#038;h=147&#038;crop=1" alt="Guy Moot Carianne Marshall" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
532. </div>
534. </div>
537. </div>
539. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
543. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
544.  
546. </span>
548. <div class="o_category ">
549. </div>
550.  
551. <div class="c_title ">
553. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
554.  
558. Warner Chappell Music’s Guy Moot and Carianne Marshall On a Global Future and Competing With…
560. </h3>
561. </div>
562.  
565. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
566. 11/09/2020
567. </time>
574. </div>
575.  
576. </a>
578. </div>
579. </div>
580.  
581.  
582.  
583. <p
584. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
585. >
586. Moot’s wins have been more than just cultural — they are backed up by chart data. For the last three quarters, including this latest one, WCM — which regularly ranked third on <em>Billboard’s </em>Publishers Quarterly for Hot 100 songs — surpassed Universal Music Publishing Group to land in second place. It’s also No. 2 for the last two quarters amid Pop Airplay and No. 1 in market share on Country Airplay.&nbsp;</p>
587.  
588.  
589.  
590. <p
591. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
592. >
593. But on a sunny April morning in his Downtown Los Angeles office, Moot tells <em>Billboard </em>that, despite WCM’s obvious wins, he is uninterested in sizing the company’s value by what its major competition is doing. “I don’t want to be just like them,” he says with a shrug. “I want to be doing our own thing.”&nbsp;</p>
594.  
595.  
596.  
597. <p
598. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
599. >
600. Warner Chappell&#8217;s thing is about leaning into the shifting music business head-on, echoing Warner Music Group CEO <strong>Robert Kyncl</strong>&#8216;s <a  href="https://www.billboard.com/business/record-labels/warner-music-ceo-robert-kyncl-2024-10-year-plan-1235577636/"  >theme of 2024</a> as &#8220;the year of the next 10.&#8221; That includes the company&#8217;s new partnership with Bandlab and its artist service platform ReverbNation, through which WCM will provide administration to anyone who needs it and a full-service JV tier to develop Bandlab&#8217;s most promising writers. The company has also been working on a program to release collections of songwriter demos to the general public. With these and other initiatives, it hopes will help it stand out from an increasingly-crowded publishing field. </p>
601.  
602.  
603.  
604. <p
605. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
606. >
607. “This business is like no other business,” Moot says. “The competition is great, but almost no one actually sees it through and actually delivers something that’s worked. Last year, I said to all our team that we’ve got to double down and really deliver, and now, it seems like we’ve really gotten some momentum.”</p>
608.  
609.  
610. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
611. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
613. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
614.  
618. Related
620. </h3>
621. </div>
624. <div class="o-card lrv-u-flex lrv-u-width-100p">
625.  
626. <a  tabindex="0"  href="https://www.billboard.com/business/record-labels/warner-music-ceo-robert-kyncl-2024-10-year-plan-1235577636/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
629. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
632. <div class="c-lazy-image  lrv-u-height-100p">
634. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
636. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2024/01/robery-kyncl-press-credit-courtesy-wmg-2024-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="Robert Kyncl" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
638. </div>
640. </div>
643. </div>
645. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
649. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
650.  
652. </span>
654. <div class="o_category ">
655. </div>
656.  
657. <div class="c_title ">
659. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
660.  
664. Warner Music CEO Robert Kyncl's New Year's Note Outlines 10-Year Plan
666. </h3>
667. </div>
668.  
671. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
672. 01/08/2024
673. </time>
680. </div>
681.  
682. </a>
684. </div>
685. </div>
686.  
687.  
688.  
689. <p
690. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
691. >
692. <strong><em>Billboard</em>: Robert Kyncl has been CEO at Warner Music Group for a little over a year now, and has put a strong emphasis on improving the technology at the company. Has that changed anything within Warner Chappell in terms of the way that you are looking at modernizing and keeping up with the speed of change?</strong></p>
693.  
694.  
695.  
696. <p
697. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
698. >
699. <strong>Guy Moot: </strong>Definitely. I think a lot of the things that don&#8217;t add up in the music industry make him question, “Why, and how?” He&#8217;s tasked us to challenge the third parties for more transparency and speed of payment. We’re certainly investing a lot in tech. It’s not all delivered yet, but we know we need to fast-track for the next three to five years. We’ve always had issues in publishing with rights flows, transparency, PROs, but I also think the next big forefront will be how we get paid for UGC. That’s the real challenge. With those really sketchy sped-up versions, cover versions of our songs, there’s a lot of progress we’re making internally to match and track those and we’re seeing really great results. We want to get to a world where we can always find when somebody sped up one of our songs and there’s no master attached.</p>
700.  
701.  
702.  
703. <p
704. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
705. >
706. <strong>How can you track a song when it&#8217;s been manipulated like that?&nbsp;</strong></p>
707.  
708.  
709.  
710. <p
711. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
712. >
713. Various matching tools, and it’s improving. I still think there’s a lot slipping through the net. When we make our digital agreements now, it’s still about setting terms that get songwriters paid more, but secondly, it’s also about getting levels of service and more data and info from the companies. I’m making a bold prediction here, and it’s a personal thing that I haven’t seen yet, but I’m hopeful AI will be helpful in the future of publishing administration. I’ve got a lot of hope that we will be able to completely map out a song’s DNA and then follow its uses through a whole ecosystem.&nbsp;</p>
714.  
715.  
716.  
717. <p
718. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
719. >
720. <strong>You’ve mentioned that you’d like to quicken the rate in which your writers get paid, but is that always possible? Some songs are released without complete publishing splits. </strong></p>
721.  
722.  
723.  
724. <p
725. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
726. >
727. I think you&#8217;re as good as the information going in, and it’s not perfect. The MLC has actually been the nearest to having a comprehensive database, for America at least. And from our point of view, it seems to be working quite well. But it would be great if we had one authoritative database for the songwriting industry and we don’t.</p>
728.  
729.  
730. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
731. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
733. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
734.  
738. Related
740. </h3>
741. </div>
744. <div class="o-card lrv-u-flex lrv-u-width-100p">
745.  
746. <a  tabindex="0"  href="https://www.billboard.com/business/publishing/warner-chappell-moves-ice-europe-1235661258/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
749. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
752. <div class="c-lazy-image  lrv-u-height-100p">
754. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
756. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2024/04/Warner-Chappell-Music-logo-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="Warner Chappell Music" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
758. </div>
760. </div>
763. </div>
765. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
769. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
770.  
772. </span>
774. <div class="o_category ">
775. </div>
776.  
777. <div class="c_title ">
779. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
780.  
784. Warner Chappell Moves to ICE for Europe
786. </h3>
787. </div>
788.  
791. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
792. 04/19/2024
793. </time>
800. </div>
801.  
802. </a>
804. </div>
805. </div>
806.  
807.  
808.  
809. <p
810. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
811. >
812. <strong>What are you most proud of from your first five years on the job?</strong></p>
813.  
814.  
815.  
816. <p
817. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
818. >
819. Carianne and I have been together five years, and we’ve seen a lot of progress at the company. When we got here, I had a couple observations. One, Chappell didn’t really have a strategy, in our point of view. It was a solid company. It was working great catalogs, and the other thing that I personally noticed from my A&amp;R background is that we didn’t have many artists. We had a lot of songwriters for other artists at the time. I thought it was really important that we build a roster of both songwriters who do great work for others and artists who really mean something to fans and have some cultural relevance in a broad spectrum of genres. We started that process with Frank Ocean, but what’s exciting now is that we’re gaining artists not just across genres but across the world, and it feels like a new generation of artists.</p>
820.  
821.  
822.  
823. <p
824. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
825. >
826. The great thing about publishing is, you could do anything from an acquisition to a very short-term deal, but wherever you are, you&#8217;re really at the beginning of the process. We&#8217;ve got some great stories. Benson Boone is a great story for us right now. We’ve been there from the beginning with him attending our writing camps. Another one is when I was in the U.K., when we signed RAYE, she was very young. I think it was 2016. She’s had such a progression. Mitski, Zach Bryan, too.&nbsp;</p>
827.  
828.  
829.  
830. <p
831. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
832. >
833. I always use this term “culturally relevant signings.” I know we have just talked about some difficulties, but publishing&#8217;s easy if you sign someone you’re really proud of. Sure, our job is really complex sometimes, but also it feels really simple. What we do is we take the essence of what excites us about music, and we talk [to partners] about it.&nbsp;</p>
834.  
835.  
836.  
837. <p
838. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
839. >
840. <strong>So much has changed, even in five years. Music is more global, more artists are opting for independence over major labels, etc. What are you looking for when you are finding new music and new artists/writers?</strong></p>
841.  
842.  
843.  
844. <p
845. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
846. >
847. We don’t just chase hits. I mean, we love hits, and we have a lot of hits, but we’re not just going out and buying every hit, chasing every hit. We often talk about the mid tier. I think in publishing we want people who consistently stream or slowly build. It’s going to be about fan bases and artist development. Those used to be fast-tracked by record companies, but that’s not so much the case now. I think sometimes you have to take a three-to-five-year approach if you’re developing, which many publishers do. Sometimes the economics of big label deals and the pressure that comes with that is too much. Not every artist is built for that.&nbsp;</p>
848.  
849.  
850. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
851. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
853. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
854.  
858. Related
860. </h3>
861. </div>
864. <div class="o-card lrv-u-flex lrv-u-width-100p">
865.  
866. <a  tabindex="0"  href="https://www.billboard.com/business/record-labels/warner-music-group-new-rio-de-janeiro-brazil-headquarters-1235589389/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
869. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
872. <div class="c-lazy-image  lrv-u-height-100p">
874. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
876. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2024/01/03-warner-music-group-office-rio-brazil-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="Warner Music Group" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
878. </div>
880. </div>
883. </div>
885. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
889. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
890.  
892. </span>
894. <div class="o_category ">
895. </div>
896.  
897. <div class="c_title ">
899. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
900.  
904. Warner Music Group Opens New Headquarters in Rio de Janeiro
906. </h3>
907. </div>
908.  
911. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
912. 01/25/2024
913. </time>
920. </div>
921.  
922. </a>
924. </div>
925. </div>
926.  
927.  
928.  
929. <p
930. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
931. >
932. <strong>Country music is everywhere right now, and Warner Chappell has the biggest market share in Nashville, according to </strong><strong><em>Billboard’s </em></strong><strong>Publishers Quarterly. How do you collaborate between the L.A.-based team and Nashville team?&nbsp;</strong></p>
933.  
934.  
935.  
936. <p
937. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
938. >
939. <strong>Ben Vaughn</strong> runs an incredible team [in Nashville]. Everyone is talking about Nashville. I think you’re going to see more and more crossovers — you can already see it with the Dasha record in the U.K. We also see a lot of the country-adjacent artists, like Zach Bryan. I think it can all live together. I sat with <strong>Ryan Press</strong>, who runs North America for us, and Ben Vaughn last week here. I&#8217;m like, ‘“I don&#8217;t want to spend all this time working out what&#8217;s Nashville, what’s traditional, what’s country-adjacent. We&#8217;re all in it together.” I wouldn’t have it any other way.&nbsp;</p>
940.  
941.  
942.  
943. <p
944. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
945. >
946. <strong>What’s the balance between frontline and catalog? Catalog has seemingly become a more and more important part of a publishers’ business.&nbsp;</strong></p>
947.  
948.  
949.  
950. <p
951. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
952. >
953. We look at catalog here with the same excitement as we do frontline, so David Bowie was incredible to buy. We don’t just have one head of catalog, we have a broad church of people from all different departments, like a catalog committee, where we talk about what we can do.&nbsp;</p>
954.  
955.  
956.  
957. <p
958. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
959. >
960. <strong>There are so many buyers in the catalog market right now. What do you think is the distinction between Warner Chappell and others as a buyer?&nbsp;</strong></p>
961.  
962.  
963.  
964. <p
965. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
966. >
967. Don’t get me wrong, I have lots of friends who are in funds. We are partners with some of them. But Warner Chappell is one of the oldest, if not <em>the</em> oldest, music publishers. We are not going anywhere. We are not on a timeline or a window to sell. We’re not trying to buy an asset and sell it — we are here for the long term. Anything that we look at, we look at it through the lens of, How can we add value? How can we grow it? We&#8217;re not passive. So anything that we buy, we will have a plan for it. This can be anything, including that we know there are geographical areas where we can work it better specifically — like with <a  href="https://www.billboard.com/artist/george-michael/"  >George Michael</a>’s catalog, we are working with the estate and identified that Latin America and Asia are two places where it&#8217;s been done well, but we can do better. Another big difference I noticed when I went to Warner is it’s a pure-play music company.&nbsp;</p>
968.  
969.  
970.  
971. <p
972. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
973. >
974. <strong>A source of mine called this the “year of the second sale” — saying that there are a number of funds looking to sell their assets. It’s been less about buying catalogs from artists directly this year and often about buying from other catalog owners. Have you seen that firsthand?&nbsp;</strong></p>
975.  
976.  
977.  
978. <p
979. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
980. >
981. You’re starting to see some consolidation happen. I think some are just hitting that time horizon, some are just doing what funds do. You raise a fund, you have an exit window, a timeline horizon where you would expect to return money to your investors. Some of them may have overpaid. Some of them may just want to get out of the sector. There are a myriad of different reasons [why this is happening], but I think some of them are going to be long-term holders too.</p>
982.  
983.  
984. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
985. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
987. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
988.  
992. Related
994. </h3>
995. </div>
998. <div class="o-card lrv-u-flex lrv-u-width-100p">
999.  
1000. <a  tabindex="0"  href="https://www.billboard.com/pro/music-catalog-values-rose-level-shot-tower-capital/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
1003. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
1006. <div class="c-lazy-image  lrv-u-height-100p">
1008. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
1010. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2023/12/Katy-Perry-PLAY-Las-Vegas-Residency-Resorts-World-Las-Vegas-billboard-pro-1260.jpg?w=237&#038;h=147&#038;crop=1" alt="Katy Perry" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
1012. </div>
1014. </div>
1017. </div>
1019. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
1023. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
1024.  
1026. </span>
1028. <div class="o_category ">
1029. </div>
1030.  
1031. <div class="c_title ">
1033. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
1034.  
1038. Music Catalog Values Rose Slightly in 2023 — But a Leveling Out Is Coming
1040. </h3>
1041. </div>
1042.  
1045. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
1046. 12/01/2023
1047. </time>
1054. </div>
1055.  
1056. </a>
1058. </div>
1059. </div>
1060.  
1061.  
1062.  
1063. <p
1064. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1065. >
1066. <strong>Warner has been working on a special project with the Edith Piaf estate to use AI to clone her voice for use in a biopic about her life. It seems there could be some applications for AI within catalog marketing. Is Warner interested in doing more projects like this?</strong></p>
1067.  
1068.  
1069.  
1070. <p
1071. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1072. >
1073. I think you can look at all of those things [enabled by AI] with the approval and respect of the estate. I think that’s the other thing you get from [selling to a] publisher, is we are music-first. We are going to do what’s right by the music, the songwriter and the artist. AI is interesting because we don’t know what the consumption and demand is yet. I mean, it was funny to see <a  href="https://www.billboard.com/artist/frank-sinatra/"  >Frank Sinatra</a> sing “Gangster’s Anthem” or something, but I don’t really see the real consumption there.</p>
1074.  
1075.  
1076.  
1077. <p
1078. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1079. >
1080. <strong>What is the most pressing issue for publishers as you see it?</strong></p>
1081.  
1082.  
1083.  
1084. <p
1085. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1086. >
1087. I would say that one of the biggest challenges we&#8217;re all going to face as songwriters and publishers is how to get more songs out. Particularly as there are fewer huge stars, you&#8217;ve got to look at this game internationally. So we have an internal tool called Arrow, which is a searchable repository of our demos, and it’s multilingual, so someone in Hong Kong can look, and we can, too.&nbsp;</p>
1088.  
1089.  
1090.  
1091. <p
1092. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1093. >
1094. <strong>What sets WCM apart from the other majors?&nbsp;</strong></p>
1095.  
1096.  
1097.  
1098. <p
1099. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1100. >
1101. There’s a focus on the individual here. Every songwriter is unique, so we meet them where they are in their careers and help them achieve their full potential. The same could be said for how we develop our team. We&#8217;ve created a culture where there&#8217;s a real, collective commitment to songwriters. Which is only possible because of each individual’s expertise.</p>
1102.  
1103.  
1104.  
1105. <p
1106. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1107. >
1108. This is something we&#8217;re quite proud to be building. Our songwriters benefit from being part of it — our global Warner Chappell collective — in terms of reach, collaborators and opportunities. And our teams around the world do, too.</p>
1109.  
1110.  
1111.  
1112. <p
1113. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1114. >
1115. Carianne and I are intentional about approaching everything from a human element. We certainly aren’t trying to be like anyone else. Being distinctive is about what you do and how you deliver on your promises, not what you say.</p>
1116.  
1117.  
1118.  
1119.  
1120.  
1121.  
1122.  
1123.  
1124.  
1125.  
1126.  
1127.  
1128. </div>]]></content:encoded>
1132. <post-id xmlns="com-wordpress:feed-additions:1">1235671726</post-id> </item>
1133. <item>
1134. <title>Pearl Jam Tops All 4 Billboard Rock Album Charts With &#8216;Dark&#160;Matter&#8217;</title>
1135. <link>https://www.billboard.com/pro/pearl-jam-dark-matter-number-1-all-rock-album-charts/</link>
1137. <dc:creator><![CDATA[Kevin Rutherford]]></dc:creator>
1138. <pubDate>Thu, 02 May 2024 16:08:39 +0000</pubDate>
1139. <category><![CDATA[Chart Beat]]></category>
1140. <category><![CDATA[Music]]></category>
1141. <category><![CDATA[Music News]]></category>
1142. <category><![CDATA[rock]]></category>
1143. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235671661</guid>
1144.  
1145. <description><![CDATA[The release dominates Top Rock &#38; Alternative Albums, while new single “Wreckage” rules Hot Hard Rock Songs.]]></description>
1146. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
1147. <div class="pmc-paywall">
1148.  
1149.  
1150.  
1151.  
1152.  
1153.  
1154.  
1155.  
1156.  
1157.  
1158.  
1159.  
1160. <p
1161. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1162. >
1163. <a href="/music/pearl-jam" rel="">Pearl Jam</a>’s Dark Matter rules all four<em> Billboard</em> rock-related album charts, debuting atop all four lists dated May 4.</p>
1164.  
1165.  
1166.  
1167. <p
1168. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1169. >
1170. The band’s 12th studio LP bows with 60,000 equivalent album units earned in the U.S. April 19-25, according to Luminate, with 52,000 in album sales.</p>
1171.  
1172.  
1173.  
1174. <p
1175. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1176. >
1177. It’s the band’s fifth No. 1 on <a href="/charts/top-rock-alternative-albums" rel="">Top Rock &amp; Alternative Albums</a>, which began in 2006. The <a href="/music/eddie-vedder" rel="">Eddie Vedder</a>-fronted veterans first reigned with 2009’s <em>Backspacer</em>, followed by commands for 2013’s<em> Lightning Bolt</em>, 2020’s <em>Gigaton</em> and a reissued <em>Rearviewmirror: Greatest Hits 1991-2003</em> in 2022. The same five sets have also led <a href="/charts/rock-albums" rel="">Top Rock Albums</a>.</p>
1178.  
1179.  
1180.  
1181. <p
1182. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1183. >
1184. On <a href="/charts/alternative-albums" rel="">Top Alternative Albums</a>, which began in 2007, the band boasts six leaders, with the five above joined by the <em>Pearl Jam Twenty</em> soundtrack in 2011. On <a href="/charts/hard-rock-albums" rel="">Top Hard Rock Albums</a>, which also launched in 2007, Pearl Jam has notched eight No. 1s, adding to its haul <em>Ten</em> in 2009 (following a rerelease that year) and <em>Let’s Play Two: Live at Wrigley Field</em> in 2017.</p>
1185.  
1186.  
1187.  
1188. <p
1189. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1190. >
1191. With eight No. 1s on Top Hard Rock Albums, Pearl Jam ties <a rel="" href="/music/linkin-park">Linkin Park</a> for the most. As the latter’s <em>Papercuts</em> debuted on top week earlier, Linkin Park held sole possession of the mark for one week.</p>
1192.  
1193.  
1194.  
1195. <p
1196. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1197. >
1198. <strong>Most No. 1s, Top Hard Rock Albums:</strong></p>
1199.  
1200.  
1201.  
1202. <div class="container // lrv-u-margin-lr-auto lrv-a-font-body-m   ">
1203. <ul>
1204. <li>8, Linkin Park</li>
1205.  
1206.  
1207.  
1208. <li>8, Pearl Jam</li>
1209.  
1210.  
1211.  
1212. <li>7, Five Finger Death Punch</li>
1213.  
1214.  
1215.  
1216. <li>7, Foo Fighters</li>
1217.  
1218.  
1219.  
1220. <li>6, Disturbed</li>
1221.  
1222.  
1223.  
1224. <li>6, Korn</li>
1225. </ul>
1226. </div>
1227.  
1228.  
1229.  
1230. <p
1231. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1232. >
1233. <em>Dark Matter</em>’s 60,000-unit first week marks the biggest frame for any hard rock album in 2024, surpassing Linkin Park’s 44,000-unit sum with <em>Papercuts</em> the week before. It’s the best such sum since <a rel="" href="/music/foo-fighters">Foo Fighters</a>’ <em>But Here We Are</em> opened with 62,000 (June 17, 2023).</p>
1234.  
1235.  
1236.  
1237. <p
1238. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1239. >
1240. On the all-genre <a href="/charts/billboard-200" rel="">Billboard 200</a>, <em>Dark Matter</em> debuts at No. 5, becoming Pearl Jam’s 12th top five title and first since <em>Gigaton</em> debuted and peaked at No. 5 in 2020. Of those, five have reached No. 1, starting with 1993’s <em>Vs.</em></p>
1241.  
1242.  
1243.  
1244. <p
1245. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1246. >
1247. Multiple tracks from<em> Dark Matter</em> dot <em>Billboard</em>’s song-based charts dated May 4, led by “Wreckage,” which bows atop the <a href="/charts/hot-hard-rock-songs" rel="">Hot Hard Rock Songs</a> survey. It starts with 1.9 million radio audience impressions, 1.8 million official U.S. streams and 1,000 sold. Pearl Jam adds its second No. 1 on the tally, which began in 2020, following the new collection’s lead single and title track, which led for a week in March (and now ranks at No. 4).</p>
1248.  
1249.  
1250.  
1251. <p
1252. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1253. >
1254. Nine songs from <em>Dark Matter</em> make Hot Hard Rock Songs. Following “Wreckage” and “Dark Matter,” both of which have been promoted as radio singles, the next best is “Scared of Fear,” which begins at No. 6 with 1.1 million streams.</p>
1255.  
1256.  
1257.  
1258. <p
1259. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1260. >
1261. “Wreckage” also debuts on <a href="/charts/rock-songs" rel="">Hot Rock &amp; Alternative Songs</a> at No. 28, while “Dark Matter” re-enters at No. 33.</p>
1262.  
1263.  
1264.  
1265. <p
1266. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1267. >
1268. “Dark Matter” led the <a href="/charts/hot-mainstream-rock-tracks" rel="">Mainstream Rock Airplay</a> chart for four weeks beginning in March. “Wreckage” follows by starting at No. 36 on the May 4 list. “Dark Matter” also peaked at No. 6 on <a href="/charts/alternative-songs" rel="">Alternative Airplay</a>, with “Wreckage” now beginning at No. 34. On <a href="/charts/triple-a" rel="">Adult Alternative Airplay</a>, “Dark Matter” reached No. 19, while “Wreckage” debuts at No. 40.</p>
1269.  
1270.  
1271.  
1272.  
1273.  
1274.  
1275.  
1276.  
1277.  
1278.  
1279.  
1280.  
1281. </div>]]></content:encoded>
1285. <post-id xmlns="com-wordpress:feed-additions:1">1235671661</post-id> </item>
1286. <item>
1287. <title>Crowder Digs Up New No. 1 on Christian Radio Charts With ‘Grave&#160;Robber’</title>
1288. <link>https://www.billboard.com/pro/crowder-no-1-christian-radio-chart-grave-robber/</link>
1290. <dc:creator><![CDATA[Jim Asker]]></dc:creator>
1291. <pubDate>Thu, 02 May 2024 13:08:34 +0000</pubDate>
1292. <category><![CDATA[Chart Beat]]></category>
1293. <category><![CDATA[Music]]></category>
1294. <category><![CDATA[Christian Albums]]></category>
1295. <category><![CDATA[Music News]]></category>
1296. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235671551</guid>
1297.  
1298. <description><![CDATA[He banks his fifth leader on Christian Airplay and his third on Christian AC Airplay.]]></description>
1299. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
1300. <div class="pmc-paywall">
1301.  
1302.  
1303.  
1304.  
1305.  
1306.  
1307.  
1308.  
1309.  
1310.  
1311.  
1312.  
1313. <p
1314. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1315. >
1316. <a  href="https://www.billboard.com/artist/crowder/"  >Crowder</a> crowns <em>Billboard</em>’s <a  href="https://www.billboard.com/charts/christian-airplay/"  >Christian Airplay</a> and <a  href="https://www.billboard.com/charts/hot-christian-adult-contemporary/"  >Christian AC Airplay</a> charts, dated May 4, with “Grave Robber.” The song is his fifth and third leader on the lists, respectively. The single drew 5.8 million audience impressions among Christian Airplay reporting stations April 19-25, according to Luminate. It gained by 1% in plays among Christian AC Airplay panelists.</p>
1317.  
1318.  
1319.  
1320. <p
1321. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1322. >
1323. Crowder, a.k.a. David Crowder, from Texarkana, Texas, co-wrote the track with Ben Glover and Jeff Sojka, both of whom produced it.</p>
1324.  
1325.  
1326.  
1327. <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube"><div class="wp-block-embed__wrapper">
1328. <iframe loading="lazy" class="youtube-player" width="640" height="360" src="https://www.youtube.com/embed/qxnZgM9YXy0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe>
1329. </div></figure>
1330.  
1331.  
1332.  
1333. <p
1334. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1335. >
1336. Prior to “Grave Robber,” Crowder charted two holiday songs on Christian Airplay: his duet with Tommee Profitt, “Carol of the Bells,” hit No. 6 and “The Elf Song” reached No. 34, both in December. He boasts 12 career top 10s on the tally.</p>
1337.  
1338.  
1339.  
1340. <p
1341. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1342. >
1343. “In the House” became Crowder’s fourth Christian Airplay chart-topper in February 2022, dominating for five frames. It was preceded by “Good God Almighty,” which also led for five weeks starting in May 2021. “All My Hope,” featuring Tauren Wells, led for two frames in March 2018 and “Come as You Are” ruled for two weeks in March 2015.</p>
1344.  
1345.  
1346.  
1347. <p
1348. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1349. >
1350. On Christian AC Airplay, “Grave Robber” follows Crowder’s leaders “In the House” (four weeks at No. 1 beginning in February 2022) and “Good God Almighty” (five weeks starting in May 2021).</p>
1351.  
1352.  
1353.  
1354. <p
1355. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1356. >
1357. Crowder is set to perform at amphitheater The Caverns in Pelham, Tenn., with featured artist TAYA, of Hillsong United, on July 27. “Grave Robber” is expected to introduce his next LP. He boasts three No. 1s on <em>Billboard</em>’s Top Christian Albums chart: <em>Milk &amp; Honey</em>, in 2021, <em>American Prodigal</em> (2016) and <em>Neon Steeple</em> (2014).</p>
1358.  
1359.  
1360.  
1361.  
1362.  
1363.  
1364.  
1365.  
1366.  
1367.  
1368.  
1369.  
1370. </div>]]></content:encoded>
1374. <post-id xmlns="com-wordpress:feed-additions:1">1235671551</post-id> </item>
1375. <item>
1376. <title>Record Store Day 2024’s Top Sellers: Noah Kahan, Olivia Rodrigo, Paramore, Pearl Jam &#038;&#160;More</title>
1377. <link>https://www.billboard.com/pro/olivia-rodrigo-noah-kahan-record-store-day-2024-top-sellers/</link>
1379. <dc:creator><![CDATA[Keith Caulfield]]></dc:creator>
1380. <pubDate>Wed, 01 May 2024 22:31:47 +0000</pubDate>
1381. <category><![CDATA[Chart Beat]]></category>
1382. <category><![CDATA[Music]]></category>
1383. <category><![CDATA[record store day]]></category>
1384. <category><![CDATA[Retail]]></category>
1385. <category><![CDATA[Vinyl]]></category>
1386. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235671296</guid>
1387.  
1388. <description><![CDATA[Kahan’s blue-colored pressing of <em>I Was/I Am</em> was the top-selling RSD 2024 album, while Kahan and Olivia Rodrigo teamed up for the top single.]]></description>
1389. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
1390. <div class="pmc-paywall">
1391.  
1392.  
1393.  
1394.  
1395.  
1396.  
1397.  
1398.  
1399.  
1400.  
1401.  
1402.  
1403. <p
1404. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1405. >
1406. Vinyl releases from <a  href="https://www.billboard.com/artist/noah-kahan"  >Noah Kahan</a>, <a  href="https://www.billboard.com/artist/olivia-rodrigo/"  >Olivia Rodrigo</a>, <a  href="https://www.billboard.com/artist/paramore/"  >Paramore</a>, <a  href="https://www.billboard.com/artist/pearl-jam/"  >Pearl Jam</a> and more were among the top-sellers from Record Store Day (RSD) 2024 in the United States, according to data tracking firm Luminate.</p>
1407.  
1408.  
1409.  
1410.  
1411.  
1412. <p
1413. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1414. >
1415. The annual independent record store celebration was held on April 20 this year and boasted a bevy of unique and limited-edition albums and singles (mostly vinyl pressings) created for the festivities. More than 350 titles were released for RSD 2024 at independent record stores across the United States.</p>
1416.  
1417.  
1418. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
1419. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
1421. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
1422.  
1426. Related
1428. </h3>
1429. </div>
1432. <div class="o-card lrv-u-flex lrv-u-width-100p">
1433.  
1434. <a  tabindex="0"  href="https://www.billboard.com/business/business-news/record-store-day-2024-taylor-swift-olivia-rodrigo-noah-kahan-big-sales-retailers-1235664406/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
1437. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
1440. <div class="c-lazy-image  lrv-u-height-100p">
1442. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
1444. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2024/04/01-record-store-day-2024-a-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="record store day" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
1446. </div>
1448. </div>
1451. </div>
1453. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
1457. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
1458.  
1460. </span>
1462. <div class="o_category ">
1463. </div>
1464.  
1465. <div class="c_title ">
1467. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
1468.  
1472. Record Store Day 2024: Taylor Swift Helps, But Olivia Rodrigo, Noah Kahan & More Also Bring Big…
1474. </h3>
1475. </div>
1476.  
1479. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
1480. 04/23/2024
1481. </time>
1488. </div>
1489.  
1490. </a>
1492. </div>
1493. </div>
1494.  
1495.  
1496.  
1497.  
1498.  
1499. <p
1500. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1501. >
1502. Kahan does double-duty with both the top-selling RSD single and album, according to Luminate (see lists, below). The top-selling RSD-exclusive single was a joint effort from Kahan and Rodrigo: a two-song, 7-inch colored-vinyl. The single features Rodrigo’s cover of Kahan’s “Stick Season” and Kahan’s cover of Rodrigo’s “Lacy,” both recorded in the BBC Radio 1 Live Lounge. The top-selling RSD-exclusive album was a blue-colored vinyl pressing of Kahan’s 2021 sophomore album <em>I Was/I Am</em>.</p>
1503.  
1504.  
1505.  
1506.  
1507.  
1508. <p
1509. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1510. >
1511. The Nos. 2 to 5-biggest selling RSD-exclusive albums were: Paramore’s <em>This Is Why / Re: This Is Why</em> (double vinyl set, bone and ruby red-colored vinyl), Pearl Jam’s <em>Dark Matter</em> (on yellow and black ghostly-colored vinyl), Paramore’s <em>Re: This Is Why</em> (on ruby red-colored vinyl) and <a  href="https://www.billboard.com/artist/talking-heads/"  >Talking Heads</a>’ <em>Live at WCOZ 77 </em>(double vinyl). (Paramore was also the RSD 2024 Ambassador, following in the footsteps of such recent previous <a  href="https://recordstoreday.com/AMBASSADORS"  rel="nofollow"  target="_blank"  >RSD Ambassadors</a> as <a  href="https://www.billboard.com/artist/jason-isbell/"  >Jason Isbell</a> and <a  href="https://www.billboard.com/artist/amanda-shires/"  >Amanda Shires</a> (2023), <a  href="https://www.billboard.com/artist/taylor-swift/"  >Taylor Swift</a> (2022), <a  href="https://www.billboard.com/artist/fred-armisen/"  >Fred Armisen</a> (2021), <a  href="https://www.billboard.com/artist/brandi-carlile/"  >Brandi Carlile</a> (2020) and Pearl Jam (2019).</p>
1512.  
1513.  
1514.  
1515. <p
1516. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1517. >
1518. While most RSD 2024 titles had a <a  href="https://recordstoreday.com/PromotionalEvent/593"  rel="nofollow"  target="_blank"  >fairly limited pressing</a> — under 5,000 each — a few titles this year earned <a  href="https://recordstoreday.com/PromotionalEvent/593"  rel="nofollow"  target="_blank"  >larger</a> production runs (such as <em>I Was/I Am</em> and the Kahan/Rodrigo single, which each had a run of more than 30,000).</p>
1519.  
1520.  
1521.  
1522. <p
1523. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1524. >
1525. <strong>Top-Selling Record Store Day 2024 Exclusive Albums at Independent Record Stores in the U.S.</strong><br><strong><u>Rank, Artist, Title</u></strong><br>1. Noah Kahan, <em>I Was/I Am</em> (blue-colored vinyl)<br>2. Paramore, <em>This Is Why / Re: This Is Why</em> (Standard + Remix) (bone and ruby red-colored double vinyl)<br>3. Pearl Jam, <em>Dark Matter</em> (yellow and black ghostly-colored vinyl)<br>4. Paramore, <em>Re: This Is Why</em> (ruby red-colored vinyl)<br>5. Talking Heads, <em>Live at WCOZ 77</em> (double vinyl)<br>6. The 1975, <em>The 1975 Live at Gorilla</em> (white-colored double vinyl)<br>7. The Weeknd, <em>Live at SoFi Stadium</em> (triple vinyl)<br>8. ATEEZ, <em>The World EP.Fin: Will [X. Ver.]</em> (clear or black-colored vinyl + 7-inch vinyl)<br>9. Fleetwood Mac, <em>Rumours</em> (picture disc vinyl)<br>10. David Bowie, <em>Waiting in the Sky</em> (Before the Starman Came to Earth) (vinyl)<br>11. Wallows, <em>Nothing Happens (5th Anniversary Edition)</em> (aqua splatter and aqual with white splatter-colored double vinyl)<br>12. Young Thug, <em>Jeffery</em> (vinyl)<br>13. Team Sleep, <em>Team Sleep</em> (gold-colored double vinyl)<br>14. Neil Young with Crazy Horse, <em>Fuckin’ Up</em> (clear-colored double vinyl)<br>15. Ramones, <em>The 1975 Sire Demos</em> (vinyl)<br>16. Gorillaz, <em>Cracker Island</em> (Deluxe Vinyl Version) (pink and magenta-colored double vinyl)<br>17. The Replacements, <em>Not Ready for Prime Time: Live at the Cabaret Metro, Chicago, IL, January 11, 1986 </em>(double vinyl)<br>18. Grateful Dead, <em>Nightfall of Diamonds</em> (180 gram four vinyl LP set)<br>19. Soundtrack, <em>Lost in Translation (Music From the Motion Picture Soundtrack [Deluxe Edition])</em> (double vinyl)<br>20. The Cure, <em>The Top</em> (picture disc vinyl)<br>21. Bill Evans, <em>Everybody Digs Bill Evans</em> (180 gram vinyl)<br>22. Lil Uzi Vert, <em>Luv Is Rage</em> (vinyl)<br>23. The Doors, <em>Live at Konserthuset, Stockholm, September 20, 1968</em> (triple vinyl)<br>24. Various Artists, <em>South Park: The 25th Anniversary Concert</em> (Towelie-Blue-colored triple vinyl)<br>25. John Lennon, <em>Mind Games EP</em> (140 gram glow-in-the-dark-colored vinyl)<br><strong><em>Source: Luminate, for the week ending April 25, 2024</em></strong></p>
1526.  
1527.  
1528.  
1529. <p
1530. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1531. >
1532. <strong>Top-Selling Record Store Day 2024 Exclusive Singles at Independent Record Stores in U.S.<br><u>Rank, Artist, Title</u></strong><br>1. Olivia Rodrigo &amp; Noah Kahan, Stick Season (Rodrigo) / Lacy (Kahan), Live from the BBC Radio 1 Live Lounge (7-inch colored vinyl)<br>2. David Byrne &amp; Paramore, Hard Times / Burning Down the House (12-inch vinyl)<br>3. U2, Atomic City (Live at Sphere, Las Vegas) / Atomic City (Mike WiLL Made-It Remix) (10-inch transparent red-colored vinyl)<br>4. 100 Gecs, Hey Big Man / Torture Me / Runaway (10-inch vinyl)<br>5. Daft Punk, Something About Us / Veridis Quo / Voyager (Dominique Torti’s Wild Style Edit) (12-inch vinyl)<br>6. The Beatles, She Loves You (3-inch vinyl)<br>7. G.B.I., The Regulator (7-inch vinyl)<br>8. Lil Peep, Star Shopping / Star Shopping (Live in London) / Star Shopping (Live in Belgium) (7-inch vinyl)<br>9. Holly Humberstone/MUNA, Into Your Room (with MUNA) (7-inch vinyl)<br>10. Chappell Roan, Pink Pony Club / Naked in Manhattan (7-inch baby pink-colored vinyl)<br><strong><em>Source: Luminate, for the week ending April 25, 2024</em></strong></p>
1533.  
1534.  
1535.  
1536.  
1537.  
1538.  
1539.  
1540.  
1541.  
1542.  
1543.  
1544.  
1545. </div>]]></content:encoded>
1549. <post-id xmlns="com-wordpress:feed-additions:1">1235671296</post-id> </item>
1550. <item>
1551. <title>Taylor Swift&#8217;s First-Week Vinyl Sales Through the Years: From Nothing to&#160;Historic</title>
1552. <link>https://www.billboard.com/pro/taylor-swift-vinyl-sales-from-nothing-historic/</link>
1554. <dc:creator><![CDATA[Dan Rys]]></dc:creator>
1555. <pubDate>Wed, 01 May 2024 20:53:54 +0000</pubDate>
1556. <category><![CDATA[Business]]></category>
1557. <category><![CDATA[Business News]]></category>
1558. <category><![CDATA[The Tortured Poets Department]]></category>
1559. <category><![CDATA[Vinyl]]></category>
1560. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235671231</guid>
1561.  
1562. <description><![CDATA[As <em>The Tortured Poets Department</em> rewrites the record books for vinyl LP sales, a look back at the superstar's sales, and strategies, through her career.]]></description>
1563. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
1564. <div class="pmc-paywall">
1565.  
1566.  
1567.  
1568.  
1569.  
1570.  
1571.  
1572.  
1573.  
1574.  
1575.  
1576.  
1577. <p
1578. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1579. >
1580. This week, <a  href="https://www.billboard.com/artist/taylor-swift/"  >Taylor Swift</a> <a  href="https://www.billboard.com/lists/taylor-swift-tortured-poets-department-debut-number-one-billboard-200-chart/"  >made history</a> in more ways than one with the release of her latest album, <em>The Tortured Poets Department</em>. But perhaps the most mind-boggling of all the records she set was the first-week vinyl sales for the album, which came in at 859,000 — by far the <a  href="https://www.billboard.com/music/chart-beat/taylor-swift-the-tortured-poets-department-first-day-sales-release-week-1235662005/"  >largest sales week</a> for a vinyl album in the modern era, blowing past the second-largest week by more than 160,000 units.</p>
1581.  
1582.  
1583. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
1584. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
1586. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
1587.  
1591. Related
1593. </h3>
1594. </div>
1597. <div class="o-card lrv-u-flex lrv-u-width-100p">
1598.  
1599. <a  tabindex="0"  href="https://www.billboard.com/lists/taylor-swift-tortured-poets-department-debut-number-one-billboard-200-chart/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
1602. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
1605. <div class="c-lazy-image  lrv-u-height-100p">
1607. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
1609. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2024/04/Taylor-Swift-cr-Beth-Garrabrant-2024-The-Black-Dog-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="Taylor Swift" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
1611. </div>
1613. </div>
1616. </div>
1618. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
1622. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
1623.  
1625. </span>
1627. <div class="o_category ">
1628. </div>
1629.  
1630. <div class="c_title ">
1632. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
1633.  
1637. Taylor Swift Makes Historic Debut at No. 1 on Billboard 200 With 'The Tortured…
1639. </h3>
1640. </div>
1641.  
1644. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
1645. 04/28/2024
1646. </time>
1653. </div>
1654.  
1655. </a>
1657. </div>
1658. </div>
1659.  
1660.  
1661.  
1662. <p
1663. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1664. >
1665. That second-largest week, by the way? The debut frame of her last release, <em>1989 (Taylor’s Version)</em>, which sold 693,000 vinyl copies in the week ending Nov. 2, 2023. In fact, Swift has the top four biggest vinyl sales weeks in history — all of which have come in the past 18 months — and six of the top eight, reflecting not just the industry-wide popularity boom for the format, but her own evolving strategy and emphasis on physical media and fan-focused collectibles.</p>
1666.  
1667.  
1668.  
1669. <p
1670. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1671. >
1672. For <em>Tortured Poets</em>, Swift released six different vinyl variations (in addition to nine CD versions and four cassette versions), four of which were available widely and two of which were exclusives, one signed iteration through her own web store and one through Target. Of the four widely available, each included a different bonus track, and each have individually sold enough copies to top the vinyl sales charts for the week: the <em>Manuscript</em> edition (342,000); the <em>Bolter</em> edition (85,000); the <em>Black Dog</em> edition (79,000); and the <em>Albatross</em> edition (62,000).</p>
1673.  
1674.  
1675.  
1676. <p
1677. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1678. >
1679. That’s a continuation of the strategy she’s deployed in force since her, for lack of a better phrase, pandemic albums, <em>Folklore</em> and <em>Evermore</em>. And it’s a shining success story for how artists have been capitalizing on the resurrection of vinyl as not just physical art piece but also merch item, as the format has continued to surge for 18 years in a row, having hit 43.2 million U.S. sales in 2023, amounting to $1.35 billion in revenue, <a  href="https://www.billboard.com/business/business-news/riaa-2023-year-end-music-report-revenue-up-streaming-vinyl-grow-1235641188/"  >according to the RIAA</a>.</p>
1680.  
1681.  
1682. <p><iframe title="First Week Vinyl Sales" aria-label="Bar Chart" id="datawrapper-chart-7x5Ne" src="https://datawrapper.dwcdn.net/7x5Ne/6/" scrolling="no" frameborder="0" style="width: 0; min-width: 100% !important; border: none;" height="704" data-external="1"></iframe><script type="text/javascript">!function(){"use strict";window.addEventListener("message",(function(a){if(void 0!==a.data["datawrapper-height"]){var e=document.querySelectorAll("iframe");for(var t in a.data["datawrapper-height"])for(var r=0;r<e.length;r++)if(e[r].contentWindow===a.source){var i=a.data["datawrapper-height"][t]+"px";e[r].style.height=i}}}))}();
1683. </script></p>
1684.  
1685.  
1686.  
1687. <p
1688. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1689. >
1690. Swift’s own career, in terms of album output, has grown along with that trend. Her self-titled debut album was released 18 years ago, in October 2006, a year when vinyl revenue sales in the U.S. were a mere $23.7 million. At that point, vinyl was such a niche market (and Swift was such a new artist) that for <em>Taylor Swift</em> and her second album, <em>Fearless</em>, Swift didn’t even release vinyl editions until May 2016, when they sold 500 copies and 1,000 copies, respectively, in their first week of availability. By the time of 2010’s <em>Speak Now</em>, Swift’s star power was much more formidable, but vinyl was still pretty niche; all vinyl sales in the U.S. that year accumulated $124.2 million, according to the RIAA, and <em>Speak Now</em> moved 500 copies in its first week.</p>
1691.  
1692.  
1693.  
1694. <p
1695. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1696. >
1697. <em>Red</em>, in 2012, was a true breakthrough moment for Swift in terms of her pop career, and the vinyl business had itself added nearly $100 million in value in just two years, to $213.3 million; <em>Red</em> sold 1,000 copies in the first week it came out in the format. Two years later, when she released <em>1989</em>, the vinyl industry had added another $100 million per year, and the standard vinyl moved 11,000 copies in its first week of availability. For 2017’s <em>Reputation</em>, a slightly delayed street date release led to a 9,000 sale week in what was technically its second week of availability, with Swift still sticking to the standard vinyl option.</p>
1698.  
1699.  
1700. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
1701. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
1703. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
1704.  
1708. Related
1710. </h3>
1711. </div>
1714. <div class="o-card lrv-u-flex lrv-u-width-100p">
1715.  
1716. <a  tabindex="0"  href="https://www.billboard.com/lists/taylor-swift-tortured-poets-department-records-broken/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
1719. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
1722. <div class="c-lazy-image  lrv-u-height-100p">
1724. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
1726. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2024/04/Taylor-Swift-cr-Beth-Garrabrant-2024-The-Albatross-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="Taylor Swift" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
1728. </div>
1730. </div>
1733. </div>
1735. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
1739. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
1740.  
1742. </span>
1744. <div class="o_category ">
1745. </div>
1746.  
1747. <div class="c_title ">
1749. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
1750.  
1754. ‘The Tortured Poets Department’: All the Records Taylor Swift’s New Album Has Broken…
1756. </h3>
1757. </div>
1758.  
1761. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
1762. 05/02/2024
1763. </time>
1770. </div>
1771.  
1772. </a>
1774. </div>
1775. </div>
1776.  
1777.  
1778.  
1779. <p
1780. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1781. >
1782. It was for <em>Lover</em> that Swift’s strategy first began to change, as she began experimenting with vinyl offerings beyond the standard black record, and the numbers began to really jump. When the album came out on the format in November 2019, it was as a colored double-vinyl, sold exclusively at Target, which helped boost that first-week number to 18,000 copies — at the time, the largest vinyl sales week by a woman since <a  href="https://www.billboard.com/artist/adele/"  >Adele</a>’s <em>25</em> during Christmas week 2015 (reflected on the Jan. 9, 2016, chart). By 2019, vinyl sales in the U.S. had reach the half-billion-dollar mark — and the real jump for the format was on the horizon.</p>
1783.  
1784.  
1785.  
1786. <p
1787. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1788. >
1789. The figures for <em>Folklore</em> — 9,000 copies week one — at first may seem like a regression. But the pandemic brought about two competing trends: both an aggressive jump in the popularity of vinyl, and vast, industry-wide supply-chain issues related to the production of it. Since <em>Folklore</em> was a surprise release on July 24, 2020, the vinyl was delayed until November; but Swift sold digital-physical bundles when the album was first released, meaning that the digital sale was counted during the July release week, but when the vinyl finally shipped in November — the first-week availability tracked here — the sales were not counted as vinyl, as they had already been counted as digital. (The chart rules have since changed so they are no longer counted together.) So while <em>Folklore</em>’s first week as a wide release had 615,000 album sales, there’s no clear way of delineating how many of those sales included vinyl copies; and the first-week figure in November, of 9,000 copies, represents the number purchased during that week, when many of Swift’s die-hard fans were receiving the album, though it was not tracked that way.</p>
1790.  
1791.  
1792.  
1793. <p
1794. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1795. >
1796. Nonetheless, <em>Folklore</em> was the first Swift album to really lean in to the vinyl-as-collectible trend, with seven alternate covers in addition to the standard black pressing available. <em>Evermore</em> would follow suit, with another pandemic-related delay helping its first week: The album was released in December 2020, but the vinyl came out in May 2021, allowing for five months of banked pre-orders, and with a collectible tweak: It was available in two green-colored variants and a red-colored Target exclusive, resulting in a then-record 102,000 vinyl sales in its first week of availability.</p>
1797.  
1798.  
1799. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
1800. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
1802. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
1803.  
1807. Related
1809. </h3>
1810. </div>
1813. <div class="o-card lrv-u-flex lrv-u-width-100p">
1814.  
1815. <a  tabindex="0"  href="https://www.billboard.com/lists/taylor-swift-hot-100-billboard-200-chart-records-broken/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
1818. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
1821. <div class="c-lazy-image  lrv-u-height-100p">
1823. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
1825. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2022/10/taylor-swift-midnights-2022-billboard-pro-1260.jpg?w=237&#038;h=147&#038;crop=1" alt="Taylor Swift" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
1827. </div>
1829. </div>
1832. </div>
1834. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
1838. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
1839.  
1841. </span>
1843. <div class="o_category ">
1844. </div>
1845.  
1846. <div class="c_title ">
1848. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
1849.  
1853. Here Are All the Hot 100 & Billboard 200 Chart Records That Taylor Swift Has Broken
1855. </h3>
1856. </div>
1857.  
1860. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
1861. 04/30/2024
1862. </time>
1869. </div>
1870.  
1871. </a>
1873. </div>
1874. </div>
1875.  
1876.  
1877.  
1878. <p
1879. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1880. >
1881. What followed was the furious slate of re-releases of her older albums, as well as her own new releases, many of which followed similar strategies — and led to truly eye-popping, record-breaking numbers. <em>Fearless (Taylor’s Version)</em>, also with a delayed physical release, came with two vinyl versions, a gold variant and a red Target exclusive, leading to a 67,000-copy first week; <em>Red (Taylor’s Version)</em> followed shortly after with two versions, both of which were four-LP sets that sold for $49.99 and led to a 114,000-sale first week, re-setting her own record.</p>
1882.  
1883.  
1884.  
1885. <p
1886. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1887. >
1888. By the time <em>Midnights</em> rolled around a year later, Swift’s playbook was complete: multiple covers, multiple colored vinyl variants and multiple vinyl editions of each album. <em>Midnights</em> had four variant editions sold widely, as well as another as a Target exclusive, while each of the wide releases were also available as signed copies. The result: 575,000 LPs sold in a week. <em>Speak Now (Taylor’s Version)</em>, the following July, had three colored variants, one of which was a Target exclusive; 268,000 vinyl sales later, it also entered the pantheon. And <em>1989 (Taylor's Version) </em>completed the pre-<em>Tortured Poets</em> set: five color variants, one a Target exclusive with an extra bonus track, and 693,000 LPs sold in its first week.</p>
1889.  
1890.  
1891.  
1892. <p
1893. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1894. >
1895. Since the pandemic year of 2020, vinyl sales in the U.S. ballooned from $820 million to the 2023 peak of $1.35 billion in revenue. And while that’s an industry-wide trend, Swift’s strategies, and successes, have surely had plenty to do with it, too.</p>
1896.  
1897.  
1898.  
1899.  
1900.  
1901.  
1902.  
1903.  
1904.  
1905.  
1906.  
1907.  
1908. </div>]]></content:encoded>
1912. <post-id xmlns="com-wordpress:feed-additions:1">1235671231</post-id> </item>
1913. <item>
1914. <title>Anne Wilson&#8217;s &#8216;Rebel&#8217; Rockets In at No. 1 on Christian Albums, Top 10 on Country Albums&#160;Charts</title>
1915. <link>https://www.billboard.com/pro/anne-wilson-rebel-number-1-top-christian-albums-chart/</link>
1917. <dc:creator><![CDATA[Jim Asker]]></dc:creator>
1918. <pubDate>Wed, 01 May 2024 16:24:27 +0000</pubDate>
1919. <category><![CDATA[Chart Beat]]></category>
1920. <category><![CDATA[Music]]></category>
1921. <category><![CDATA[Christian/Gospel]]></category>
1922. <category><![CDATA[Country]]></category>
1923. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235670841</guid>
1924.  
1925. <description><![CDATA[The singer-songwriter notches her second Top Christian Albums leader.]]></description>
1926. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
1927. <div class="pmc-paywall">
1928.  
1929.  
1930.  
1931.  
1932.  
1933.  
1934.  
1935.  
1936.  
1937.  
1938.  
1939.  
1940. <p
1941. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1942. >
1943. <a  href="https://www.billboard.com/artist/anne-wilson/"  >Anne Wilson</a>’s <em>Rebel</em>, which fuses Christian and country music, arrives at No. 1 on <em>Billboard</em>’s <a  href="https://www.billboard.com/charts/christian-albums/"  >Top Christian Albums</a> chart dated May 4. It also opens at No. 10 on <a  href="https://www.billboard.com/charts/country-albums/"  >Top Country Albums</a>.</p>
1944.  
1945.  
1946.  
1947. <p
1948. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1949. >
1950. In its launch week (April 19-25), <em>Rebel</em> earned a weekly career-best 16,000 equivalent album units in the U.S., with 10,000 in album sales, according to Luminate.</p>
1951.  
1952.  
1953.  
1954. <p
1955. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1956. >
1957. The set is the first to premiere in the top 10 of both Top Christian Albums and Top Country Albums simultaneously since March 2021, when Carrie Underwood’s <em>My Savior</em> bowed in the penthouse on both charts.</p>
1958.  
1959.  
1960.  
1961. <p
1962. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1963. >
1964. Wilson co-authored all 16 tracks on her new LP, the Lexington, Ky., native’s second full-length.</p>
1965.  
1966.  
1967.  
1968. <p
1969. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1970. >
1971. Wilson recently <a  href="https://www.billboard.com/music/country/anne-wilson-rebel-album-ccm-1235659592/"  >told <em>Billboard</em></a>, &#8220;Writing [<em>Rebel</em>], producing it and releasing it in, like, five weeks was very fast, but it’s been cool to see the reaction and how my music has been able to go to both country and Christian platforms and be appreciated in both.”</p>
1972.  
1973.  
1974.  
1975. <p
1976. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1977. >
1978. Wilson’s first full project, <em>My Jesus</em>, entered Top Christian Albums at No. 1 in May 2022 with 13,000 equivalent album units. It followed her introductory live EP, <em>My Jesus: Live in Nashville</em>, which arrived at No. 17 in August 2021 and hit No. 12 that October.</p>
1979.  
1980.  
1981.  
1982. <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube"><div class="wp-block-embed__wrapper">
1983. <iframe loading="lazy" class="youtube-player" width="640" height="360" src="https://www.youtube.com/embed/iFk2iYq4Zjk?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe>
1984. </div></figure>
1985.  
1986.  
1987.  
1988. <p
1989. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1990. >
1991. The first Christian radio single from <em>Rebel</em> is “Strong,” which ranks at its No. 3 high on Christian Airplay with 5.7 million audience impressions. On the streaming-, airplay- and sales-based Hot Christian Songs chart, “Strong” holds at its No. 4 best, also driven by 1.7 million official U.S. streams (up 12%).</p>
1992.  
1993.  
1994.  
1995. <p
1996. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
1997. >
1998. Wilson has earned one No. 1, among four top 10s, on Hot Christian Songs and two leaders on Christian Airplay. Her freshman single, “My Jesus,” dominated the former for four frames and the latter for six weeks beginning in August 2021. Her holiday track “I Still Believe in Christmas” followed, leading Christian Airplay for a week and peaking at No. 15 on Hot Christian Songs.</p>
1999.  
2000.  
2001.  
2002. <p
2003. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2004. >
2005. So far, one <em>Rebel</em> single has been introduced to country radio: “Rain in My Rearview,” being promoted by EMI Nashville (while Wilson’s Christian songs are being worked by Capitol Christian). Both are under the Universal Music Group umbrella.</p>
2006.  
2007.  
2008.  
2009.  
2010.  
2011.  
2012.  
2013.  
2014.  
2015.  
2016.  
2017.  
2018. </div>]]></content:encoded>
2022. <post-id xmlns="com-wordpress:feed-additions:1">1235670841</post-id> </item>
2023. <item>
2024. <title>Face the Music: The Time to Support the Fans First Act Is Now (Guest&#160;Column)</title>
2025. <link>https://www.billboard.com/pro/senate-bill-lower-concert-ticket-prices-support-guest-column/</link>
2027. <dc:creator><![CDATA[Chris Eggertsen]]></dc:creator>
2028. <pubDate>Wed, 01 May 2024 14:01:01 +0000</pubDate>
2029. <category><![CDATA[Business]]></category>
2030. <category><![CDATA[Touring]]></category>
2031. <category><![CDATA[guest column]]></category>
2032. <category><![CDATA[ticket prices]]></category>
2033. <category><![CDATA[Ticketing]]></category>
2034. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235670540</guid>
2035.  
2036. <description><![CDATA[If passed, the bipartisan legislation will bring enforcement and transparency, prohibit deceptive websites, disclose resellers, and ban speculative ticketing.]]></description>
2037. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
2038. <div class="pmc-paywall">
2039.  
2040.  
2041.  
2042.  
2043.  
2044.  
2045.  
2046.  
2047.  
2048.  
2049.  
2050.  
2051. <p
2052. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2053. >
2054. Ticketing for live events is not only under the <a  href="https://www.billboard.com/pro/live-nation-doj-antitrust-lawsuit/"  >Justice Department’s microscope</a> but front and center for music fans across the country. This focus places our industry at a crossroads. We can either stay with the status quo, in which events are egregiously expensive and funds go to resellers rather than artists and venues, or we can use this moment to support reform that benefits the broader live event ecosystem.</p>
2055.  
2056.  
2057.  
2058. <p
2059. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2060. >
2061. For too long, fans, artists, and venues have been caught in an unchecked marketplace riddled with speculative ticketing, deceptive practices and exorbitant price gouging.&nbsp;</p>
2062.  
2063.  
2064. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
2065. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
2067. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
2068.  
2072. Related
2074. </h3>
2075. </div>
2078. <div class="o-card lrv-u-flex lrv-u-width-100p">
2079.  
2080. <a  tabindex="0"  href="https://www.billboard.com/business/legal/senators-introduce-concert-ticket-bill-banning-deceptive-sales-tactics-1235547256/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
2083. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
2086. <div class="c-lazy-image  lrv-u-height-100p">
2088. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
2090. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2023/11/senate-building-2023-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="Sunlight his the U.S. Capitol dome at sunrise on Nov. 30, 2023." data-lazy-srcset="" data-lazy-sizes="" height="" width="">
2092. </div>
2094. </div>
2097. </div>
2099. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
2103. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
2104.  
2106. </span>
2108. <div class="o_category ">
2109. </div>
2110.  
2111. <div class="c_title ">
2113. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
2114.  
2118. Sweeping Ticketing Reform Bill That Would Ban Deceptive Sales Tactics & More Introduced…
2120. </h3>
2121. </div>
2122.  
2125. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
2126. 12/08/2023
2127. </time>
2134. </div>
2135.  
2136. </a>
2138. </div>
2139. </div>
2140.  
2141.  
2142.  
2143. <p
2144. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2145. >
2146. But all is not lost. We have an opportunity to establish guardrails that protect fans, create trust and promote a healthy live event industry.&nbsp;</p>
2147.  
2148.  
2149.  
2150. <p
2151. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2152. >
2153. The <a  href="https://www.nivassoc.org/fixthetix/fans-first-act"  rel="nofollow"  target="_blank"  >Fans First Act</a> is the right bill, at the right time. If passed, this important bipartisan legislation will bring much-needed enforcement and transparency, prohibit deceptive websites, disclose resellers, and ban speculative ticketing. That is why we call on Congress to pass this important legislation and move it to the White House for signature.&nbsp;&nbsp;</p>
2154.  
2155.  
2156.  
2157. <h3 class="heading larva //   a-font-primary-bold-l   "
2158. >
2159. <strong>The Problem</strong> </h3>
2160.  
2161.  
2162.  
2163. <p
2164. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2165. >
2166. To understand why we need the Fans First Act requires a full understanding of the problem and how we got here.&nbsp;&nbsp;</p>
2167.  
2168.  
2169.  
2170. <p
2171. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2172. >
2173. Fans find themselves in a perfect storm. Amid inflation and an unpredictable economy, they face bots, brokers and skyrocketing prices for live experiences (concert ticket prices have increased by 35% since 2019), according to Pollstar. While fans are eager to see their favorite acts and artists live, too many cannot.&nbsp;&nbsp;</p>
2174.  
2175.  
2176.  
2177. <p
2178. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2179. >
2180. Music festivals are a prime example of live events looking to adapt to the current economic environment of increased costs for fans (tickets, travel/lodging and food) and rising production fees. Unfortunately for fans, this means canceled events. This year, many<a  href="https://www.bloomberg.com/news/articles/2024-03-12/music-festivals-canceled-this-year-reveal-rising-costs-of-producing-large-events?embedded-checkout=true"  rel="nofollow"  target="_blank"  > </a>festivals have been canceled as organizers look to consolidate and adjust to rising fees and economic constraints.</p>
2181.  
2182.  
2183.  
2184. <p
2185. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2186. >
2187. Dig deeper into the fan experience and we find that many fans’ first engagement with live entertainment is through a reseller on a secondary ticketing site, sometimes posing as the actual venue.&nbsp;&nbsp;</p>
2188.  
2189.  
2190.  
2191. <p
2192. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2193. >
2194. Fans are often asked to cough up well over $500 for a decent ticket on the secondary market, and that’s for <em>real </em>tickets. A buyer has no sense of clarity about the primary ticket seller. For example, Seattle fan<a  href="https://www.seattletimes.com/entertainment/music/concert-ticket-turmoil-ticketmaster-torment-who-in-wa-can-fix-it/"  rel="nofollow"  target="_blank"  > Kerry Dellisanti</a> had her own dream crushed when her $895 nosebleed ticket for a <a  href="https://www.billboard.com/artist/taylor-swift/"  >Taylor Swift</a> concert turned out to be speculative (fake). Her friends ended up enjoying the show without her.&nbsp;&nbsp;</p>
2195.  
2196.  
2197. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
2198. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
2200. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
2201.  
2205. Related
2207. </h3>
2208. </div>
2211. <div class="o-card lrv-u-flex lrv-u-width-100p">
2212.  
2213. <a  tabindex="0"  href="https://www.billboard.com/business/business-news/fix-the-tix-letter-congress-fair-ticketing-1235666216/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
2216. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
2219. <div class="c-lazy-image  lrv-u-height-100p">
2221. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
2223. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2024/03/01_billie-eilish-01-2024-billboard-1548.jpg?w=237&#038;h=147&#038;crop=1" alt="Billie Eilish attends the 29th Annual Critics Choice Awards at Barker Hangar on Jan. 14, 2024 in Santa Monica, California." data-lazy-srcset="" data-lazy-sizes="" height="" width="">
2225. </div>
2227. </div>
2230. </div>
2232. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
2236. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
2237.  
2239. </span>
2241. <div class="o_category ">
2242. </div>
2243.  
2244. <div class="c_title ">
2246. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
2247.  
2251. Billie Eilish, Becky G, Fall Out Boy, Green Day, Chappel Roan, Diplo and 250 Others Sign ‘Fix the…
2253. </h3>
2254. </div>
2255.  
2258. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
2259. 04/25/2024
2260. </time>
2267. </div>
2268.  
2269. </a>
2271. </div>
2272. </div>
2273.  
2274.  
2275.  
2276. <p
2277. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2278. >
2279. Fans across genres and localities are<a  href="https://www.gao.gov/assets/gao-18-347.pdf"  rel="nofollow"  target="_blank"  > frequently deceived</a> by fake tickets. Many book non-refundable travel and hotels for concerts they think they have a real ticket for, but they’ve been scammed.</p>
2280.  
2281.  
2282.  
2283. <p
2284. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2285. >
2286. Everyone is losing in this environment.&nbsp;&nbsp;</p>
2287.  
2288.  
2289.  
2290. <p
2291. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2292. >
2293. Unscrupulous brokers and illegal bots have been increasingly detrimental to consumers. As they resell tickets at the highest possible price, it’s having a direct impact on the full ecosystem of live events, harming fans, artists and venues alike.</p>
2294.  
2295.  
2296.  
2297. <p
2298. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2299. >
2300. Sky-high profit margins for the secondary ticket seller means fans are seeing fewer shows and spending less on venue concessions and merchandise that sustain organizers and artists. When fans show up at a venue with a fake or overpriced ticket, the predatory seller who defrauded them is nowhere to be found. It is the venue owners, artists and small businesses who are left to pick up the pieces of this unchecked ticketing ecosystem. &nbsp;</p>
2301.  
2302.  
2303.  
2304. <h3 class="heading larva //   a-font-primary-bold-l   "
2305. >
2306. <strong>The Solution</strong>&nbsp; </h3>
2307.  
2308.  
2309.  
2310. <p
2311. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2312. >
2313. Our industry is at a crossroads. Cater to the resellers and brokers who have no investment in the concerts? Or swing the power of the live performance industry back into the hands of fans, artists and venues?</p>
2314.  
2315.  
2316.  
2317. <p
2318. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2319. >
2320. We call on Congress to pass the Fans First Act. Fans, artists and venues are the lifeblood of the live entertainment industry and their experience should always be at the forefront. The time is now to give the industry back to the people who make it tick and get back to what makes live events and music so important — and what fuels local economies across the country.&nbsp;</p>
2321.  
2322.  
2323.  
2324. <p
2325. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2326. >
2327. The connection. The experience. &nbsp;</p>
2328.  
2329.  
2330.  
2331. <p
2332. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2333. >
2334. <em>Julia Hartz is co-founder, CEO and executive board chair of Eventbrite.</em>&nbsp;</p>
2335.  
2336.  
2337.  
2338. <p
2339. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2340. >
2341. <em>Stephen Parker is executive director of the National Independent Venue Association (NIVA).</em>&nbsp;</p>
2342.  
2343.  
2344.  
2345.  
2346.  
2347.  
2348.  
2349.  
2350.  
2351.  
2352.  
2353.  
2354. </div>]]></content:encoded>
2358. <post-id xmlns="com-wordpress:feed-additions:1">1235670540</post-id> </item>
2359. <item>
2360. <title>TaP Music Co-President Wendy Ong Wants to Be the AAPI Mentor She Never Had: ‘K-Pop Has Changed&#160;Things’</title>
2361. <link>https://www.billboard.com/pro/aapi-music-exec-wendy-ong-mentors-k-pop-changed-music/</link>
2363. <dc:creator><![CDATA[Lyndsey Havens]]></dc:creator>
2364. <pubDate>Wed, 01 May 2024 12:00:29 +0000</pubDate>
2365. <category><![CDATA[Business]]></category>
2366. <category><![CDATA[Management]]></category>
2367. <category><![CDATA[From the Desk Of]]></category>
2368. <category><![CDATA[magazine]]></category>
2369. <category><![CDATA[management]]></category>
2370. <guid isPermaLink="false">https://www.billboard.com/?post_type=billboard_pro_post&#038;p=1235669896</guid>
2371.  
2372. <description><![CDATA[Ong also discusses why festivals still matter for artist development, how label layoffs have affected management and why she's a "huge advocate" of AI.]]></description>
2373. <content:encoded><![CDATA[<!-- do not apply CSS styles to this element! -->
2374. <div class="pmc-paywall">
2375.  
2376.  
2377.  
2378.  
2379.  
2380.  
2381.  
2382.  
2383.  
2384.  
2385.  
2386.  
2387. <p
2388. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2389. >
2390. As a former executive at music companies in Singapore, Hong Kong, New York and Los Angeles, <strong>Wendy Ong</strong> certainly has the globe-trotting credentials to help a roster of music artists including <a  href="https://www.billboard.com/artist/lana-del-rey/"  >Lana Del Rey</a>, <a  href="https://www.billboard.com/artist/ellie-goulding/"  >Ellie Goulding</a> and <a  href="https://www.billboard.com/artist/noah-cyrus/"  >Noah Cyrus</a> navigate an increasingly global business. But Ong charted the flight path she took to her current role as global co-president/chief marketing officer of the artist management and publishing company TaP Music largely on her own because, she says, mentors for an Asian American/Pacific Islander (AAPI) music executive were virtually nonexistent then.</p>
2391.  
2392.  
2393.  
2394. <p
2395. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2396. >
2397. As a result, Ong — who was raised in Malaysia and Singapore and worked at BMG, Arista, RCA, the Metropolitan Opera, EMI, Capitol, Interscope and Roc Nation — says she makes it a priority to be one herself, particularly for Asians and Asian Americans. Her mentorship has been aided by her participation in Gold House — a community of Asian Pacific entrepreneurs, creatives and other leaders — after, she says, she was invited to one of the organization’s dinners “by accident.” She adds that when opportunity presents itself, “it depends on what you do with it.”</p>
2398.  
2399.  
2400. <div class="injected-related-story // lrv-u-align-items-center lrv-u-background-color-grey-lightest lrv-u-flex lrv-u-margin-tb-2 u-margin-lr-n1@mobile-max" >
2401. <div class="lrv-u-display-block@desktop lrv-u-display-none lrv-u-text-align-center lrv-u-flex-shrink-0">
2403. <h3 id="title-of-a-story" class="c-title  a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-primary-bold-s lrv-u-color-brand-primary lrv-u-padding-tb-1 lrv-u-padding-lr-150 lrv-u-margin-lr-150 lrv-u-text-transform-uppercase lrv-u-border-a-3 lrv-u-border-color-brand-primary">
2404.  
2408. Related
2410. </h3>
2411. </div>
2414. <div class="o-card lrv-u-flex lrv-u-width-100p">
2415.  
2416. <a  tabindex="0"  href="https://www.billboard.com/music/features/88rising-founders-asian-artists-coachella-interview-1235665075/"  class="lrv-u-flex lrv-a-unstyle-link lrv-u-color-brand-primary:hover"  >
2419. <div class="o-card__image-wrap lrv-u-flex-shrink-0 u-width-191 u-width-150@mobile-max">
2422. <div class="c-lazy-image  lrv-u-height-100p">
2424. <div class="a-crop-3x2 a-crop-1x1@mobile-max lrv-u-height-100p">
2426. <img decoding="async" class="c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto" src="https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif" data-lazy-src="https://www.billboard.com/wp-content/uploads/2024/04/feature-88rising-ollie-zhang-atarashii-gakko-billboard-2024-bb6-yuri-hasegawa-1-1260.jpg?crop=0px%2C0px%2C1259px%2C781px&#038;resize=237%2C147" alt="Billboard Feature, 88Rrising, Ollie Zhang, Atarashii Gakko!" data-lazy-srcset="" data-lazy-sizes="" height="" width="">
2428. </div>
2430. </div>
2433. </div>
2435. <div class="o-card__content lrv-u-flex lrv-u-flex-direction-column lrv-u-justify-content-center lrv-u-padding-lr-1 lrv-u-padding-lr-075@mobile-max u-padding-lr-150@tablet">
2439. <span class="c-span  lrv-u-display-none@desktop a-article-related-module-title a-article-related-module-title--color-brand-primary a-font-accent-s lrv-a-font-secondary-s lrv-u-color-brand-primary lrv-u-text-transform-uppercase lrv-u-border-color-brand-primary lrv-u-padding-b-075">
2440.  
2442. </span>
2444. <div class="o_category ">
2445. </div>
2446.  
2447. <div class="c_title ">
2449. <h3 id="title-of-a-story" class="c-title  c-title a-bbpro-font-primary-medium-s u-font-size-17@mobile-max u-line-height-125 a-truncate-ellipsis-4line@mobile-max lrv-u-color-black">
2450.  
2454. How 88rising Took a Music Industry Hub for Asian Artists From 'Far-Off Dream' to…
2456. </h3>
2457. </div>
2458.  
2461. <time class="c-timestamp  lrv-u-display-none" datetime="00:00-YY-DD-MM">
2462. 04/25/2024
2463. </time>
2470. </div>
2471.  
2472. </a>
2474. </div>
2475. </div>
2476.  
2477.  
2478.  
2479. <p
2480. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2481. >
2482. Ong sat down with <em>Billboard</em> to discuss the continued importance of music festivals, the work of Gold House and the promise of artificial intelligence (AI), among other topics.</p>
2483.  
2484.  
2485.  
2486. <p
2487. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2488. >
2489. <strong>Lana Del Rey returned to Coachella this year as a headliner. Do festival bookings still&nbsp;move the needle?</strong></p>
2490.  
2491.  
2492.  
2493. <p
2494. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2495. >
2496. When you’re strategic about it, it allows you to make getting into smaller markets cost-effective. It’s hard to do proper global touring these days, and even in the U.S., festivals allow an artist to complement their overall touring strategy. From the TaP perspective, it’s still a very key component, especially for developing artists. It’s the same reason that collaborations work because it’s crossing over to other artists’ audiences. And not just for young people. I’m supposed to be the jaded music executive, but I’m not. The <a  href="https://www.billboard.com/artist/justice/"  >Justice</a> set [at Coachella] blew me away. I actually went and checked immediately [to see if they’re touring] because I wanted to see it again.</p>
2497.  
2498.  
2499.  
2500. <p
2501. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2502. >
2503. <strong>Prior to Coachella, what other major wins has TaP scored in the past 12 months?</strong></p>
2504.  
2505.  
2506.  
2507. <p
2508. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2509. >
2510. Ellie [Goulding] is one of the most multifaceted artists anywhere. She had a No.&nbsp;1 single and album last year [with “Miracle” featuring <a  href="https://www.billboard.com/artist/calvin-harris/"  >Calvin Harris</a> and fifth full-length <em>Higher Than Heaven</em>] in the same week in the U.K. That was stunning. And <a  href="https://www.billboard.com/artist/caroline-polachek/"  >Caroline Polachek</a>’s album [<em>Desire, I Want To Turn Into You</em>, which debuted at No.&nbsp;9 on <em>Billboard</em>’s <a  href="https://www.billboard.com/charts/top-album-sales/"  >Top Album Sales</a> chart]. I love that Caroline and <strong>Mookie Singerman</strong>, who manages her, have been together since the beginning of [Polachek’s former band] <a  href="https://www.billboard.com/artist/chairlift/"  >Chairlift</a>. There’s something to be said for loyalty. Sometimes when an artist gets bigger, they feel they need to switch up their teams. They are the CEO of their own company, so they need to make tough calls sometimes. But it’s nice to see those that remain loyal.</p>
2511.  
2512.  
2513.  
2514. <figure class="wp-block-image size-large"><img decoding="async" width="1240" height="1860" src="https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-2-1240.jpg?w=683" alt="From the Desk of, FTDO, Wendy Ong" class="wp-image-1235664455" srcset="https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-2-1240.jpg 1240w, https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-2-1240.jpg?resize=200,300 200w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw" /><figcaption class="wp-element-caption">After Ong spearheaded a Fifty Shades of Grey classical compilation at EMI, she says author E&nbsp;L&nbsp;James’ lawyer sent her a cease-and-desist notice. “I flew to London,” she says, and successfully proposed releasing Fifty Shades of Grey: The Classical Album, which put her on the radar of radio departments at Capitol when programmers called to say, “&nbsp;‘We heard you released a BDSM classical album.’&nbsp;”</figcaption></figure>
2515.  
2516.  
2517.  
2518. <p
2519. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2520. >
2521. <strong>How are label layoffs affecting management?</strong></p>
2522.  
2523.  
2524.  
2525. <p
2526. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2527. >
2528. Significantly. I always look to partner with our major labels in the best possible way, and when things are up in the air, it makes it very challenging to understand how much support we’re going to have. The company that [TaP co-CEOs] <strong>Ben [Mawson]</strong> and <strong>Ed [Millett] </strong>have built is very much on the ethos of self-­sufficiency. Going back to Lana, at the beginning of her career, they had a lot of pushback. She signed to Universal Germany because nobody believed in her. And that was and still is today a big takeaway for how we function as a company. We try to do as much for our artists as we can without overly relying on third parties, whether it’s a label, a brand, a social [platform] or a [digital service provider]. We need that agency to be able to make a difference.</p>
2529.  
2530.  
2531.  
2532. <p
2533. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2534. >
2535. <strong>What does that entail today?</strong></p>
2536.  
2537.  
2538.  
2539. <p
2540. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2541. >
2542. All anybody wants to talk about right now is superfans. And it’s such a wake-up call. Fans want that close, direct relationship with the artist, and we were all slow in realizing that we need to take control of this relationship. We, as a management company, have made big strides in CRM [customer relationship management]. We have someone employed specifically at our company to do CRM. We’re platform agnostic, whether that’s OpenStage or Community or Laylo. What is important for us is to be able to take back the data. I say “data,” but that’s the fans. Artists need to be able to talk to their fans directly, and I think we’re leading the charge on the management side. It’s a testament to how [much] we value our artists’ fans.</p>
2543.  
2544.  
2545.  
2546. <figure class="wp-block-image size-large"><img decoding="async" width="1240" height="1860" src="https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-3-1240.jpg?w=683" alt="From the Desk of, FTDO, Wendy Ong" class="wp-image-1235664456" srcset="https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-3-1240.jpg 1240w, https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-3-1240.jpg?resize=200,300 200w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw" /><figcaption class="wp-element-caption">Ong’s great-grandmother, with whom she lived in Malaysia while attending preschool, gave her this pendant.</figcaption></figure>
2547.  
2548.  
2549.  
2550. <p
2551. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2552. >
2553. <strong>You’ve talked about not having a mentor in the industry. When you switched to management, was it even more apparent?</strong></p>
2554.  
2555.  
2556.  
2557. <p
2558. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2559. >
2560. It was glaring. I wish that wasn’t my answer, by the way. I wish I could say that, “Oh, yeah. So-and-so really lifted me up and helped me out so much.” Younger people, whether it’s on social media or in real life, often reach out to me, and I do my best to play whatever small part I can because I think that my path may have been a little less rocky if I had more guidance early in my career. And the very reason I had no mentors is because there weren’t enough people that looked like me when I was coming up in the industry. Now there’s K-pop, so that has changed things in the best possible way.</p>
2561.  
2562.  
2563.  
2564. <p
2565. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2566. >
2567. <strong>How does Gold House encourage more mentorship and visibility of the AAPI community in music?</strong></p>
2568.  
2569.  
2570.  
2571. <p
2572. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2573. >
2574. With Gold House, I think it’s the first time that I became a part of something greater for the AAPI community. It makes it easier to give back and to spotlight minority communities like ours. I’m also very proud to be part of the Gold House Music Accelerator program. The spotlight K-pop has put on the AAPI community is wonderful, but being a judge on the Gold House Music Accelerator program helps to shine a light on other types of artists, whether it’s indie-rock or R&amp;B.</p>
2575.  
2576.  
2577.  
2578. <p
2579. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2580. >
2581. <strong>Why has K-pop become an umbrella term in the United States for all Asian music right now?</strong></p>
2582.  
2583.  
2584.  
2585. <p
2586. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2587. >
2588. Because we’re dealing with the greater media that is not Asian, it eclipses all these other interesting artists and music that’s coming out from countries like Indonesia and the Philippines and Taiwan. Nowhere else in the world would you put South Asians, Chinese, Koreans, Japanese, Filipinos, Indonesians all under one umbrella. It makes no sense outside of America. We have to do it in this country because we’re all minorities and we can have a bigger voice if we band together. It’s a challenge, though, because K-pop has changed so much of what we think pop music looks like. So now that we have a sliver of an opening, I hope that we get to demonstrate through Gold House efforts, for example, other types of music made by Asians.</p>
2589.  
2590.  
2591.  
2592. <figure class="wp-block-image size-large"><img decoding="async" width="1240" height="1860" src="https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-5-1240.jpg?w=683" alt="From the Desk of, FTDO, Wendy Ong" class="wp-image-1235664458" srcset="https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-5-1240.jpg 1240w, https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-5-1240.jpg?resize=200,300 200w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw" /><figcaption class="wp-element-caption">A sweatshirt embroidered with the face of Ong’s recently deceased dog, Patches, whom she rescued 16 years ago on the island of Tobago and “was my rock through and through.”</figcaption></figure>
2593.  
2594.  
2595.  
2596. <p
2597. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2598. >
2599. <strong>What genre would you like to see gain prominence?</strong></p>
2600.  
2601.  
2602.  
2603. <p
2604. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2605. >
2606. I’m so excited about South Asian Desi music. It is so much fun and joy and rhythm and bass. That joyousness is similar to how I view a lot of Latin music. It’s inevitable that a Desi artist is going to break through, and I’m excited for that to find its way into America.</p>
2607.  
2608.  
2609.  
2610. <p
2611. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2612. >
2613. <strong>TaP has its publishing, philanthropic, fashion and sports divisions, but is there another sector you would love to see the company tackle in the future?</strong></p>
2614.  
2615.  
2616.  
2617. <p
2618. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2619. >
2620. I am very excited and a huge advocate for all the positive changes that AI can bring. But I also have that personality of an early adopter. I think that in two years’ time the music industry is going to look extremely different — maybe more so on the publishing side because that’s where it’s the most scary. When things are challenging, that is when opportunity comes. It’s whether we can find a way to leverage it.</p>
2621.  
2622.  
2623.  
2624. <p
2625. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2626. >
2627. <strong>Outside of new music, what are you looking forward to this year?</strong></p>
2628.  
2629.  
2630.  
2631. <p
2632. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2633. >
2634. The Gold Music Alliance. It was really encouraging when [the organization] had the chance to do the event around the Grammys this year. It was the first experience for me as a member of the Recording Academy to realize that there was interest in growing the AAPI membership base. Because I don’t think we’re very represented.</p>
2635.  
2636.  
2637.  
2638. <figure class="wp-block-image size-large"><img decoding="async" width="1240" height="1860" src="https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-4-1240.jpg?w=683" alt="From the Desk of, FTDO, Wendy Ong" class="wp-image-1235664457" srcset="https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-4-1240.jpg 1240w, https://www.billboard.com/wp-content/uploads/2024/04/ftdo-wendy-ong-billboard-2024-bb6-yasara-gunawardena-4-1240.jpg?resize=200,300 200w" sizes="(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 100vw" /></figure>
2639.  
2640.  
2641.  
2642. <p
2643. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2644. >
2645. <strong>Do you think that will change with this year’s nominations?</strong></p>
2646.  
2647.  
2648.  
2649. <p
2650. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2651. >
2652. In 2023, two AAPI trustees were elected to the academy’s national board of trustees. I think that is a sign that we are getting more representation. And I want to use my platform to encourage more AAPIs to become members of the Recording Academy. I know K-pop dominates in terms of consumption, but recognition is what I’m speaking about. I would be really excited to see a non-fan-voted award with K-pop. We should be represented not just in <em>Billboard</em> sales charts, but also in critical acclaim. Once again, I hope that K-pop forges the path for other types of Asian music.</p>
2653.  
2654.  
2655.  
2656. <p
2657. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2658. >
2659. <strong>The academy added a best African music performance category this year. Would you like to see a similar addition for K-pop?</strong></p>
2660.  
2661.  
2662.  
2663. <p
2664. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2665. >
2666. How amazing would that be, but it’s a double-edged sword. Like, why isn’t K-pop just part of pop? It’s [like asking] why is there a best actor and a best actress at the Oscars? Sometimes I think it’s necessary because we can’t [bestow] the right amount of acclaim and recognition by putting everyone in the same bucket. We’ll see more changes due to AI than we’ll see anything else. I wish technological advances could help advance this type of conversation — maybe that’s the challenge.</p>
2667.  
2668.  
2669.  
2670. <p
2671. class="paragraph larva // lrv-u-margin-lr-auto  lrv-a-font-body-m   "
2672. >
2673. <em>This article originally appeared in the April 27, 2024 issue of </em>Billboard.</p>
2674.  
2675.  
2676.  
2677.  
2678.  
2679.  
2680.  
2681.  
2682.  
2683.  
2684.  
2685.  
2686. </div>]]></content:encoded>
2690. <post-id xmlns="com-wordpress:feed-additions:1">1235669896</post-id> </item>
2691. </channel>
2692. </rss>
2693.