Warner Music Group rebounded nicely from last year’s pandemic-riddled second fiscal quarter, posting $117 million in net income, or 23 cents

per diluted share, on revenues of $1.25 billion for the quarter ended March 31, 2021. That’s versus a $48 million net income loss on revenue of $1.09 billion for the quarter ended March 31, 2020.

Most importantly, all of the company’s profit met-rics showed improvement with OIBDA (operating income before depreciation and amortization) coming in at $228 million versus $12 million in the year earlier period; while after those expenses, operating income came in at $151 million, versus a $43 million loss last time out. That means the company’s operating margin — in the red in the year earlier period — is now begin-ning to climb and stands at 12.1% of revenue.

The increased profitability was spurred by gal-loping streaming revenue growth, tighter overhead cost containment and lower non-cash stock-based compensation related to the company’s management incentive plans.

“Following a strong first quarter, I’m happy to report that our momentum continued in Q2, and our business is stronger than ever,” WMG CEO Steve Coo-per said in a statement. “Despite the ongoing pandem-ic, we generated double-digit revenue growth in both Recorded Music and Music Publishing. Our success was driven by chart-topping new releases from our incredible artists and songwriters, as well as bold and imaginative execution from our world-class opera-tors. We’re excited about the rest of year, as we have a fantastic slate of new music coming from established superstars and emerging talent.”

The company credited releases from Megan Thee Stallion, as well as carryover success from Dua Lipa, Michael Bublé, Ed Sheeran, Ava Max, the Hamilton cast recording and Roddy Ricch, for all boosting revenues.

Breaking out revenue by operations, the company’s record labels produced $1.06 billion in revenue — a 16.8% increase from the $907 million turned in last year. From those totals, the company produced $235 million in OIBDA in the second quarter, versus $76

Warner Music Group Boosts Profit Margins on

$1.25B Quarterly RevenueB Y   E D C H R I S T M A N

(continued)

YOUR DAILY ENTERTAINMENT NEWS UPDATE

BulletinM AY 4 , 2 0 2 1 Page 1 of 26

• Pop on Top, R&B Rising: The State

of the Hot 100’s Top 10 in Q1 2021

• Red Hot Chili Peppers Selling Song Catalog

• The Revolution Will Be Digitized: How

RAC Is Using NFTs to Empower Artists

• Here’s How Music Companies

Are Honoring Asian American

and Pacific Islander Heritage Month

• UTA Promotes over 100 Across

30 Divisions

• All Your Questions About the End of the Grammy Nomination Review Committees, Answered: Analysis

• Michael Jackson’s Likeness Valued at

$4.1 Million in Big Tax Court Win for Estate

INSIDE

DEBRA RATHWELLBUFFY SAINTE-MARIE TIMBALAND MERCK MERCURIADIS NILE RODGERS CHRIS BLACKWELL

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Award-Winning RecordProducer, Rapper, DJ, Singer, and Songwriter

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Island RecordsSinger, Songwriter

Oscar®-Winning ComposerEVP, Global Touring &Talent, AEG Presents

ISSUE DATE 5/15 | AD CLOSE 5/5 | MATERIALS DUE 5/6

NOEL SCHAJRIS 20TH ANNIVERSARY TRIBUTE

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Latin Grammy winner, singer, songwriter and pianist Noel Schajris, has sold more than 25 million records and 1 million tickets since his first solo album 20 years ago, some of his songs and albums had been appeared at the Billboard’s top ten charts. He has earned international success with the legendary duet Sin Bandera where he and Leonel Garcia created some of the biggest hits in Spanish music history.

His music videos have more than 700 million views and his social media includes 9.5 million followers from more than 15 countries. As a recording artist, he has sung duets with John Legend, Brian Mcknight, Luis Fonsi, and Reik, just to name a few.

In 2020 he released the unique web www.NoelSchajris.fan which includes an online store, a fan subscription service and online shows . Mr. Schajris is considered to be one of the most important and celebrated artists in Latin music.

C O N T A C T SJoe Maimone201.301.5933 | joe.maimone@billboard.com

Lee Ann Photoglo615.376.7931 | laphotoglo@gmail.com

Cynthia Mellow615.352,0265 | cmellow.billboard@gmail.com

Marcia Olival 786.586.4901 | marciaolival29@gmail.com

Ryan O’Donnell +447843437176 | rodonnell@pmc.com

Page 3 of 26

million in the year-earlier corresponding period. That amounts to a nearly three-fold increase year-over-year. After the non-cash expense subtractions, the recorded music division brought in $184 million in operating income, good enough to produce a respect-able and growing 17.4% operating margin.

Breaking down recorded music revenue for Q1 2021:

Streaming produced $722 million in rev-enue, a 23.2% increase from the same period last year when it was $586 million.

Downloads dropped 15% to $34 million from the same period last year when it was $40 million.

Physical grew 25.5% to $118 million from the same period last year when it was $94 million, thanks to catalog vinyl releases from Fleetwood Mac and Neil Young and a Yellow Monkey release in the Japan market.

Artist services and expanded rights man-aged to hold its, own coming in at $118 mil-lion, up slightly from same period last year when it was $115 million

Licensing and other revenue fell nearly 7% to $67 million, down from $72 million in the same period last year.

As a percentage of recorded music revenue, that breaks out to: 71.4% digital (68.2% streaming and 3.2% downloads), 11.1% physical; 11.1% artist services with expanded rights; 6.3% licensing and other income streams.

Looking at publishing, during the second

fiscal quarter, Warner Chappell Music grew a whopping 15.7% to $192 million from $166 million the same quarter last year, with streaming driving practically all of that increase.

Breaking down publishing revenue for Q1 2021:

Digital generated $104 million, up 15.7% from $75 million from the same period last year.

Performance revenue, as expected, dropped 14.6% to $35 million from $41 mil-lion in the same period last year.

Synchronization increased by 11.8% to $38 million from $34 million in the same period last year.

Mechanical fell 20% to $12 million from $15 million in the same period last year.

As a percentage of revenue, that breaks out to: 54.2% digital, 19.8% synch, 18.2% performance, 6.3% mechanical and 1.6% other. (The year prior that was 44.6% digi-tal, 24.7% performance, 20.5% synch; 9% mechanical and 1.2% other.)

For the six month period ended March 31, 2021, the company enjoyed robust net income growth to $216 million, or 41 cents per diluted share, a whopping 350% increase over the $48 million, or nine cents per diluted share, in the six months ended March 31, 2020, while revenue grew 11.1% to $2.56 billion from $2.33 billion in the first half of 2020.

Operating income nearly tripled to $347

million from $116 million in the first half of 2020, and when non-cash charges are added back in OIBDA totaled $495 million, or nearly double the prior year’s $248 million.

Within that, recorded music grew 11% to $2.22 billion from $1.99 billion in the year-earlier corresponding six month period and publishing was up 8.3% to $367 million from $339 million.

Looking at recorded music, digital drove the segment’s revenue growth as it in-creased a healthy 17.8% to $1.483 billion bil-lion from $1.26 billion in the year-earlier, six-month period.

Breaking down recorded music revenue for H1 2021:

Streaming grew 20.3% to $1.414 billion from the first fiscal half of 2020 when it was $1.175 billion, and now comprises 63.7% of recorded music revenue (compared to 59% in the first half of 2020).

Downloads dropped 17.9% to $69 mil-lion from the first fiscal half of 2020 when it was $84 million, and now comprises 3.1% of revenue (compared to 4.2% in the first half of 2020).

Physical grew 5% to $292 million from the first fiscal half of 2020 when it was $278 million, and now comprises 13.2% of revenue (compared to 14% in the first half of 2020)

Artist services and expanded rights dropped 1.7% to $298 million from the first fiscal half of 2020 when it was $303 million,

IN BRIEF

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On June 5th, Billboard will publish its 3rd annual Pride issue honoring culturally moving and influential people who have contributed to the community’s history and its current landscape. Year-round Billboard and Rolling Stone celebrate the LGBTQIA+ community through the lens of music, amplifying the culture of the proud LGBTQIA+ community across our editorial channels, including Billboard Pride.

Building on this platform, Billboard and Rolling Stone will be joining together for the entire month of June to celebrate love, acceptance, diversity and what it means to be queer in music. All month long, Billboard and Rolling Stone will be the go-to destination for music and entertainment Pride content. Leveraging our iconic voices within music and culture, Billboard and Rolling Stone will curate a mix of engaging video and social content featuring thought-provoking panels, heartfelt performances, and glam tutorials – all fostering a community of consumers and influencers in celebration of LGBTQIA+.

C O N T A C T SJoe Maimone201.301.5933 | joe.maimone@billboard.com

Lee Ann Photoglo615.376.7931 | laphotoglo@gmail.com

Cynthia Mellow615.352,0265 | cmellow.billboard@gmail.com

Marcia Olival 786.586.4901 | marciaolival29@gmail.com

Ryan O’Donnell +447843437176 | rodonnell@pmc.com

PRIDE

BB House_Pride_06_042421.indd 1 4/21/21 10:00 AM

and now comprises 13.4% of recorded music revenue (compared to 15.2% in the first half of 2020)

Licensing and other income streams dropped 6.6% to $147 million from the first fiscal half of 2020 when it was $161 mil-lion, and now comprises 6.6% of recorded music revenue (compared to 7.6% in the first half of 2020).

Examining recorded music from a profit perspective, the company produced $407 million in operating income, which trans-lates into an 18.3% operating margin. That’s up 79.3% from $227 million in the first six months of 2020. If the non-cash charges of depreciation and amortization are added back in, that brings OIBDA to $504 million, a 59% increase from $317 million in the year earlier period.

As for Warner Chappell, publishing rev-enue grew to $367 million, an 8.3% increase from $339 million in the first six months of fiscal 2020. Operating income fell to $40 million from $44 million in the first half of 2020, but OIBDA improved slightly to $82 million from $81 million last time.

After artist and repertoire costs of $238 million are subtracted, that leaves Warner Chappell with net publisher’s share of $129 million. That’s up from $123 million in the year earlier period when A&R costs were $216 million.

Breaking down publishing revenue for H1 2021:

Digital grew 38.1% to $203 million from the first fiscal half of 2020 when it was $147, and now comprises 55.3% of revenue (compared to 43.4% in the first half of 2020).

Synch grew 1.4% to $71 million from the first fiscal half of 2020 when it was $70 mil-lion, and now comprises 19.3% of revenue (compared to 20.6% in the first half of 2020).

Performance fell 25.3% to $65 million from the first fiscal half of 2020 when it was $87 million, and now comprises 17.7% of revenue (compared to 25.7% in the first half of 2020).

Mechanical fell 23.3% to $23 million from the first fiscal half of 2020 when it was $30 million, and now comprises 6.3% of revenue (compared to 8.8% in the first half of 2020).

Other income held steady at $5 mil-lion, roughly equal to the first fiscal half of 2020, and now comprises 1.4% of revenue (compared to 1.5% in the first half of 2020).

Looking at the overall company once again, its cost of goods, including artist and reper-toire costs totaled $1.31 billion, which means it’s running at a gross profit margin of 49.5%. That’s an improvement from the first half of 2020 when cost of goods totaled $1.185 bil-lion, leaving gross margin at 48.4%.

Pop on Top, R&B Rising: The State of the Hot 100’s Top 10 in Q1 2021BY GARY TRUST

What were some of the most notable trends on the Bill-board Hot 100 songs chart in the first quarter of 2021?

Hit Songs Deconstructed, which pro-vides compositional analytics for top 10 Hot 100 hits, has released its Q1 2021 State of the Hot 100 Top 10 report.

Here are three key takeaways from Hit Songs Deconstructed’s in-depth research.

Pop tops, R&B bounds. In Q1 2021, 42% of all Hot 100 top 10s were of primarily pop, the leading genre for a third consecutive quarter. Though down from a 48% share in Q4 2020, the genre rose from 41% in Q3 2020 (when it tied for the lead with hip-hop/rap) and 30% in Q2 2020.

The genre includes Olivia Rodrigo’s “Drivers License,” which debuted at the Hot 100’s summit in January and reigned for eight weeks, and the chart’s new No. 1 “Save Your Tears,” by The Weeknd and Ariana Grande, after it first reached the top

Page 5 of 26

IN BRIEF

Sam Hunt’s second studio full-length, and first in over five years, Southside (MCA Nashville/Universal Music Group Nashville), debuts at No. 1 on Billboard’s Top Country Albums chart dated April 18. In its first week (ending April 9), it earned 46,000 equivalent album units, including 16,000 in album sales, ac-cording to Nielsen Music/MRC Data.

Southside marks Hunt’s second No. 1 on the chart and fourth top 10. It follows freshman LP Montevallo, which arrived at the summit in No-vember 2014 and reigned for nine weeks. To date, Montevallo has earned 3.9 million units, with 1.4 million in album sales.

Montevallo has spent 267 weeks on the list, tying Luke Bryan’s Crash My Party as the sixth-longest-running titles in the chart’s 56-year history.

On the all-genre Billboard 200, Southside ar-rives at No. 5, awarding Hunt his second top 10 after the No. 3-peaking Montevallo.

Hunt first released the EP X2C, which debuted and peaked at No. 5 on Top Country Albums in August 2014. Following Montevallo, Between the Pines: Acoustic Mixtape started at its No. 7 high in November 2015.

Montevallo produced five singles, four of which hit the pinnacle of Country Airplay: “Leave the Night On,” “Take Your Time,” “House Party” and “Make You Miss Me.” “Break Up in a Small Town” peaked at No. 2.

Hunt co-penned all 12 songs on Southside, including “Body Like a Back Road,” which was released in 2017. The smash hit ruled Country Airplay for three weeks and the airplay-, streaming- and sales-based Hot Country Songs chart for a then-record 34 frames. It now ranks second only to Bebe Rexha and Florida Georgia Line’s “Meant to Be” (50 weeks atop the latter list in 2017-18).

“Downtown’s Dead,” which is also on the new set, reached Nos. 14 and 15 on Hot Country Songs and Country Airplay, respectively, in June 2018. “Kin-folks” led Country Airplay on Feb. 29, becoming Hunt’s seventh No. 1. It hit No. 3 on Hot Country Songs.

Latest single “Hard to Forget” jumps 17-9 on Hot Country Songs. It’s his eighth top 10, having corralled 8.2 million U.S. streams (up 96%) and 5,000 in

sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil-lion audience impressions, up 16%).

TRY TO ‘CATCH’ UP WITH YOUNG Brett Young achieves his fifth consecutive and total Country Airplay No. 1 as “Catch” (Big Machine Label Group) ascends

2-1, increasing 13% to 36.6 million impressions.Young’s first of six chart entries, “Sleep With-

out You,” reached No. 2 in December 2016. He followed with the multiweek No. 1s “In Case You Didn’t Know” (two weeks, June 2017), “Like I Loved You” (three, January 2018), “Mercy” (two, August 2018) and “Here Tonight” (two, April 2019).

“Catch” completes his longest journey to No. 1, having taken 46 weeks to reach the apex. It out-paces the 30-week climb of “Here Tonight.”

On Hot Country Songs, “Catch” pushes 7-5 for a new high.

COMBS ‘DOES’ IT AGAIN Luke Combs’ “Does to Me” (River House/Columbia Nashville), featuring Eric Church, ascends 11-8 on Country Airplay, up 10% to 24.7 million in audience. The song is Combs’ eighth straight career-opening top 10, following a record run of seven consecutive out-of-the-gate, properly promoted No. 1 singles.

Church adds his 15th Country Airplay top 10.

THAT TOOK QUITE ‘A FEW’ MONTHS Travis Denning shatters the record for the most weeks it has taken to penetrate the Country Airplay top 10 as “After a Few” (Mercury Nashville) climbs 12-10 in its 57th week, up 4% to 21.4 mil-lion in radio reach.

The song surpasses two tracks that took 50 weeks each to enter the top 10: Easton Corbin’s “A Girl Like You,” which reached No. 10 in January 2018 be-fore peaking at No. 6 that February, and Aaron Watson’s “Outta Style,” which achieved its No. 10 high in December 2017.

“After” is Denning’s second Country Airplay entry. “David Ashley Parker From Powder Springs” traveled to No. 32 in September 2018.

SamHunt’s Southside Rules Top Country Albums; Brett Young ‘Catch’-es Fifth Airplay

Leader; Travis Denning Makes History

ON THE CHARTS JIM ASKER jim.asker@billboard.com

BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19

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ISSUE DATE 6/5 | AD CLOSE 5/26 | MATERIALS DUE 5/27

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On June 5th, Billboard will publish its fourth annual Indie Label Power Players List. This special feature in advance of Indie Week (6/14-6/17) and the 10th Anniversary Libera Awards will profile leading executives at top independent record labels, publishing companies and distribution companies. Positioning themselves as the driving force behind the success of independent music, these executives contribute to the independent music sector and to the world of music at large.

Take this opportunity to advertise and congratulate this year’s 2020 Indie Label Power Players.

C O N T A C T SJoe Maimone201.301.5933 | joe.maimone@billboard.com

Lee Ann Photoglo615.376.7931 | laphotoglo@gmail.com

Cynthia Mellow615.352,0265 | cmellow.billboard@gmail.com

Marcia Olival 786.586.4901 | marciaolival29@gmail.com

Ryan O’Donnell +447843437176 | rodonnell@pmc.com

INDIEL A B E L

P O W E R P L AY E R S

10 in February.Runner-up hip-hop/rap, with a 29% share

in Q1 2021, has declined continuously quar-ter-over-quarter for the past year, dropping from 35% of the Hot 100’s top 10 in Q4 2020, 41% in Q3 2020 (tying on top with pop) and a leading 48% in Q2 2020.

Pop and hip-hop continue passing the baton as the Hot 100’s top primary genre. While pop holds the lead a quarter of the way through 2021, the genres tied at 41% for all of 2020. In 2019, pop took the title (48% vs. 34%), after hip-hop led in both 2018 (59% vs. 24%) and 2017 (34% vs. 29%).

Meanwhile, R&B/soul surged to a 21% share of all Hot 100 top 10s in Q1 2021, vaulting from 4% in Q4 2020. It claimed 6% in Q3 2020 and 13% in Q2 2020. Notably among the genre, “Leave the Door Open” by Silk Sonic, the duo of Bruno Mars and An-derson .Paak, debuted in the top 10 in March on its way to No. 1.

They’re instrumental in hits. Nineteen instruments can be heard in Hot 100 top 10s in Q1 2021, with three continuing a heavy prominence: drums/percussion, non-bass synth and synth bass, with each played in over 90% of hits in that span.

Still, atypical sounds found their way to the Hot 100’s top 10 in January-March, including harp (on Drake’s “Lemon Pepper Freestyle,” featuring Rick Ross), organ (Jus-tin Bieber’s “Holy,” featuring Chance the Rapper) and sitar (CJ’s “Whoopty”).

Produce(r) dept. The most popular size for a production team on a Hot 100 top 10 in Q1 2021? Three members, with a 38% share in the year’s first quarter, ahead of two cred-ited producers (25%) and one (21%).

Mixing boards are showing more finger-prints, as production teams of three jumped to the top rank in Q1 2021 (again, 38%) from third place for all of 2020 (doubling from 19%). Trios swapped spots with single-billed producers in that stretch, as the latter tumbled from first place (41%) to third (again, 21%).

(Production teams of two held in second place, slipping slightly from 29% in 2020 to 25% in Q1 2021.)

“Save Your Tears” represents the Q1 2021 majority, with three producers: Oscar Holter, Max Martin and The Weeknd.

Red Hot Chili Peppers Selling Song CatalogBY ED CHRISTMAN

It looks like Hipgnosis has won yet another big music publishing acqui-sition, pocketing the Red Hot Chili Peppers song catalog in a deal ranging

from $140 million to $150 million, according to sources.

It’s unclear if the acquisition has closed yet, but sources say the firm has notched the deal, which likely includes the band’s most popular songs, such as “Under The Bridge,” “Dani California,” “Snow (Hey Oh), “Californication,” “Otherside,” “Can’t Stop” and “Give It Away.”

The band members — Anthony Kiedis, Flea, John Frusciante and Chad Smith — collectively write many of their songs, so it appears that a majority of them would have needed to agree to sell their shares of the rights to make this deal happen. Accord-ing to BMI, the Red Hot Chili Peppers song catalog is administered by Moebetoblame Music, under the guidance of lawyer Eric Greenspan, managing partner of the law firm Myman, Greenspan, Fox, Rosenberg Mobasser, Younger & Light LLP. Sources say Greenspan shopped the deal for the band.

The Red Hot Chili Peppers song catalog generates $5 million to $6 million in net publishers’ share (usually known as gross profit — although in this case its likely to include all revenue from the catalog), sources say, and it traded at a about a 25 times multiple, which calculates to about $125 million to $150 million total. At dead-line, Greenspan and Hipgnosis couldn’t be reached for comment.

In order to help finance that deal, Hip-gnosis sold 9 million new ordinary shares at £1.195 ($1.66) per share on April 29, bringing in £10.76 million ($14 million). Those shares are expected to be listed on the London Stock Exchange on May 5.

In January, Hipgnosis sold nearly 62 million shares and raised about £75 million

($104 million). In another move, on April 1, Hipgnosis converted from being a Guern-sey-based company to becoming an invest-ment trust.

The Revolution Will Be Digitized: How RAC Is Using NFTs to Empower ArtistsBY TATIANA CIRISANO

“What day is it, Thurs-day?” André Allen Anjos asks with a laugh.

Yes, it’s a Thursday afternoon in mid-March, though the Grammy-winning musi-cian and producer known as RAC could be forgiven for his confusion. He’s speaking over Zoom from his home in Portland, Ore., where he’s spent the past two weeks fielding constant calls from friends and a handful of music icons whose names he asks to be kept confidential. Everyone is seeking his advice about one thing: non-fungible tokens, or NFTs, the music industry’s favorite buzz-word since late February. “What is my life?” he wonders aloud to no one in particular.

As recently as six months ago, NFTs — unique digital collectibles bought and sold primarily on the Ethereum blockchain — were a niche interest for cryptocurrency enthusiasts. They can take almost any form, from virtual trading cards to tweets, and can also be linked to experiences (like a meet-and-greet) or physical items (like a vinyl album). Creators set rules for their NFTs in a “smart contract” designed to automatically execute behaviors like giving the creator a cut of the resale total — typically 10% to 25% — each time the NFT is resold in the future.

But thanks to headline-grabbing sales from digital artists like Beeple, who has generated nearly $80 million auctioning off NFT artwork since December, the music industry seemed to collectively wake up

Page 7 of 26

IN BRIEF

with a start to the financial and creative potential of NFTs last fall, and artists like deadmau5, Grimes, Ozuna and Shawn Mendes swiftly began launching their own. The turning point came on Feb. 28, when electronic DJ 3LAU finished auctioning off $11.6 million worth of NFTs, a record for the primary sale of an NFT collection at the time. The market for music NFTs has since exploded, with major-label acts like Halsey and The Weeknd each selling millions of dollars worth of their own.

Not all acts are seeing immediate suc-cess: King of Leon’s album NFT sale in March was extended after the band’s fan-base struggled to understand the purchasing process, and a Mick Jagger animated video NFT sold at auction for $50,000 in April — somewhat low for an icon. But interest hasn’t gone away, and by late April, music tech newsletter Water & Music reported that music-related NFT sales had surpassed $70 million since last June, with the vast major-ity happening within the 75 days prior.

Anjos, on the other hand, had been antici-pating all this for years. Outside of his work as an in-demand artist, producer and remix-er for the likes of Lana Del Rey and Phoe-nix, he is an early cryptocurrency adopter and has dabbled in digital art since 2017. He sold his first NFT — a pastel audiovisual titled “Elephant Dreams” — at auction for more than $26,000 in October, and has since grossed nearly $1 million worth of NFT sales, including a close to $700,000 haul for a collection released in conjunction with his March EP, YOU.

Now, “A lot of people are like, ‘Hey, do you have two hours to explain all this stuff to me?’” says Anjos, an affable and talkative 36-year-old who dabbles in computer sci-ence. “I feel a bit validated.”

For Anjos, a longtime artists’ rights advocate who went fully independent in January after 10 years releasing music under labels like Interscope Records and Ninja Tune, NFTs are about more than making a quick buck. Because they allow the market to determine the value of music, are built on transparency, streamline instantaneous payments and cut out the middleman, he sees them as a way to fundamentally shift the way we think about the value of music — and put

more power in the hands of creators.That’s why he is parlaying his influ-

ence in the sector to launch his own NFT creative agency, called 6. With it, he hopes to help other artists capitalize on NFTs both creatively and financially — and prove that the much-hyped new art form is more than a passing, eye-roll-inducing trend.

“I’d really hate for it to be like, in six months, ‘Hey, remember NFTs?’” he says. “But I think we’re past that.”

In 2007, as a college student in Illinois, Anjos recruited a group of online remixers to create the Remix Artist Collective, which became his solo project post-graduation. Three years later, he garnered attention for a 2010 remix of The Shins’ “Sleeping Lessons,” and by 2016, Anjos was fully im-mersed in the music industry: he’d released music independently, signed with Inter-scope Records and then Ninja Tune imprint Counter Records, worked on official remixes for artists like Foster the People, Tegan and Sara and Theophilus London in addi-tion to his own solo work, and even won a Grammy for his 2016 remix of Bob Moses’ “Tearing Me Up.”

But the totality of the experience he calls “being an artist in the typical music industry” left him disillusioned. “I was not enthusiastic about it, to put it lightly,” he says. “I was frustrated with the middleman and the amount of control that three labels have over the entire market.”

It was around that time that he discovered cryptocurrency, the digital, encrypted and decentralized medium of exchange intended to help people evade the bank-reliant finan-cial system and control their own money. Cryptocurrency (most commonly Bitcoin) operates on a blockchain, a transparent and publicly-accessible ledger which securely and instantaneously records transactions.

At first, the concept struck a chord with Anjos because it reminded him of file-sharing website BitTorrent, the decentral-ized successor to Napster that was his main source of music while growing up in Porto, Portugal. “A lot of people don’t connect those two, but I think that they’re ideologically aligned,” he says. “This idea of a decentralized network that doesn’t have a single point of failure that no single

party can control — that’s what I was really excited about.”

He was quickly swept up in the growing community of cryptocurrency advocates, which he lovingly describes as “a group of misfits and people that are a little crazy. It has kind of a hacker vibe to it,” he continues, “where it’s like, ‘We’re changing things.’”

Specifically, crypto advocates like Anjos want to create a better financial system for the music industry, which would increase transparency and make more accurate pay-ments in real-time. The technology, as he and his fellow crypto fans see it, could even be used to stop ticket scalpers and hold the copyrights to songs and catalogs (the lat-ter would be challenging to execute given music’s complex web of rights holders). “There’s tons of value that’s being left on the table or that’s going to the wrong people” in the music industry, he says. “This technol-ogy essentially enables [us to] replace a lot of the plumbing.”

In 2017, Anjos discovered Ethereum, the blockchain on which the majority of NFTs are sold, and home to Ether, the second-most popular cryptocurrency after Bitcoin. “I was like, ‘This is going to change the world,’” Anjos says. He laughs and gives a little self-conscious eye-roll; he knows most ideas involving the blockchain are still years away from wider music industry adoption. But in the meantime, he’s been steadily experimenting. As soon as he be-came aware of Ethereum he partnered with the blockchain-based music startup Ujo Music to release his introspective second album EGO on the currency (as well as on streaming services), allowing fans to pur-chase a digital download for the equivalent of about $10. The album sold about 130 cop-ies on Ethereum — a solid showing for the first album to be sold as a collectible on the blockchain, predating the NFT standard.

Then, in May 2020, Anjos released his next album BOY and sold 100 cassettes as the token $TAPE on the Ethereum-based NFT marketplace Zora. Each token, which had a starting price of $28, represented one physical copy of the cassette, and the owner could redeem it for the physical item at any point — driving further scarcity for the to-ken. “Instead of just putting it on a website

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and selling it, I decided to create a market for it,” Anjos explains. “I was just happy to be the experiment and try it, because I’ve got nothing to lose. If it fails, who cares? It’s a cassette, you know?”

In the end, the price of a single $TAPE token soared to nearly $13,000, which Anjos believes marks the most expensive cassette tape ever sold. (“We haven’t found anything more expensive,” he says; the closest he’s seen was a $5,000 Prince cassette on eBay.) Seventy of the cassette NFTs are in circula-tion today, trading at around $4,000 at the time of this story’s publication.

“That’s very much in line with my mis-sion, which is to challenge this notion that music is worth 0.000-whatever cents,” Anjos says, referencing streaming royalty rates. “Recorded music is far more valuable than what we’re selling it for. This is proof of that.”

Soon after the sale, as digital art market-places started to gain traction, Anjos hud-dled with his manager, YM&U Group’s Zael Ellenhorn. “He’s like, ‘Yo, we’re going to start dropping NFTs,’” Ellenhorn remem-bers. “The guy’s been making music for 10-plus years now. He’s been in the crypto world for 10 years now. And this was kind of the first time that those two things re-ally clicked and started working in tandem instead of separately.”

For his first NFT, “Elephant Dreams,” Anjos wrote an original clip of music and collaborated on visuals with Andrés Reising-er, an established visual artist who created the BOY album art. Like many musicians, Anjos was drawn to an NFT format where a clip of music plays over an image or video on loop.

“The way that I consume art is I’ll go to a museum, look at a piece for 30 to 45 sec-onds, and then move on,” Anjos says. “I was like, ‘How do I make something [digital] that is made for that experience?’ That’s how we landed in that 30 to 45 second loop, where you can get the experience and keep scroll-ing away if you want.”

He put the one-of-one NFT — mean-ing there’s only one copy — up for sale on the marketplace SuperRare on Oct. 5, and watched from his computer screen as bids rose into the thousands. “My heart was rac-

ing, I had sweaty palms, I was freaking out a little bit,” he remembers. Five days later, he accepted the highest bid of $26,128 from a digital art collector known as Max Stealth. “It was a telling moment for me, because it would take me years to make that on Spotify on one track,” he says. “I kind of never looked back.”

Feeling “a little self-righteous,” he jumped on Twitter. “I hope the music industry is watching,” he wrote. “You’ve been devalu-ing music and art for decades and we’re gonna change things.” Four months later, 3LAU closed his then-record-setting NFT drop. Around that time, Anjos had begun throwing around ideas for an NFT agency in a group chat he belongs to with other NFT and cryptocurrency proponents. 3LAU’s success was a turning point for them, too.

“3LAU had his big auction on Saturday and on Sunday, we were like, ‘Guys, we need to launch this tomorrow,’” Anjos says. “Be-cause literally everybody in the music indus-try is going to sit down and have a meeting at eight in the morning to talk about this.”

Ellenhorn and Anjos awoke to a barrage of texts. While members of the group chat started divvying up calls to artists hungry for information and advice, Ellenhorn drafted an email template to speed up his response time and Anjos’ friend Bobby Hundreds — of streetwear company The Hundreds, a master of physical drop culture — set up a weekly drop-in Zoom session to explain the new art form.

“The past three weeks have been the busiest of my entire life so far,” Ellenhorn says, speaking over Zoom from his home in California in mid-March. “Everybody smells opportunity and everybody smells money. There’s a lot of hype.”

Anjos announced his agency 6 on March 1, alongside partners Jesse Grushack, the co-founder of Ujo Music, and Georgio Constantinou, a former music manager who has worked with artists like Tyga, Af-rojack and Ty Dolla $ign.

The agency aims to help artists develop and manage their releases (usually taking a cut of the revenue), and has already worked on NFT drops for electronic acts like duo Galantis, whose March 25 collection of five NFTs reimagining their sea fox mascot

brought in more than $400,000; and Ty-cho, whose first NFT collection on April 15 earned more than $200,000 and included a $32,000 lifetime VIP pass to his headlining shows. Eventually, 6 will branch out into other digital monetization models like social tokens, a form of cryptocurrency which can be exchanged for perks like exclusive content and merch discounts (Anjos’ social token is $RAC).

“We want to create something that’s long-term and viable, and create entire econo-mies around artists — not just NFTs but social tokens and Metaverse [the concept of shared virtual spaces] stuff,” Anjos says.

In its rush to capitalize on NFTs, the music industry has also been inundated with widespread confusion and some lackluster projects. In early March, Kings of Leon extended an NFT auction pegged to new album When You See Yourself after their fanbase struggled to adapt to the new technology and purchase process. Collectors must connect a digital wallet with crypto-currency to the NFT marketplace in order to buy and sell NFTs, which can seem daunting to newcomers.

Critics also like to point out that mu-sic NFTs harm the environment, since the blockchain has an enormous carbon footprint — a view which frustrates Anjos, who (as he explained in a lengthy Twitter thread) acknowledges the view isn’t un-true, but lacks an understanding of the full picture. (The system supporting blockchain is bad for the environment, but efforts to change it are ongoing, and the existence of NFTs doesn’t make a big difference).

The NFT frenzy has also raised important questions about how music for NFTs should be licensed, and who deserves a cut of the revenue. As an independent artist who is creating new music for his NFTs, Anjos chooses to split the proceeds (as well as a 10% resale royalty) in half with his artist col-laborator. (Ellenhorn takes a management commission from Anjos’ cut.) But not every artist is able to make that call on their own.

The major record labels — Universal Music Group, Sony Music Group and Warner Music Group — are plotting their own NFT strategies to drive revenue for their artists and themselves, and major label executives

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predict that NFTs will soon become a stan-dard part of artists’ release strategies. There’s not yet a clear consensus on what types of licenses are needed to use music in an NFT, especially since NFTs can take a variety of formats. But labels are calling NFT mar-ketplaces “to make sure that they’re aware that we will assert our rights when we need to and that they need to come to us,” as one source recently put it to Billboard.

Even so, Anjos points out that major labels’ efforts clash in the first place with the reigning ethos among NFT creators and collectors, who are often distrustful of cor-porate entities. “I got pitched by one of the major labels, and they were like, ‘We want to do our own branded NFTs of our best al-bums,’” he says. “I’m like, ‘I don’t think you guys get it. This exists because of you. This is the anti-major label thing.’”

Because of that clash in ideology, and because major labels will aim to take a cut of their artists’ NFT revenues, Anjos thinks independent and emerging artists stand to gain the most from the emerging medium.

“That’s a bit unfortunate [for major-label acts], but then again, I don’t really see the more interesting stuff coming from those artists,” he says. “The more interesting work is coming from independent artists who are treating it as a new art form, versus try-ing to reappropriate something else. A lot of people do, ‘Well, we paid five grand for these tour visuals, can we just sell them?’”

While the NFT market is almost certainly in a bubble — and eight-figure paydays like the one 3LAU enjoyed are unlikely to happen again — Anjos and Ellenhorn argue that when done right, the revenue stream from NFTs can offer artists more freedom to work on the music projects they love. Anjos helped demonstrate that with his latest proj-ect, YOU, a five-track EP and NFT collection released on March 26 which explores how mundane objects from past relationships can carry special meaning.

The EP’s corresponding NFT series on Nifty Gateway, created again in partner-ship with Reisinger, included eight NFTs representing left-behind items — like a shell from a trip to the beach, a hotel keycard and a postcard with a handwritten poem — each of which had 100 copies available, sold in

a silent auction. Instead of rehashing the songs in the EP, he created a new, original “sonic mood” for each item, and collec-tors of editions 3 through 12 of each also received a free vinyl copy.

The drop also included a pair of one-of-one NFTs: “The Object,” which could be re-deemed for a physical sculpture and speaker containing a one-hour ambient piece of original music; and “The Room,” a package including an audiovisual of the album cover, all eight of the silent auction NFTs and one signed vinyl.

“This is one of the most cohesive [music] launches I’ve ever done, in terms of having multiple ways to interact with it,” Anjos says. More so, he created a moment for people to gather around virtually, driving emotional value for the digital collectibles. “The further [the music] spreads, the more valuable those NFTs become, because it be-comes a cultural artifact that people are at-tached to,” he says. “It’s a collectible, but it’s also like, ‘I was there. You had to be there.’”

To call the project a success would be an understatement. The collection grossed $708,000 — including $300,000 for “The Ob-ject” and $83,300 for “The Room” — which Anjos says is “far more” than he’s made off of three albums over the last decade.

Attaining that kind of financial freedom can be game-changing for an artist. As soon as Anjos began releasing NFTs, “We were like, ‘We don’t need to do as many remixes. We have the power to say no,’” Ellenhorn says. “It changes the way music is made. If you’re making enough money from NFTs, you can make music that maybe is not going to get on the bigger pop playl-ist. Maybe it’s just the music you actually want to be making.” NFTs can also drive attention back to artists’ catalogues: For a week in early March following “Elephant Dreams” and the debut of 6, Anjos’ Spotify plays jumped by 25%.

And now, 6 finds it’s not alone in the marketplace. On April 13, longtime cryp-tocurrency proponent deadmau5 (a.k.a. Joel Zimmerman) launched PIXELYNX, a company which will help clients digitize their brands into collectible goods for use in gaming and virtual worlds. As far as Anjos is concerned, the NFT playing field is wide

open, and that’s exactly how he likes it.“It’s completely undefined right now,” he

says. “That’s my favorite place to be, because then you actually have a say.” He could go on, of course, but Anjos has to jump. He’s late for his next NFT Zoom.

Here’s How Music Companies Are Honoring Asian American and Pacific Islander Heritage MonthBY CHRIS EGGERTSEN

With a marked increase in anti-Asian violence amid the coronavirus pandemic and #StopAsianHate rallies

and protests making international headlines earlier this year, Asian American and Pacific Islander Heritage Month has taken on a heightened significance in 2021. Music com-panies have taken note, with many announc-ing a range of initiatives to observe the annual month-long celebration that honors the contributions of the AAPI community in America and around the world.

Below, Billboard has compiled a running list of AAPI-focused initiatives announced by record labels, streaming services and more to commemorate the month.

88risingThe Asian-led music company will host

AAPI-focused programming on its SiriusXM channel, 88rising Radio (ch. 305), throughout the month of May. This includes “AAPI A-Z,” a twice-hourly, alphabet-themed spotlight of AAPI artists by 88rising Radio hosts; “88ris-ing Speakers,” an ongoing series of conversa-tions exploring the Asian-American experi-ence with AAPI leaders across industries; weekly takeovers of 88rising shows House of Jade and There There by guest DJs from the AAPI community; and a May 25 conversation between Steve Aoki and 88rising Radio host

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DJ Sosuperam on Sosupersounds.Amazon MusicThe streaming service is partnering with

AEG, Gold House, Pacific Bridge Arts Foun-dation (PBA) and Transparent Arts on this year’s “Identity 2021” benefit livestream. Slated to take place on May 15 via Amazon Music’s Twitch channel, the event will feature live performances, panels, PSAs and more with members of the AAPI commu-nity, including Linkin Park’s Mike Shinoda, James Reid, Guapdad 4000, ATEEZ, Kalani Peʻa and Steve Aoki. The livestream will raise money for  PBA’s scholarship pro-grams as well as the AAPI Community Fund.

Amazon Music has also announced plans to release a weekly series of Amazon Origi-nals for in May that will celebrate AAPI artists across a number of genres. Episodes are slated to debut every Friday on its Mix-tape Asia playlist, with the first being “Rent Free,” a new Amazon Original track from Dumbfoundead featuring Filipino-Ameri-can singer, songwriter and record producer Jeff Bernat.

The service will additionally launch several new playlists in commemoration of AAPI Heritage Month including Made in Hawaii (spotlighting Hawaiian musicians), The Collective (new hip-hop from AAPI art-ists) and [RE]DISCOVER, which will center on the Asian-led collective and record label 88rising. A number of existing playlists showcasing regional scenes across Asia, including Bollywood Tadka and K-Pop Now, will also be highlighted on the platform.

Finally, Amazon Music will release a new short film celebrating API women artists “who break norms and defy stereotypes to redefine culture,” with featured artists to include Audrey Nuna, Deb Never, Joyce Wrice, and Maliibu Miitch. On May 7, the service will also begin debuting new weekly episodes of Amazon Music’s Twitch show Group Thread: IYKYK featuring AAPI artists and creatives.

Apple MusicThe streaming service has put together an

AAPI Heritage Month hub featuring a vari-ety of content, including celebrity playlists from AAPI artists, producers, DJs and ad-vocates such as Steve Aoki, UMI, Guapdad 4000, H.E.R., Hailee Steinfeld and Com-

mon Kings; the playlist Celebrating Asian American Voices, featuring some of the most influential Asian American artists work-ing today; the short film “Unapologetically Asian” directed by Amber Park; and Apple Music radio episodes featuring interviews with artists such as Rina Sawayama, Sophia Chang, UMI and more.

Grammy MuseumThe Grammy Museum at L.A. Live in Los

Angeles – which is slated to reopen on May 21 – will celebrate AAPI Heritage Month with “archived programs and exhibits featuring AAPI talent.” The programs will highlight Grammy winners and nominees including Daniel Ho, Tak Matsumoto, Anoushka Shankar and Henry Kapono, among others.

These archived public programs will additionally be available on Collection: live, the Grammy Museum’s online stream-ing service (available for $2.99/month or $29.99/year).

Sony MusicIn tandem with other Sony companies in

the U.S. this past March, Sony Music made monetary donations to Asian Americans Advancing Justice (AAJC) and the Asian American Legal Defense and Education Fund (AALDEF).

Going forward, SMG will host a series of AAPI-themed virtual events throughout the month of May via HUE, an employee net-work group “dedicated to uplifting people of color.” These include mental wellness workshop “Stop AAPI Hate: Compassionate and Radical Healing”; a virtual potluck spot-lighting AAPI food, culture and history; an executive roundtable discussing AAPI rep-resentation in the media and entertainment industry; a panel discussion with politicians and activists on fostering inter-community solidarity across POC groups; and a series of bystander and intervention and de-esca-lation sessions presented by AAJC and the anti-harassment organization Hollaback!

SpotifyTo commemorate the month, Spotify has

created the AAPI content hub, a dedicated space that will house “leading AAPI voices alongside fresh new releases from creatives across the audio landscape.” The streaming service is additionally refreshing several

playlists highlighting AAPI and mixed-race artists — including Dope AF, .ORG, Desi Hits and AAPI Pride — with new music. It has also partnered with Audrey Nuna to cover G-Dragon’s “That XX,” a song that pays homage to Nuna’s AAPI heritage.

On the podcasting front, Spotify has unveiled a “dedicated podcast shelf” fea-turing episodes that address racism and xenophobia. These include new episodes of Asian Enough, featuring U.S. vice president Kamala Harris discussing the rise in anti-Asian violence and how government leaders should address racism in America; Asia In-Depth, where hosts Leesa Lin and Char-lie Woo discuss the rise in attacks against Asians during the pandemic; and Dear Asian Girl, whose hosts will discuss their personal experiences with Asian fetishization, the model minority myth and the lack of Asian representation in media.

Elsewhere, Spotify has partnered with illustrator Jocelyn Tsaih to create a special mural in New York City’s Chinatown high-lighting the strength of the neighborhood’s residents. It will also launch “Proud to Be AAPI,” a social campaign encouraging AAPI artists, podcasters, influencers and AAPI-identifying Spotify employees to share stories about why they’re proud of their heritage.

Universal Music GroupThroughout the month, UMG and its

AAPI employee resource group UTOPIAA ERG will celebrate AAPI Heritage Month with content and virtual programming to “educate, celebrate, and activate” its employees. This includes a special perfor-mance by Filipina rapper Ruby Ibarra on May 6; a “fireside chat” with UMG India & South Asia managing director and CEO Devraj Sanyal about the Indian music industry; a screening of the Eddie Huang-directed movie Boogie followed by a Q&A with Huang; and a performance by a to-be-named UMG-signed AAPI artist on May 26.

Universal Music has additionally curated the Spotify playlist Inclusion Is Universal, which features AAPI artists signed to the UMG roster.

Warner MusicAs part of its preexisting partnership

with the anti-bullying non-profit Act To Change, Warner Music is sponsoring the

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organization’s “United We Stand” event on National AAPI Day Against Bullying and Hate (May 18).

WMG will also host an AAPI panel for employees exploring how the globaliza-tion of AAPI media has shaped the identity of the AAPI community in the U.S. and Canada. Additionally, the company will host a live listening and feedback session with students and others from local AAPI organizations for in-house artists and A&R representatives.

In tandem with Topsify, WMG will also have a leading AAPI artist curate a playlist centered around AAPI identity.

Lastly, the company will host a virtual drag show near the end of the month to ben-efit both AAPI and LGBTQ+ organizations in commemoration of both AAPI Heritage Month and Pride.

YouTubeYouTube Music has launched a flagship

playlist entitled “Celebrating APAHM” that will feature both emerging and established Asian-American artists including cover star Audrey Nuna, Eric Nam, Raja Kumari and keshi. Other playlists showcasing Asian art-ists will follow throughout the month.

Over on the YouTube Spotlight channel, the service will showcase AAPI artists and others including Anna Akana, Steve Aoki, Hasan Minhaj and Amanda Lee. The partici-pants will discuss what it was like growing up and living in North America while “juggling multiple cultures, languages and customs” and how those experiences shaped who they became. Additionally, upcoming episodes of the behind-the-scenes video series Released will feature special AAPI programming.

UTA Promotes over 100 Across 30 DivisionsBY TAYLOR MIMS

UTA is making big moves with more than 100 promotions across 30 departments. The el-evations mark the largest promo-

tions class in the agency’s 30-year history.The promotions include employees at vari-

ous levels throughout the company and from divisions including comedy touring, music, music innovations, production, speakers, sports, talent, theatre and many more.

“Amid the unprecedented circumstances surrounding the pandemic, having the abil-ity to promote over 100 colleagues is a testa-ment to the perseverance of our UTA family and the continued evolution and expansion of our company,” said UTA co-president Da-vid Kramer in a release. “We couldn’t be more proud or grateful for this group’s resil-ience and innovative thinking in the face of adversity, and we can’t wait to watch them thrive in their new positions.”

According to UTA, the elevated group represents a wide range of backgrounds and experiences across gender and ethnicity. Close to 60% of those promoted identify as women and over 35% identify as people of color. Additionally, 90% of those promoted to agent and nearly 80% of those promoted to coordinator started their careers in the agent training program.

The promotions follow a string of key hires in newly created positions. In 2021 so far, UTA has added Heather Brooks Karatz as executive vice president of growth and operations, Jean-Rene Ze-trenne as chief people officer, Clinton Foy as general partner in venture capital and Danny Barton as sports content execu-tive. Additionally, UTA’s most recent partner class, announced in October 2020, marked the largest in the company’s history.

All Your Questions About the End of the Grammy Nomination Review Committees, Answered: AnalysisBY PAUL GREIN

Now that we’ve all had a few days to absorb the Recording Acad-emy’s bombshell announcement on April 30 that it is disbanding

its nominations review committees (except in so-called “craft” categories), let’s answer some of your questions about this momen-tous change.

How will this affect the Grammy nominations?

We can probably expect fewer shockeroos — both in terms of omitting records that met all the usual criteria and still weren’t nominated and including records that had barely registered.

This past year, The Weeknd’s failure to receive a single nomination made the most headlines, but nearly as surprising was Har-ry Styles’ failure to land a nomination in any of the Big Three categories: album, record and song of the year.

For most of Grammy history, The Weeknd and Styles would have been automatic Grammy nominees in the top categories — not just because they had huge commercial success, but also because they made great records that represented a meaningful ad-vance in their careers. They did everything right, and still didn’t get nominated (in the top categories, in Styles’ case).

Meanwhile, two of the album of the year nominees barely made a blip on the Billboard 200. Black Pumas’ Black Pumas (Deluxe Edition) peaked at No. 200 by the

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time of the nominations (it got as high as No. 86 after the awards). Jacob Collier’s Djesse Vol. 3 didn’t chart at all.

The committee seemed to see its mis-sion, at least in part, as championing new and worthy artists. That’s not unreasonable. Everyone who had the slightest interest in popular music had heard The Weeknd’s “Blinding Lights” countless times. You can picture some committee members saying: “Why not give that slot instead to a quality act that could really use the boost?”

The counter-argument is that isn’t the Grammys’ primary role — to break an art-ist or play “tastemaker.” When you have multiple agendas, your central purpose can get muddled.

In recent years, we have seen more and more nominees in the Big Four categories — the aforementioned Big Three plus best new artist — that made little commercial impact. It seems unlikely they would have been nominated without getting a boost from the committee.

In the past three years, four singles were nominated for record of the year that never appeared on the Billboard Hot 100: Brandi Carlile’s “The Joke,” Bon Iver’s “Hey, Ma,” H.E.R.’s “Hard Place” and Black Pu-mas’ “Colors.”

Going forward, we can probably expect to see fewer artists chosen because they would make the Grammys look cool or hip. In the 2019 awards cycle, the committee did not award a best new artist nod to Lewis Capaldi. Instead, they anointed Black Pumas, Tank and the Bangas and Yola. With the voters having the final say, the Lewis Capaldis of the world — talented and suc-cessful artists who aren’t necessarily buzzy or critical favorites — may have a better shot at Grammy recognition.

We may also see more country albums and more film soundtracks nominated. The committee nominated just 11 country albums for album of the year in 26 years and just three soundtracks (Waiting to Exhale, O Brother, Where Art Thou? and Black Panther: The Album, Music From and Inspired By).

So do you see this decision as a good thing?

I like things that are real, even if they’re imperfect. I don’t care that much what 20

people sitting around a table think — espe-cially when they’re being oh-so calculating and image-conscious. I care much more what the broad membership thinks. The unvarnished truth is more interesting to me than a highly refined alternate version of the truth.

It always struck me as problematic that thousands of Grammy voters could want someone to be nominated and a small, hand-picked committee could essentially overrule them. Something could conceivably rank first with rank-and-file voters and not even get nominated. Theoretically, the committee could bypass all of the voters’ top five picks and come up with a completely different slate of nominees, drawing from further down the list.

When I saw nominations for left-field can-didates who probably didn’t get there with-out a boost from the committee, I was happy for those acts, but I also wondered what was knocked out to make room for them.

Why did the Grammys institute nomina-tions review committees in the first place?

The idea in forming these committees was that experts in each of the genre fields would be more apt to be really plugged in, and less apt to vote for sentimental favorites, big names or best-sellers.

The move to nominations review commit-tees began in 1989 with the classical catego-ries, followed shortly after by jazz.

The committee approach was adopted in the Big Four categories in 1995, after controversy erupted over some of the 1994 Grammy nominations. Some argued that album of the year nods for Tony Bennett and The Three Tenors — and none that year for alternative or hip-hop artists — showed that the Grammys were out of touch.

The nominations review committee ap-proach expanded over the years to the point that such committees came to have the final say in the vast majority of categories.

When I crunched the numbers a couple of months ago, I was surprised to learn that rank-and-file Grammy voters determined final nominees in just 12 of 84 categories.

In a whopping 59 categories, rank-and-file voters voted in the first round and then nominations review committees had the final say in determining the nominees.

The final nominees in the remaining 13 categories were determined by so-called “craft committees.”

So they installed nominations review committees in the Big Four categories as a reaction to controversy over the nominations and they’re dissolving them as a reaction to controversy over the nominations.

Basically. It seems to me the backlash over The Weeknd being shut out was bigger and louder and more public than any grumbling 26 years ago over Tony Bennett and The Three Tenors being nominated.

Didn’t the committees help to ensure that the nominations were more diverse in terms of race, gender and genre?

Yes, but they did it in a self-conscious way, not in an organic way. The Recording Academy has been working hard to expand and diversify its membership, which is a better, more organic way to achieve the same result.

The Academy’s membership has evolved considerably since 1994, both through nor-mal attrition (a fair number of the members who voted in 1994 have retired or died) and as a result of the Academy’s aggressive outreach efforts in recent years.

In effect, the Trustees seem to have agreed that these committees have outlived their usefulness.

It’s probably a little late to ask this, but how did the committees work?

The committees were presented with an alphabetical list of the top vote-getters by rank-and-file voters in a given category. The committee in the Big Four categories saw the top 20 vote-getters in each of these catego-ries. The committees in various genre fields saw the top 15 vote-getters in each category.

These committees were fairly small. There were 25 plus people in the Big Four committee room; about 15 to 18 in each of the genre field committees.

The committee members listened, discussed and voted. Their votes alone determined the final nominations. How the rank-and-file voters ranked the entries was immaterial. In fact, the Academy insisted, the committee members had no way of knowing what finished first in the voting among rank-and-file-members and what

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finished last.If you ever saw nominees in categories

below the Big Four where your initial ac-tion was astonishment that those records or artists made the voters’ top 15 in the first place, your instincts were probably correct. The Academy only recently revealed that in the genre committees — but not in the Big Four committee – committee members had the option of replacing up to two of the listed candidates with write-ins (provided the write-ins were released in the eligibil-ity year).

What artists did the best with the com-mittee?

In the 26 years that a nominations review committee had the final say in the Big Four categories, Taylor Swift amassed more album of the year nods as a lead artist than anyone else (four).

Dixie Chicks, Kanye West, Radiohead, Eminem, Lady Gaga, Beck, Beyoncé and Kendrick Lamar are second, with three album of the year nods in this time period. (Lamar had one more as a featured artist on the Black Panther soundtrack.)

Thirteen artists amassed two album of the year nods (as lead artists) in this time period: Bob Dylan, OutKast, Mariah Carey, Paul McCartney, U2, Justin Timberlake, Foo Fighters, Adele, Bruno Mars, Drake, H.E.R., Coldplay and Post Malone. (If you were to combine group and solo achievements, you could add Fugees/Lauryn Hill and The White Stripes/Jack White.)

What genres did the best with the com-mittee?

In this 26-year period, 40 albums were nominated for album of the year that the Grammys classified as pop. Using the Grammys’ own classifications for all of these albums, that makes pop the top genre for this period, followed by rock and rap, each with 21 album of the year nomina-tions. Contemporary R&B is next with 14 nominations. (The name of the genre was changed, first to urban contemporary and now progressive R&B.)

Alternative music is next with 13 album of the year nominations, followed by country (11), R&B (eight), contemporary folk and/or Americana (five), jazz (two), electronic dance (2) and compilation soundtrack (1).

If you were to combine R&B and con-temporary R&B, that genre would sail into second place, with 22 album of the year nominations in this period.

Note: Waiting to Exhale, a 1996 album of the year nominee, wasn’t eligible for a genre album category because of the rules in place at the time. It’s the only album of the year nominee from this 26-year period that’s not included in the above tallies.

Didn’t Grammy voters nominate some pretty lame records back in the day be-fore committees?

Yes. I’m still amazed that Starland Vocal Band’s “Afternoon Delight” (1976) and Billy Ray Cyrus’ “Achy Breaky Heart” (1992) were nominated for both record and song of the year. But if we’re going to bring up the lame records that were nominated, we’ve also got to acknowledge the great ones that made it through the Grammy system.

It’s worth remembering that rank-and-file voters, with no committees to guide them or overrule them, selected three Stevie Wonder albums to win album of the year and also awarded Grammys in that category to such landmark albums as the Beatles’ Sgt. Pep-per’s Lonely Hearts Club Band and U2’s The Joshua Tree.

In the record of the year category, they awarded Grammys to Eagles’ “Hotel Cali-fornia” and Tina Turner’s “What’s Love Got to Do With It” and nominated Isaac Hayes’ “Theme From Shaft,” Don Henley’s “The Boys of Summer,” Peter Gabriel’s “Sledgehammer,” R.E.M.’s “Losing My Religion” and Bruce Springsteen’s “Streets of Philadelphia.”

So they made some pretty good calls, too, over the years.

Michael Jackson’s Likeness Valued at $4.1 Million in Big Tax Court Win for EstateBY ASHLEY CULLINS

More than four years after go-ing head-to-head with the IRS in U.S. Tax Court, Mi-chael Jackson’s estate has

emerged largely victorious — with a federal judge finding the artist’s worth at the time of his death to be much closer to its estimate than the government’s and declining to issue any penalties.

The dispute centered on how much Jack-son’s image and likeness were worth when he died in 2009, which would determine how much in taxes the estate would owe the IRS. It also includes the worth of Jackson’s inter-est in New Horizon Trust II, which included his stake in Sony/ATV Music Publishing, and New Horizon Trust III, which included Mijac Music, a publishing catalog that owned the copyrights to compositions Jackson wrote or co-wrote and works by other song-writers. (The estate and IRS generally agreed on the value of the other assets.)

On Monday, after a lengthy deliberation process, U.S. Tax Court Judge Mark Holmes issued a more than 250-page ruling that begins by acknowledging the complexities of the situation.

“From the time he was a child Michael Jackson was famous; and there were times in his life, testified his executor, when he was the most famous person in the world,” writes Holmes. “There were certainly years when he was the most well-known popular-music star, and even after his death there have been years when he was the world’s highest-earning entertainer. But there were also many years when he was more famous for his unusual behavior and not his unusual talent. And there were some years where his fame was turned infamous by serious accusa-

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tions of the most noisome acts. We make no particular judgment about what Jackson did or is alleged to have done, but we must decide how what he did and is alleged to have done affected the value of what he left behind.”

The IRS valued Jackson’s likeness and image at about $434 million, while the estate said it was only worth about $2,000 at the time he had died. The reason? Jackson struggled to rehabilitate his image amid al-legations of child molestation. In fact, one of the estate’s experts estimated that in the fi-nal six months of his life Jackson only made $24 in image and likeness-related revenue. (After further expert consultation leading up to the trial the estate would increase its valuation to around $3 million.)

Holmes notes that, in a situation like this, it’s vital to separate what the value was at the time of Jackson’s death from what the value would later become because of the estate’s management of those assets.

Because there’s no seeing the future, the estate’s experts compared Jackson’s posthu-mous prospects to those of other departed celebrities, specifically Marilyn Monroe, James Dean, Bettie Page, Jackie Robinson, Princess Diana and Elvis Presley. It also factored in public perception, balancing respect for his artistic talents against dam-age to his reputation. Holmes notes that the “stigma is reflected in his lack of endorse-ments or merchandise agreements unrelated to a musical tour or album from 1993 until his death.”

The IRS, however, gave greater weight to “foreseeable opportunities,” including themed attractions, branded merchandise, a Cirque du Soleil show, a film and a Broad-way musical. Again, Presley was used as a bit of a template, as were other celebrities with brand deals (Tony Hawk, Paris Hilton, Regis Philbin, Jennifer Lopez and Tyra Banks). Meanwhile, the Cirque show be-came a factor because Jackson’s ex-manager Tohme Tohme said negotiations were underway before Jackson’s death.

Holmes found the hypotheticals to be “unreliable and unpersuasive” — and notes that the government’s expert failed to account for any costs of managing the likeness rights and seems to have ignored the hit Jackson’s reputation had taken. He

writes, “Any projection that finds a torrent of revenue, and not just a trickle, from such a man’s image and likeness — especially one who in the last two years of his life was so unpopular he did not even have a Q score — is simply not reasonable.” (Then, there’s the whole perjury thing.)

Ultimately, Holmes found Jackson’s likeness to be worth approximately $4.15 million at the time of his death, his interest in New Horizon Trust II (which included the Sony/ATV stake) to be valueless because at the time he died its liabilities exceeded its assets by about $89 million, and his interest in New Horizon Trust III (which included Mijac) to be just more than $107 million.

Holmes doesn’t fault the estate for its valu-ations and found no penalties are warranted.”

Jackson had outlived the peak of his pop-ularity, but in the decades before his death he kept spending as if he had not,” writes Holmes. “Popular culture always moves on. There will come a time when Captain EO joins Monte Brewster and Terry Forbes as names that without googling sort of sound familiar, but only to people of a certain age or to students of entertainment history. And just as the grave will swallow Jackson’s fame, time will erode the Estate’s income. It resurrected and then sold what became its most valuable asset to Sony before trial. The value of what it has left, no matter how well managed, will now dwindle as Jackson’s copyrights expire and his image and likeness shuffle first into irrelevance and then into the public domain.”

John Branca and John McClain, co-exec-utors of The Estate of Michael Jackson, on Monday issued this statement in response to the decision: “This thoughtful ruling by the U.S. Tax Court is a huge, unambiguous victo-ry for Michael Jackson’s children. For nearly 12 years Michael’s Estate has maintained that the government’s valuation of Mi-chael’s assets on the day he passed away was outrageous and unfair, one that would have saddled his heirs with an oppressive tax li-ability of more than $700 million. While we disagree with some portions of the decision, we believe it clearly exposes how unreason-able the IRS valuation was and provides a path forward to finally resolve this case in a fair and just manner.”

The estate was represented by attor-neys from Hochman Salkin Toscher Perez; Hoffman Sabban & Watenmaker; Freeman Freeman Smiley; and longtime Jackson estate lawyer the late Howard Weitzman of Kinsella Weitzman Iser Kump.

This article was originally published by The Hollywood Reporter.

Epic v. Apple Antitrust Trial BeginsBY ERIQ GARDNER

In Oakland, California, a closely-watched trial is now underway over Apple’s practices with respect to its App Store. The case is being pursued

by Epic Games, which produces Fortnite. Last August, Apple booted the mega-hit game from its app distribution platform upon Epic’s attempt to bypass the 30 per-cent commission that Apple takes on in-app purchases. In response, Epic quickly un-leashed a public campaign to #freefortnite from Apple’s closed system.

The major antitrust showdown could have an outsized impact on streaming’s fu-ture by providing guidance about what those who control “walled gardens” online can and can’t do under the nation’s primary federal law regulating competition. Both sides agree that Apple’s App Store has become an impor-tant part of the world’s economy since the rise of the iPhone in the mid-aughts, but the disagreement lies in whether Apple is abus-ing control of a market.

“The evidence will show as a technical matter, [Apple’s 30 percent tax] is not about security but about profits,” said Katherine Forrest, the Cravath attorney representing Epic, in her opening statement.

Karen Dunn, Apple’s lawyer at Paul Weiss, had a different perspective.

“Ever since the launch of the iPhone , consumers have relied on Apple to provide a safe and secure environment,” said Dunn, later adding, “Epic, a $28 billion company, has decided it doesn’t want to pay for

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Apple’s innovations anymore.”Because of the COVID-19 pandemic,

there’s limited seating capacity in the court-room of U.S. District Court Judge Yvonne Gonzalez Rogers. Just one member of the media is being allowed to attend at a time, and the judge decided against providing a video stream of the proceeding. Instead, audio-only dial-in access is available, but the court was plagued with problems at the start of the trial. The media-only line went silent soon after the court was called into session while the line for the public was taken over for a brief time by pro-Epic gamers.

Nevertheless, despite the inauspicious start, both sides were able to craft and convey their respective narratives during fast-pace opening statements.

Forrest, a former federal judge, said there was really no reason why open distribution couldn’t exist for apps, and that when the App Store was launched in 2008, Steve Jobs stated that it wouldn’t be a money-maker.

Now?Apple generates a billion dollars annually

from the App Store, says Epic, adding the computer giant now tacks on extra charges for subscriptions, premium search place-ment, and even technical help. “The margins are far, far higher than any other compa-rable company in this sphere,” says Forrest.

Epic’s lawyer says developers now find themselves “in a trap of Apple’s making,” with users locked into an ecosystem. And the penalties for not obeying Apple’s rules are harsh. “The evidence will show that Apple wields its [termination] provision as a sword,” she says, also arguing, “Apple argues all its conduct is covered by IP rights but the evidence will show that IP rights don’t over-ride competition law.”

Is there any pro-competitive purpose to how Apple keeps such a tight leash on app distribution?

Yes, says Apple, repeatedly emphasizing security, privacy, and reliability.

“Apple did not create a secure and inte-grated ecosystem to keep people out; it did that so it could invite developers in, without compromising the privacy, reliability and quality consumers wanted,” says Dunn.

Other business have relied on Apple here. And that’s led to a decade of technological

progress and economic growth, she argues. Epic’s claims represent a “fundamental assault on what made the growth possible,” says Dunn, adding, “Epic is here demanding that this court force Apple to let in untested and untrusted apps.”

Anticipating this argument, Forrest says the evidence doesn’t show that absolute control over the app distribution system is needed to create a safe environment. Certainly not any 30 percent “tax” on in-app purchases, she says, pointing out how the App Store has allowed a lot of harmful apps through Apple’s review process including a school shooting game just weeks after a gunman killed 17 people at a high school in Parkland, Florida.

Meanwhile, Dunn attempted to undercut the notion that Epic is as benevolent as it portrays itself to be in the press, on social media, and in this case. Specifically, Apple’s attorney said that Epic had pursued a side deal that would have allowed a special carve-out for the game giant from the App Store rules.

While the first of its breed, this plat-form antitrust fight will hardly be the last. The trial comes just as Europe gets tough on digital gatekeepers and as Roku and Google square off about over the distribu-tion of YouTube TV. The proceeding will last roughly three weeks with testimony expected from Epic CEO Tim Sweeney, Apple CEO Tim Cook, other industry execu-tives, and experts as well. Jude Rogers, who has told the parties she agrees the antitrust issues are cutting edge, will then review the testimony and issue a decision, likely some-time later this summer.

This article was originally published by The Hollywood Reporter.

Sony Music UK Taps Charlotte Edgeworth to Lead Diversity, Inclusion & Social ImpactBY CYDNEY LEE

Sony Music Entertainment UK an-nounced on Tuesday the appoint-ment of Charlotte Edgeworth to the newly created position of direc-

tor of diversity, inclusion and social impact.In her new role, she will strive to foster

an equitable workplace, leading company strategies and working closely with Tif-fany R. Warren, vp and chief diversity and inclusion officer at Sony Music Group. Edgeworth will also work closely with the UK Social Justice Board and Towalame Austin, SMG’s executive vp of philanthropy and social impact.

“I’m delighted that Charlotte is joining the Sony Music UK as one of our newest leaders. She has played a key role in helping establish our Social Justice Fund and activi-ties,” said Jason Iley, chairman and CEO of Sony Music UK and Ireland. “Her expertise will continue to drive us forward in our commitment to diversity, inclusion and social impact. Charlotte’s leadership role re-inforces our efforts to ensure our company truly reflects the diversity of our employees and artists.”

With over 20 years of experience, Edge-worth has championed diversity and across numerous industries. In 2020, she joined Sony Music UK, advising on activities and disbursements for the company’s Social Jus-tice Fund. The Fund is a part of SMG’s $100 million Global Social Justice Fund, which was created in June 2020 to support social justice, equal rights and anti-racist initiatives.

As the new director of diversity, inclusion and social impact, Edgeworth will continue building on the Fund’s commitments and

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philanthropic partnerships to expand its scope and reach.

“I am delighted to join Sony Music UK at such a vital time in the movement towards a fairer and more inclusive society,” she said. “I look forward to further developing Sony Music’s commitment to equity and oppor-tunity in the workplace and driving social change  in the wider community.”

Billie Eilish, A$AP Rocky, & Post Malone to Headline Governors Ball 2021BY GIL KAUFMAN

The 2021 Governors Ball festival will take place at New York’s Citi Field from Sept. 24-26, and will feature headlining sets from Bil-

lie Eilish, A$AP Rocky and Post Malone. The 10th anniversary edition of the festi-val — which took a break in 2020 due to the COVID-19 pandemic — will follow all mandated state and federal guidelines at the time of the event, according to a release.

More than 60 acts will take the stage over the weekend, including J Balvin, DaBaby, Megan Thee Stallion, RÜFÜS DU SOL, Ellie Goulding, Leon Bridges, 21 Savage, Young Thug, Portugal. The Man, Burna Boy, Future Islands, Phoebe Bridg-ers, Jamie XX, Carly Rae Jepsen, Big Thief, Bleachers and many more.

This year, the show is moving to the Citi Field complex in Queens, New York, a site that organizers tout as having more trans-portation options, as well as a 360-degree layout modeled on The Meadows Music and Arts Festival that cut down travel time between stages while still preventing sound bleed. The event will also carpet the venue with high-grade astroturf for comfort, and allow easy access for quick entry and exit in

case of potential weather events. A render-ing of the new site is available here.

“Building a recovery for all of us means reconnecting with the iconic events that make New York City the greatest travel destination in the world,” said Mayor Bill de Blasio in a statement. “As more New Yorkers become vaccinated by the day, we’re proud to support arts and culture and welcome back Governors Ball and their fantastic lineup, including New York City’s own  Prin-cess Nokia, A$AP Rocky, and King Princess, among others.”

Also slated to perform are Freddie Gibbs & The Alchemist, EarthGang, Orville Peck, Bartees Strange, Pink Sweat$, Aminé, Domi-nic Fike, Smino, Duck Sauce and more.

Check out the full lineup below:

Grammy Winner D’Mile Signs Publishing Deal With BMGBY NEENA ROUHANI

Award-winning producer Dernst “D’Mile” Emile II announced a new global publishing deal with BMG on Friday (April 30). The

newly minted Oscar and Grammy winner earned his awards for songwriting work with longtime collaborator H.E.R. on “Fight For You” from Judas and the Black Mes-siah and last summer’s soul-stirring protest anthem, “I Can’t Breathe.”

“I am excited to renew my relationship with BMG and I’m confident that this next phase will be even bigger and more memo-rable for our fans and collaborators,” said D’Mile in a statement to Billboard. The R&B veteran kicked off the year in a major way, working extensively with power duo Silk Sonic (Bruno Mars and Anderson .Paak) in addition to his critically acclaimed work with H.E.R.

Thomas Scherer, president of reper-toire and marketing at BMG said, “Behind all his success is an unmatched authentic-

ity and unparalleled character. Coupled with his creativity, drive and determina-tion, there is no question he will soon place an Emmy and Tony award alongside his Grammy and Oscar.”

Hailing from a musical family, D’Mile was classically trained in piano as a child before moving onto the guitar, bass and drums. When asked about his decision to pursue music, the Brooklyn native says it was destined. “I think I made my decision before I even knew what I was doing,” he told Billboard in a recent interview. “It was a part of me.”

In addition to his production and song-writing work with H.E.R. and Silk Sonic, D’Mile collaborators include Rihanna, Beyonce, Jay-Z, Janet Jackson, Lucky Daye and Ty Dolla $ign.

Roskilde Festival 2021 Is Cancelled Due to COVID-19BY LARS BRANDLE

The 2021 edition of Roskilde Festival, one of Europe’s premier summer music fests, has been scrapped due to the health crisis.

“We finally received an official state-ment from the authorities,” reads a state-ment from organizers, published Tuesday (May 4). “There will be no Roskilde Festival this summer.”

This year’s outdoor event was booked across eight days from July 26, to June 3, with a line-up featuring the likes of The Strokes, Tyler, The Creator, Faith No More, Haim, DaBaby, Deftones, Doja Cat, Fontaines D.C., Megan Thee Stallion and many more.

On a typical year, 130,000 music fans de-scend on the site, about 20 miles west of the capital, Copenhagen. This, however, is the second successive year Roskilde has had to cancel due to COVID-19.

The latest development is “very serious for the festival,” for the Roskilde Festival Charity, the organization behind the fest, “and for our

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community,” the statement continues.“We will work extra hard to make room

for art, volunteering and new cultural expe-riences in the time to come,” say organizers. “But first we must digest this sad announce-ment. Then we will be back.”

Ticketholders can transfer their stubs for the 2022 event, or get a refund.

Denmark’s population of about 5.8 million has reported more than 254,000 cases of infection and 2,491 COVID-related deaths, according to updating research published by Johns Hopkins University. Currently, just 11% of the population is fully vaccinated.

Dance Producer Pierce Fulton Dies at 28 After ‘Tragic Struggle With Mental Health’BY KATIE BAIN

Electronic producer Pierce Fulton has died at age 28.

On Monday (May 3), Ful-ton’s older brother Griff Fulton

released a statement via social media an-nouncing the death. “It breaks my heart to share with you that Pierce passed away on Thursday evening following a tragic struggle with mental health.”

Fulton made his name in the dance scene in the early and mid-2010s via house and progressive house productions released by labels including Armada, Monstercat, Anju-nadeep and more. “Waiting for Tomorrow,” his 2018 collaboration with Martin Garrix and Mike Shinoda,hit No. 26 on Hot Dance/Electronic Songs, while his solo track “Run-away” hit No. 1 on that same chart in 2014. Fulton also had charting tracks on the Dance Mix/Airplay Show chart. In January 2020, his collaborative project Leaving Laurel was released via Anjunadeep.

The dance music community is mourning Fulton’s death online, with artists includ-

ing Audien, Louis the Child, Rezz, 3lau, BreatheCarolina, Tommy Sunshine, Manila Killa, Dave Dresden and many more — along with Spinnin’, Proximity, Anjunadeep and more labels and distributors — expressing their condolences.

“He was one of my best friends, and truly like a brother to me,” wrote Audien. “I don’t know what else to say on here.. RIP to some-one truly special.”

Fulton is survived by his parents, his brother, his sister and his wife.

“The past year has been a difficult time for everyone,” Griff Fulton continued in his statement. “If you or anyone you know has been struggling, please take your intuition seriously, speak up about your feelings, and reach out for help.”

The statement continues that the fam-ily is planning to start an organization in Fulton’s honor. It also encouraged fans and friends to send their condolences, pho-tos, videos and recollections of Fulton to pierce@piercefulton.com.

May is Mental Health Month. If you or anyone you know is struggling with mental health or substance abuse disorders, reach out to the Substance Abuse and Mental Health Services Administration’s national helpline 24/7 at 1-800-662-HELP (4357) for confidential treatment referrals and informa-tion. For those who are experiencing suicidal thoughts and/or distress, the National Sui-cide Prevention Lifeline is available 24/7 at 1-800-273-8255.

Here’s How ‘Fearless (Taylor’s Version)’ Performed in Its Third Week Compared to Taylor Swift’s Original ‘Fearless’BY JASON LIPSHUTZ

After Taylor Swift’s Fearless (Taylor’s Version) scored the biggest debut of any album so far in 2021 upon its release last

month, the re-recorded version of her 2008 sophomore album remains in the top 10 of the Billboard 200 chart. Meanwhile, we can keep tracking how the new version of Fear-less has impacted the old version of Fearless, in terms of weekly listenership.

In its third week on the Billboard 200, Fearless (Taylor’s Version) slips to No. 9, after previously debuting atop the chart and sliding to No. 2 on last week’s tally. The re-recorded album earned 33,000 equiva-lent album units on the chart dated May 8, according to MRC Data, down from 57,000 equivalent album units the previous week.

By comparison, the original Fear-less earned 5,000 equivalent album units on the chart dated May 8, which was steady with its total from the previous week. Here’s a visual comparison of how Fearless (Tay-lor’s Version) and Fearless have performed over the past three chart weeks, in equiva-lent album units:

As previously noted, Fearless (Tay-lor’s Version) has the benefit of new fan interest compared to the original Fearless, which won Swift her first album of the year Grammy of the three she has earned over the course of her career. Also, Fearless (Tay-lor’s Version) has six additional “From The Vault” tracks that count toward its equiva-

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lent album unit numbers.Although all of the “From The Vault”

songs have fallen off the Hot 100 chart as of this week, “Willow” — Swift’s latest No. 1 single, from last year’s Evermore album — comes in at No. 61 on this week’s tally. Swift has told fans that she is already hard at work on her next re-recorded album, after announcing plans in 2019 to re-record her first six full-lengths.

Chartbreaker: How Lainey Wilson Went From Living In a Trailer to Climbing Country ChartsBY MARCUS DOWLING

Lainey Wilson’s dad was recently having a day like any other: listen-ing to the radio on his tractor while planting corn. But then, something

different happened. He heard his daughter’s breakout hit begin to play. “When he heard my song, he called me,” recalls Wilson, tear-ing up. “He’s a good ol’ country boy and a man of few words. He reminded me that we used to listen to country music on the radio on the tractor together when I was a child. It was a full-circle moment.”

Wilson’s “Things A Man Oughta Know” — about learning what it means to be prepared for whatever life throws your way, from doubt to heartbreak — has spent 18 weeks on Billboard’s Country Airplay chart, re-cently surging into the top 20.

Wilson — who was born and raised in Baskin, La., “a hard-working, blue-collar town of 300 people who love country music” — says mining her upbringing was a natural process while writing alongside Jason Nix and Jonathan Singleton. She started talking about her childhood and soon relayed what her parents taught her early on, from catching a fish to hitching a

trailer to starting a fire.Wilson moved to Nashville in 2011,

at the age of 19, arriving with a Flagstaff trailer full of her belongings attached to a pickup truck. She parked outside a family friend’s recording studio and lived in it for three years. “I was known as that crazy girl with the trailer back then,” she recalls. By 2016, she independently released her debut album, Tougher, which hit No. 44 on Bill-board’s Top Country Albums chart, and followed it up with a self-titled EP.

All the while, she was determined to “meet the right people who could help connect the dots on the way to success. I changed management a few times and made a few mistakes while figuring out exactly what the formula was that would work for me.” By March 2018, she scored a publishing deal with Sony/ATV, and by that August a contract with indie label Broken Bow Records. The label released her four-track EP, Redneck Hol-lywood, the following year, which included “Things A Man Oughta Know.”

But as the label was gearing up to release her major-label debut full-length — Sayin’ What I’m Thinkin’ arrived this February — much of the world was in lockdown due to COVID-19. Thanks to her grassroots start in Nashville, though, Wilson was familiar with navigating uncertain times.

“Lainey didn’t let the pandemic stop her from engaging with fans on social media and industry professionals in the Nashville and country communities,” says Jon Loba, president of BMG Nashville. “She’s that rare artist who is [simultaneously] respect-ed by consumers, industry gatekeepers, and other artists.”

It helped that, prior to the pandemic, the label arranged for Wilson to meet with key radio and DSP players. Loba says iHeartra-dio, for example, met Wilson over a year ago and because she remained visible through-out 2020, was eager to work together, nam-ing her a 2021 “On The Verge” act. Spotify followed a similar path, adding Wilson its its inaugural Hot Country Artists to Watch list.

Loba predicts Wilson will be a future “stadium-touring act.” Even with concerts on hold, she has improved her live vo-cal skills, mostly through intimate online performances. As for Wilson, she’s hoping to

one day play Saturday Night Live.She shares her other desire with the frank-

ness befitting her small-town roots: “I want to keep my head screwed on straight, and then get to the point where I’m traveling on a bus, because boys stink and I don’t want to be around stinking boys anymore!”

 A version of this article will appear in the May 15, 2021, issue of Billboard.

Billie Hayes, ‘H.R. Pufnstuf’ and Broadway Star, Dies at 96BY MIKE BARNES

Billie Hayes, who played the cack-ling Wilhelmina W. Witchiepoo on Sid and Marty Krofft’s H.R. Pufnstuf and the scrappy Mammy

Yokum in the Broadway and big-screen ver-sions of Li’l Abner, has died. She was 96.

Hayes died Thursday of natural causes at Cedars-Sinai Medical Center in Los Ange-les, a family spokesperson said.

After starring as the evil protagonist on the 1969-70 kids program H.R. Pufnstuf, she reteamed with the Krofft brothers in 1971-72 on Lidsville, another Saturday morning show for children (she played the incompe-tent Weenie the Genie on that one).

The Kroffts reacted on Twitter to the news of her death:

More recently, Hayes served as a voice actor for The Black Cauldron (1985) and for such cartoons as Trollkins, The New Scooby-Doo Mysteries, Paw Paws, Darkwing Duck, The Brothers Flub and Transformers: Rescue Bots.

Born on Aug. 5, 1924, in DuQuoin, Illinois, Hayes played in bandleader Vince Geno-vese’s orchestra while in high school, then toured with her own singing and dancing act throughout the Midwest.

After moving to New York, she auditioned for theater legend J.J. Shubert and was hired for principle roles in three road-show operettas: Student Prince, The Merry Widow and Blossom Time.

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Hayes made her Broadway debut in Leonard Sillman’s New Faces of 1956, then succeeded Charlotte Rae as Mammy Yokum in Li’l Abner. She played the bare-knuckle champion of Dogpatch for the remainder of its Broadway run through July 1958, then segued to the 1959 Paramount big-screen version that also starred Peter Palmer, Leslie Parrish, Stubby Kaye, Julie Newmar and Stella Stevens. (Hayes portrayed Mammy Yokum again in a 1971 ABC telefilm.)

In 1966, she toured with the national company of Hello, Dolly!, starring Betty Grable, and later appeared on such TV shows as The Monkees, Bewitched, Trapper John, M.D. and General Hospital.

Survivors include her niece, Nancy, and nephews Tom, Louie and Guy.

Donations in her memory can be made to the humane organization she found-ed: Pet Hope, P.O. Box 69493, West Hol-lywood CA 90048.

This article originally appeared in  THR.com.

P!nk to Receive Icon Award at the 2021 Billboard Music AwardsBY PAUL GREIN

P!nk has been selected to receive the Icon Award at the 2021 Bill-board Music Awards, which will broadcast live from the Microsoft

Theater in Los Angeles on Sunday, May 23. Nick Jonas is hosting the show for the first time.

P!nk, 41, is the 10th artist to receive the Icon Award and the youngest recipient to date. The previous recipients are Neil Dia-mond, Stevie Wonder, Prince, Jennifer Lopez, Celine Dion, Cher, Janet Jack-son, Mariah Carey and Garth Brooks.

In a statement, P!nk made note of that impressive roster of icons. “As a little girl, I always dreamed about being a singer and sharing my love of music with the world,”

she said. “Years later, to receive the Billboard Music Awards Icon Award is hard to fathom! I feel so honored to join the ranks of music idols like Cher, Garth Brooks, Janet Jackson and Stevie Wonder. It’s a true ‘pinch me’ mo-ment and I feel humbled and blessed.”

As all of the previous Icon Award recipi-ents have, P!nk will perform at the show. This will mark her first performance on the BBMA stage in five years.

The Icon Award “recognizes outstanding artists who have achieved excellence on the Billboard charts and have made an indelible mark on music itself.”

P!nk’s last three studio albums — The Truth About Love (2012), Beautiful Trau-ma (2017) and Hurts 2B Human (2019) — have entered the Billboard 200 at No. 1. In addition, she has amassed four No. 1 singles on the Billboard Hot 100: “Lady Marmalade” with Christina Aguilera, Lil’ Kim and Mýa (2001), “So What’’ (2008), “Raise Your Glass” (2010) and “Just Give Me a Reason,” featuring Nate Ruess (2013).

The versatile singer also reached No. 1 on the Hot Country Songs and Country Airplay charts with “Setting the World on Fire,” a 2016 collab with Kenny Chesney.

P!nk’s “Beautiful Trauma” world tour (2018-19) became the highest-grossing tour by a woman in the 2010s and the second highest-grossing tour by a woman in Box-score history. It received Billboard’s legend of live and tour of the year awards in 2019.

P!nk was Billboard’s Woman of the Year in 2013. She has received several other ma-jor career honors in recent years, including the Michael Jackson Video Vanguard Award at the MTV Video Music Awards in 2017 and the outstanding contribution to music award at the Brit Awards in 2019.

The Weeknd is this year’s leading BBMA finalist with 16 nods, followed by Da-Baby (11), Pop Smoke (10) and Gabby Barrett (nine).

BBMA finalists and winners are based on key fan interactions with music, including album and digital song sales, streaming, ra-dio airplay, and social engagement, tracked by Billboard and its data partners, including MRC Data. This year’s awards are based on the chart period of March 21, 2020, through April 3, 2021.

The 2021 Billboard Music Awards are produced by dick clark productions, which is owned by MRC; MRC and Penske Media are co-parent companies of Billboard. Barry Adelman and Robert Deaton are executive producers.

The show will air live from the Microsoft Theater in Los Angeles on Sunday, May 23, at 8 p.m. ET/5 p.m. PT on NBC.

With a Global Team and ‘God Connecting the Dots,’ New Artist Pricie Is Set Up For SuccessBY LYNDSEY HAVENS

At the top of 2020, rising artist Pricie was staying with her A&R in Hollywood. While out on the balcony, she overhead someone

playing the piano to Beyoncé’s “Halo” from a rooftop below. She decided to sing along.

However, the keyboardist happened to be a social media star and was filming his latest gimmick, in which he plays songs blindfold-ed, for his 2.6 million TikTok followers.

“She just started singing a cappella over his piano, literally from rooftop to roof-top,” recalls Matt Handley, director of A&R at Sydney-based indie label Sweat It Out. “It was pretty sick.” It also demonstrated that he had, in fact, recently signed a star in the making.

Handley first came across Pricie three years prior when her demo landed in his inbox. The gospel-infused funk-pop tracks were “completely left” of the dance-based demos he typically received. “Instantly it ticked everybody’s boxes,” says Sweat It Out director Jamie Raeburn. “It was one of the easiest, ‘Yes, we want to sign you’ conversa-tions we’ve had.”

That said, he admits there were concerns over if the label was the best fit for Pricie,

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because of its storied past with break-ing and supporting dance acts, from A-Trak to Rüfüs Du Sol. “But one of our founders, [dance legend] Ajax, who has sadly passed away — he always used to refer to records with shtick, and that’s exactly what this [demo] had. It had shtick — and she had shtick. It didn’t really matter what style it was.”

Pricie’s debut single, “Too Dang Good” — a sassy, soulful song with rapped vocals and glimmering pop production that she wrote just as COVID-19 hit — had so much shtick that before it was even properly released, Australia’s government-funded alterna-tive radio station, Triple J, added it to the rotation. (The release date had moved at least four times due to the pandemic, before the team finally decided to start fresh in the new year with a new rollout plan). By early February, as the song officially arrived, Triple J’s sister station, Unearthed, named Pricie as a featured artist. Over on Spotify, the track was added to a wide-range of genre-based playlists, from Front Left to House Party.

Beyond her music, Pricie had the look and feel of a star, too. Sweat It Out’s head of publicity, Amanda Jenkins, says from the first time the team met her she came in with “these really strong ideas about visuals and photo shoots. It just felt straight away like she was going to be the whole package. We’re not trying to create any story — we’re just facilitating hers. I think that’s when you get the absolute best results of any artist, when they really know themselves.”

Pricie, 26, was raised on gospel music while growing up in Nigeria, particu-larly CeCe Winans, and would often dance and harmonize with her sisters at countless Nigerian weddings (current favorites in-clude Anderson .Paak, Cardi B, Saweetie and SZA). “Rhythm, grooves, vibes, it’s always just been there,” the singer says. She asserts there was never that moment where she was like, “Oh shit, I can really sing,” but rather a moment when she realized, by the age of 16, that she had the ability to tell stories through music that connected with people she didn’t even know.

Pricie soon started posting covers and original songs on YouTube and social

media, and still remembers when two of her Facebook friends affirmed her path by direct-messaging her that she needed to pursue music more seriously. Not long after, her demo made its way to Handley and by Feb. 2018 she signed a recording contract with Sweat It Out. “We don’t have a lot of artists, and we tend to focus quite heavily on [the ones we do have] from quite an early stage,” says Raeburn. By the time Pricie visited L.A., she and the team agree the way in which everything else came together was, simply put, “God’s plan.”

While staying with Handley, Pricie bonded more with his girlfriend, Johanna Moonan. After watching, and being im-pressed, by how Moonan negotiated a new lease agreement with a nightmarish land-lord, Pricie was intent on being managed by her. Though she herself had no manage-rial experience, her longtime friend, Logan Kearns, did — and had recently launched his own company, Camp Management.

Five years prior, Kearns had met Pat Corcoran, who was managing Chance the Rapper at the time. The two had since been eager to collaborate, and Pricie proved to be the perfect opportunity. Just as Pricie was gearing up to release “Too Dang Good,” Corcoran came on board and all the pieces fell into place: she had Australian and U.S. label representation through Sweat It Out and Corcoran’s Nice Work (which runs through Warner’s distribution company ADA), respectively, and a widespread management team with Moonan’s Working Holiday in L.A., Kearns’ Camp Manage-ment in Toronto and Corcoran’s Nice Work in Chicago.

“To be honest, we didn’t plan it that way,” says Raeburn of her team’s global reach. “We thought we’d start in Australia and build slowly. We always had international in mind for her — we thought she was going to break in the U.K., then the U.S. — but it snowballed really quickly. When people start asking you for records and you start to see momentum, you’ve got to be reactive.”

From the start, Jenkins formed a game plan to ensure Pricie would always be a step ahead. She says a key part of the team’s strategy was making sure that when they did finally drop “Too Dang Good” they had

the following 6-12 months mapped out. As Corcoran says, it’s all about cadence and consistency — especially for a new artist.

“When we turn on a TV show, if there’s only one episode a year, how can we ever be interested in watching it?” he says. “Just logi-cally thinking, we need to be consistent so that people tune in on a consistent basis. Pri-cie’s got a vault of amazing material, so we’re not worried about having a lack of music.”

Pricie’s next single, “Friendzone” — a booming, slinky song featuring Ghanaian-Australian hip-hop artist Genesis Owusu — will arrive May 14 (though Raebrun is quick to note that “Too Dang Good” is still “doing so bloody well at radio we don’t want to jump on its parade”).

While focusing on singles for now — Handley compares their strategy to DJing in that “you want to get the crowd’s trust by playing them a few songs that they really like, and then you can throw out a few that are left-of-center” — Pricie has been able to book support slots and label showcases since live music has returned to the country. As Kearns says, “that’s the great thing with her being in Australia, you can actually build an artist how we’ve historically been build-ing artists for years.”

Handley says one of the biggest hurdles with the timing of forthcoming releases is that a handful of Pricie’s demos sample music and audio clips pulled from YouTube, which the team has since been working to retroactively clear or rerecord. But as every-one assures, there’s no rush — and above all else, they’re taking their cues from Pricie.

“It’s so fun for me, because I get to experi-ence people’s mentality towards how they perceive females in the industry, or Black females in the industry,” she says. “When I was growing up, leadership for me meant I had to control everyone and everything and that’s it. But the older I got it was like, ‘My ideology on leadership as an artist is nobody owns me and I don’t own nobody.’”

“[I always heard] labels just want to push, push, push,” she continues, “and it’s been incredible to experience the opposite. They work with me, I work with them. For some-one to see the value in something I did out of my own insecurity or my own joy or my own pain, you can’t manufacture that. It’s

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God connecting the dots.”Cocoran, for his part, is familiar with that

kind of serendipity in this industry. “I know how it feels to be strapped to a rocketship,” he says. “I’ve been prepared for it.”

Lady Gaga’s Dog Walker Tailed by Suspects, According to ProsecutorsBY ASSOCIATED PRESS

Three men drove around the Hol-lywood area in late February, on the prowl for expensive French bulldogs to steal, prosecutors said.

Their night would end in gunfire — and the violent theft of pop star Lady Gaga’s beloved pets. The robbery would prompt headlines around the world — and motivate the owners of French bulldogs to be wary during walks — with few clues made public about the case or the circumstances sur-rounding the dogs’ disappearance.

The felony complaint, filed by prosecutors Thursday in Los Angeles Superior Court and obtained by The Associated Press on Monday (May 3), gives some new details about the attack and what preceded it. Five people are charged in the case — the three men and two alleged accomplices — and all have pleaded not guilty. The Lady Gaga con-nection was a coincidence, authorities have said. The motive was the value of the French bulldogs, a breed that can run into the thousands of dollars, and detectives do not believe the thieves knew the dogs belonged to the pop star.

The three men in the sedan — James Jackson, 18; Jaylin White, 19; and Lafayette Whaley, 27 — were arrested last week on suspicion of attempted murder and robbery. Jackson is also accused of shooting Lady Gaga’s dog walker, Ryan Fischer. The trio — purported gang members nicknamed Infant Dice, Lil Gudda and LFace, respectively —

are due back in court May 11. Whaley drove Jackson and White around Hollywood, the city of West Hollywood and the San Fer-nando Valley on Feb. 24 “looking for French bulldogs,” the felony complaint states.

They found Fischer and his three charges in Hollywood. The trio tailed Fischer as he led the dogs — named Asia, Koji and Gustav — along the famed Sunset Boulevard, LA prosecutors wrote. They turned off the white sedan’s lights and followed him down a secluded side street. Jackson and White jumped out and attacked Fischer, steal-ing Koji and Gustav in a violent struggle captured on the doorbell camera of a nearby home. They hit and choked Fischer, prosecutors alleged, and Jackson pulled out a semiautomatic gun and fired, striking Fischer once before they fled.

The camera recorded the dog walker screaming “Oh, my God! I’ve been shot!” and “Help me!” and “I’m bleeding out from my chest!” Over the next two days, White’s father, Harold White, and Jennifer McBride, who was in a relationship with the elder White, became involved in the theft, prosecutors wrote. They allegedly helped the younger White avoid arrest, and McBride returned the dogs to police on Feb. 26. She claimed she’d found the animals tied to a pole, police said at the time, and asked about Lady Gaga’s offer of a $500,000 reward if the dogs were returned “no ques-tions asked.” The singer was in Rome at the time filming a movie.

Police initially said McBride appeared to be “uninvolved and unassociated” with the crime. She is charged with receiving stolen property valued above $950, in addition to a count of being an accessory after the fact. Jaylin White remains held on more than $1 million bond, jail records show. Jackson is held on just over $3 million bond, and Whaley’s bond is $1.1 million.

The elder White, who is an alleged gang member nicknamed Lil Porky, was released from jail Saturday, and McBride was freed Monday pending their next court appearance. McBride’s attorney could not immediately be reached for comment. It was not immediately clear if the others had lawyers who could speak on their behalf. Lady Gaga and Fischer have not addressed

the arrests publicly. Fischer is recover-ing from a gunshot wound and has called the violence a “very close call with death” in social media posts.

Wu-Tang Clan Imposter Gets Prison Time for Cheating Hotels, LimosBY ASSOCIATED PRESS

A Georgia man has been sentenced to more than eight years in fed-eral prison for using stolen credit cards to live large in hotels and

limousines while claiming to have ties to the hip hop group Wu-Tang Clan. Walker Washington of Augusta was sentenced to 100 months in prison after pleading guilty to conspiracy to commit wire fraud, David H. Estes, acting U.S. attorney for the Southern District of Georgia, said in a news release.

U.S. District Judge Dudley H. Bowen also ordered Washington, 53, to pay about $300,000 to 19 businesses defrauded in the scheme, according to the release. He must serve three years of supervised release after his prison term is completed. There is no parole in the federal system. Washington’s co-defendant, Aaron Barnes-Burpo, 29, of Crestview, Florida, was previously sen-tenced to seven years after pleading guilty to the same charge and also must pay $300,000 in restitution to the businesses.

“These two flim-flam artists and their phony entourage lived large for several weeks by scamming hospitality providers,” Estes said. “We commend the skeptical hotel clerk who saw through the scam and alerted law enforcement, bringing this scheme to a halt.” Barnes-Burpo and Washington admit-ted that they falsely claimed to be affiliated with the Roc Nation production company and the Wu-Tang Clan and used fraudulent and stolen credit cards to rent limousines, defraud hotels, caterers and production stu-

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dios in multiple cities as early as September 2019, prosecutors said.

Staff at the Fairfield Inn and Suites in Augusta became suspicious on Nov. 21, 2019, and notified the FBI and the Rich-mond County Sheriff’s Office, the release said. “These two scammers will have plenty of time to figure out if their few weeks of unearned fame was worth several years in prison,” said Chris Hacker, special agent in charge of FBI Atlanta.

Jake Owen’s ‘Made For You’ Tops Country Airplay Chart: ‘I Love Country Music … I’m Living a Dream’BY JIM ASKER

Jake Owen earns his ninth No. 1 on Billboard’s Country Airplay chart as “Made For You,” released on Big Loud Records, lifts 2-1 in its 50th week

on the list (dated May 8). It increased by 5% to 28.7 million audience impressions in the tracking week ending May 2, according to MRC Data.

The song, which Benjy Davis, Joey Hyde and Neil Medley wrote and Joey Moi pro-duced, is the fourth single and third No. 1 from Owen’s sixth LP, Greetings From… Jake Owen, which debuted and peaked at No. 8 on Top Country Albums in April 2019, mark-ing his seventh top 10.

“Made” joins “I Was Jack (You Were Di-ane)” (one week at No. 1, August 2018) and “Homemade” (one, March 2020) as Country Airplay leaders from Greetings.

“Rounding out this album with a third No. 1 is something I am so proud of,” Owen mar-vels. “I chose Big Loud Records as my part-ner because I know what they are capable of. I knew they could take me and my music

to another level. Working with the team and Joey Moi is a huge advantage. I am also so proud of the songwriters on this song. Neil Medley, Joey Hyde and Benjy Davis … it’s their first No. 1 song as writers. These moments are so special and I’m fortunate to be a small part of it. Finally, I’m thankful for country radio for supporting this song, and my career for all these years. We have great champions out there at radio and this is a testament to that. I love country music. I’m living a dream.”

‘SOUL’ MUSIC Eric Church adds his 10th Top Country Albums top 10 as Soul starts at No. 2 with 53,000 equivalent album units (42,000 in album sales) in the week ending April 29, according to MRC Data. Released April 23, Soul is the top-sell-ing album of the week across all genres and arrives as Church’s fourth No. 1 on the Top Album Sales chart. On the all-genre, multi-metric Billboard 200, Soul starts at No. 4, marking his seventh top 10.

Soul is one of Church’s three new albums, collectively dubbed Heart & Soul. On last week’s May 1-dated Top Country Albums chart, Heart, released April 16, entered at No. 3. Meanwhile, &, released exclu-sively to members of Church’s Church Choir fan club, arrives on Top Country Albums at No. 12 with 11,000 units, all in album sales. Heart & Soul contains 24 tracks; Heart and Soul house nine each, while & sports six.

The project was produced by Jay Joyce, while Church had a hand in writing 22 of the 24 tracks.

Lead track “Stick That in Your Country Song” reached No. 22 on Country Air-play and No. 23 on the airplay-, sales- and streaming-based Hot Country Songs list in July 2020. Sophomore single “Hell of a View” bumps 3-2 for a new high on Hot Country Songs (9.1 million U.S. streams, up 9%) and pushes 9-6 on Country Airplay, up 13% to 20.1 million audience impressions.

‘SETTLING’ IN Miranda Lambert scores her 16th Hot Country Songs top 10 as “Set-tling Down” lifts 11-8. The track, which she co-wrote, ascends with 15.3 million in radio reach (up 9%), as it rises 14-13 on Country Airplay, and 6.3 million streams (up 20%).

Lambert last hit the Hot Country Songs

top 10 with “Bluebird,” which peaked at No. 3 last August and led Country Airplay the same month, becoming her sixth No. 1.

‘ALL’ RIGHT Luke Combs banks his 11th straight career-opening Country Airplay top 10 (counting properly promoted singles) as “Forever After All” hops 11-8 (19.8 million, up 17%). Each of Combs’ 10 previous singles hit No. 1, a record career-opening streak since the chart began in 1990.

‘GONE’ STILL GOING Dierks Bentley rolls up his 26th Country Airplay top 10 as “Gone” rises 13-10 (16.6 million, up 17%). The single follows “Living,” which led Country Airplay for a week in September 2019, becoming his 17th No. 1. “Gone” is the lead single from his forthcoming 10th studio album.

Eric Church Spends Second Week Atop Artist 100 Chart, Thanks to ‘Heart & Soul’BY XANDER ZELLNER

Eric Church logs his second total and consecutive week at No. 1 on the Billboard Artist 100 chart (dated May 8), as he holds as the

top musical act in the U.S.Dating to the Artist 100’s launch in 2014,

Church is just the second core country artist to log back-to-back weeks at No. 1. He follows Morgan Wallen, who spent five consecutive weeks on top in January and February.

Church reigns on the strength of his three new albums, collectively referred to as Heart & Soul. A week earlier, Heart debuted at No. 5 on the Billboard 200 (dated May 1) with 49,000 equivalent album units, accord-ing to MRC Data. This week, Soul starts at No. 4 (53,000), while & enters at No. 83 (11,000). Soul also gives Church back-to-back No. 1s on the Top Album Sales chart, following the launch of Heart.

Plus, Soul single “Hell of a View” zooms

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from No. 41 to No. 28 on the Billboard Hot 100, earning Church his sixth top 40 hit and first since 2014, when “Give Me Back My Hometown” rose to No. 36. He’s reached a No. 19 best with “Springsteen” in 2012. On the Country Airplay chart, Church boasts nine No. 1s among 16 top 10s. Meanwhile, Moneybagg Yo vaults 44-2 on the Artist 100, reaching the top 10 for the first time. The rapper scores his first No. 1 album on the Billboard 200, as A Gangsta’s Pain arrives with 110,000 units.

The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio air-play, streaming and social media fan interac-tion to provide a weekly multi-dimensional ranking of artist popularity.

For all chart news, you can follow @bill-board and @billboardcharts on both Twitter and Instagram.

5 Takeaways From C. Tangana’s Fireside Chat With Billboard at LAMC 2021BY GRISELDA FLORES

Day one of the virtual 2021 Latin Alternative Music Conference hosted the first “LAMC Talks With Billboard Latin” featur-

ing Spanish artist C. Tangana, who spoke to Leila Cobo, Billboard’s VP/Latin industry lead, about all things El Madrileño, his cre-ative vision and going from an indie artist to signing with Sony Music.

The Spanish rapper, who most recently released his album El Madrileño featuring collabs with José Feliciano, Jorge Drexler and Carin León, among others, was last part of the LAMC back in 2017 when he performed in New York. Since then, many things have changed, he said. “Back then, the focus was to grow our urban music in Spain ... now it’s a priority.”

The 2021 LAMC event is taking place this week from May 4-7 with back-to-back panels on mental health, the future of touring in a pandemic era and stream-ing strategies. For the second year in a row, the 23rd annual LAMC is offering free registration for all panels, workshops and showcases. Check here for the full panel and concert schedule.

Below, five takeaways from C. Tangana’s conversation with Cobo.

What’s changed from 2017, when you last appeared at LAMC, and now?

“Many things have changed. The focus then was to grow our urban music in Spain because it was already relevant in places such as Latin America and the U.S. but we needed recognition for what we were do-ing here. And for radio stations to play our music and to give us more respect. Now, the [urban scene] a priority in Spain.”

Describe your music in one sentence.“It’s hard because it’s always been evolv-

ing. But right now, it’s the new Spanish song.”How did you pick your collaborations

for El Madrileño?“It was an exercise because I wanted to

open the spectrum to all the music I can make and not be a niche but represent an openness for many trends and styles. I had these traps that I put on myself thinking I could never do that style or that style, but in the end decided to do things I never thought I could do. I tried to be more honest.”

You went from being an indie artist to signing with Sony — why?

“To have a major support me was to like break that barrier and prove that we were part of mainstream. The idea was to change that mentality that we aren’t part of the mainstream. It worked because you’re see-ing these major labels’ rosters change.”

What’s one piece of advice you wish you were given when you were younger?

“How important your team will be in this process. I wish I would have had that clear-er early on in my career. It would have been very valuable. But now I know and my team members include friends and family mem-bers. I’ve surrounded myself with creative people who have a passion for this. And they are people I’ve known all my life.”

Coldplay Set to Open 2021 Brit AwardsBY PAUL GREIN

Coldplay is set to open the 2021 Brit Awards on May 11 performing on a pontoon on the Thames near The O2 arena, where the show is

being held. Their performance will fol-low the release of their new single “Higher Power,” which is being released on Friday.

This will be Coldplay’s third performance at the Brits in five years. They opened the 2016 show with “Hymn for the Weekend.” And they teamed with The Chainsmok-ers the following year to perform their col-lab smash “Something Just Like This.”

This will be Coldplay’s first TV perfor-mance in more than a year. Likewise, the Brit Awards will be the first live music show at The O2 in more than a year.

Coldplay has won British group at the Brits four times, more often than any other group. They have won British album of the year three times, which puts them in a tie with Arctic Monkeys for the lead. Coldplay has won two other Brit Awards, for a total of nine. Their 28 Brit nominations is the most by any group.

The Brit Awards 2021 with Mastercard – as the show is officially billed – has previ-ously announced performances by Olivia Rodrigo, Arlo Parks, Dua Lipa, Griff (this year’s Rising Star winner), Headie One, and Rag’n’Bone Man & P!nk with the Lewisham and Greenwich NHS Trust Choir.

This year’s Brit Awards, hosted by come-dian and actor Jack Whitehall, will be exclu-sively broadcast on ITV and ITV Hub.

The Brit Awards last month announced that it will be the first major indoor music event to welcome back a live audience. The indoor ceremony and live show will form part of the U.K. government’s scientific Events Research Programme, using en-hanced testing approaches to examine how events can take place without the need for social distancing.

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Tame Impala’s Kevin Parker Honored For Streaming MilestoneBY LARS BRANDLE

Another week, another award for Tame Impala, whose 2015 classic “The Less I Know the Better” enters APRA AMCOS’

The 1,000,000,000 List for accumulating more than one billion streams.

Tame Impala leader Kevin Parker col-lected the honor at the PRO’s head office in Sydney last week. The Western Australian production wizard made the trip east to collect songwriter of the year at the APRA Music Awards, held April 28.

At the award presentation, Parker re-counted how the song was meant for Mark Ronson’s album.

“During the recording session,” Parker told APRA AMCOS staff, “I was working myself up to tell him I was going to take it back.”

There were no bad feelings from Ronson. The Brit Award-winning producer be-stowed the songwriter of the year award to Parker during the annual APRA Awards, via video link.

“You think of ‘The Less I Know the Bet-ter,’” Ronson explained during his speech, “it’s one of the most iconic basslines of the past 20 years.”

Parker wrote, recorded, produced and mixed the song, which appeared on the Grammy-nominated album Currents and went to No. 1 on the triple j station’s Hot-test 100 listener’s poll for decade. Cur-rents went to No. 1 in Australia, and Top 5 on both side of the Atlantic.

Today, the song is four-times platinum certified in Australia, double-platinum in the U.S. and platinum in the U.K.

The 1,000,000,000 List acknowledges streaming numbers from all major services including Spotify, Apple Music, YouTube,

YouTube Music, Vevo and Amazon, and it’s said to be the first award of its kind to recog-nize a songwriter’s achievement.

Previous recipients include Dean Lewis and Jon Hume (for “Be Al-right”), Flume (for “Never Be Like You”), Starley and P-Money (for “Call On Me”), Vance Joy (for “Riptide”), Go-tye (for “Somebody That I Used to Know”), and Vassy (for “Bad”). See the full list here.

Will Smith Is Doing a Docuseries About Getting Fit After Declaring He’s ‘In the Worst Shape’BY ANNA CHAN

Will Smith is about to get pumped! The actor-rapper is launching a new six-part unscripted series with

YouTube Originals and Westbrook Media following his journey to get fit once again, YouTube announced on Tuesday (May 4).

The press release describes the series, tentatively titled Best Shape of My Life, as “the fun, funny, inspirational, wildly ad-venturous, and deeply entertaining story of Smith challenging himself to improve every aspect of his fitness, from agility to power to recovery and more.” Helping the star on his fitness journey will be pro athletes, scien-tists, experts and YouTube creators.

The series will be directed by Dexton Deboree, and is Smith’s second project with YouTube Originals; his first was 2018’s Will Smith: The Jump, in which the star bungee jumped from a helicopter over the Grand Canyon.

After YouTube’s announcement, Smith proudly showed off his pandemic figure on Instagram and tout his new series. “This is the body that carried me through an entire pandemic and countless days grazing thru

the pantry. I love this body, but I wanna FEEL better. No more midnight muffins…this is it! Imma get in the BEST SHAPE OF MY LIFE!!!!!” the star captioned the post. “Team-ing up with @YouTube to get my health & wellness back on track. Hope it works!”

Just days ahead of the Best Shape of My Life announcement, Smith shared a photo of himself on Instagram, revealing his current average bod. “I’m gonna be real wit yall — I’m in the worst shape of my life, he captioned the photo. In the snap, he’s wear-ing short shorts and an unzipped jacket, revealing his chest, belly and legs.

Smith’s unscripted series is expected to premiere in 2022.

YouTube also shared on Tuesday that Alicia Keys’ previously untitled project now has Noted as a working title. The four-part performance documentary will explore Keys’ life as she prepares to celebrate the 20th anniversary of Songs in A Minor, and as she records her eighth studio album.The docuseries arrives this summer.

See the rapper-actor’s Instagram post about his new series below:

BTS’ J-Hope Makes Generous Donation to Aid Child Violence VictimsBY GIL KAUFMAN

BTS singer J-Hope has donated more than $90,000 to the Child-Fund Korea in observation of South Korea’s Children’s Day.

According to the Yonhap News Agency, J made the charitable donation to the Seoul-based ChildFund Korea to support operations at the new One Stop Center in Tanzania, East Africa.

The facility offers legal and counseling assistance and treatment for victims of child violence. May 5 is a national holiday in Ko-rea, known as Children’s Day and in honor

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of the celebration, ChildFund Korea said, “In light of Children’s Day, J-Hope donated 100 million won for the support of children in Tanzania exposed to violence,” according to Soompi.

“Many people around the world are suf-fering from COVID-19. I came to support children overseas following the support of domestic children in hopes that the warmth of sharing could reach them in the nooks of the world,” J-Hope said in a statement; a spokesperson for BTS could not be reached for additional comment on the donation.

Lee Jae Hoon, chairman of ChildFund Korea added, “The continuous support of global superstar BTS’s member J-Hope is raising awareness of children suffering from economic difficulties. The foundation will also do its best to uphold the intentions of all donors including J-Hope by support-ing children in need both domestically and internationally.”

Last year, J-Hope was named as a mem-ber of the Green Noble Club in 2018 for donating more than $89,000 and last year he donated a similar amount to help chil-dren from low-income families struggling during COVID and another $133,800 in February; to date, J-Hope’s total donations to ChildFund Korea reportedly amount to more than $624,000.

The K-pop superstars are in the midst of the slow reveal of their upcoming second English-language single, “Butter,” which is slated to drop on May 21st.

IN BRIEF