February 4, 2016 Page 1 of 13

BY GLENN PEOPLES

Warner Music Group reported Thursday morning its revenue grew 2.4 percent to $849 million in the first fiscal quarter ending December 1. Operating income rose nearly tripled to $62 million. Net income was $27 million versus a net loss of $42 million a year earlier.

As has been the case with other earnings results recently, the strong dollar merits the examination of year-to-year operating numbers in local currencies. When foreign currency losses (and a small loss related to financial instruments) are taken into account, quarterly revenue grew 11.1 percent.

Warner appears to be successfully managing the market’s transition from downloads to streaming. CEO Stephen Cooper said during the earnings call subscription revenue “is a major driver of our growth and streaming revenue remains on a trajectory to become our largest revenue source.” Digital revenue across the company grew 18.0 percent, or 25.2 percent at constant currency, and accounted for 41.0 percent of total revenue, up

from 35.6 percent a year earlier. U.S. digital revenue accounted for 57.7 percent of recorded music revenue.

The recorded music division was responsible for most of the gains in the quarter. Prior to intersegment eliminations, recorded music revenue grew $23 million and operating income improved $146 million. Physical revenue continued its decline, falling 15 percent, or $45 million, to $248 million. But digital revenue more than made up the difference, rising 18 percent, or $50 million, to $322 million. (At constant currency, digital revenue grew 25 percent.) Warner attributed the gains to strong releases, streaming gains and the recognition of $24 million of the $33 million it received from the SiriusXM Radio settlement over the performance of pre-1972 recordings. Artist services and licensing revenue improved 9 percent and 15 percent, respectively.

The publishing segment’s revenue dropped a slight $3 million but increased 4 percent at constant currency. Again at constant currency, small gains in digital and performance revenue overcame

INSIDE Warner Music Group Earnings Improvement Driven by Streaming Gains

Warner Music Group CEO: ‘We Will Share’ With Artists Any Proceeds from Sale of Our Stake in a Streaming Service

With New Spotify Partnership, Can Annotation Website Genius Finally Take on the World?

Publishers Quarterly Q4: Drake’s ‘Hotline Bling’ Is Tops, Sony/ATV Rules for the 14th Straight Quarter

Viacom Names CEO Philippe Dauman Executive Chairman

(continued)

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[In Brief]smaller losses in mechanical and revenue in the “other” category. Warner partially attributed the $13 million decline in publishing revenue to expenses related to its settlement in the high-profile lawsuit over the copyright to “Happy Birthday.”

Warner Music Group CEO: ‘We Will Share’ With Artists Any Proceeds from Sale of Our Stake in a Streaming ServiceBY GLENN PEOPLES

Warner Music Group revealed Thursday it will share with artists any proceeds from the sale of Warner’s equity in a music streaming company. Warner has a stake in Spotify, which is often rumored to be pre-paring for an initial public stock offering,

and Deezer, which last year abandoned its planned IPO.

Warner CEO Stephen Cooper brought up the once-hot topic during Thursday’s earnings call. “Although none of these equity stakes have been monetized since we implemented our breakage policy, today we are confirming that in the event we do receive cash proceeds from the sale of these equity stakes, we will also share this revenue with our artists on the same basis as we share revenue from actual usage and digital breakage,” Cooper said.

A Warner representative explained to Billboard the policy regarding equity proceeds falls under the same policy to share revenue, established in 2009, that also covers “digital breakage,” the term for the difference between the minimum guaranteed royalties owed to a label and royalties accrued in the normal course of business. These revenues are shared at the same rate that artists are allocated their share of streaming royalties. Warner takes the same approach when paying artists’ shares of the settlement with SiriusXM Radio over pre-1972 recordings, the representative said. Those revenues are shared with artists through SoundExhancge, under the same conditions as other revenue generated by SiriusXM.

A long time complaint of the artist

community, the controversy over breakage heated up after last year’s leak of a Spotify licensing contract with Sony Music. The contract called for Spotify to pay a minimum guarantee that may exceed the royalties Sony would have otherwise received from the service. Following the leak, Sony’s top digital executive, Dennis Kooker, sent an email to Sony employees that said “virtually all” of the advances received under that 2011 contract were allocated to artists. Sony later explained to Billboard that under its breakage policy it shares with artists “all unallocated income from advances, non-recoupable payments and minimum revenue guarantees that Sony Music receives under its digital distribution deals.”

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With New Spotify Partnership, Can Annotation Website Genius Finally Take on the World?BY DAN RYS

On a cold Friday in the Brooklyn neigh-borhood of Gowanus, the Genius offices are packed with hundreds of journalists and industry friends as rapper Fabolousrips through a set of hits. Co-founders Tom Le-hman and Ilan Zechory, both 32, and their staff are celebrating the company’s new partnership with Spotify and the unveiling of its new Fact Tracks initiative, which of-fers explanations and anecdotes of a song’s lyrics as it streams within Spotify — Genius’ first attempt at bringing its lyric-annota-tions directly to where fans listen to music.

It’s Genius’ biggest product launch to date, and the most significant step yet toward the company’s stated goal of “annotating the world,” using its lyrics archive of 2 million songs and 4 million annotations. Even President Barack Obama is a believer: His Jan. 12 State of the Union speech was annotated by staffers on theWhite House’s website using the Genius Web Annotator, launched last year, adding clarifications, .gifs and policy points to expand on the president’s words.

“[It’s] a watershed moment,” says Ben Gross, 32, the company’s director of business development and general counsel, of the new products’ ability to “distribute Genius beyond Genius.” “We’ve made practical headway on projects we’ve been talking about for years.”

Not long ago, Lehman, Zechory and third co-founder Mahbod Moghadam, 33, seemed to be running Genius into the ground. After launching as Rap Genius in late 2009, the three secured $15 million in an initial funding round led by Andreessen

Horowitz in October 2012, with partner Ben Horowitz, who envisioned an expansion beyond rap lyrics to bring layers of explication to the Internet as a whole. But a series of high-profile public gaffes — in an interview and on Twitter, respectively, Moghadam told Mark Zuckerberg and Warren Buffett to “suck my dick,” for example — gave the founders an irreverent, frat-bro reputation that culminated in Moghadam resigning from Genius in May 2014 after backlash to his annotation of Santa Barbara mass shooter Elliot Rodger’s manifesto.

Lehman and Zechory refocused, and in July 2014, eight months after the National Music Publishers’ Association issued a takedown notice for hosting lyrics without permission, Genius secured a licensing deal with Warner/Chappell Music, the last piece in the publishing puzzle after earlier deals with Sony/ATV, Universal Music Publishing Group and the NMPA’s stable of 3,000 publishers. Soon after, the company raised $40 million in a funding round led by Quicken Loans founder and Cleveland Cavaliers owner Dan Gilbert. Nas, Pharrell Williams and most recentlyEminem are also investors.

“Lyrics are becoming a significant income stream for songwriters, whereas in the past they were mostly given away,” says NMPA president/CEO David Israelite. “It’s one of the reasons why NMPA is becoming more aggressive about taking down illegal lyric sites; we want to make sure that those that are doing it legally have a fair marketplace.”

Genius’ reach is impressive, with the site’s traffic surpassing 45 million monthly unique visitors in January and reaching 3 million registered accounts, while its core of around 300,000 active users take on community roles such as moderators, editors and contributors to streamline and improve the data. It also boasts more than 10,000 verified accounts — artists and authors ranging from Diplo to Nas toSelena Gomez annotate their words themselves, an operation overseen by a growing editorial and artist relations team that has recruited writers and editors from The New Yorker, MTV, Complex and Vibe in the

past year. But as Genius expands beyond its own borders, it faces new challenges in engaging a more mainstream audience. “Lyrics evoke an emotional bond, and that’s what every brand marketer is looking to do,” says Crossfade Partners founder Jon Vanhala. “There’s a lot of opportunity, but it will be interesting to see: Do people want this?”

Indeed, the company has yet to turn a profit. It doesn’t sell ads, and Zechory admits Genius is still building its revenue operation with the expectation that further integrations will pave the road to profitability. “We don’t want to just slap the traditional web display ads that you see on other lyric sites,” says Zechory. “Having brands pay for really cool content and support new features — I think we can do it in a really thoughtful way.” To do that, the company isn’t stopping at its Spotify deal; it’s partnered with publishers like The Washington Post and MSNBC to annotate news articles with the Genius Web Annotator on their own sites, while Zechory hints at negotiations with branding partners outside the music-specific realm for potential activations, sponsorships and integrations. Sources tell Billboard the company has had talks with Apple Music, Coca-Cola, SoundCloud and YouTube, although Genius declined to comment.

Still, it remains to be seen how successful Genius will be in its forays outside its own borders; the company is still tinkering with its Spotify integration and while the Web Annotator has been used to layer context on 115,000 web pages since its Beta launch last April, Lehman concedes it’s something they’re trying to tweak to have it “make sense in terms of people’s everyday experience of the web.” But its investors are optimistic about the future. “Lyrics are just the tip of the iceberg,” Gilbert says. “You’re seeing the broader scope of Genius’ capabilities.”

“The big goal is to take Genius and put it at your fingertips wherever you experience music,” says Lehman. “But even more broadly, wherever you experience art or culture or media.”

This article originally appeared in the Feb. 13 issue of Billboard.

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Publishers Quarterly Q4: Drake’s ‘Hotline Bling’ Is Tops, Sony/ATV Rules for the 14th Straight QuarterBY ED CHRISTMAN

It’s getting more than a little predictable: For the 14th consecutive quarter, Sony/ATV was the top-ranked music publisher among the top 100 radio songs. The com-pany widened its lead in fourth-quarter 2015 to 25.8 percent after a mild third-quar-ter scare that had Warner/Chappell pull within 1.5 percentage points of its lead.

Sony/ATV, which has been the market leader since becoming the administrator for EMI Music Publishing in 2012, had a stake in 54 of the top 100 songs, up from 49 (and 21.2 percent) in the third quarter. Warner/Chappell held second place, with its share slipping to 17 percent from 19.6 percent in the third quarter. Universal Music Publishing Group rose one spot to third on the strength of a nearly four-percentage-point gain (to 14.8), while Kobalt slipped to fourth (10.6).Among the top 100 country radio songs, Sony/ATV (20.5 percent) and Warner/Chappell (20.1 percent) held down the top two spots, with UMPG (10.5 percent), Round Hill/Big Loud Shirt (6.1 percent) and BMG (5.7 percent) following.

For the fifth consecutive quarter, Martin Karl “Max Martin” Sandberg was the No. 1 songwriter with credits in nine of the top 100, including Taylor Swift’s “Wildest Dreams,” his highest-placing song, at No. 2. Drake scored the quarter›s top song with «Hotline Bling.»

This article originally appeared in the Feb. 13 issue of Billboard.

Viacom Names CEO Philippe Dauman Executive ChairmanBY GEORGE SZALAI, THE HOLLYWOOD REPORTER

Viacom on Thursday named a new execu-tive chairman to replace Sumner Redstone: president and CEO Philippe Dauman.

He takes on the added title, while Redstone becomes chairman emeritus. The board offered Shari Redstone the role of non-executive chairman, but she declined and will continue in her role as non-executive vice chair.

The news from the conglomerate, whose assets include MTV, Nickelodeon and Paramount Pictures, came Thursday after a board meeting that started around 10 a.m. ET.

On Wednesday, CBS Corp. had named president and CEO Leslie Moonves chairman, with Redstone becoming chairman emeritus. The chair role also had been offered to vice chair Shari, the daughter of Redstone who has also been serving as Viacom vice chair, but she declined it, saying it should go to someone not involved in family matters. Sumner Redstone controls 80 percent of Viacom and CBS via holding company National Amusements.

“Sumner Redstone’s contributions to Viacom and the media industry are legendary,” said William Schwartz, of counsel to the law firm of Cadwalader, Wickersham & Taft and chairman of the governance and nominating committee of Viacom’s board. “He has successfully led Viacom with a dedication to building a global business for the benefit of all shareholders. On behalf of the Viacom board, his colleagues and all our shareholders, we want to thank Sumner for his vision and leadership. There is no one who loves this company more and we will continue to be inspired by his wisdom

in the years to come.”He added: “Philippe has been

instrumental with Sumner in every aspect of Viacom’s success for nearly 30 years and most recently as CEO has taken on the tough task of navigating our future in a time of unprecedented innovation and disruption. He has laid out a strategic long-term vision for the company that we fully endorse. We have complete confidence that his dedication to Viacom, his global experience and his determination to further our culture of creativity and innovation will continue to serve the interests of all shareholders and build long-term value.”

And Schwartz added: “In choosing a successor to Sumner, the board considered the need for seasoned leadership in this time of unprecedented change, Philippe’s business experience and unparalleled knowledge of Viacom, and his long-term vision for the company. We believe his becoming executive chairman is in the best interests of the company and all shareholders.”

Said Dauman: “I am honored to succeed my friend and long-time colleague Sumner in the role of executive chairman. His steadfast belief in our company and the power of entertainment will always be an inspiration for me and I look forward to carrying forward his leadership role as a champion for all shareholders. I am gratified by the continued confidence and support of the Board of Directors and all of my colleagues at Viacom whose creativity and unrelenting hard work is evident in our recent successes across the company.”

In an unusual move, Viacom had announced Thursday’s board meeting late Wednesday after the CBS news. Shari Redstone suggested that Dauman shouldn’t become Viacom chairman, saying no trustee of her father’s trust and noone “otherwise intertwined in Redstone family matters” should lead the CBS and Viacom boards. Shari and Dauman both sit on the seven-person trust board, which will assume control of Sumner Redstone’s holdings whenever he is no longer able to do so himself.

Amid Wednesday’s developments,

[In Brief]

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activist Viacom shareholder SpringOwl again called for change at Viacom, saying: “We strongly urge management and the board to appoint an independent director as executive chairman and that it not be Philippe Dauman.”

Dauman, a long-time confidant of Sumner Redstone’s, via a previously struck employment agreement has had a contract that runs through 2018, with the latest two-year extension just coming a year ago.

Dauman, 61, has been a Viacom board member since 1987 and was named CEO in Sept. 2006, shortly after the company split from CBS. Redstone has often called Dauman one of the “wisest” men he has ever met.

Viacom raised eyebrows in January when it revealed a raise for Dauman for the latest fiscal year. His $54.2 million in compensation was up 22 percent even as the company’s stock plunged more than 40 percent.

Viacom and its future have been the topic of much debate as of late amid Redstone’s weakened health. Among Viacom’s current challenges: a court fight over the mental capacity of Sumner Redstone, a shareholder lawsuit accusing the company’s board of failing in its duties and criticism from SpringOwl about the company’s financial performance amid ratings and advertising challenges.

Redstone didn’t appear at last year’s annual meeting of Viacom and hasn’t actively participated in an earnings conference call over the past year.

Viacom’s stock opened higher on Thursday before the board meeting started. As of 9:50 a.m. ET, it was up 5.8 percent at $47.24. As of 11:20 a.m. ET, it was up only 0.5 percent.

This article was first published by The Hollywood Reporter.

Wall Street Reacts Negatively to Philippe Dauman Being Named Chairman of ViacomBY PAUL BOND, THE HOLLYWOOD REPORTER

While Viacom board members were huddling in New York choosing a new executive chairman to replace the ailing Sumner Redstone, the beaten down shares of the media conglomerate were rallying 5 percent. But the moment it was announced that CEO Philippe Dauman was replacing Redstone, the gains were wiped out.

In midday trading on Thursday, Viacom stock was flat, and investors and many analysts were wondering why the company behind Paramount Pictures, MTV and Comedy Central didn’t choose an independent chairman with less baggage. Viacom’s track record under Dauman in the past two years, after all, includes a stock that has tanked 41 percent.

The stock’s movement appears more dramatic when compared with after-hours trading Wedesday, when many on Wall Street were presuming a more dramatic change instead of simply elevating Dauman into Redstone’s role. After the closing bell Wednesday, Viacom shares rose an impressive 9 percent.

Vice chairman Shari Redstone, in fact, signaled that Dauman wasn›t her choice when she said Wednesday that no trustee of the family trust that her father set up should be chairman, and Dauman is, indeed, a trustee.

“Sumner’s resignation wasn’t a surprise, but the choice of Mr. Dauman clearly surprised investors,” Wells Fargo analyst Marci Ryvicker said. «His elevation to executive chairman likely means there will not be a change in control. This is the

most likely cause for the stock›s pullback from just over $47 at the open, down to the current $44.50.»

The most vocal opponents of Dauman are the activist managers at SpringOwl Asset Management, and their response to Viacom elevating the CEO was quick and harsh on Thursday.

“We are disappointed with the company’s decision to appoint Philippe Dauman as executive chairman,” SpringOwl said. “It raises questions about the board, corporate governance and fiduciary duties. As evidenced by the negative reversal in the stock price, the market agrees with the position of both SpringOwl and Shari Redstone that someone other than Philippe Dauman should be the chairman.”

Matthew Harrigan of Wunderlich Securities called Dauman’s appointment to executive chairman a “non-event as far as strategic activity” for Viacom. “The stock is too cheap — cheapest in the S&P 500, arguably,” Harrigan said.

On Wednesday after the closing bell, CBS announced that CEO Les Moonves had been made executive chairman, replacing Sumner Redstone, and that stock rose 4 percent after the closing bell. In midday trading Thursday, CBS shares were up less than 2 percent.

In a research note late Wednesday, Harrigan had said about calls for major personnel changes: “Redstone has not been involved in day to day management, [at Viacom] and although investors have high regard for Moonves’ creative/programming flair; behavioral issues for millennials favoring short-form programming (YouTube, Vice, etc.) would not be resolved with an executive change.”

This article was first published by The Hollywood Reporter.

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ASCAP Hires Paul Rourke as New CFO, EVPBY BILLBOARD STAFF

ASCAP has announced the appointment of former Viacom executive Paul Rourke as the organization’s new executive vice president and CFO. Rourke will report directly to CEO Elizabeth Matthews, who cited his experience in global finance as key to implementing ASCAP’s planned strategy to modernize their performing rights services.

“Paul has vast experience working in international markets around the world, setting up and developing the financial infrastructure to support growth in the media, technology and entertainment sectors,” Matthews said. “His global financial experience and ability to deliver excellent results on strategic initiatives will prove invaluable to ASCAP’s execution of our multi-year strategy.”

Rourke arrives at ASCAP from Viacom International Media Networks, where he served as evp/CFO from 2011 until 2015. Prior to that he held senior positions at MTVN, CBS Radio and Young & Rubicam.

“ASCAP is at the heart of driving a transformation in the music industry in ways that will ensure a healthy future for music creators, for licensees and for fans alike,” Rourke said. “As a music lover, I am thrilled about joining the ASCAP team, where I believe that I can make a real difference in the lives of ASCAP’s writer and publisher members by building an efficient, global and growth-driven financial infrastructure in support of ASCAP’s strategic vision.”

Apple to Appeal $625 Million ‘Patent Troll’ SettlementBY MARC SCHNEIDER

A Texas jury decided on Wednesday that Apple must pay $625.6 million for violating several patents held by VirnetX, a compa-ny known for collecting patents and then suing companies for allegedly violating them. The Nevada-based company, which has been snarling Apple in litigation for years, successfully convinced a jury that the tech giant had infringed on patents in the creation of its popular FaceTime and iMessage services. The lawsuit also said Apple infringed its virtual private network (VPN) technology.

Jurors in the U.S. District Court for the Eastern District of Texas ordered Apple to pay $335 million as part of an earlier settlement that was later vacated on appeal, plus $290 million for the new claim regarding FaceTime technology.

In a statement, Apple said it was surprised by the verdict and vowed to appeal. “Our employees independently designed this technology over many years, and we received patents to protect this intellectual property,” the company said. “All four of VirnetX’s patents have been found invalid by the patent office. Cases like this simply reinforce the desperate need for patent reform.”

VirnetX has owned the four patents in question since 2006, according to court reports. It first sued Apple in 2010, accusing the Cupertino, Calif.-based company of infringing its patents with its iPhone, iPod and iPad products. In 2012, a jury sided with VirnetX and ordered Apple to pay $368 million in damages — a sum that was overturned on appeal and which led to the retrial and new settlement.

“The jury saw what we have been saying all along: Apple has been infringing VirnetX’s patented technology for years,”

VirnetX lawyer Jason Cassady said in astatement.

The case comes after Microsoft paid VirnetX $23 million in late 2014 to settle claims it violated patents with its Skype products. That was in addition to a $200 million settlement from Microsoft to the patent-licensing firm in 2010 over its VPN technology.

Proponents of patent reform refer to shell companies like VirnetX as “patent trolls” because instead of selling or developing products, they generate revenue by licensing and litigating over patents. With a recent track record of producing sympathetic juries, the Eastern District of Texas is the court of choice for such cases. (Fortune reports that an appeals court is currently considering a case that could change the venue rules for patent cases.)

As it prepares to appeal the latest VirnetX damages, Apple has been hit with yet another lawsuit by a patent-holding company, this one called Meraloc. According to financial site Bidness Etc, Meraloc has only been in business for a month yet claims Apple infringed upon a patent regarding the inner-workings of the iPod Touch’s flash drive.

Meraloc alleges that several aspects of the Apple device, regarding music file information and the touch screen display itself, are covered under the patent. The new lawsuit was filed in — you guessed it — the Eastern District of Texas.

BBC Owns Digital Listening as Audience Hits Record HighBY RICHARD SMIRKE

The latest audience figures from official U.K. measuring body RAJAR brought mixed results for BBC’s radio stations.

On the one hand, specialist formatted

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digital station 6 Music grew its number of weekly listeners to its highest ever level of 2.2 million, up from 2.19 the previous quarter. That makes it the most listened to digital-only station in the U.K. and marks the biggest listening figures for a digital-only station since RAJAR began measuring British radio audiences in 1992.

The feat is all the more impressive considering the station - which features Iggy Pop, Pulp singer Jarvis Cocker and Elbow frontman Guy Garvey among its roster of DJs - was in real danger of being axed by the broadcaster back in 2010, leading to a highly publicised and ultimately successful protest campaign.

On the other hand, BBC’s Top 40 formatted station Radio 1 experienced a slight dip in listeners during the three month period from October to December 2015, dropping from 10.56 to 10.33 million. The network’s share of listening also fell from 6.5 percent to 6.1 percent.

The station’s flagship Breakfast Show With Nick Grimshaw did grow its audience share, attracting 6.37 million listeners (aged 10+), compared to 6.17 million the previous quarter, but the total weekly reach for all BBC radio was slightly down, drawing a weekly audience of 34.95 million listeners per week, compared with 35.10 million.

Overall, BBC Radio 2 had the biggest weekly reach of any U.K. radio station with 15.47 million listeners, up from 15.38 million in Q3, while BBC radio’s total audience remained at 53 percent.

“The radio industry is flourishing and I’m delighted that the brilliant programming produced by both the BBC and commercial radio stations remain a vital part of people’s lives across the country,” said Helen Boaden, Director of BBC Radio, in a statement. She singled out 6 Music for particular praise, calling the record breaking numbers “well deserved.”

“With its unique range of music and expert presenters, the station continues to grow its loyal listenership. It’s good to see digital listening to BBC stations in such great health. One of radio’s strengths is its convenience, and digital devices make listening even easier,” Boaden went on to say.

In total, 48.2 million people in the U.K. tuned into a radio station on a weekly basis, equivalent to 90 percent of the population. The digital share of radio listening was also up to just under 42 percent.

Kesha’s Mom, Manager Win Dismissal of Dr. Luke ClaimsBY ERIQ GARDNER

Pop star Kesha Rose Sebert and songwrit-er-producer Dr. Luke (Lukasz Gottwald) are still in the heat of battle over her claims that he raped her, and his claims that she’s looking to extradite herself out of a recording deal, but on Wednesday, a New York judge let Kesha’s mother, Pebe Sebert, and her manager Jack Rovner of Vector Management out of one of the lawsuits in the saga.

In October 2014, Dr. Luke and his Kasz Money blamed Pebe and Rovner for cajoling Kesha into repudiating her recording agreements. Additionally, the music producer claimed that Pebe had committed defamation by allegedly orchestrating a public smear campaign accusing him of sexual and drug-related abuse of Kesha.

Kesha Warns Her Career Will Be Over Without Injunction Against Dr. Luke

Today, New York Supreme Court Justice Shirley Kornreich grants Pebe’s motion to dismiss, determining there’s no jurisdiction over Kesha’s mother. The defendant successfully argued that the alleged injury didn’t occur in New York and that she’s not a party to a forum selection clause in Kesha’s recording contracts.

However, the ruling only comes as small relief to Pebe as Dr. Luke has filed a substantially similar lawsuit against her in Tennessee out of caution. The decision only means that she won’t have to litigate on two fronts.

The more significant ruling today concerns the tortious interference claim against Kesha’s manager.

Dr. Luke alleged there was a “long history of animus” between him and Rovner.

“This is due to the fact, among other things, that in numerous conferences regarding Kesha’s career which were attended by Gottwald, Rovner and third parties, Rovner made suggestions regarding creative and business matters which Gottwald rejected,” stated a plaintiff memorandum. “Rovner, who is the former head of a record label and is used to being treated as ‘the boss,’ was enraged by these perceived slights by Gottwald. The fact that third parties witnessed them made Rovner even angrier. This was far more than Rovner’s ego could take; accordingly, Rovner now hates Gottwald.”

Justice Kornreich, however, agreed with Rovner’s attorney that he was acting in the scope of his authority as a manager for the purpose of increasing Kesha’s earnings.

Kesha Pushes for Injunction So She Can Record Album Without Dr. Luke

“Although Plaintiffs allege that Rovner hates and is jealous of Gottwald, that is not enough,” writes the judge. “The cases require a showing that the agent acted outside the scope of his authority, in bad faith, and committed an independent tort. Even assuming hatred and jealousy amount to bad faith, they are not torts.”

This determination that there needs to be an independent tort could make tortious interference claims against entertainment managers and agents tougher to pursue. Christine Lepera, attorney for Dr. Luke, says she’s examining the possibility of an appeal.

The next decision in the case will deal with Kesha’s attempt to get a preliminary injunction so she can record outside Dr. Luke’s control.

This article originally appeared in THR.com.

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Reddit Users Put Epic CEO L.A. Reid in a Death GripBY BILLBOARD STAFF

Reddit users bombarded veteran music exec Antonio “L.A.” Reid with questions about noise group Death Grips on Wednes-day during a frustrating-for-all AMA session. Since the feature isn’t called “ask me anything… and I’ll answer you,” the Epic Records CEO simply ignored repeated questions, including “Can you describe your experience signing Death Grips” and “Have you ever seen Death Grips live?” and “Sorry, hope I’m not too late. Can you tell me what happened with Death Grips?”

What happened was Epic signed Death Grips in 2012, but the deal fell apart less than a year later when the group leaked its own album, the sophomore effort No Love Deep Web. At the time the label said it was “working to dissolve our relationship” with the group, but it’s that kind of industry drama that Redditors were eager to hear about, not so much Reid’s dealings with artists like Mariah Carey (no up-voted questions about her).

Some Redditors were obviously having a laugh with Reid, even asking “when you air drummed to Death Grips in the meeting, what song was it that compelled your inner drummer to go?” and “would you say you have a DEATH GRIP on the music industry?” But most seemed to really want to know what went down with the group.

When Reid did answer questions — 20 responses in all — he kept it brief. How did he feel about Pink’s reference to him in a song? He was “pleasantly surprised.” Which celebrity had the biggest influence on his career? Prince. What does he like on his pizza? Cheese. A few Redditors slipped in a few questions relevant to the music industry, but even then his answers were quick.

Read the full AMA here.

Wiz Khalifa Teams With RiverRock Cannabis for New Product LineBY ADELLE PLATON

Wiz Khalifa is taking his weed business to a new high. The Pittsburgh rapper an-nounced his new partnership with Colora-do-based company RiverRock Cannabis (Feb. 5) for an exclusive cannabis line.

The pro-green MC — who renewed his deal with RAW Rolling Papers — will roll out regulated, Khalifa-curated strains, infused products and concentrates starting April 20 (a.k.a. 4/20).

“These products have taken years to perfect,” Wiz said in a release. “I’m really excited to finally share them with the public and to work with RiverRock to raise awareness and end cannabis prohibition nationwide.”

During a recent interview with Power 105.1’s Angie Martinez, Khalifa made a strong case in favor of weed from a political stance, suggesting that marijuana should be regulated in the same way as alcohol.

The Taylor Gang chief joins Snoop Dogg, a longtime proponent of weed, who launched the cannabis product line “Leafs By Snoop” last November. On Feb. 5, he will also be delivering his new album Khalifa, which hosts the Travis Scott-assisted “Bake Sale.”

Locarno Festival to Honor Composer Howard Shore With Vision AwardBY ARISTON ANDERSON

The 69th Locarno Film Festival will honor

Canadian composer and conductor How-ard Shore with its Vision Award, which puts the spotlight on someone who has left an indelible mark on film history.

Well-known for his collaborations with fellow Canadian David Cronenberg, Shore has had a long and varied career that kicked off as the original music director for Saturday Night Live from 1975-1980, appearing in many memorable moments with Jim Belushi and Dan Aykroyd.

Over his career, Shore has collaborated with a who’s who of top directors, including Martin Scorsese on After Hours, Jonathan Demme on The Silence of the Lambs, David Fincher on Seven, Tim Burton on Ed Wood, and Steven Frears on High Fidelity. He has won Academy Awards for best score after working with Peter Jackson on his Tolkien trilogies, winning for The Lord of the Rings — The Fellowship of the Ring and for The Lord of the Rings — The Return of the King. He also won the Oscar for best song for Into the West.

Shore has also won three Golden Globes and four Grammys.

“In the tradition of the great composers who can produce such unforgettable and varied themes, Shore is much more than a creator of music,” said Locarno artistic director Carlo Chatrian. “With no space to mention so many other essential collaborations, I cannot however refrain from noting his contribution to the interior worlds of Cronenberg’s films: without his soundtracks films such as Videodrome, eXistenZ, M. Butterfly, A Dangerous Method would not have been possible. I am certain that his presence at Locarno will constitute one of the focal points of the next edition, and I thank him for having accepted our invitation to share his career experiences with our audience, who, like me, have been so thrilled and moved by his work over the years.”

Past recipients of the Locarno Vision Award were sound-designer and editor Walter Murch (2015), Steadicam inventor Garrett Brown (2014), and special effects maestro Douglas Trumbull (2013).

Shore will meet with the festival’s audience during a special master class. The 69th edition of Locarno Film Fest will

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take place Aug. 3- Aug. 13. This article was originally published by The

Hollywood Reporter.

Rihanna’s ‘Anti’ Aiming for No. 1 on Billboard 200 ChartBY KEITH CAULFIELD

Rihanna is aiming to score her second No. 1 album on the Billboard 200 chart with Anti, according to industry forecasters. The set could earn upward of 175,000 equivalent album units in the U.S. in the week ending Feb. 4, which may power the set to a jump to No. 1 on the chart dated Feb. 20. Of that sum, perhaps 130,000 could be in pure album sales.

The Billboard 200 chart ranks the most popular albums of the week based onmulti-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The top 10 of the new Feb. 20, 2016-dated Billboard 200 chart is scheduled to be revealed on Billboard’s websites on Sunday, Feb. 7.

Anti, which is Rihanna’s eighth studio album, arrived on the chart dated Feb. 13 at No. 27, after being available for only a fraction of the charting week. The album was released through Tidal’s streaming service on the evening of Jan. 27. (It was not released commercially until Jan. 28 through Tidal, and then through all digital retailers on Jan. 29. A physical CD release for the album is scheduled for Feb. 5.)

If Anti reaches No. 1, it would mark the second chart-topper for Rihanna, following her previous studio effort, 2012’s Unapologetic. It bowed atop the list with 238,000 albums sold in its first week, according to Nielsen Music.

Other albums heading for the top 10 on the upcoming Billboard 200 chart includeKevin Gates’ Islah (with

perhaps 100,000 units), Sia’s This Is Acting (80,000) andCharlie Puth’s Nine Track Mind (65,000).

Ken-Y’s Solo Debut Hits No. 1 on Latin Rhythm AlbumsBY AMAYA MENDIZABAL

Ken-Y’s solo debut album, The King of Romance, opens atop the Latin Rhythm Albums chart (dated Feb. 13), selling 1,000 copies of the digital-only release in the week ending Jan. 28, according to Nielsen Music. It’s the Puerto Rican singer’s third visit to the top of the chart, following a pair of No. 1s (in 2007 and 2008) when he was one-half of the duo RKM & Ken-Y.

The pair charted a string of hits on Hot Latin Songs between 2005 and 2013, when they split up.

Meanwhile, digital sales of the new album’s lead single, the Nicky Jam-assisted “Como Lo Hacia Yo,” spark a 24-18 jump on Hot Latin Songs. The track sold 2,000 downloads, causing a No. 8 debut on Latin Digital Songs, his highest peak on the chart to date.

Nicky Jam’s ‘El Perdon’ Chart Anniversary: Nicky Jam also continues climbing with his latest release, “Hasta El Amanecer,” hopping 8-4 on Hot Latin Songs, taking the Airplay Gainer and Streaming Gainer awards. A 78 percent increase in streams (to 1 million for the week) aids in the song’s rise, with YouTube accruing the most clicks (69 percent of total plays). The singer also remains at No. 3 with “El Perdon,” featuring Enrique Iglesias, which celebrates its 52nd week on the chart. In 2015, the song became the second-longest running No. 1 after spending an uninterrupted 30 weeks at the top (peaking on the March 21-dated chart).

“Amanecer” also leaps 24-8 on Latin Airplay, scoring his third top 10, with 9.1 million audience impressions (up 78 percent).

Pitbull’s “Taxi” Re-enters: After peaking at No. 13 on Hot Latin Songs on the Aug. 29, 2015-dated chart, and spending 25 weeks on the list, Pitbull’s “El Taxi,” featuring Sensato and Osmani Garcia, re-enters at No. 22. The growing airplay of a newly released Spanglish version featuring Lil Jon has triggered sales of the original Spanish version, helping it to come back onto the top half of the chart (Billboard only counts airplay from Latin stations, and sales and streaming of the Spanish version for songs with bilingual versions to maintain the chart as a Spanish-language ranking).

The song sold just over 6,000 downloads in the latest track week (up 1 percent), with 59 percent stemming from the Spanish version.

Meanwhile, the revamped Spanglish track spends a second week on Rhythmic Songs airplay chart, slipping 36-40 in its second week, despite a five percent increase in spins at the format.

Over on Latin Rhythm Airplay, “El Taxi” stands at No. 24 – following its No. 17 peak on the Jan. 23 chart. Pitbull simultaneously debuts his 37th charting hit on the chart, debuting at No. 22 with “Haciendo Ruido,” featuring Ricky Martin, from his album Dale.

Zayn’s ‘Pillowtalk’ Debuts at No. 1 on Billboard + Twitter Top Tracks ChartBY TREVOR ANDERSON

Zayn Malik’s debut solo single “Pillow-talk” bursts in at No. 1 on the Billboard + Twitter Top Tracks chart dated Feb. 13, following its Jan. 29 debut and music video, which co-stars the singer’s girlfriend, mod-el Gigi Hadid. The clip has already flown to more than 42 million worldwide views on YouTube since its premiere.

The cut is the first single from the

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former One Direction member’s debut solo album, Mind of Mine. The album is set for release on March 25 — exactly one year since the U.K. band announced Malik’s departure on their official Facebook page.

Billboard + Twitter Top Tracks is a weekly ranking of the most shared and/or mentioned songs on Twitter in the U.S., ranked by the volume of shares over a seven-day period (Monday to Sunday).

Meanwhile, One Direction collects its record-extending 23rd top 10 hit after the No. 10 arrival of “I Want To Write You A Song.” The band’s top 10 run dates back to the No. 1 debut of “Fireproof ” on Sept. 27, 2014. (Drake and Justin Biebertie for second with 13 titles each.) 1D posted “Song,” an album cut from their 2015 Made in the A.M. album, as their “Sunday spin” on Twitter on Jan. 24, earning 23,000 retweets and 43,000 likes in the process.

Also in the top 10, Rihanna hustles to a No. 2 entry for “Work,” her new collaboration with Drake. The team-up, which was released Jan. 27, serves as the lead single from Rihanna’s eighth studio album, Anti. The latter bowed the following day as a Tidal streaming exclusive before its expansion to other services on Jan. 29.

“Work” marks Rihanna’s second-highest debut on the Billboard + Twitter Top Tracks survey, after “B**** Better Have My Money” powered to a No. 1 arrival on the chart dated April 11, 2015. In addition, the No. 2 start of “Work” matches “American Oxygen” as Rihanna’s second-highest peak among seven charted titles. (The Billboard + Twitter Top Tracks chart began in May 2014.)

A second Anti cut, “Kiss It Better,” also starts at No. 47.

More chart action: Charlie Puth and Selena Gomez’s new duet, “We Don’t Talk Anymore,” launches with a No. 11 bow. The collaboration marks Puth’s third-highest-ranking release after his featured turn on Wiz Khalifa’s “See You Again” (No. 1 for three weeks) and a cover of Drake’s “Hotline Bling” with Kehlani (No. 6). The official “Talk” audio, released Jan. 28, has accrued more than 1.8 million global views on YouTube through Feb. 4. Puth and Gomez’s duet

features on the former’s debut album, Nine Track Mind, which was released Jan. 29.

Plus, Coldplay claims their second highest peak among nine charted entries as “Hymn for The Weekend” re-enters at No. 6 on the strength of its Jan. 29 music video release. (Only “A Sky Full of Stars” fared better, reaching No. 4 in July 2014.)The clip chronicles a colorful escapade through Mumbai and co-starsBeyoncé, who supplies uncredited vocals on the song. “Hymn” — and all things Coldplay, for that matter — may see a rise up the list in the coming week, as the band is slated to headline the halftime show at the Super Bowl on Feb. 7.

Zayn & Drake Headed for Top 10 Debuts on Hot 100BY GARY TRUST

Justin Bieber just made headlines by replac-ing himself atop the Billboard Hot 100(dat-ed Feb. 13), with “Love Yourself” dethroning “Sorry,” but a pair of fellow male stars are gunning for the chart’s upper reaches next week.

Former One Direction member Zayn Malik’s first solo single, “Pillowtalk” (credited simply to Zayn), appears headed for perhaps 250,000 downloads sold in its first week, according to industry forecasters, while Drake’s “Summer Sixteen” could arrive with 210,000-220,000. The former was released Jan. 29 and has already opened atop this week’s Billboard + Twitter Top Tracks chart. The latter was released Jan. 30.

Based on such strong sales projections, along with expected streaming and airplay sums, “Pillowtalk” and “Summer Sixteen” each appear headed for top 10 debuts on next week’s Hot 100 (dated Feb. 20), with the former almost certain to start in the top five and challenge for No. 1 upon its entrance.

Beyond sales projections (and with the

Hot 100 encompassing sales, airplay and streaming), “Pillowtalk” has drawn 5.9 million in all-format radio audience in the first three days of the Hot 100’s airplay tracking week, according to Nielsen Music; “Sixteen” has garnered 3.4 million. Based on streaming data collected through Feb. 3, “Pillowtalk” has tallied 17 million U.S. streams for the week; an estimated streaming total for “Sixteen,” an Apple Music exclusive, is still being tabulated.

The steamy, atmospheric “Pillowtalk” is from Zayn’s debut album Mind of Mine, due March 25. Drake’s diss track is not confirmed to appear on his next album, Views From the 6, due in April.

To find out where both songs officially debut on the Hot 100, check Billboard.com Monday (Feb. 8), when highlights of the chart will post. All charts (dated Feb. 20) will update on Billboard.com the following day (Feb. 9).

Additional reporting by Keith Caulfield

G-Eazy & Bebe Rexha Top Rap Songs ChartBY AMAYA MENDIZABAL

Rapper G-Eazy scores his first No. 1 on Hot Rap Songs with “Me, Myself & I,” withBebe Rexha (chart dated Feb. 13). In doing so, he also bumps Drake’s “Hotline Bling” from the top slot after a near-record 18-week run at No. 1.

“My, Myself & I” hops 3-1 in its 15th chart week, with increases in airplay, sales and streams. It sold 65,000 downloads for the week ending Jan. 28 (up 8 percent, according to Nielsen Music), allowing the cut to continue its rule of the Rap Digital Songs chart for a third straight frame. Further, 10.6 million U.S. streams were logged during the tracking week (up 10 percent), its most weekly plays yet.

Bryson Tiller’s No. 1 Airplay Achievement: Elsewhere, Bryson Tiller lands his first airplay No. 1 as “Don’t”

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steps 2-1 on Mainstream R&B/Hip-Hop Airplay (up one percent in plays at the format) in its 21st chart week.

Only four other songs in the 22-year history of the chart have taken as long or longer to reach the top; Lil Jon’s “Snap Yo Fingers,” featuring E-40, Sean Paul of The YoungBloodZ, took 21 weeks to climb to No. 1 in 2006, as did August Alsina’s “I Luv This Sh*t,” featuring Trinidad James, in 2013. The two longest trips to No. 1 are Jeremih’s “Planes,” featuring J. Cole (24 weeks in 2015), and Monica’s “Before You Walk Out of My Life” (25 weeks in 1996).

Tank  Debuts at No. 1: Tank crowns Top R&B/Hip-Hop Albums, as Sex Love & Pain ll debuts with 18,000 copies sold. The R&B singer earns his fifth No. 1 on the list, and first since 2014 when Stronger debuted atop the chart. Tank first reached No. 1 nearly 15 years ago with his debut set Force of Nature — it started at No. 1 (chart dated March 31, 2001) and has sold 775,000 copies to date.

Hoodie Allen Tops Rap Albums: Lastly, Hoodie Allen’s Happy Camper scores the rapper his first No. 1 on Top Rap Albums, arriving with 13,000 copies sold (it enters Top R&B/Hip-Hop Albums at No. 2). The 27-year old last debuted on the chart in 2014 when his first full-length set People Keep Talking chimed in at No. 2 (3,000 units). Before that he placed two EP’s on the chart in 2012 and 2013, both debuting in the top 5.

Megadeth Lands First Top Rock Albums No. 1 With ‘Dystopia’BY KEVIN RUTHERFORD

Heavy metal cornerstone Megadeth scores its first No. 1 on Billboard’s Top Rock Al-bums chart (dated Feb. 13) with Dystopia, its 15th studio album. The set arrives with 48,000 copies sold, according to Niels-

en Music, the band’s best sales start in nearly a decade; 2007’s United Abomina-tions launched with 54,000.

Dystopia is also Megadeth’s third No. 1 on Hard Rock Albums, following 2009’s Endgame and 2011’s Th1rt3en. The new album begins at No. 3 on the Billboard 200, marking the Dave Mustaine-led outfit’s top peak since Countdown to Extinction reached No. 2 in 1992. (The rock-specific album charts originated in 2006.)

Meanwhile, Dystopia’s eponymous lead single debuts on Mainstream Rock Songsat No. 37, becoming the band’s 21st hit on the airplay ranking and first in four years, since “Public Enemy No. 1,” which peaked at No. 28 in January 2012.

Three other titles make top 10 debuts on Top Rock Albums: Savages’ Adore (No. 6, 5,000 sold; the London rockers’ highest debut), Green River Ordinance’s Fifteen (No. 8, 5,000; also the act’s highest debut) and the inaugural NOW That’s What I Call Rock compilation, which features, among others, Bring Me the Horizon, Fall Out Boy and Elle King (No. 10, 5,000).

‘California Dreamin’ Hits No. 1 After 50 Years, Thanks to Dance RemixBY GORDON MURRAY AND GARY TRUST

A half-century after its original run, an iconic composition crowns a Billboard chart for the first time.

On the Dance Club Songs chart (dated Feb. 13), German DJ Freischwimmer (real name: Sebastian Bernhardt) hits No. 1 with a trop-house cover of The Mamas & the Papas classic “California Dreamin,” which rises 2-1. The original hit No. 4 on the Billboard Hot 100 nearly 50 years ago (March 12, 1966).

Remixes from Calvo, among others, have helped club-goers dream of California (on these winter’s days) all over again. (The song features uncredited vocals by Caroline von Brunken.)

Despite a storied history on Billboard charts, “Dreamin” had never before hit No. 1 on any ranking. The original became The Mamas & the Papas’ first of 16 Hot 100 hits. (Follow-up “Monday, Monday” ruled the chart for three weeks in May 1966.) The group’s John and Michelle Phillips wrote “California” while in New York during an icy winter, as the latter was wistful about her sunny SoCal roots.

Three other versions of the song went on to hit the Hot 100: by Bobby Womack(No. 43, 1969), America (No. 56, 1979) and the Beach Boys (No. 57, 1986). Meanwhile, Diana Krall and Sia are among other acts that have taken their versions of “California” to other Billboard tallies. Another dance remake, by Royal Gigolos, reached No. 19 on Dance/Mix Show Airplay in 2004.

And, honorable mention to Adele, who references the beloved title in her 10-week Hot 100 No. 1 “Hello”: “Hello, can you hear me? / I’m in California dreaming about who we used to be ...”

Steve Angello Arrives on Top Dance/Electronic Albums With ‘Youth’BY GORDON MURRAY

Steve Angello begins at No. 4 on Bill-board’s Top Dance/Electronic Albums chart (dated Feb. 13) with his debut solo set, Wild Youth, which starts with 2,000 copies sold in the tracking week, according to Nielsen Music. Concurrently, the long-awaited album bows at No. 8 on Heatseekers Al-

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bums and No. 20 on Independent Albums.The set’s “Wasted Love,” featuring The

Temper Trap’s Dougy Mandagi, has sold 22,000 downloads to date and reached No. 9 on Dance Club Songs and No. 26 on Hot Dance/Electronic Songs on Oct. 25, 2014. “Children of the Wild” (featuring Mako) has sold 6,000 since its July 2015 release.

As a member of Swedish House Mafia (with Axwell and Sebastian Ingrosso), Angello scored three top 10 albums, including the 2012 No. 1 Until Now.

ATTACK BACK: Also opening in the Top Dance/Electronic Albums top 10 is Massive Attack, which notches its fourth top 10 with EP Ritual Spirit (No. 10, 1,000 sold). The British trip-hop act first charted 13 years ago with 100th Window, which logged seven weeks at No. 1 beginning March 1, 2003. Massive Attack last hit the chart in 2010 with the No. 4-peaking Heligoland.

Massive Attack’s Mezzanine, which contains the song for which the act may be best known, “Teardrop,” pre-dated Top Dance/Electronic Albums’ July 2001 launch, but hit No. 60 on the Billboard 200 in May 1998. “Teardrop” served as the theme for Fox’s House in 2004-12.

‘MIDDLE’ TOP 10: Shifting to Dance/Electronic Streaming Songs, DJ Snakesnares his fifth top 10 with “Middle,” featuring Bipolar Sunshine (11-10). Five top 10s since the chart’s April 2013 launch ties Snake with Avicii and Zedd for the second-most; Calvin Harris leads all acts with six top 10s. “Middle” earned 2.1 million U.S. streams, up 8 percent, in the tracking week. It holds at its No. 4 peak on Dance/Electronic Digital Songs (11,000 sold) and rises 8-7 on Hot Dance/Electronic Songs.

IN-FLIGHT ENTERTAINMENT: On Dance/Mix Show Airplay, twenty one pilotspropel into the top 10 with their first entry on the chart, “Stressed Out” (18-9). The song’s Dave Winnel remix has helped transform the alt/pop/rock track into a house anthem suitable for dance radio and mix shows. The track tops Hot Rock Songs for a sixth week and rises 4-3 on the Hot 100.

Cage the Elephant Tops Alternative Songs, Ties for Sixth-Most No. 1s All-TimeBY KEVIN RUTHERFORD

When you think of the most accomplished acts in the history of Billboard’sAlternative Songs chart, make sure you include Cage the Elephant.

On the airplay chart dated Feb. 13, Cage the Elephant’s “Mess Around” steps 2-1 to become the Kentucky quintet’s sixth chart-topper in its decade-long career. Over the list’s 27-year history, the band is now tied with R.E.M. for the sixth-most Alternative Songs No. 1s.

In a statement to Billboard, frontman Matt Shultz said, “We feel very blessed to be able to do what we do and truly appreciate special moments like these.”

Here’s a look at the acts to lead Alternative Songs (known as the Modern Rock chart from its 1988 inception through 2009) the most.

Most No. 1s on Alternative Songs 12, Red Hot Chili Peppers 11, Linkin Park 10, Foo Fighters 9, Green Day 8, U2 6, Cage the Elephant 6, R.E.M. 5, Bush 5, Nirvana

With its first No. 1, “Back Against the Wall,” tallied on the Feb. 6, 2010, chart (and reigning for two weeks), Cage the Elephant also boasts the most leaders this decade; The Black Keys and Muse trail with four No. 1s each in the 2010s. Cage’s other chart-toppers: “In One Ear” (four weeks, 2010), “Shake Me Down” (six, 2011), “Come a Little Closer” (10, 2013-14) and “Cigarette Daydreams” (four, 2015).

“Mess Around” tops Adult Alternative

Songs for a second week (marking the band’s second leader at the format, following “Closer”). It also rises four spots to No. 12 on Mainstream Rock Songs with a 21 percent gain in plays, according to Nielsen Music.

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Grammy Gets 15th Top 10The Grammy Nominees compilation series collects its 15th top 10 album on the Billboard 200 as the 2016 edition opens at No. 9.

It earned 31,000 in equivalent album units in the week ending Jan. 28, according to Nielsen Music, all from pure album sales.

The long-running series has reached as high as No. 2 twice. Both the 2013 and 2014 versions topped out in the runner-up slot.

The new album likely will peak on the list in the week after the Grammy Awards telecast, which takes place Feb. 15.

Speaking of the Grammys, nine-time winner Frank Sinatra reaches a sales milestone as his total album sales in the Nielsen Music era (1991 to the present) now stand at 30 million. His catalog of albums sold another 5,000 copies in the latest tracking week, pushing his total haul just past the 30 million mark.

Only 28 acts have sold 30 million albums in the Nielsen era. Garth Brooks is tops, with 70.6 million, followed by The Beatles (67.4 million), Metallica (55.6 million), Mariah Carey (54.9 million) and Celine Dion (52.5 million).

Sinatra appears on the Feb. 13 Billboard 200 at No. 188 with his 2015 hits set Ultimate Sinatra, which has sold 148,000. His best-seller in the Nielsen era is the 1990 best-of Sinatra Reprise — The Very Good Years, at 3.4 million.

—Keith Caulfield

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ADELE 8 25 XL/COLUMBIA 1 10

3 2 JUSTIN BIEBER ¡ Purpose SCHOOLBOY/RAYMOND BRAUN/DEF JAM 1 11

3 MEGADETH Dystopia T-BOY/UME 3 1

5 4 TWENTY ONE PILOTS 0 Blurryface FUELED BY RAMEN/AG 1 37

1 5 PANIC! AT THE DISCO Death Of A Bachelor DCD2/FUELED BY RAMEN/AG 1 2

4 6 DAVID BOWIE Blackstar ISO/COLUMBIA 1 3

8 7 CHRIS STAPLETON 0 Traveller MERCURY NASHVILLE/UMGN 1 20

9 8 THE WEEKND 2 Beauty Behind The Madness XO/REPUBLIC 1 22

9 VARIOUS ARTISTS 2016 Grammy Nominees GRAMMY/REPUBLIC 9 1

10 10 BRYSON TILLER T R A P S O U L TRAPSOUL/RCA 8 18

16 11 GG SELENA GOMEZ Revival INTERSCOPE/IGA 1 16

13 12 G-EAZY When It’s Dark Out G-EAZY/RVG/BPG/RCA 5 8

14 13 FETTY WAP Fetty Wap RGF/300/AG 1 18

7 14 DAVID BOWIE ¡ Best Of Bowie JONES/TINTORETTO/PARLOPHONE/RHINO 4 26

15 TANK Sex Love & Pain II R&B MONEY/ATLANTIC/AG 15 1

6 16 KIDZ BOP KIDS Kidz Bop 31 RAZOR & TIE 6 2

19 17 ONE DIRECTION 0 Made In The A.M. SYCO/COLUMBIA 2 11

20 18 SHAWN MENDES Handwritten ISLAND 1 42

18 19 ADELE b 21 XL/COLUMBIA 1 258

22 20 CHRIS BROWN Royalty RCA 3 6

24 21 SAM HUNT 0 Montevallo MCA NASHVILLE/UMGN 3 66

21 22 TAYLOR SWIFT 5 1989 BIG MACHINE/BMLG 1 66

11 23 EAGLES t Their Greatest Hits 1971-1975 ASYLUM/ELEKTRA/RHINO 1 179

29 24 FLO RIDA My House (EP) POE BOY/ATLANTIC/AG 14 43

27 25 J. COLE ¡ 2014 Forest Hills Drive DREAMVILLE/ROC NATION/COLUMBIA 1 60

23 26 DRAKE & FUTURE 0 What A Time To Be Alive A-1/FREEBANDZ/YOUNG MONEY/CASH MONEY/EPIC/REPUBLIC 1 19

27 RIHANNA ANTI WESTBURY ROAD/ROC NATION 27 1

28 HOODIE ALLEN Happy Camper HOODIE ALLEN 28 1

34 29 FUTURE DS2 A-1/FREEBANDZ/EPIC 1 28

30 30 MEGHAN TRAINOR ¡ Title EPIC 1 55

33 31 THOMAS RHETT Tangled Up VALORY/BMLG 6 18

28 32 EAGLES 5 The Very Best Of The Eagles WARNER STRATEGIC MARKETING/RHINO 3 152

32 33 RACHEL PLATTEN Wildfire COLUMBIA 5 4

36 34 HALSEY Badlands ASTRALWERKS 2 22

26 35 BLAKE SHELTON Reloaded: 20 #1 Hits WARNER BROS. NASHVILLE/WMN 5 14

37 36 THE CHAINSMOKERS Bouquet (EP) DISRUPTOR/COLUMBIA 31 13

39 37 COLDPLAY A Head Full Of Dreams PARLOPHONE/ATLANTIC/AG 2 8

41 38 DRAKE ¡ If You’re Reading This It’s Too Late YOUNG MONEY/CASH MONEY/REPUBLIC 1 51

31 39 ED SHEERAN 2 x ATLANTIC/AG 1 84

45 40 FALL OUT BOY 0 American Beauty / American Psycho DCD2/ISLAND 1 54

40 41 TWENTY ONE PILOTS Vessel FUELED BY RAMEN/AG 21 76

25 42 FLEETWOOD MAC 8 Greatest Hits WARNER BROS. 14 122

44 43 ORIGINAL BROADWAY CAST Hamilton: An American Musical HAMILTON UPTOWN/ATLANTIC/AG 12 18

43 44 ALESSIA CARA Know-It-All EP/DEF JAM 9 11

42 45 LUKE BRYAN Kill The Lights CAPITOL NASHVILLE/UMGN 1 25

46 WILLIAM MCDOWELL Sounds Of Revival: Live DELIVERY ROOM/EONE 46 1

47 STUDIO CAST RECORDING The Hunchback Of Notre Dame: A New Musical WALT DISNEY/GHOSTLIGHT/SH-K-BOOM/RAZOR & TIE 47 1

50 48 ELLIE GOULDING Delirium CHERRYTREE/INTERSCOPE/IGA 3 12

46 49 SOUNDTRACK Straight Outta Compton: Music From The Motion Picture RUTHLESS/PRIORITY/CAPITOL 39 3

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PEAK POS.

WKS. ON CHART

51 51 SAM SMITH 2 In The Lonely Hour CAPITOL 2 85

54 52 CARRIE UNDERWOOD 0 Storyteller 19/ARISTA NASHVILLE/SMN 2 14

68 53 TROYE SIVAN Blue Neighbourhood CAPITOL 7 8

38 54 PHIL COLLINS 3 ...Hits FACE VALUE/ATLANTIC/AG 6 123

69 55 DNCE Swaay (EP) REPUBLIC 51 7

58 56 TRAVI$ SCOTT Rodeo GRAND HUSTLE/EPIC 3 21

17 57 BROTHERS OSBORNE Pawn Shop EMI NASHVILLE/UMGN 17 2

59 58 MELANIE MARTINEZ Cry Baby ATLANTIC/AG 6 24

62 59 G-EAZY These Things Happen G-EAZY/RVG/BPG/RCA 3 81

66 60 DISTURBED Immortalized REPRISE/WARNER BROS. 1 23

61 TIM MCGRAW Damn Country Music MCGRAW/BIG MACHINE/BMLG 5 8

57 62 ELLE KING Love Stuff RCA 26 40

63 N.W.A 3 Straight Outta Compton RUTHLESS/PRIORITY/UME 4 96

56 64 THE BEATLES b 1 APPLE/CAPITOL/UME 1 209

65 65 KENDRICK LAMAR To Pimp A Butterfly TOP DAWG/AFTERMATH/INTERSCOPE/IGA 1 46

77 66 DRAKE ¡ Take Care YOUNG MONEY/CASH MONEY/REPUBLIC 1 152

52 67 ADELE 2 19 XL/COLUMBIA 4 202

76 68 JEREMIH Late Nights: The Album MICK SCHULTZ/DEF JAM 42 8

64 69 SOUNDTRACK Furious 7 UNIVERSAL STUDIOS/ATLANTIC/AG 1 41

87 70 BIG SEAN Dark Sky Paradise G.O.O.D./DEF JAM 1 49

113 71 PS CHRIS YOUNG I’m Comin’ Over RCA NASHVILLE/SMN 5 11

90 72 LAUREN DAIGLE How Can It Be CENTRICITY/CAPITOL CMG 30 38

84 73 DAYA Daya (EP) ARTBEATZ 67 12

81 74 NICKI MINAJ 0 The Pinkprint YOUNG MONEY/CASH MONEY/REPUBLIC 2 59

85 75 DRAKE ¡ Nothing Was The Same YOUNG MONEY/CASH MONEY/REPUBLIC 1 120

72 76 ERIC CHURCH Mr. Misunderstood EMI NASHVILLE/UMGN 2 13

78 77 HOZIER 0 Hozier RUBYWORKS/COLUMBIA 2 69

67 78 DEMI LOVATO Confident SAFEHOUSE/ISLAND/HOLLYWOOD 2 15

88 79 METALLICA g Metallica BLACKENED/WARNER BROS. 1 363

94 80 RAE SREMMURD SremmLife EARDRUMA/INTERSCOPE/IGA 5 56

93 81 JAMES BAY Chaos And The Calm REPUBLIC 15 45

101 82 JASON DERULO Everything Is 4 BELUGA HEIGHTS/WARNER BROS. 4 28

107 83 X AMBASSADORS VHS KIDINAKORNER/INTERSCOPE/IGA 7 31

104 84 EMINEM a The Eminem Show WEB/AFTERMATH/INTERSCOPE/UME 1 252

92 85 KENDRICK LAMAR ¡ good kid, m.A.A.d city TOP DAWG/AFTERMATH/INTERSCOPE/IGA 2 170

133 86 BEYONCE 2 Beyonce PARKWOOD/COLUMBIA 1 107

97 87 NATHANIEL RATELIFF & THE NIGHT SWEATS Nathaniel Rateliff & The Night Sweats STAX/CONCORD 17 23

61 88 THE CARS The Complete Greatest Hits ELEKTRA/RHINO 61 4

70 89 DAVID BOWIE The Rise And Fall Of Ziggy Stardust And The Spiders From Mars JONES/TINTORETTO/PARLOPHONE/RHINO 21 84

55 90 SOUNDTRACK Star Wars: The Force Awakens LUCASFILM/WALT DISNEY 5 6

109 91 EMINEM 2 Curtain Call: The Hits SHADY/AFTERMATH/INTERSCOPE/IGA 1 274

12 92 LECRAE Church Clothes 3 REACH 12 2

100 93 QUEEN 2 Greatest Hits I II & III: The Platinum Collection HOLLYWOOD 48 22

103 94 FLORIDA GEORGIA LINE 0 Anything Goes REPUBLIC NASHVILLE/BMLG 1 68

73 95 VARIOUS ARTISTS NOW 56 UNIVERSAL/SONY MUSIC/UME 4 13

111 96 MAROON 5 ¡ V 222/INTERSCOPE/IGA 1 74

138 97 EMPIRE OF THE SUN Walking On A Dream THE SLEEPY JACKSON/VIRGIN/ASTRALWERKS 97 3

108 98 LANA DEL REY ¡ Born To Die POLYDOR/INTERSCOPE/IGA 2 209

99 SAVAGES Adore Life MATADOR 99 1

99 100 BRETT ELDREDGE Illinois ATLANTIC/WMN 3 15

51

53

38

55

17

59

60

RE 61

RE 63

66

52

64

70

71

90 72

73

81

75

80

101 82

83

84

133 86

61

91

12

100

103

96

138 97

108 98

NEW 99

99

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