May 25, 2017 Page 1 of 22

BY DAN RYS

The house lights had just come on when the chaos began. At 10:33 p.m., moments after Ariana Grande finished her final song at the United Kingdom’s Manchester Arena, a suicide bomber detonated an improvised explosive device in the foyer of the 21,000-capacity venue, just as fans were flooding toward the exits. Twenty-two people died, includ-ing an 8-year-old girl, and 59 were injured, in what the city’s chief constable, Ian Hopkins, called “the most horrific incident we have had to face in Greater Manchester.”

Grande, who escaped the blast unharmed along with her touring team, wrote on Twitter that she was “broken.” Two days later, the singer’s management canceled her upcoming shows in London, Belgium, Poland, Germany and Switzerland and also suspended the remainder of her Dangerous Woman Tour, which had already grossed $24.5 million in North America over 30 nearly sold-out dates, according to Billboard Boxscore.

The May 22 bombing was the second terrorist attack on a major music venue in a European city

in less than two years. On Nov. 13, 2015, terrorists stormed Le Bataclan theater in Paris during an Eagles of Death Metal concert, killing 89 people in an attack that also involved multiple locations around the city.

“Once again, we try to make sense of a senseless act of violence,” wrote Lucian Grainge, Universal Music Group chairman/CEO, in a memo to his staff on May 23. (Grande is signed to UMG through Republic; a UMG executive died in the Bataclan attack.) “The fact that such an unspeakable act can be committed at a place where innocent people — including so many young people — come together peacefully to enjoy music reflects a level of evil beyond comprehension.”

For some, the Manchester bombing seemed to hit closer to home than the attack in Paris, or even the June 2016 mass shooting at the Pulse nightclub in Orlando, perhaps because so many people could imagine themselves or their children in the audience.

Grande, a 23-year-old former Nickelodeon star, appeals to a young demographic, and many

INSIDE Live Music After Manchester: Concert Business Faces Security Challenges Beyond Its Gates

Read Scooter Braun’s Touching Message to Ariana Grande Bombing Victims: ‘I Will Honor All of U By Laughing Loving and Living’

Manchester Bombing Update: Arrests Continue as England Holds Moment of Silence & Millions Raised for Victims

Live Nation Reportedly Offering Refunds on UK Concerts in Wake of Manchester Attack

BBC Radio Festival Tightens Security After Manchester Bombing

(continued)

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[In Brief]attendees in Manchester had been dropped off or accompanied by parents. That reality fueled extensive TV coverage of the tragedy, with networks replaying heartbreaking interviews with parents who came to pick up their children, only to be met with confusion and turmoil. The three major U.S. cable news stations that covered the aftermath of the attack live — CNN, Fox News and MSNBC — averaged between 6 million and 7 million viewers between 7 p.m. and midnight EST, according to Nielsen data.

“It’s an isolated incident in another part of the world,” says Steve Kirsner, vp booking at SAP Center in San Jose, Calif., which hosted Grande’s March 27 show. “But it’s one of those things that keeps you up at night.”

The Manchester Arena, run by SMG Europe, is the second-highest-grossing venue in the United Kingdom and the fourth-highest in the world, and it is highly regarded within the touring industry. “SMG is a very good company; this isn’t like a bunch of kids putting on a show in their backyard,” says Steve Adelman, vice president of the Event Safety Alliance. But experts say the venue’s sheer size and location, connected to the city’s Victoria train station, made it an attractive target.

Just 18 months ago, the Bataclan attack resulted in widespread calls for increased

security at concerts, and many venues introduced metal detectors and other measures. But the Manchester explosion occurred in an atrium that housed a box office and was outside the gate, and thus the metal detectors.

“We’ve learned how important perimeter protection is,” says Lou Marciani, director of the National Center for Spectator Sports Safety and Security. “Now, they aren’t going into the stadium but [rather] attacking the areas around them. And that puts pressure on everyone.”

“No one can say that venue security wasn’t sufficient,” says Randy Phillips, former AEG Live CEO and current president/CEO of the festival company LiveStyle. “[The bomber] didn’t get inside.”

To security experts, the fact that the attack happened outside the gate underscores the challenge of protecting not only venues themselves, but also entrances and exits, both before and after events. Security measures have gotten demonstrably better in recent years, say several experts, but there is a limit to their effectiveness. “The expansion of security measures pushes softer target areas further away from the secured location, but they cannot entirely eliminate vulnerabilities,” warned a U.S. State Department memo released the night of May 23, a copy of

which was obtained by Billboard.“The bomb was in a public area; the

correct analogy for Manchester is not Le Bataclan, it’s not a nightclub, it’s the [April 2013] Boston Marathon bombing,” says Adelman. “People are following this because it’s horrific to see bleeding young people. [But] it could have been a sporting event or a political rally — it could have been a chili cook-off for all the difference it makes.”

Although experts maintain that terrorist attacks remain exceedingly rare, the prominence of the news coverage could lead to an exaggerated sense of insecurity among concertgoers, and especially their parents, says Phillips. “Where this affects us isn’t adults — adults aren’t not going to go to a concert. It’s the younger generation, kids who are 8 to 12 and like to do things that their older siblings do but need their parents’ permission. When I did the last Katy Perry concert [at AEG], there were young kids. So the concert promoters, in a situation like that, have to make those parents feel secure.”

So far AEG, which still oversees tours by Perry, as well as Ed Sheeran and Justin Bieber, hasn’t seen ticket sales soften for concerts that appeal to young female fans like Grande’s. But the prospect “makes me very nervous,” says a senior executive at the company. “We haven’t been flooded

Page 3 of 22

with refund requests, but everyone is paying special attention right now.”

Several major arenas are heightening their security measures. The Madison Square Garden Company committed to “greater on-site police presence” and “increased diligence in screening” in an internal memo sent on May 23, and other U.S. arena executives emphasized that they maintain close contacts with local, state and federal law enforcement agencies to assess potential threats. “We all know we’re soft targets, just like shopping malls, movie theaters and restaurants,” says Lee Zeidman, president of the Staples Center in Los Angeles. “We learn from every event we put on and we make sure our security team is well-trained and highly visible.”

Any additional security is likely to create additional costs, a fact that seems insignificant in the wake of this tragedy but could weigh on the minds of venue owners, particularly independent ones, as months pass. “You’re going to have to spend more and do more in terms of security, and that’s going to be passed on to the consumer,” Adelman says. Phillips expects that the security costs for at least some festivals, including insurance, could double to about 20 percent of the overall budget.

And even the most thorough precautions have limits, especially when it comes to the areas outside venues. “There is no level of security that will always prevent every attack; if I have an outdoor stadium, I secure it as best I can, but I can’t control the airspace,” says one security consultant, who requested anonymity. “But if I can control 99 percent of what happens, I can focus on what else it is I can’t control.”

Inevitably, the concert business will return to normal, or at least what now passes for it. “Shootings happen at movie theaters and shopping malls, but that doesn’t stop millions of people from going shopping or to see a movie,” says one venue executive. “Unfortunately this has become part of our daily life, and we simply adapt to it.”

Additional reporting by Robert Levine and Dave Brooks.

Read Scooter Braun’s Touching Message to Ariana Grande Bombing Victims: ‘I Will Honor All of U By Laughing Loving and Living’BY GIL KAUFMAN

The horror of Monday night’s (May 22) suicide bomb attack on an Ariana Grande concert at the Manchester Arena in Eng-land will be with the survivors forever. But it doesn’t have to define the victims, or Grande, or her manager, Scooter Braun.

In a touching message posted on Twitter Thursday morning (May 25) Braun — who also manages Justin Bieber, among others — wrote of how he he went out to dinner with his parents for Korean BBQ on Wednesday night and “experienced joy” for the first time in days. They drank, ate and laughed with the tables around them, even as Braun came to some emotional realizations about the impact the attack has had on him and how he will live with it for the rest of his life.

“I remembered...we r free. We are all different but we r free to enjoy each other’s company,” he wrote in a series of tweets about the aftermath of the terror attack that killed 22 and injured dozens of others. “I will honor those that r lost by living each day full. Full of fun, full of laughter, full of joy. I welcome the differences of my neighbor, the wish of terrorism is to take away that feeling of freedom and joy. No. That is my answer. No. We cant allow it. Fear cannot rule the day.”

Braun wrote that more people die from car crashes each year than terrorism, and yet, he will still get in his car, a form of coping that conforms with a number of

suggestions offered up to Billboard by mental health experts for dealing with the aftermath of traumatic events.

https://twitter.com/scooterbraun/status/867615945685999616?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.billboard.com%2Farticles%2Fcolumns%2Fpop%2F7809328%2Fariana-grande-attack-scooter-braun-touching-message

“I will choose to live then to be afraid,” he wrote in what, at press time, was a series of 10 tweets. “So...Manchester I stand with you. Jakarta I stand with u..children of Syria I stand with you. We will honor you by not giving in to the darkness. So if u think u scared us...if you think your cowardice act made us change how we live...sorry. All you did was make us appreciate every day. With extraordinary evil we must fight with extraordinary greatness. Fight on. Goodnight world. Tomorrow I live full.”

https://twitter.com/scooterbraun/status/867617514347347968?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.billboard.com%2Farticles%2Fcolumns%2Fpop%2F7809328%2Fariana-grande-attack-scooter-braun-touching-message

Braun said he will honor all of the victims by “laughing loving and living,” and by living his life in full for every “wonderful innocent child whose life was taken too soon. Am I angry? Hell yes. But how will we respond? With everything you think you took from us... love and joy and life!”

https://twitter.com/scooterbraun/status/867618925835567109?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.billboard.com%2Farticles%2Fcolumns%2Fpop%2F7809328%2Fariana-grande-attack-scooter-braun-touching-message

[In Brief]

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Manchester Bombing Update: Arrests Continue as England Holds Moment of Silence & Millions Raised for VictimsBY GIL KAUFMAN

The United Kingdom held a national mo-ment of silence on Thursday morning (May 25) at 11 a.m. BST to honor the 22 dead and dozens wounded in Monday’s bomb attack outside an Ariana Grande concert at Man-chester Arena. BBC News reported that emotional gatherings occurred across the nation, including one in St. Ann’s Square in Manchester where the silence was followed by applause and cheers of “Well done Man-chester!” as well as a spontaneous crowd rendition of Oasis’ moving ballad “Don’t Look Back in Anger.”

https://twitter.com/ManchesterArena/status/867666563654180869/photo/1?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F7809304%2Fmanchester-bombing-update-raids-continue-moment-of-silence-charity-raises-millions

Even as the victims were being remembered, the probe into the attack intensified and widened amid pushback from British authorities over the handling of sensitive intelligence by U.S. agencies.

A growing source of tension in the investigation is the steady drip of leaks to the U.S. media from the Trump administration, a situation UK Prime Minister Theresa May intends to bring up when she meets the U.S. president at at NATO summit in Brussels on Thursday, according to CNN. “I will make clear to President Trump that intelligence that is shared between our law enforcement agencies must remain secure,” she said.

British intelligence is concerned that the leaks — which Manchester Mayor Andy Burnham said were “arrogant” — could compromise the fast-moving investigation.

The discomfort grew on Wednesday (May 24), after The New York Times posted a story that contained a number of photos of what are believed to be the detonator, a battery and shrapnel that bomber Salman Abedi used in the attack. The paper described the powerful explosive housed in a metal container filled with nuts and screws concealed either in a black vest or blue backpack, with a hand-operated detonator and a 12-volt battery power source. A review of the site shows that the majority of the fatalities occurred in a “nearly complete circle” around the bomber, whose “upper torso was heaved outside the lethal ring toward the Manchester Arena entrance.” The sophistication of the bomb — which may also have contained a redundant timer switch as back-up — suggests possible outside help in devising the device.

England’s National Police Chiefs’ Council warned shortly after that leaks of the photos that publicly sharing such potentially crucial evidence “undermine our investigations.” U.S. intelligence receives updates on the investigation because of the Five Eyes intelligence sharing agreement, which includes England, the U.S., Australia, Canada and New Zealand.

UK Home Secretary Amber Rudd has said that the bomber was on the intelligence service’s radar before the attack and that he’d been in Libya for three weeks before returning home just days before he set off an improvised explosive device in the suicide bombing.

A family friend told CNN that the assailant’s father — who was arrested on Wednesday in the probe along with his younger brother — had taken his sons to Libya in mid-April and confiscated their passports so they couldn’t return to the UK, where both had reportedly been in trouble with gangs. Salman Abedi, however, convinced his father to give his passport back by claiming he was going to pilgrimage to Saudi Arabia, returning to

England instead.As the families of the many teenage

victims continue to mourn the loss of young lives, Queen Elizabeth II visited with some of the wounded at the Manchester Royal Infirmary and Children’s Hospital Thursday morning, even as two more men were arrested in the probe, bringing the total number in custody so far to eight, according to CNN.

Charity drives to raise money for the victims include one by the Manchester City and Manchester United football teams, who have jointly pledged more than $1.3 million for an emergency fund, according to BBC News; a group of organizations, individuals and community groups have raised a total topping $2.6 million in the past 24 hours, which will be rolled into the British Red Cross’ “We Love Manchester Emergency Fund.” At press time, there were 116 known injured, 75 of which remain in hospital including 23 in critical condition, five of whom are children.

https://twitter.com/AP_Europe/status/867705488863092736?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F7809304%2Fmanchester-bombing-update-raids-continue-moment-of-silence-charity-raises-millions

Live Nation Reportedly Offering Refunds on UK Concerts in Wake of Manchester AttackBY GABRIELA TULLY CLAYMORE

Concert-promoter behemoth Live Nation is offering refunds to ticketholders fearful of attending upcoming shows in the UK. Following the terrorist attack in Manches-ter, England at an Ariana Grande show that

[In Brief]

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left 22 dead and dozens more wounded, the UK has raised its threat level to “critical.” Prime Minister Theresa May warned citizens that British intelligence officers believe another attack could be imminent.

TMZ reports that Live Nation will offer refunds to major concerts in the UK including Iron Maiden, Katy Perry, KISS, Robbie Williams, Phil Collins, Depeche Mode, and James Arthur. A Live Nation source told TMZ that they have yet to decide whether or not to offer refunds in other countries.

This article originally appeared on Stereogum.

BBC Radio Festival Tightens Security After Manchester BombingBY GEORG SZALAI

The weekend event in Hull will feature such music stars as Katy Perry, Kings of Leon, Rag’n’Bone Man, Rita Ora and The Chainsmokers.

The BBC said Thursday (May 25) that Radio 1’s Big Weekend festival will take place “as planned” this weekend in Hull, England after the Manchester bombing at an Ariana Grande concert that killed 22 people and left dozens injured.

“After conducting a full review of the festival, in conjunction with the police and partners, various extra security measures have been put in place to ensure the safety of those attending,” the BBC said. “As part of this, everyone that enters the site will go through two rounds of thorough searches – one round conducted at transport hubs where police will be present, and a second round of security procedures at the entrance gates.”

Added the public broadcaster: “We ask for the patience and cooperation of anyone coming to the event on the weekend and that they allow extra time to pass through

security.”Manchester police had arrested five

people in connection with the attack as of Wednesday afternoon, with three more in custody on Thursday. The bomber, Salman Abedi, a 22-year-old British citizen who grew up around Manchester, died in the attack.

Britain held a national minute of silence on Thursday at 11 a.m. local time to remember those who died or were affected. Officials said flags will remain at half-mast on government buildings until Thursday night. Radio 1 focuses on modern and current popular music. Like Manchester, Hull lies in the north of England, but east of the city that was hit by Monday night’s bomb attack.

This article originally appeared on The Hollywood Reporter.

Mass Appeal Joins Forces With Pulse Music GroupBY MARC SCHNEIDER

Mass Appeal, the 21-year-old graffiti/urban culture ‘zine that has evolved to include TV and film production as well as a record label and creative services division, an-nounced on Thursday a new music publish-ing joint venture with Pulse Music Group, the indie music publishing, management and music services company.

The companies said the new partnership will focus on discovering up-and-coming artists, songwriters and producers, using Mass Appeal’s clout and contacts to help close the deals and then promote the song catalogs. As part of the pairing, the firms will also work on original content for Mass Appeal’s media projects. Pulse will handle worldwide music publishing administration for the partnership.

“Publishing has been one of the key missing pieces to the evolving Mass Appeal brand,” noted Mass Appeal CEO Peter Bittenbender in a statement. “From the

minute we met the team at Pulse, it was clear we had a shared vision for the future of the industry and common passions for music and culture. We are thrilled to grow this new division with our incredible partners at Pulse.”

This is just the latest foray into new territory for Mass Appeal, founded in 1996 as a graffiti ‘zine. In 2014 it worked with Nas to launch Mass Appeal Records, which has released new music from Run the Jewels and Dave East, along with posthumous records by J Dilla and Pimp C. In the television space, Mass Appeal has partnered with CNN, TBS and Comedy Central, among others, to create urban culture-themed programming.

Earlier this year, the company announced it had raised $6 million in a series A funding round led by Universal Music Group.

Founded in 2010, Pulse Music Group’s client roster includes artists Miike Snow, Galantis, Jukebox the Ghost, Børns, Wild Belle and — conveniently — Mass Appeal’s Run the Jewels and Dave East. Its slate of cross-genre songwriters include El-P from RtJ, Luke Laird (Carrie Underwood, Little Big Town), Bonnie McKee (Katy Perry, Kesha) and BloodPop (Lady Gaga, Justin Bieber). In August 2016, Pulse announced a joint venture with Marc Anthony’s Magnus Media.

“Our vision in founding Pulse was to align ourselves with artists and creative companies at the vanguard of culture,” said founder and co-CEO Josh Abraham. “We couldn’t be more excited to add Mass Appeal as a creative partner.”

[In Brief]

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Wax Poetics Founder Andre Torres Joins Universal Music Enterprises to Unearth New Value From Hip-Hop’s Golden EraBY DAN RYS

To vinyl fanatics, Andre Torres is living the dream. As founder of Wax Poetics, a mag-azine for hip-hop, jazz and soul crate-dig-gers that he launched in 2001, Torres has been a champion for lost classics for the past 20 years. Now, after stepping down from the publication in 2016 and spending a year as executive editor at lyrics site Ge-nius, Torres has been named the first-ever vp urban catalog at Universal Music Enter-prises, the major’s global catalog division, reporting to UMe president/CEO Bruce Resnikoff.

In an interview this month, Resnikoff explained his decision to expand into urban with Torres’ hiring. “When I started in this business, catalog releases and marketing favored classic rock and pop,” he told Billboard’s Robert Levine. “We’ve always had a strong urban catalog — look at Motown. But there are hip-hop catalogs from the ‘90s and the ‘00s that have yet to be marketed [as reissues]. So I hired Andre Torres to oversee our urban catalog business.”

For Torres, whose time at Wax Poetics was often spent digging up those old recordings and giving them a new luster in the pages of the magazine, the chance to get into Universal’s vast archives — which include iconic hip-hop labels like Def Jam, Ruff Ryders, Roc-A-Fella, No Limit and a slew of others — was irresistable. “I would have never been able to write this job

description, because it would have seemed like a dream come true,” Torres tells Billboard. “This is our classic music. This is what we see as the future of catalog.”

As he looks to get his new job under way, Torres explains to Billboard his plans to revitalize an archive of pioneering labels to give their records another spin, and lays out his plans for what the catalog business could be as hip-hop comes of age.

This role is a newly-created position for UMe. Why is it necessary now?

Look at what they’ve done for The Beatles, The Beach Boys, Frank Sinatra, the guys who traditionally got that box-set treatment. Hip-hop is now 40 years old. We grew up with a different set of heroes, and a lot of these titles on the urban side have been out of print for 20, 30 years. A lot of these artists have never gotten their proper due for the culturally relevant, groundbreaking music that they were making.

Traditionally, hip-hop has always been thought of as the hot new thing. Certainly streaming music and all the data that’s coming from Spotify, Apple, Tidal, is showing that what we thought maybe at one point didn’t have a lot of shelf life is actually what people are coming back to these streaming services for. And it’s not just hip-hop, it’s a lot of catalog that’s being streamed.

As we move from an ownership model to a consumption model, the role that catalog plays in peoples’ lives is much different. You don’t have groups of people who are splintered off into, “I only listen to old hip-hop,” versus, “I only listen to new hip-hop.” It’s side by side; all that is existing at once. With that data, we can clearly see there’s a group of fans out there who have been under-served out there. There is a desire for deluxe packaging, creative marketing campaigns around catalog. I’m looking at collaborations and working with brands and really bringing the urban catalog back into everyday life and inserting it into culture, where people are into this experience on a daily basis, where a traditional record label hasn’t seen that aspect of it. That’s where I feel I could do some good here in repositioning catalog,

especially on the urban sense.What types of products are you looking

to release?We’re looking at deluxe editions, box

sets, lots of content creation on the digital side. We’re dealing with Spotify, Apple, Tidal, coming up with creative ways to document certain periods of time, like the Golden Era, and taking a close look at groups on our catalog — whether it be a guy like DMX, or a label like Ruff Ryders, or a group like Eric B. and Rakim who have the 30th anniversary of their debut album this year — it’s about including this music in what’s already being done on the rock side. It’s serving this audience just as well as the rock audience has been served.

I’m looking at, “What does the box set of the future look like?” When you’re trying to either reintroduce these artists to an older audience or introduce them to a younger audience for the first time, it’s about creating a narrative and looking at all those different elements — from physical products to digital plays to merchandising, pop-ups, working with brands — to provide a cultural moment. Is it a headset with a VR experience for someone like my son who has never bought an album? I’m looking to reinvent this catalog game.

You guys are releasing the Beatles box set: six discs, $150, all for an iconic album like Sgt. Pepper. Which hip-hop albums might deserve that type of treatment?

When you look at our catalog: Def Jam, Interscope, Priority, certainly a guy like Jay Z’s catalog starting with Reasonable Doubt which turned 20 years old last year, the first rapper to get into the Songwriters Hall of Fame — he’s like our Beatles. I’d say 95 percent of his records would warrant that. Certainly someone like Kanye; I’m dying to do something with 808s and Heartbreak, that was a game-changer, especially when you look at a lot of the kids who are hot right now, and that turns 10 years old next year. If you look at a rock act, they would have taken another 10 years before they looked at that record, but for me, it’s about celebrating it now, and continuing to do that over the next 10 and 20 years.

I think artists like Kanye, Pharrell, who have always come into the game with a

[In Brief]

Page 7 of 22

real vision, would provide me with a good platform to do creative things. When you look at the Republic side with The Weeknd and Drake and Lil Wayne’s catalog, especially Tha Carter series — there’s a lot of potential there to do some great stuff that may not have been thought about. There’s a wealth of material there, and that’s really just the hip-hop side. I have everything going back to Stevie Wonder and James Brown to the whole Blue Note catalog and George Clinton. A lot of those guys never really got this treatment either. So for me, it’s two-fold in making sure we hit the nostalgic hip-hop heads, the newer kid who could be buying Kendrick Lamar vinyl, all the way back to someone who’s digging in the crates and wants to see that kind of experience for someone like a Stevie Wonder or a Marvin Gaye.

The box sets we all know well will often have different versions of songs, early versions with different lyrics. Are we talking about lost verses or things like that?

I’m digging into the archives. Sometimes it’s working directly with the artist to see if they have extra material. We have the whole Gang Starr catalog and I’ve been talking to DJ Premier’s team a lot and there’s definitely some material there that hasn’t seen the light of day yet. Traditionally, a lot of hip-hop dudes have sat on that stuff. But if you look at Fade To Black, you see Jay Z recording multiple tracks with Rick Rubin. Only one made it onto the album, but you know there are like five others.

But this is really about the fans and letting them inside the process and behind the scenes. And I think with the right conversations and the right packaging and showing how we can present these box sets and market them, these are the conversations I’ve been having with various artists’ camps about letting us into those vaults and getting access to some of that material. And it is an ongoing conversation and there’s definitely a learning curve there, but that’s the goal, to fatten up some of these packages with unreleased material.

Sampling is a problem with older rap records. Will you tackle that issue?

Without a doubt. Thank God there’s already been some proactive movement on that side with a group like Public Enemy, which used hugely sample-centric production from the Bomb Squad and for a while there a lot of that stuff was locked up in sample purgatory. But in the last few years, there have been great efforts in cleaning all that up and now it’s pretty much where it needs to be to where we’re working with Public Enemy’s camp about putting together some sort of career look box set in the next year or two.

There are still some of those that are still lying around that haven’t been addressed yet and we’ll have to look at them on a case-by-case basis. But if the album is culturally-relevant enough and important, it warrants that extra work in order to get it back out into the world. That’s something I’ve been doing a lot on the back end just to make sure we’re working with artists and creating a relationship that everyone’s comfortable with. I want them to be involved in this process and know where the hurdles are. Sometimes these things pop up as you’re in the process and we just want to make sure we’re moving in tandem with what they’re doing.

This article originally appeared in the June 3 issue of Billboard.

IMS Biz Report: Global Electronic Market Up 3% to $7.4 BillionBY BILLBOARD STAFF

The International Music Summit in Ibizia today released its 2017 IMS Business Re-port, an annual in-depth economic study of the electronic music industry. The report, which looked at industry data from 2016, reported the dance music market was up 3% to $7.4 billion dollars, up from $7.1 billion the year before.

Some of the reports other highlights

included:- In the U.S., sales of electronic music

were up across all formats including albums, singles and on-demand streaming. The genre now ranks as the fifth most popular genre behind rock, R&B/ hip-hop, pop and county and ahead of Latin music.

- For on-demand streaming, dance is now the fourth most popular genre with a 6% share of the market. The report also said that 57% of total Dance sales are from streaming – the highest of any genre in the U.S. And Spotify, the world’s largest streamng service, has some 12 Billion electronic music streams a month.

- In terms of global markets, the report noted that Mexico and Brazil are among the top ten countries to stream electronic music. In France, dance music received the most radio airplay of any genre with 29% share of the market. In Germany dance music sales are at an all-time high with a 7% share—double what it was three years ago.

- In the live market, Forbes’ estimated earnings of Top 12 DJs fell 1% in 2016 to $300 million, which is still 12% higher than it was in 2013. The biggest earner was yet again Calvin Harris who earned $63 million dollars. Overall 16% of people in the U.S. in 2016 attended a club event with DJs.

The report noted the expansion of the live market in Latin America with Ultra Brazil and Argentina, four festivals in Mexico and the Baum Festival in Bogata. Brazil also has seven of the top 100 clubs as ranked by DJ Mag. Mexico also saw revenues from electronic dance music increase 24% year-over-year.

In terms of M&As, the report noted Sony Music UK’s acquisition of Ministry of Sound for $87 million dollars and the Trilantic Capital Partners’ acquisition of the Pacha Group for what was reported to be over $390 million.

The IMS Business Report was written and delivered by Kevin Watson, a London-based strategy specialist who founded Danceonomics.com, an information hub for the electronic music industry.

[In Brief]

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Spotify Adds Former Disney COO Tom Staggs to Board: ReportBY GEORG SZALAI

Music streaming service Spotify has added four new board members, including former Walt Disney COO Tom Staggs who was seen as the likely successor of Disney boss Bob Iger before surprise news in April 2016 that he was stepping down.

The other new board members are Shishir Mehrotra, YouTube’s former head of product; Padmasree Warrior, who heads of the U.S. unit of Chiense electric auto firm NextEV; and Cristina Stenbeck of Swedish investment firm Kinnevik.

The Financial Times reported the news, citing people familiar with the situation. Spotify did not immediately comment.

The addition of Staggs brings further entertainment industry expertise to the company’s board, which previously added Netflix chief content officer Ted Sarandos. Spotify has been understood to be looking at expanding its video offerings.This article was originally published by The Hollywood Reporter.

Statik Selektah Talks Management Deal With Roc NationBY CARL LAMARRE

Since 2007, Statik Selektah — born Patrick Baril — has been a staple in the production world. The Boston native’s affinity for hip-hop and everything boom-bap has allowed him to connect with some of rap’s biggest names.

With an unblemished resume that includes Eminem, Nas, Action Bronson and Joey Bada$$, Selektah is quickly becoming hip-hop’s secret weapon. This year, the producer made a huge splash when he cooked up two tracks for Joey Bada$$’s acclaimed album All-Amerikkkan Badass. The project’s final song “Legendary,” which features J. Cole, showcases Selektah’s pristine beat-making abilities. In hopes of cementing himself as a premier household name, the “Detroit Vs. Everybody” producer recently inked a management deal with Jay Z’s Roc Nation.

Selektah spoke to Billboard about his new deal, his plans to expand his brand, working on Nas’ forthcoming album, Joey Bada$$’s growth, and why his project with 2 Chainz will have New York listeners in a frenzy.

Congrats on signing a management deal with Roc Nation. How did everything come together?

I’ve known [Roc Nation management rep] Kristi [Clifford] over there for a long time and she had mentioned my name. My name came up in a meeting when they were talking about The LOX. I wasn’t on the last LOX album and Kristi spoke up and said that [I’m] on the next one, so it kind of started a conversation and we started throwing out ideas with me coming up [to Roc Nation]. A lot of the people up there was familiar with what I was doing. I played some music and it just all came together really good. The whole staff up there is exactly what I need for my movement to go to the next level. I think I bring my own flavor of what I do as well.

What you are trying to accomplish with your move to Roc Nation?

Honestly, I wanna pick my placement game up. I’ve worked with everybody from Eminem to 2 Chainz to Nas — a lot more recently with Nas. I’ve been in the studio with him. The next level to me is like being on every album that comes out that matters. I grew up looking up to DJ Premier, who would have the illest hip-hop joint on everybody’s album. That’s exactly what I want to do. I’ve been doing it for a little while, especially with the new cats like Joey Bada$$ and Action Bronson, but

I’m trying to cover the whole spread — that includes other kinds of music, too. I want to do more R&B, more reggae, everything.

You’ve mentioned being in the studio with Nas. What’s the latest on his new album?

Some of it is top secret but I will tell you that he’s working on Fashawn’s album. He’s signed to Nas’ label Mass Appeal. They got a new studio over [at the Mass Appeal office], so I’ve been going over there and working with him. Nas has been working on this album for a long time so at any given moment, he can change his mind. I’m not even really sure where he stands with the album, but I will tell you that we have some joints in the stash. So, hopefully, one of those either makes that, or I know that Lost Tapes 2 is eventually coming out. It’s just if the vibes are right.

You’ve had a relationship with Joey Bada$$ since he was 16. How would you describe his growth thus far in music?

I met Joey when he was 16-years-old. He was making a mixtape, you know what I mean? I watched him go from a huge Internet success to starting a tour with him. We’ve been around the world a bunch of times. I mean, we’ve probably done 600, 700 shows together in the last four years. I did the math one time and it was a lot. [Laughs]. It was real dope that I produced the record “Legendary” with J. Cole — another Roc Nation artist — on Joey’s album [All AmeriKKKan Bada$$]. I just think it marks this moment in time. Just the way the dots connected was real special.

Your album 8 is slated for a late summer release. What can we expect in terms of artists and sounds on the new project?

I’m really excited about it. I’ve been really stepping up my game musically. You know, you can expect that Statik sound, but it’s just a lot bigger. I got 2 Chainz on there. Me and him have a project that’s dropping really soon. Of course, the fam like Joey Bada$$, Action Bronson, Termanology, Run the Jewels, The LOX, Wale, Black Thought, Raekwon, Freddie Gibbs, Westside Gunn and Conway — who just signed to Shady Records. I’ve been messing with them since the beginning.

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I’m really excited about that. G-Eazy, Royce Da 5’9’, and obviously, the late, great Sean Price. You know, me and Sean have been close so I’m happy I got something underneath for this one.

You and 2 Chainz have a project on the way. What did he bring to the table that amazed you the most as an artist?

He’s been killing features and his own records for a long time. When you hear these records, it’s just so different. No one has ever done what he did with this project. First of all, he’s rapping like he’s from Brooklyn. It’s just very New York. Basically, a down South guy made a New York album, so I’m excited for that.

Do you have a name for the project? Yeah, we got a name, but I gotta let

Chainz announce that one. Lastly, is it over for your Boston

Celtics in their playoff series against the Cleveland Cavaliers?

Listen, they came back in Game 3 and I didn’t see that coming so we’ll see what happens [in Game 5]. I got faith. I’ve seen everything. I’m a Boston fan. I’ve seen the Red Sox come back. I’ve seen the Celtics come back. I’ve seen the Patriots come back from being down at halftime, so you never know.

Eminem Returns to Social 50 Chart for the First Time This YearBY KEVIN RUTHERFORD

The rapper returns to the chart for the first time since the Dec. 31, 2016-dated chart, after promoting his appearance in the up-coming ‘The Defiant Ones’ documentary.

Eminem makes his first appearance on Billboard’s Social 50 chart in 2017, and it’s all thanks to his Instagram account.

With his first post in eight weeks, the rapper garnered 884,000 new Instagram follows and 19.5 million Instagram

reactions in the tracking week, according to Next Big Sound.

The Social 50 is powered by data tracked by music analytics company Next Big Sound and ranks the most popular artists on Facebook, Twitter, Instagram, YouTube, Wikipedia, Instagram and Tumblr. The chart’s methodology blends weekly additions of friends/fans/followers along with artist page views and engagement. The chart’s latest tracking week ended May 18.

The rapper’s post, at first glance, might have seemed like an announcement of new music. The post is a black-and-white photo of the rapper with the word ‘defiant.’ Turns out it’s actually an ad promoting the upcoming documentary The Defiant Ones. The four-part film, which focuses on the partnership of Dr. Dre and Jimmy Iovine, features interviews with artists and industry vets like Eminem and will premiere July 9 via HBO.

https://www.instagram.com/p/BT9_F8fFk97/

The promo works out for Eminem, who re-enters the Social 50 at No. 13, his first appearance since the Dec. 31, 2016-dated ranking and highest position since last November (No. 7, Nov. 5).

Meanwhile, Chris Cornell debuts on the Social 50 at No. 38 following his May 17 death in Detroit. Much of Cornell’s chart metrics come from Wikipedia views, where he garnered 1.3 million views, as well as new followers on Facebook (up 104,000) and Instagram (77,000). It’s the first time Cornell or a Cornell-affiliated act makes the Social 50; none of Soundgarden, Audioslave or Temple of the Dog (all acts that he performed with) ever made the ranking.

Another chart debut belongs to Machine Gun Kelly, who bows at No. 46. He enters courtesy of buzz generated by his Bloom album release, and news of his upcoming modeling campaign with John Varvatos. MGK rises 147 percent and 76 percent in Twitter mentions and Instagram reactions, respectively.

The Notorious B.I.G. & Tupac Shakur Documentaries to Premiere on A&E Next MonthBY CARL LAMARRE

Next month, A&E will relaunch its popular Biography series by delving into the un-solved murders of rap icons The Notorious B.I.G. and Tupac Shakur.

On June 28, the network will air its two-part documentary Biggie: The Life of Notorious B.I.G. The series retraces the footsteps of Biggie’s life, his untimely death, and showcases never-before-heard recordings from the Life After Death rapper. His late mother Voletta Wallace, his widow Faith Evans, Lil Cease and members of the Junior M.A.F.I.A. will also make appearances to discuss their fondest memories of the late Brooklyn lyricist.

A&E will then unveil its six-part miniseries Who Killed Tupac? on June 29. The series will feature civil rights attorney Benjamin Crump, who speaks on the numerous theories that continue to surround ‘Pac’s death.

“The late Christopher Wallace and Tupac Shakur continue to impact the world two decades after their tragic,unsolved murders and there is still a public longing to connect with these figures and to celebrate their legacies,” said Elaine Frontain Bryant, executive vice president and head of programming at A&E Network in a press release.

Adds Bryant: “We pride ourselves in delivering projects under the Biography banner that unearth a side of the story that the public has never seen before. In the case of Biggie: The Life of Notorious B.I.G., the foundation of this biography is exclusive archival footage and audio recordings of Biggie himself, packaged in a

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way that allows him to tell his own life story as if its present day and we are truly excited to be able to bring that kind of intimacy and connection to his fans.”

The first two hours of Biggie: The Life of Notorious B.I.G. will premiere June 28 at 9 p.m. ET with the last hour airing June 29 at 8 p.m. ET. Who Killed Tupac? will debut the first of its six installments on June 29 at 9 p.m. ET on A&E.

Nicki Minaj to Perform at the NBA AwardsBY ADELLE PLATON

Nicki Minaj is bringing her A-game to the NBA Awards. The league announced on Thursday (May 25) that the Queens rapper will be performing at the inaugural cere-mony, taking place at New York’s Basket-ball City at Pier 36.

The show will also be hosted by Minaj’s frequent collaborator and Young Money mate, Drake. The two recently reunited at this year’s Billboard Music Awards (May 21) where the rapper — who won 13 awards — shouted out Minaj as the “love of his life” during his final acceptance speech of the night. “Nicki Minaj, I’m so glad we found our way back because I love you,” he said. “And I could never ever ever see it any other way.”

The NBA Awards will also include contributions from the Inside The NBA crew comprised of Ernie Johnson, Charles Barkley, Kenny Smith and Shaquille O’Neal alongside other celebrity presenters and the league’s biggest stars.

Catch the festivities when the NBA Awards air on Monday, June 26, on TNT at 9 p.m. ET.

Chris Blue, Winner of ‘The Voice,’ Debuts at No. 1 on Hot Gospel SongsBY JIM ASKER

Crowned the winner of the 12th season of NBC’s The Voice on Tuesday, Chris Blue — a worship leader at Cokesbury United Methodist Church in Knoxville, Tennessee — debuts at No. 1 on Billboard’s Hot Gospel Songs chart (dated June 3) with his version of Tamela Mann’s “Take Me to the King.” As Mann’s original led the list for 25 weeks in 2012 and 2013, the song is the first to rule the ranking via more than one version (dating to the chart’s 2005 inception).

“King,” which Blue performed on the show’s May 15 episode, competing for coach Alicia Keys’ team, launches with 30,000 downloads sold, according to Nielsen Music. It’s only the seventh song to debut at No. 1 and the first since Kirk Franklin’s “Wanna Be Happy?” on Sept. 19, 2015. Before “Happy,” Koryn Hawthorne, a finalist on the The Voice’s eighth season, launched at No. 1 with her take on the traditional gospel hymn “How Great Thou Art” (April 25, 2015).

Another season 12 Voice finalist, Aliyah Moulden — who, as a member of Blake Shelton’s team, finished in third place (behind runner-up Lauren Duski) — starts at No. 4 on Hot Christian Songs with her cover of MercyMe’s 2003 hit “I Can Only Imagine.” After the 15-year-old Moulden sang the ballad on the show’s May 15 episode, it debuts at No. 1 on Christian Digital Song Sales with 15,000 sold.

Back to Hot Gospel Songs, “You Waited,” the new single from Columbia, South Carolina-based singer-songwriter and worship leader Travis Greene, storms in at No. 4, spurred by first-week sales of 3,000 downloads. The song marks Greene’s highest debut and third top 10, following two No. 1s: “Intentional” led the list dated Aug. 1, 2015, and “Made a Way” reigned

for 13 weeks starting Sept. 24, 2016. “You Waited” is the lead single from Greene’s album Crossover, due Aug. 18.

On Top Christian Albums, Requiem, a new set of ancient Gregorian chants from The Fraternity/Priestly Fraternity of St. Peter, starts at No. 4 (3,000 units, all from pure sales). The set yields the first appearance on a Billboard chart for the international community of Catholic priests, known mainly for singing at funeral masses all over the world. The LP is the collective’s first major-label release, issued through Sony Masterworks.

Finally, “Oceans (Where Feet May Fail),” from Australian worship collective Hillsong United, which led Hot Christian Songs for a record 61 weeks, wraps its chart run after a record 192 weeks. Sung by the group’s Taya Smith, “Oceans” embarked on the Hot Christian Songs chart dated Oct. 5, 2013, and ascended to No. 1 for the first time that Dec. 7. The track logged all but 10 of its 192 weeks on the chart in the top five.

Meanwhile, sister act Hillsong Worship, which shares personnel with Hillsong United, leads Hot Christian Songs and Christian Airplay for a 14th and ninth week, respectively, with “What a Beautiful Name.”

Buena Vista Social Club Documentary Redux Brings Back Departed Cuban MusiciansBY JUDY CANTOR-NAVAS

One of the most revealing moments of the new documentary about the Cuban musicians known to the world as the Buena Vista Social Club happens early in the film, when Juan de Marcos González visits the house in Havana where the actual Buena Vista Social Club, a neighborhood dance hall and community center, was located

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before being shuttered by Cuban officials in the 1960s.

González, the Cuban musician and producer who acted as Ry Cooder’s A&R man for the original Buena Vista album, ducks under a clothesline full of washing, his graying dreadlocks brushing against a bright-colored bra. As if the curtains of a speakeasy have been parted, the surprising sight of a fully-equipped gym complete with, as González brightly notes, “very modern” machines, and patrons in mid-workout, comes into view.

As the film continues, director Lucy Walker, who started work on Buena Vista Social Club: Adiós in 2015, briefly references recent significant events in Cuba and changes in the country’s relationship with the United States in more obvious ways. A Cuban radio announcer informing listeners of Fidel Castro’s death opens the documentary, which will have its commercial release tomorrow, May 26. [It had been scheduled to premiere at Sundance last January, but it was pulled from the program at the last minute.] The film also flashes on President Obama in Cuba, and Buena Vista musicians performing at the White House.

Twenty years have gone by since the Buena Vista Social Club album brought global fame to a group of senior citizens who were quickly assembled to make a recording of traditional Cuban music in a decaying Havana studio; most of the original principals have since passed away, and the new film shows that the music – and cheering crowds – accompanied them until the end. As any Buena Vista fan knows, the story of the making of the album and its main protagonists – Ibrahim Ferrer, Compay Segundo, Omara Portuondo, Ruben González and Eliades Ochoa - was already told in a 1999 documentary directed by Wim Wenders. In addition to introducing viewers to the endearing, unsinkable musicians and their sublimely catchy and culturally significant music, that film allowed for a revealing look at the island at a time when it was still seen by Americans as a forbidden destination (and vice versa).

Wenders’ film followed the BVSC

artists to New York, where they reached a crescendo performing at Carnegie Hall. The new movie wraps up in 2016, when surviving original members Omara Portuondo – a riveting presence in both films – Ochoa, Manuel “Guajiro” Mirabal, laud player Barbarito Torres and an intergenerational band said goodbye to the world’s stages on the group’s international Adiós tour, which ended with a concert in Havana. (the 86-year-old Portuondo, Ochoa and other BVSC alumni continue to perform as solo artists).

As a narrator, the English-speaking Juan de Marcos Gónzalez lends the new documentary a revisionist tone. Gónzalez’s importance in the production of the Buena Vista album was overshadowed by Ry Cooder’s celebrity after the record was released and swiftly became a phenomenon, topping Billboard’s Latin Albums and World Albums charts, and going platinum in the U.S. To date, it has sold more than 12 million copies worldwide. Wenders’ film was nominated for an Oscar.

Gónzalez, who acted as musical director of the Buena Vista project, and is also known as the leader of the Afro-Cuban Allstars, had only a bit part in that movie. In the Adiós documentary, it’s Cooder who appears fleetingly, in archival footage. A disclaimer at the end of the closing credits makes clear that Cooder did not participate in the film.

González’s protagonism in Walker’s movie offers a Cuban point of view on a project that took the Cuban officials, and even other musicians, years to warm up to. Cuban music critic Pedro de la Hoz, writing for the official newspaper Granma in August 2000, voiced a widespread opinion when he suggested that Buena Vista was a capitalist plot to profit from Cuban patrimony. He went so far as to call Cooder an expert in “finding in the Third World what the First World needs,” and to describe World Circuit Records label head Nick Gold, as a “wily fox” who had created a “solid discographic saga” with Buena Vista and its sequel albums. De la Hoz mocked Wim Wenders’ film as spinning a rags-to-riches story about “the

triumph of some poor musicians hailing from a city of decrepit streets, junkyard dogs and dilapidated cars” to the streets of New York, a tale “as grotesque as Tarzan’s journey to the asphalt jungle.”

In the new film, González echoes some of that scepticism when he finds himself basking in applause on a foreign stage at yet another packed Buena Vista show.

“What do these people really know about Cuba?” González asks provocatively. “What do they know about the things we’ve been through?”

The film takes a weak stab at answering those questions as the opening credits roll. Historic snippets walk us through moments in Cuban history, and its music history. The archival clips are as visually engaging as could be expected, but ultimately amount to a short list of facts, spanning centuries, that can’t help but seem random.

BVSC: Adiós does pick up the thread of a wider historic context at times, emphasizing issues of racism and corruption in Cuba in the pre-Revolutionary period before Fidel Castro’s rise. The thorny subject of Cuban exile is raised when Portuondo expresses her obvious disapointment that her sister and former bandmate sent her young niece to Miami along with thousands of other children with the Peter Pan anti-Communist airlift in the early ‘60s, and soon left for the U.S. herself. At that intriguing moment in the movie, the personal becomes political. But Portuondo, who for over two decades in the global spotlight has proved herself to be a consumate diplomat, doesn’t go further with it. And, unfortunately, neither does Walker.

Using outtakes from the first movie, previously unseen footage and archival clips, Adiós re-tells the by-now familiar stories of Ferrer, González, Segundo, Portuondo, Ochoa and others in the group, and relives performances of some of their well-known songs. The documentary fleshes out individual background stories of the main artists, and adds some intimate moments to the existing Buena Vista canon, particularly shedding suggestive light on the connection between Portuondo

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and Ferrar.The impish big-voiced singer Ferrar

emerged as the sun of Buena Vista after he stole the show in the Wenders’ film. There’s a poignant moment in Adiós when the singer, who died at age 78 in 2005, asks himself why, after a lifetime in show business during which he never fully got his due, success arrived at an age when he was practically too old to enjoy it.

But again, Walker misses an opportunity to say more. We see Ochoa, who at the time of the recording is dressed in cheap separates, now splendid in the sharp black suit that has since become his trademark, and a well-groomed Ferrer expanding his wardrobe of newsboy caps. Ferrer went from shining shoes for money to supplement his small pension one year, to making $100,000 in album royalties and concert fees the next (according to an interview with González at the time) - and presumably much more in subsequent years. At one point in Adiós, González notes that the artists were in it for love, not money, and there’s no doubt his statement is not a mere platitude or party line. But the artists of Buena Vista Social Club kept a rigorous tour schedule, performing in some of the most prestigious theaters and at festivals around the world. The movie totally sidesteps the issue of their material wealth, and how it played within the context of a Communist Cuba where musicians’ relationships with the state, as well as ideas about being compensated for their work, were rapidly changing.

The changes in the Buena Vista artists’ lives directly paralleled, and even influenced, changes in Cuba. After the Buena Vista album took off, and the musicians were welcomed around the world, they were finally embraced at home. The first Buena Vista Social Club concert in Havana took place two years after the record’s release. By that time, the project had spurred a global interest in Cuban music that had not been seen since the 1950s; the fever was particularly high in the United States, where the embargo had kept music from the island off the radio for more than thirty years.

The musicians even had an unwitting

role as statesmen. In Miami, they experienced exile politics first hand: in 1998, the Miami Beach Convention Center was evacuated when a bomb threat was called in during a concert in which Compay Segundo was performing. Afterward, when the audience was allowed back into the hall, Segundo, who was then 90 years old, returned to the stage, announced drolly, “Okay, so you had a rest,” and played on. At one point he shouted “Music doesn’t bother anybody. Music is music!” In 1999, Ferrer and Ruben González canceled a show in Miami that was besieged by advance exile protests. But overall, Buena Vista’s pre-Revolutionary sound softened Cuban exile audiences’ opposition to music from the island, and primed them to gradually accept contemporary groups coming from Cuba. Today, a concert by a Cuban musician in Miami is a common occurrence. And a Cuban artist making it to the Billboard Latin charts is no longer remarkable. In 1997, when the Buena Vista Social Club album took the No. 1 slot, it was a historic event.

In addition to solo albums by the Buena Vista artists, the market became flooded with vintage Cuban music and Buena Vista wannabes. Foreign producers mined the archives of Cuba’s state label Egrem to create compilations of old Cuban music, and Cuban music officials realized the extent of the value in their vaults. The allure of Buena Vista also called out to tourists at a time when the Cuban government had just begun to increase their efforts to promote Cuba as a destination in the wake of the collapse of the Soviet Union and a period of economic emergency in Cuba.

None of this is addressed in Adiós. And there’s no follow up to that compelling early scene when González reveals the Buena Vista Social Club gymnasium. There is some reference to the pre-Revolutionary segregation that created such social clubs, but no mention of the fact that interest in the album led to a reunion of the original members of the actual club in 1999, where they exchanged photos of the great Benny More performing there. Later, in 2007, a short-lived revival of the club was

documented by German director Carsten Moller in Second Look: Buena Vista Social Club, a downbeat portrait of frustrated Havana residents that contrasted with the euphoric story of the Buena Vista Social Club.

Adiós is a sentimental journey that, despite some attempts to cover new territory, ultimately doesn’t stray far from that original Buena Vista story line. Curiously, it doesn’t even detour to meet the accomplished and appealing younger artists who joined the line-up over the years; they make only cameo appearances in the film. Certainly their stories, while perhaps lacking the fairy-tale appeal of their now more famous predecessors, are equally as interesting, and could have provided the perfect vehicle for taking the story forward.

Walker’s documentary is more of an encore than a sequel. But it does serve to demonstrate, 20 years on, that the Buena Vista Social Club was not a mere novelty, but a gifted group of professional musicians who collectively achieved one of the most spectacular second acts in music history, and revived interest in Cuban music in the process. The best thing about Adiós is that it will give diehard fans a chance to see them one more time.

https://youtu.be/Vc2okbnxBtI

Pete Tong on 10 Years of the International Music Summit & Why the U.S. Dance Market Has PeakedBY MATT MEDVED

Dance music’s premier tastemaker on ex-panding IMS, his chart-topping successes and where dance music goes from here.

Few in dance music successfully wear

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as many hats as Pete Tong. As a BBC Radio 1 curator, the Dartford, England, native helped launch the careers of many of dance music’s elite, from Daft Punk to deadmau5. And as a co-founder of both William Morris Endeavor’s electronic-music division and the International Music Summit conference — which celebrates its 10th anniversary this week and has added events in Los Angeles and Shanghai — Tong has extended his influence far beyond its original radio reach. He also runs his FFRR label and plays shows as a DJ.

“I’ve straddled that weird existence between artist and executive,” says Tong, 58. “I see both sides of the story. Sometimes I feel the artist side has suffered over the years.”

This year, Tong donned a new hat: that of chart-topper, after his Classic House LP hit No. 1 on the U.K. albums chart in January. Featuring seminal dancefloor anthems like Jamie Principle’s “Your Love” and the late Robert Miles’ “Children” reworked with Jules Buckley’s 65-piece Heritage Orchestra, the album resonated with an aging 35- to 45-year-old British raver demographic that “might not go out as much as they used to, but are still passionate about the music,” he says. Tong and Buckley recorded the album after their joint Ibiza Classics Tour, which included sold-out shows in Manchester, Birmingham and London, at the O2 Arena.

“No generation of dance music from the beginning had gotten old before,” Tong tells Billboard. “Nobody knew how they were going to react.”

This year marks the 10th anniversary of IMS Ibiza.

It’s the most important year since the first one [and] a big milestone for us to reach. We’re not a baby act anymore. I feel that we’ve established a real event there that has a life of its own. There’s an element of IMS Ibiza now where people just come to network and hang out because they know it’s a place that’s got a mini-market in terms of trading, bringing music to it and getting music ready for that moment. There are a lot of publishing and record company artist-producers [there];

I’m very proud of that. It’s fair to say the other big access and

opportunity for us is Asia-Pacific, because no one’s really done it. It’s a learning experience, but we’re already four years in. We’re ahead of the curve. We think we can scale up quite quickly up there.

What are the challenges and opportunities in the Asian market?

It’s the last part of the world where it feels we don’t really know that much about it. But the world seems to be opening up more to China, and China is opening up to the rest of the world. I think there’s a perception that there’s gold out there in those hills. I’m not saying there isn’t, but none of us know how much gold there is out there and how much they really want this scene.

They’re very open-minded, and not necessarily following what’s been popular. And while the obvious things do resonate quite well, like the peak EDM stuff from a few years ago, it’s not necessarily true to say that it will just reflect. They love a show and they love a great production.

What inspired the Ibiza Classics and Classic House projects?

This opportunity came along at the beginning of 2015, when I got invited to curate a classical show at the Royal Albert Hall. The theme of it was to reflect the dance music history of Ibiza. I reached out to Jules Buckley and he comes hand-in-hand with the Heritage Orchestra, which is run by a guy named Chris Wheeler based out of Brighton. The weird thing was, as the work progressed, everything was theoretical and written down which was so unusual for me, being used to hearing everything from the first drum kick. So to be in silence, effectively, for this whole journey was a bit disconcerting. We didn’t anticipate the recording on YouTube going genuinely viral after the next couple of weeks. People all over the world started seeing it and we started getting promoters offering us to do it.

What’s your view of the state of the U.S. dance music market?

I think the market’s peaked. No one wants to say it too loudly. It’s fantastic having had the experience in the U.K. and

Europe, because everything is way bigger over here than it was there, but the patterns are similar. The door didn’t shut over a day; it was like a deflation, a puncture. I think we’ve been going through that for a couple of years. And now in 2017, like a housing crisis or decline, you’re really feeling it more this year.

I think you’ll see more change and things shake out this year. We were even having these conversations in 2015 and 2016 where we’re kind of in a Twilight Zone, like, “How much is it affecting us?” Whereas I think in 2017, the mists are clearing. There are fewer festivals, there are fewer buyers. I think in terms of the market, it does come down to: You need to make better records, you need to throw better parties and festivals. And only the strong survive. This article originally appeared in the June 3 issue of Billboard.

http://www.billboard.com/biz/articles/7809384/martina-mcbride-reflects-on-her-first-25-years-in-the-music-industry

Legendary East Bay Punk Scene Comes to Life in Green Day-Assisted Doc: Exclusive Trailer PremiereBY DA’SHAN SMITH

The film is set for its world premiere May 31 at SF Docfest.

Turn it Around: The Story of East Bay Punk is the latest project to get the coveted Green Day co-sign. The exciting new doc tells the story of the hyper-influential San Francisco-area punk scene that nurtured numerous notable bands.

“In the mid-’90s, I found a home performing and volunteering at Green

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Day’s early stomping grounds, Berkeley’s 924 Gilman punk music collective,” director Corbett Redford tells Billboard. “In 2013, out of the blue, I got a message from my old friend Billie Joe [Armstrong]. He was on the search for some hard-to-find Green Day footage and thought that I might have known where to obtain it… I gathered the footage and delivered it to Billie. He asked me if I knew someone who could direct a documentary about the early years of the Gilman scene from which Green Day had emerged, and I immediately said, ‘Yes. I can direct it!’”

In addition to being executive produced by Green Day, Turn it Around features narration from Iggy Pop and a slew of guest commentary.

Other artists appearing in the visual include Kirk Hammett of Metallica, the Dead Kennedys’ Jello Biafra and East Bay Ray, and Rancid’s Tim Armstrong, Matt Freeman and Lars Frederiksen.

Find the trailer below (premiering exclusively via Billboard) followed by an excerpt from the doc’s press release detailing release plans.

https://www.facebook.com/eastbaypunxmovie/videos/1289744387813767/

The feature documentary will have its world premiere as the opening night film of the 16th SF Docfest on May 31 followed by an initial one week theatrical run at the Alamo Drafthouse Cinema in San Francisco starting June 2. The hometown opening will be followed by screenings in cities across the USA in tandem with Green Day’s Revolution Radio World Tour, with the theatrical campaign launching in New York City in late July and culminating in Los Angeles in mid-September. In a unique release strategy, Turn it Around: The Story of East Bay Punk will “tour with the band” enabling theaters to be marketing partners with Green Day in promoting the film’s theatrical release and the band’s nationwide tour. Abramorama is handling theatrical distribution.

For more, check out the doc’s official site. https://eastbaypunk.com

Niall Horan Braces for Stardom Outside One Direction, With Advice From Justin Bieber & the EaglesBY CHRIS MARTINS

When Niall Horan decided to move from London to Los Angeles in early 2016, it’s no surprise that he chose a house in Laurel Canyon, the epicenter of ’60s folk-rock cul-ture. Horan was the one toting a guitar in One Direction, the British boy-band jugger-naut that was just then going on a hiatus, and he’s got the soul of a singer-songwriter: He’s charismatic, witty and sensitive, but also easygoing and no-nonsense. Viewed alongside his bandmates — born rock star Harry Styles, “sensible one” Liam Payne, “funny one” Louis Tomlinson, moody R&B prince Zayn Malik — Horan, 23, is sort of like the middle brother: the most approachably handsome, the second-most popular across social media (29 million Twitter followers; 19 million on Instagram) and the most likely to lust after a gig at the historic Los Angeles rock club The Trouba-dour. “Playing for, like, 500 people. What more do you want?” says Horan. “I’ve had some good moments with screaming teenagers, but I like when the room is com-pletely quiet. It’s a different kind of respect. People are actually listening.”

It’s exactly that reverent anticipation that greeted Horan when he played the opening notes of his first single, “This Town,” at the Los Angeles Jingle Ball near the end of 2016 — although when he strode into the spotlight, alone but for his guitar and this one little solo song, he was playing to an entire stadium (the Staples Center, to be exact). “This Town,” an acoustic coming-of-age tale that persuasively showed that

the tweeny-bopper had grown up, would go on to hit No. 20 on the Billboard Hot 100 in January. “Slow Hands,” the next single off his planned 2017 solo album, is a throbbing, R&B-inflected rock tune that persuasively shows that he’s a grown-ass man, and it’s climbing the Mainstream Top 40 airplay chart at this very moment.

But one Wednesday morning at the Laurel Canyon house, Horan seems positively boyish. He’s on the phone with his mom, for one. And he practically slides into the kitchen, wearing workout pants and a Nike shirt — a break from his typical uniform of topsiders, patterned socks, cuffed jeans and buttoned-up shirts. A nice lady who works for him brings us veggie omelets. “No pepper for you,” she chides Horan. “Acid reflux,” he explains.

Horan’s fandom is thoroughly on display here. A framed black-and-white portrait of Frank Sinatra hangs in the den. The Rolling Stones lounge in full-color bacchanalian glory above the living room couch. Across from the fridge, Paul McCartney gazes up at a picture within that picture — Sinatra, again. Most of all, it’s the Eagles who occupy a place in Horan’s home. They get an entire wall: five photos lovingly hung outside his office.

Ask Horan for a celeb story, and he’ll tell you about the time he met those very Eagles at a gig of theirs in Toronto. He’ll break out his Joe Walsh drawl to share a bit of wisdom from his favorite guitarist: “You better enjoy the ride, because one day you’re going to be sitting on your own balls.” Then he might add, far too casually, “Don Henley and I talk every couple weeks or so. It’s mad. I call him ‘Dad.’ He calls me ‘Son.’”

In fact, says Horan, “Slow Hands,” co-written by Adele collaborator Tobias Jesso Jr., was inspired by Henley solo hits like “Boys of Summer” and “Dirty Laundry.” It’s almost as if he has retraced the evolution of two decades of California rock in his nearly 18 months outside of One Direction. Henley himself gives Horan a hearty endorsement: “Niall is a solid guy whose focus is right where it ought to be: on songwriting. He’s got the Irish charm and a healthy, self-effacing sense of humor,

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which is an essential survival tool in this business. I think that Niall will evolve into a resonant, thoughtful voice for his generation.”

As a member of 1D — even the guy pegged as “the cute one” — Horan has a major leg-up on voice-of-a-generation status. Or at least, pop-star-of-a-generation status. After five years of working in lockstep with four (three, after Malik’s exit) other dudes — churning out an album a year, then touring to promote it while writing and recording the next one on the road — it’s now the mundane moments, away from the stage, where Horan feels a bit naked. “Every now and then you’re like, ‘Fookin’ hell, where is everyone?’ ” he says. “You’re sitting in an airport lounge, they call you for a plane, and you don’t stand up initially because you’re waiting on everyone else, you know? ‘Oh, Louis’ll be back from the toilet in a minute.’”

When I first meet Horan — in the studio back in November, his first month recording his solo album, which is due on Capitol this fall — he’s his own toughest critic. “I have loads of songs, but now that I’ve heard what we’ve done, I realize the rest are shite,” he says. “Nothing I do will be as big as One Direction, but I have to try at least to get somewhere near it.” By late April, though, he tells me, “The songs are sounding really good,” and he’s itching to get out of the studio and play live (he’s currently got a few dates planned in June).

“Niall’s got the stuff,” says Don Was, the producer and president of Blue Note, who worked on some potential album cuts with Horan. “He drove himself to the studio, carried his own guitar, stepped up to the microphone and was great every take. If they do the Desert Trip festival in 50 years, he’ll be headlining.”

Perhaps a future “Oldchella” will include Horan’s bard-like pals: Ed Sheeran (who wrote for 1D), James Bay (whose drummer is now Horan’s live music director) and Shawn Mendes. Horan is clearly veering away from boy-band pop but insists he isn’t at a crossroads. “I told my managers from the start: When One Direction comes knocking, fook what I’m doing. I don’t give a shit if I sold out arenas or

won Grammys. I wouldn’t be doing this if it wasn’t for that.” Yet he confirms that while the members of 1D talk frequently, “we haven’t even had a conversation about how long we think the break will be.” And with the others well into their solo careers — Styles just released his debut, Malik’s lining up his second album, and Payne and Tomlinson have both dropped singles — it’s a good thing Horan’s getting comfortable on his own. Gearing up for the grind that’s once again about to engulf him, he says, “It’s all comin’ for me now.”

After 1D made its final appearance, at the Billboard Hollywood Party for the 2015 edition of Dick Clark’s New Year’s Rockin’ Eve, Horan packed a rucksack, grabbed two of his cousins (and one chill security guard) and flew to Southeast Asia. The guys rented scooters wherever they went, ate whatever was around, shared rooms for $20 a night and bought same-day flights to get to whichever place was next. Horan “literally didn’t wear a shirt for three weeks” in Thailand, but in Bali “it pissed rain.” They learned about history in Vietnam and “got very drunk” in Hanoi. In Boracay, they got stuck at a bad motel -- “lights flickering, cats drinking out the pool, spiders walking the wall, damp bedsheets, plus you’ve got the shits from the dodgy food” -- and they loved it.

“I didn’t want the schedule anymore,” says Horan. “I’ve spent so much time setting alarms on phones.” When 1D was still a going concern, he says, “all me mates were backpacking, while I wasn’t even allowed to go outside of the hotel.”

In his newfound free time, Horan revisited stuff he had heard as a kid, relearned “how effective simple music can be” and cataloged his experiences in his leather-bound book of song ideas. Born of blue-collar Irish stock in tiny Mullingar, Ireland, he was the classic townie with a dream. His mom soldered pewter ware, Mullingar’s biggest export, and his dad worked nights behind the butcher counter at the Tesco supermarket (where 1D fans knew to find him until 2016, when he was, says Horan, “made redundant”). They divorced when Horan was 5, and he and his big brother moved in with their dad.

Horan did his own laundry and cooking and got himself up each day to walk the mile-and-a-half to school. (“I didn’t need all the pampering,” he says.) He was also brought up on “the good stuff ” -- Crosby, Stills & Nash; Fleetwood Mac; Jackson Browne -- and adopted his brother’s guitar, a neglected Christmas gift, at 12. He did talent shows and small gigs. You can still find little Niall covering Justin Bieber’s “Baby” on YouTube.

These days, Horan’s getting hard-won wisdom direct from the source. “Bieber told me that you never really know when you’re finished” with an album, says Horan, who in addition to Was and Jesso has been working with songwriters Greg Kurstin (1D, Sia) and Jamie Scott (1D, Olly Murs), plus producers Jacquire King (Tom Waits, Kings of Leon) and Julian Bunetta (1D, Fifth Harmony). “He thought he was done [with Purpose] and then got ‘Love Yourself ’ at the last minute. I thought my album was finished, and then I went on a bit of a run ’cause I was writin’ crap stuff up until then.” Although he does call “Flicker,” a pretty, strings-laden early track about the last night in a failing relationship, one of his favorites. “On the Loose,” a newer recording, reinvents Fleetwood Mac’s “Dreams” for the tropical-pop set.

All his self-discovery aside, Horan remains close with his bandmates. “I see Louis and [his son] little Freddie all the time. He lives around the corner from me [in Los Angeles],” he says. He picked up gifts for Payne’s month-old boy that he hasn’t been able to present yet, because their schedules haven’t aligned. He planned to see Styles when the lanky star was in town for a weeklong residency on The Late Late Show With James Corden and genuinely gushes about his April episode of Saturday Night Live: “I loved his brilliant impression of Mick Jagger” in the Family Feud sketch, he says. As for his musical performances, he adds, “I really enjoyed them. He’s smashin’ it.”

Horan even shrugs off Malik’s post-1D kvetching: “Oh, pfft. I know what Zayn’s like -- outspoken, and fair play to him.” He offers the same civility to Simon Cowell, who publicly attacked Horan’s loyalty for

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choosing Capitol over his Syco label. (1D formed on The X Factor.) “We’ll always have mutual respect. When we get back to the band, he’ll be at the forefront again,” says Horan. And he’s certain they’ll be back: “When it will be, I don’t know. I prefer not to do it after I’m 40. I’d prefer the next few years.”

Capitol chairman/CEO Steve Barnett, who signed 1D when he was at Columbia, says he has seen Horan grow from “a special little kid from a provincial island” to “the absolute top in terms of professionalism, thoughtfulness, work ethic and appreciating what he’s got. You’d be proud if he was your son.”

Horan did pay his mom’s mortgage and tried to buy his dad a country home, although the old man refused. Was that awkward? “No, I love it,” says Horan, grinning. “I always say there’s ignorance and there’s Irish ignorance. It’s on a different level. He’ll barely take a Christmas present off me. He doesn’t want any of it. He just wants me to come visit.” Horan’s own home in Laurel Canyon -- a five-bedroom, 4,400-square-foot house on a 9,600-square-foot lot, bought for $4 million -- is modest for a guy in his tax bracket. And while he does have a trophy wall in it, you get the feeling it’s because he doesn’t buy knickknacks -- just the occasional $20,000 guitar, like the 1961 Gibson ES-335 he toured with in December.

In other words, it is almost freaky how free Horan seems to be of the post- traumatic stress of young stardom. “Maybe it’s where I’m from,” he says. “I’m quite a simple old soul, me.”

When in London, where he first moved when he was 16, Horan hangs out with his three cousins — one lives in the apartment he keeps there — and Irish buddies who’ve made their way to the city. (He has played the Manchester Arena, a few hours away by train, “many times,” he says, and calls the May 22 bombing of the Ariana Grande concert there “horrendous and hard to comprehend. Watching a concert by your favorite artist should be a happy event.”)

In Los Angeles, he’s got his best friend since he was 4, who moved there for work, and socializes with Selena Gomez and her

crew, because -- if the rumors about he and Gomez are true -- he’s the rare celebrity who stays on good terms with his famous exes. (“Selena is the perfect role model for young girls. It takes balls to go in front of the world and share your problems,” he says, referring to her public struggle with lupus.) He and Ellie Goulding, a confirmed ex, are close, too. “We always have a great laugh,” he says.

Horan good-naturedly dismisses rumors that he’s dating Gomez BFF Courtney Barry, with whom he was spotted at Disneyland in April. He’s single and thinks he has been in love twice but, he says, “it could have been lust.” “I think I got a type, anyway,” he says. “Dark hair, dark eyes. Someone I can see as a friend. At the moment, I’m enjoying being 23. I only get one go at me 20s. I’d like to give it me best go.” All the same, “I’m happy to go home alone on a Saturday night, drink and watch football.”

“I’m pretty nervous in front of other celebrities still, but he’s so calm and chill,” says Mendes, another close L.A. friend, who went over to Horan’s after last year’s American Music Awards and again to watch the Grammys. “We just started jamming out, and it didn’t feel like, ‘Oh, I’ve got to be good in front of him.’ It was complete fun, no ego, like the reason you play music in the first place.”

Music is not Horan’s only passion. In 2015, he caddied for Irish golf champ Rory McIlroy (and fell, with the bag, in front of a TV camera). He’s geeky talking about his astronaut pal Shane Kimbrough, whom he met when 1D shot a video at Johnson Space Center in Houston and who regularly called Horan from the International Space Station when he was overhead. Horan watched sci-fi flicks like Interstellar so he could ask Kimbrough “if they got it right.”

Back on earth, there’s no place Horan can completely escape his fame, including Mullingar. There’s a small shrine to him at the Greville Arms Hotel, a local landmark that also has a section devoted to James Joyce. “My dad gave them my BRIT Award,” says Horan. “I gave it to him to keep, and he gives it to a hotel.” And he has come to expect a string of fans knocking

on his folks’ doors hoping for a photo op. He was dreading this when we first met last fall, before he traded his blond boy-band coif for his natural hue: respectable brown. Then, he had every reason to assume the Directioners would follow him anywhere, even back to his roots as he makes the sort of music their parents probably loved. When we catch up in the s pring, Horan is relieved to report his last trip to Ireland was fairly quiet. But looking ahead at the rest of 2017, he knows work will keep him away from all his homes: “I might as well not live anywhere -- I’m busy all year.” Enjoying the ride, as Joe Walsh would surely point out.

Watch Niall Horan talk about recording his album tracks “completely live” in “one or two takes” and gaining confidence on stage as a solo act.

This article originally appeared in the June 3 issue of Billboard.

http://www.billboard.com/biz/articles/7809322/niall-horan-braces-for-stardom-outside-one-direction-with-advice-from-justin

Nile Rodgers, Carl Craig, Louie Vega Named Assn. For Electronic Music AmbassadorsBY ANDY GENSLER

The Association for Electronic Music (AFEM) has announced the first phase of its artist ambassadors initiative, which now includes Nile Rodgers, Louie Vega, Carl Craig, Jean Michel Jarre, Anja Schneider, Armin Van Buuren, Black Coffee, B-Traits, Nicole Moudaber, Paul Van Dyk, Pete Tong and Seth Troxler.

The announcement, which was made at the tenth edition of the International Music Summit Ibiza, said the purpose of the ambassadors is to raise awareness of key

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issues facing the electronic music industry. This includes such current topics as royalty transparency, diversity, piracy and harm reduction.

“The challenges we face and opportunities we must take do not only impact on electronic music businesses, they impact on DJs, musicians, songwriters, DJs and fans,” said Mark Lawrence, CEO of AFEM, in a statement. “With the announcement of our Artist Ambassadors, AFEM becomes the global voice of the electronic music genre, for those who create our music right through to those who passionately enjoy and embrace it.”

AFEM has initiated several campaigns forcing on issues such as diversity, anti piracy and mental and physical health support for fans and professionals. These include “Get Played Get Paid,” an initiative that advocates using technology to ID the music played in clubs and festivals so that the right artists, labels and publishers get paid per play; and “Safe In Sound” which connected experts, promoters, governments and clubs to modify laws and employ best practice and education surrounding harm reduction and drug policy.

The organization also announced that Pioneer DJ and Native Instruments are joining AFEM as full members alongside other member companies such as DJ Monitor, Yacast and BMAT.

AFEM was created by Ben Turner and Kurosh Nasseri in 2014 and now has 140 members in 40 countries and 20 working groups. Current members of the organization include the likes of CAA, Insomniac, Live Nation, Ministry of Sound, Paradigm, Universal, WME plus artist managers, media, labels and publishers from across the spectrum.

The second phase of AFEM artist ambassadors will be revealed at Amsterdam Dance Event (ADE) this October.

TWICE Earn Biggest U.S. Sales Week Yet, First Heatseekers Chart Entry With ‘Signal’BY JEFF BENJAMIN

Twice continues to be a rising girl group to watch Stateside with their latest release marking a host of new chart accomplish-ments.

The girl group’s new EP titled Signal: The 4th Mini Album charts at No. 3 on Billboard’s World Albums chart this week, tying their best showing on the ranking so far, along with their first-ever appearance on the Heatseekers Albums chart — the latter of which sees far fewer entries from K-pop acts. With 1,000 traditional albums sold, Signal marks Twice’s best sales week yet in America while also being the top-selling K-pop album in the U.S. this week.

Signal debuts at No. 11 on the Heatseekers Albums chart, making them the eleventh K-pop act to send an entry to do so in 2017 and one of the few rare female acts to move a remarkable amount of copies. Impressively, Twice is the highest-charting female K-pop act on Heatseekers in 2017 and the year’s fourth best entry among K-pop acts (with only GOT7, NCT 127 and Monsta X charting higher) and too. The last female act to chart higher on Heatseekers was Tiffany (whose I Just Wanna Dance EP hit No. 10 in late May of 2016) while the last girl group to chart higher was f(x) (their late 2015 album 4 Walls peaked at No. 7).

https://youtu.be/VQtonf1fv_sSignal saw a bit of a change of pace for

the group with the title track blending a playful hip-hop beat (courtesy of legendary K-pop producer J.Y. Park) and whooshing synthesizers for an unexpectedly quirky pop track that still brought the endless amount of hooks listeners would expect from Twice. There were other moments of

growth like members like Tzuyu and Sana handled the choruses for the first time on “Signal,” while Jihyo and Chaeyoung co-wrote the cheery “Eye Eye Eyes” track.

The ninesome can also claim victory by snagging the biggest-selling K-pop song in America this week with “Signal” debuting at No. 3 on the World Digital Song Sales chart. Twice’s best-charting single on the ranking is “TT,” which peaked at No. 2 in November 2016. Watch the ladies bring “Signal” to life with one of their first live performances of the track below:

https://youtu.be/TRijPlol9D8

Ziggy Marley Talks 40th Anniversary of Dad’s Iconic ‘Exodus,’ Ben & Jerry’s One Love PartnershipBY GAIL MITCHELL

June will be a busy month for Ziggy Marley. The Grammy-winning artist and eldest son of reggae legend Bob Marley will celebrate the 40th anniversary of Bob Marley & the Wailers’ iconic Exodus album with the June 2 release of Exodus 40 – The Movement Continues. Then Ziggy will hit the road again for the duration of his summer tour, starting June 12.

But preceding all that, Ziggy dropped by the Roxy Theatre in Los Angeles this week (May 22) to formally introduce One Love — that’s the name of the newest ice cream flavor created by Ben & Jerry’s in partnership with the Marley family. A portion of the proceeds from each pint sold will benefit Jamaica’s One Love Youth Camp, a program operated by the Bob Marley Foundation and Partners for Youth Empowerment.

This is actually the second time the Marley family and Ben & Jerry’s have

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partnered. A year ago, the partnership launched One Love in the U.K. and Europe. The resulting success prompted the decision to bring the flavor — banana ice cream with caramel and graham cracker swirls and chocolatey peace signs — Stateside.

“The combination of music and ice cream is a nice way to talk about issues with people and get them to open up their hearts and minds,” says Ben & Jerry’s co-founder Jerry Greenfield, who co-hosted the Roxy launch party. “We’re also celebrating the values and vision of Bob Marley and his music: peace, love and social justice. In the wake of Manchester, now more than ever we need to find additional ways to unite people and build a better world.”

“Partnering again with Ben & Jerry’s to use ice cream to represent the idea of one love — blending well together — gives us another platform to spread that message,” adds Ziggy.

The kickoff party at the Roxy was immediately followed by the first official listening party for the upcoming Exodus 40 — The Movement Continues. The reimagined version of Marley’s classic 1977 album Exodus was curated and produced by Ziggy, who calls the finished project a “restatement.” Delving into original session recordings, he incorporated unused and never-before-heard vocals, lyric phrasing and instrumentation. In the case of the track “One Love,” for instance, Ziggy discovered 10 lead vocal outtakes that he pieced together to create a new lead vocal.

“My father and the band were very adventurous, very rebellious in their musical expression,” Ziggy says of revisiting the session recordings. “I heard stuff that I didn’t expect to hear within the so-called genre of reggae that kind of blew my mind.”

The Exodus 40 rollout on June 2 via the Marley family, Island Records and Universal Music Enterprises (UMe) will feature a two-CD package (the original Exodus and Ziggy’s Exodus 40) and a three-CD set/digital equivalent (original album, the “restatement” album and Exodus Live). Also available: a limited-

edition gold vinyl version of the original album. Coming June 30 is a super deluxe four-album package plus two 7-inch singles. Additional information about the aforementioned packages is available at BobMarley.com.

Ziggy’s summer tour encompassing headline shows and festivals across North America and the U.K. began April 22 in Miami. The tour picks back up again on June 12 at San Diego’s Humphreys Concerts by the Bay and includes his fourth headline appearance at Los Angeles’ Hollywood Bowl on June 18 — also his first time performing with an orchestra. Find all his tour dates here.

Jerry Perenchio, Hollywood Dealmaker and Former Univision Head, Dead at 86BY MIKE BARNES

Jerry Perenchio, the preeminent Holly-wood dealmaker who bought and sold Univision, partnered with Norman Lear and promoted game-changing sporting events featuring Muhammad Ali and Billie Jean King, has died. He was 86.

Perenchio, who got his start in show business as a talent agent working for the legendary mogul Lew Wasserman, died Tuesday of lung cancer at his Bel Air home, a family spokesperson told the Los Angeles Times.

In 1992, Perenchio and his partners acquired the then-flagging Spanish-language TV network Univision from greeting-card company Hallmark for $550 million, then took it public four years later.

After adding 13 TV stations in a $1.1 billion deal with Barry Diller to their portfolio, they sold Univision to an investment group led by Haim Saban for $12.3 billion in 2007. (Perenchio collected

some $1.3 billion for his stake off his initial investment that was said to be about $33 million.)

In 1973, longtime showbiz partners Norman Lear and Bud Yorkin enlisted Perenchio to work with them at Tandem Productions, their burgeoning company behind such TV hits as All in the Family, Maude and Sanford & Son (and later One Day at a Time, Good Times and The Jeffersons).

Lear and Yorkin had met Perenchio, then an agent, when they were working on a TV special starring crooner Andy Williams and were looking to book a comedy act called The Stewed Prunes (Richard Libertini and MacIntyre Dixon), who were represented by Perenchio.

“I knew from that experience on, if I ever got to a place where it was time to have a business head, I would want Jerry,” Lear said in a 1998 interview with the Archive of American Television.

Perenchio helped grow the business, and in 1981, he and Lear acquired the film and TV studio Avco-Embassy for $25 million and added that to the Tandem assets. Four years late, they sold their company to Coca-Cola — which a couple years earlier had bought Columbia Pictures — for $485 million.

“The word creative is so often misused in our business. There’s the creative side and then the ‘other,’” Lear said. “There is more creativity in Jerry Perenchio than there is in three-fifths of the ‘creative community.’”

Said Lear on Wednesday in a statement: “The world has lost a glorious, most generous man and an absolute original. There will never ever be another him.”

Disney Studios chairman Alan Horn said he got his start in the entertainment industry when Perenchio hired him at Tandem. “He was a mentor, a dear friend and a singular, brilliant talent,” Horn said. “More important, he was a man of total integrity, whose humility belied his extraordinary success. I loved him.”

Perenchio also was an original investor in Caesar’s Palace in Las Vegas; a pioneer in pay-per-view television; and instrumental in bringing then-unknown

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British singer Elton John to the U.S. And he was a money man behind such films as Ridley Scott’s Blade Runner (1982) and Driving Miss Daisy, the 1990 Oscar winner for best picture.

The reclusive executive rarely spoke to the media and reportedly fired those under him who did. He followed Wasserman’s “Rules of the Road,” one of which was: “Stay clear of the press. No interviews. No panels. No speeches. No comments. Stay out of the spotlight. It fades your suit.”

The grandson of Italian immigrants, Andrew Jerrold Perenchio was born in Fresno, Calif., on Dec. 30, 1930. He was an only child, and his father owned a winery. He spent time at a military school in Los Angeles, then graduated from UCLA in 1954 and served in the U.S. Air Force as a fighter pilot.

In 1958, Perenchio landed a job in the mailroom at MCA and then became a talent agent, eventually representing the likes of Marlon Brando and Ronald Reagan.

When the Justice Department forced MCA, also the owner of the Universal movie studio, to divest itself of its talent operation, Perenchio lost his job. But in 1963, he launched his own agency, Chartwell Artists — named after Winston Churchill’s country estate — where the clients would include Elizabeth Taylor as well as music acts Williams, Donovan, Henry Mancini, Glen Campbell and Johnny Mathis.

While on a visit to London, Perenchio heard John’s first album and instructed an agent at Chartwell to get the musician to the U.S. as soon as possible. Soon, the singer/piano player was making his American debut at the Troubadour in L.A. on Aug. 25, 1970.

Perenchio and co-promoter Jack Kent Cooke (then the owner of the Los Angeles Lakers and Kings) bankrolled the first of Ali’s three legendary boxing matches against his bitter rival Joe Frazier, guaranteeing a $5 million purse for the March 1971 bout at New York’s Madison Square Garden.

At the time, both fighters were undefeated, and Ali was trying to regain

the heavyweight crown that had been stripped from him for refusing to serve in the Vietnam War.

Frazier won a brutal 15-round unanimous decision, and Perenchio was a big winner, too: An estimated 300 viewers around the world paid $25 apiece to get into a theater to watch the bout on closed-circuit television.

In 2001, Perenchio was back in the fight game as the promoter for the popular, East L.A.-bred Oscar de la Hoya.

Perenchio also was architect of the September 1973 “Battle of the Sexes” tennis match between King and Bobby Riggs held at the Houston Astrodome. A crowd of nearly 30,000 (and another 50 million watching live on ABC) saw King win, striking a blow for feminists everywhere.

Perenchio helped launch National Subscription Television (ONTV), one of the first over-the-air television subscription services, in 1977, and he later owned and sold Loews Theaters, making millions on that deal.

In 1986, Perenchio bought for $13.5 million the Bel Air mansion on 10 acres that TV viewers know as the Clampetts’ house on The Beverly Hillbillies. Ronald and Nancy Reagan were his neighbors, and in July he purchased their home for $15 million. He also owned several sprawling properties in Malibu.

Forbes last year estimated Perenchio’s net worth at $2.6 billion.

In November 2014, Perenchio announced that his $500 million art collection, which included paintings by Claude Monet, Paul Cezanne, Pablo Picasso and Edouard Manet, would go to the Los Angeles County Museum of Art upon his death.

His appreciation for art began when, as a junior agent at MCA, he was assigned to accompany British actor Charles Laughton to museums all over the U.S.

Survivors include his wife, Margaret.This article was originally published by The

Hollywood Reporter.

‘The Get Down’ Canceled at Netflix After One SeasonBY COLIN STUTZ

The hourlong music drama hailed from director Baz Luhrmann.

It’s the end of the line for The Get Down.The ambitious music drama from writer-

director Baz Luhrmann has been canceled after one season.

The news comes nearly two months after the second half of the series’ first season premiered on Netflix. The Get Down was described as “a mythic saga of how New York at the brink of bankruptcy gave birth to hip-hop, punk and disco” and was set in the Bronx in the late ‘70s.

Originally announced in February 2015, the series marked Luhrmann’s first foray into television and stemmed from a concept he had been working on for more than a decade.

However, the Sony-produced series soon hit delays and also saw the departure of original showrunner Shawn Ryan. The first six episodes of season one debuted in August 2016 — marking the first time a Netflix original season was split into two parts rather than released all at once as has been tradition at the streaming giant for scripted series.

The five remaining episodes were subsequently released in April 2017, bringing the season one total to 11 — two short of the original 13-episode order The Get Down received in 2015.

“The truth is that at a certain point, there was no precedent for how you make such a music-driven show,” Luhrmann told THR when discussing Ryan’s exit. “Ultimately, right now, I ultimately was asked to take the position of being responsible for everything and yes, I am responsible for everything, including saying we have to stop and get it right. … We would start doing it [shooting] and I was being asked to

[In Brief]

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[In Brief]

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get more involved because it was either not working or it had to be re-engineered.”

In addition to multiple production delays, the series financial issues, with the overall budget reported to be approximately $120 million — making it the most expensive series on television, a fact which Luhrmann refuted.

“I heard The Crown was the most expensive show ever made, that’s what someone told me,” Luhrmann also said in July 2016. “Yes, it took longer and it’s been more difficult than I imagined. As for the number, it wasn’t cheap. But I don’t think it’s the most expensive show. I think it’s on the high end of storytelling.”

Although Luhrmann had taken a larger role on the series in the wake of Ryan’s exit, he had recently revealed plans to take a step back from the series should it have been renewed for season two.

Luhrmann posted a lengthy note about the show’s demise on his Facebook page Wednesday night. Read it here:

https://www.facebook.com/BazLuhrmannOfficial/posts/1856753604650395

Linkin Park On Course for 10th Top 10 Album on Billboard 200 ChartBY KEITH CAULFIELD

Linkin Park is aiming for its 10th top 10 album on the Billboard 200 chart with One More Light. Industry forecasters suggest the set — which was released May 19 through Machine Shop/Warner Bros. Re-cords — may launch with around 90,000 equivalent album units in the week ending May 25. The album, which is Linkin Park’s seventh studio effort, will likely arrive in the No. 2 slot on the chart.

The Billboard 200 chart ranks the most

popular albums of the week based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The top 10 of the new June 10-dated Billboard 200 chart (where Linkin Park will likely start at No. 2) is scheduled to be revealed on Billboard’s websites on Sunday, May 28.

Linkin Park will probably be blocked from No. 1 by Kendrick Lamar’s DAMN., which could return to the top for a fourth nonconsecutive week at No. 1 (with around 100,000 units). The album bowed at No. 1 on the May 6-dated chart and spent the next two weeks in the penthouse. It then slipped to No. 3 for the past two weeks.

Linkin Park has previously visited the Billboard 200’s top 10 nine times — with all six of their earlier studio efforts, along with two remix albums, and the band’s collaborative mash-up set with Jay Z, Collision Course.

The rest of next week’s top 10 will be fairly quiet, as no other albums are on course for a debut in the region.

Harvard Dropout Mark Zuckerberg Returns to Cambridge to Deliver Commencement SpeechBY ASSOCIATED PRESS

Mark Zuckerberg is giving a commence-ment address at Harvard, where he dropped out 12 years ago to focus on Facebook.

Zuckerberg, 33, follows another famous Harvard dropout, Bill Gates, who spoke before its graduates a decade ago. Steve Jobs, who dropped out of Reed College in

Oregon, gave Stanford’s commencement speech in 2005.

Zuckerberg started Facebook in his Harvard dorm room in 2004. He also met his wife, Priscilla Chan, there.

The event will be livestreamed Thursday afternoon on Harvard’s website and on Zuckerberg’s Facebook page. On Tuesday, Zuckerberg and Chan live-streamed a video from Zuckerberg’s old dorm room on his Facebook page. //

Rolling Stones’ Ronnie Wood Has Lung Lesion RemovedBY ASSOCIATED PRESS

A spokesperson for Ronnie Wood says the Rolling Stones guitarist has had a lung le-sion successfully removed and is expected to make a full recovery.

Wood, who turns 70 next week, says in a statement that he is grateful to doctors who found the lesion in its early stages.

He is not expected to require further treatment and the procedure will not affect the Stones’ upcoming tour, which kicks off in Europe in September.

Wood joined the Rolling Stones in 1975.

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D a t a f o r w e e k o f 0 6 . 0 3 . 2 0 1 76 6 G o t o B I L L B O A R D . C O M / B I Z f o r c o m p l e t e c h a r t d a t a

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A Stylish Start For HarryHarry Styles bows at No. 1 on the Billboard 200 with his self-titled debut, launching with 230,000 equivalent album units earned in the week ending May 18, according to Nielsen Music. Of that sum, 193,000 were traditional album sales.

With Styles’ start of 193,000 he earns the biggest debut sales week for a U.K. male artist’s first full-length album since Nielsen Music began tracking sales in 1991. He surpasses previous record holder Sam Smith, whose In the Lonely Hour launched at No. 2 with 166,000 copies sold in 2014.

In addition, Styles is just the second U.K. male artist to bow at No. 1 with a debut album in the 61-year history of the Billboard 200. He follows his former One Direction bandmate Zayn Malik, who entered at No. 1 with Mind of Mine on April 16, 2016 (with 157,000 units and 112,000 in traditional album sales).

With 1D having spawned No. 1 solo albums for both Styles and Malik, the group earns the rare distinction of having more than one member achieve a solo No. 1. The act joins a club that includes Destiny’s Child, whose members Beyoncé and LeToya Luckett have claimed No. 1s, and The Beatles, with chart-toppers from George Harrison, John Lennon and Paul McCartney. The supergroup Blind Faith also had members notch solo No. 1s (Eric Clapton, Steve Winwood) years after the release of the band’s only album in 1969. Clapton first led the list in 1974, and Winwood in 1988.

—Keith Caulfield

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LASTWEEK

THISWEEK

ARTIST CERTIFICATION TitleIMPRINT/DISTRIBUTING LABEL

PEAK POS.

WKS. ON CHART

1 #1 1 WK

HARRY STYLES Harry Styles ERSKINE/COLUMBIA 1 1

2 ZAC BROWN BAND Welcome Home SOUTHERN GROUND/ELEKTRA/AG 2 1

3 3 KENDRICK LAMAR DAMN. TOP DAWG/AFTERMATH/INTERSCOPE/IGA 1 5

2 4 CHRIS STAPLETON From A Room: Volume 1 MERCURY NASHVILLE/UMGN 2 2

4 5 SOUNDTRACK Guardians Of The Galaxy, Vol. 2: Awesome Mix Vol. 2 MARVEL/HOLLYWOOD 4 4

6 PARAMORE After Laughter FUELED BY RAMEN/AG 6 1

5 7 DRAKE More Life YOUNG MONEY/CASH MONEY/REPUBLIC 1 9

8 MACHINE GUN KELLY bloom EST19XX/BAD BOY/INTERSCOPE/IGA 8 1

6 9 ED SHEERAN ¡ Divide ATLANTIC/AG 1 11

8 10 BRUNO MARS ¡ 24K Magic ATLANTIC/AG 2 26

1 11 LOGIC Everybody VISIONARY/DEF JAM 1 2

10 12 VARIOUS ARTISTS EPIC AF (Yellow/Pink) EPIC 6 3

13 13 MIGOS Culture QUALITY CONTROL/300/AG 1 16

14 SEETHER Poison The Parish CANINE RIOT/FANTASY/CONCORD 14 1

15 15 POST MALONE ¡ Stoney REPUBLIC 6 23

14 16 SOUNDTRACK ¡ Moana WALT DISNEY 2 26

17 NEW KIDS ON THE BLOCK Thankful (EP) NKOTB/KOBALT 17 1

12 18 THE CHAINSMOKERS Memories...Do Not Open DISRUPTOR/COLUMBIA 1 6

17 19 FUTURE 0 FUTURE A-1/FREEBANDZ/EPIC 1 13

21 20 KHALID American Teen RIGHT HAND/RCA 9 11

21 SOUNDTRACK The Bob’s Burgers Music Album 20TH CENTURY FOX/SUB POP 21 1

19 22 THE WEEKND Starboy XO/REPUBLIC 1 25

20 23 SOUNDTRACK ¡ Guardians Of The Galaxy: Awesome Mix Vol. 1 MARVEL/HOLLYWOOD 1 95

11 24 VARIOUS ARTISTS NOW 62 SONY MUSIC/UNIVERSAL/UME 11 2

7 25 RUSS There’s Really A Wolf DIEMON/RUSS MY WAY/COLUMBIA 7 2

24 26 PLAYBOI CARTI Playboi Carti AWGE/INTERSCOPE/IGA 12 5

23 27 KODAK BLACK Painting Pictures DOLLAZ N DEALZ/ATLANTIC/AG 3 7

22 28 CHRIS STAPLETON 2 Traveller MERCURY NASHVILLE/UMGN 1 88

26 29 ORIGINAL BROADWAY CAST 3 Hamilton: An American Musical HAMILTON UPTOWN/ATLANTIC/AG 3 86

31 30 DRAKE 4 Views YOUNG MONEY/CASH MONEY/REPUBLIC 1 55

32 31 TRAVIS SCOTT 0 Birds In The Trap Sing McKnight GRAND HUSTLE/EPIC 1 37

32 SOUNDGARDEN 5 Superunknown A&M/UME 1 78

35 33 SOUNDTRACK ¡ Trolls VILLA 40/DREAMWORKS/RCA 3 34

36 34 BIG SEAN 0 I Decided. G.O.O.D./DEF JAM 1 15

9 35 GORILLAZ Humanz PARLOPHONE/WARNER BROS. 2 3

37 36 VARIOUS ARTISTS The RCA-List, Vol 5 RCA 27 4

34 37 SOUNDTRACK The Fate Of The Furious: The Album UNIVERSAL STUDIOS/ARTIST PARTNERS GROUP/ATLANTIC/AG 10 5

38 38 FUTURE HNDRXX A-1/FREEBANDZ/EPIC 1 12

40 39 KEITH URBAN ¡ Ripcord HIT RED/CAPITOL NASHVILLE/UMGN 4 54

41 40 SHAWN MENDES 0 Illuminate ISLAND 1 34

42 41 CHANCE THE RAPPER Coloring Book CHANCE THE RAPPER 8 53

28 42 MARY J. BLIGE Strength Of A Woman CAPITOL 3 3

56 43 GG SOUNDTRACK Fifty Shades Darker UNIVERSAL STUDIOS/REPUBLIC 1 14

43 44 RIHANNA 2 ANTI WESTBURY ROAD/ROC NATION 1 69

46 45 SOUNDTRACK Beauty And The Beast (2017) WALT DISNEY 3 10

44 46 TWENTY ONE PILOTS 3 Blurryface FUELED BY RAMEN/AG 1 105

51 47 METALLICA ¡ Hardwired...To Self-Destruct BLACKENED 1 26

48 48 BRETT YOUNG Brett Young BMLG 18 14

52 49 6LACK FREE 6LACK LVNR/INTERSCOPE/IGA 34 22

54 50 JAMES ARTHUR Back From The Edge COLUMBIA 39 28

HOT SHOT

DEBUT 1

NEW 2

2

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LASTWEEK

THISWEEK

ARTIST CERTIFICATION TitleIMPRINT/DISTRIBUTING LABEL

PEAK POS.

WKS. ON CHART

55 51 FLORIDA GEORGIA LINE Dig Your Roots BMLG 2 38

47 52 J. COLE ¡ 4 Your Eyez Only DREAMVILLE/ROC NATION 1 23

58 53 CHILDISH GAMBINO Awaken, My Love! MCDJ/GLASSNOTE 5 24

54 AUDIOSLAVE 3 Audioslave INTERSCOPE/EPIC/UME/LEGACY 7 101

59 55 ADELE a 25 XL/COLUMBIA 1 78

62 56 FLEETWOOD MAC k Rumours WARNER BROS./RHINO 1 223

49 57 BLACKBEAR digital druglord BEARTRAP 14 4

57 58 KENDRICK LAMAR ¡ good kid, m.A.A.d city TOP DAWG/AFTERMATH/INTERSCOPE/IGA 2 238

60 59 RAE SREMMURD Sremmlife 2 EAR DRUMNER/INTERSCOPE/IGA 4 40

60 THE NEW BROADWAY CAST RECORDING Hello, Dolly! MASTERWORKS BROADWAY/SONY MASTERWORKS 60 1

65 61 SAM HUNT 2 Montevallo MCA NASHVILLE/UMGN 3 134

62 MICHAEL JACKSON 4 Number Ones MJJ/EPIC/LEGACY 13 220

76 63 BRYSON TILLER ¡ T R A P S O U L TRAPSOUL/RCA 8 86

69 64 LIL UZI VERT Lil Uzi Vert Vs. The World GENERATION NOW/ATLANTIC/AG 37 51

67 65 THE CHAINSMOKERS ¡ Collage (EP) DISRUPTOR/COLUMBIA 6 28

68 66 SOUNDTRACK Sing UNIVERSAL STUDIOS/ILLUMINATION/REPUBLIC 8 23

70 67 THE WEEKND 3 Beauty Behind The Madness XO/REPUBLIC 1 90

74 68 ED SHEERAN 4 x ATLANTIC/AG 1 152

72 69 NAV NAV XO/REPUBLIC 24 12

85 70 BOB MARLEY AND THE WAILERS f Legend: The Best Of... TUFF GONG/ISLAND/UME 5 470

45 71 WALE SHINE MAYBACH/ATLANTIC/AG 16 3

79 72 DRAKE 4 Take Care YOUNG MONEY/CASH MONEY/REPUBLIC 1 220

73 73 SOUNDTRACK La La Land SUMMIT/INTERSCOPE/IGA 2 23

114 74 ZAC BROWN BAND Greatest Hits So Far... ROAR/SOUTHERN GROUND/ATLANTIC/AG 20 119

66 75 RICK ROSS Rather You Than Me MAYBACH/EPIC 3 9

76 XXXTENTACION Revenge BAD VIBES FOREVER/EMPIRE RECORDINGS 76 1

77 JUANES Mis Planes Son Amarte UNIVERSAL MUSIC LATINO/UMLE 77 1

77 78 SOUNDTRACK ¡ Suicide Squad: The Album DC/ATLAS/WATERTOWER/ATLANTIC/AG 1 41

78 79 J. COLE 2 2014 Forest Hills Drive DREAMVILLE/ROC NATION/COLUMBIA 1 128

81 80 PANIC! AT THE DISCO ¡ Death Of A Bachelor DCD2/FUELED BY RAMEN/AG 1 70

71 81 JOHN MAYER The Search For Everything COLUMBIA 2 5

82 82 KANYE WEST ¡ The Life Of Pablo G.O.O.D./DEF JAM 1 58

87 83 THOMAS RHETT ¡ Tangled Up VALORY/BMLG 6 86

83 84 MIRANDA LAMBERT The Weight Of These Wings VANNER/RCA NASHVILLE/SMN 3 26

93 85 JUSTIN BIEBER 3 Purpose SCHOOLBOY/RAYMOND BRAUN/DEF JAM 1 79

61 86 WILLIE NELSON God’s Problem Child LEGACY 10 3

99 87 2PAC a Greatest Hits AMARU/DEATH ROW/INTERSCOPE/UME 3 191

84 88 TREY SONGZ Tremaine The Album ATLANTIC/AG 3 8

96 89 LIL UZI VERT The Perfect LUV Tape GENERATION NOW/ATLANTIC/AG 55 40

86 90 ARIANA GRANDE ¡ Dangerous Woman REPUBLIC 2 52

91 LETOYA LUCKETT Back 2 Life EONE 91 1

18 92 DIANA KRALL Turn Up The Quiet VERVE/VLG 18 2

95 93 ZARA LARSSON So Good RECORD COMPANY TEN/EPIC 26 9

92 94 EMINEM a The Eminem Show WEB/AFTERMATH/INTERSCOPE/UME 1 320

98 95 METALLICA g Metallica BLACKENED/WARNER BROS. 1 431

94 96 TEE GRIZZLEY My Moment 300/AG 44 6

161 97 PS KANE BROWN Kane Brown ZONE 4/RCA NASHVILLE/SMN 10 24

102 98 BRUNO MARS 5 Doo-Wops & Hooligans ELEKTRA/AG 3 324

90 99 JOURNEY f Journey’s Greatest Hits COLUMBIA/LEGACY 10 461

89 100 VARIOUS ARTISTS Epic Lit (Version 3) EPIC 38 12

58 53

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62 56

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63

69

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114 74

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83

83

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