Billboard ᠰᠡᠳᠬᠦᠯ ᠤᠨ 2019 .5.25 ᠤ ᠬᠤᠭᠤᠴᠠᠭ᠎ᠠ᠂ （ᠠᠩᠭ᠍ᠯᠢ ᠬᠡᠪᠯᠡᠯ） .pdf

R. KELLY EXCLUSIVE THE NEW JIM DER OGATIS BOOK LIVIN’ ON THE EDGE INTR ODUCING THE AISLE-SEA T SUR CHAR GE WHY THE MUSIC INDUSTR Y IS DOUBLING DOWN ON DOCS AND BIOPICS FOR ITS NEXT BUR ST OF R EVENUE — AND GIVING LEGACY ACTS A SEQUEL Ma y 25, 2019 | billboa rd.comThe week’s most popular current songs across all genres, ranked by radio airplay audience impressions as measured by Nielsen Music, sales data as compiled by Nielsen Music and streaming activity data by online music sources tracked by Nielsen Music. Songs are defined as current if they are newly-released titles, or songs receiving widespread airplay and/or sales activity for the first time. See Charts Legend on billboard.com/biz for complete rules and explanations. © 2018, Prometheus Global Media, LLC and Nielsen Music, Inc. All rights reserved. SALES, AIRPLA Y Associate Editorial Liaison DIGITAL SENIOR VICE PRESIDENT, MEDIA OPERATIONS Michael Gutkowski • DIRECTOR, PROGRAMMATIC SALES AND STRATEGY Lee Garfield VICE PRESIDENT, ENGINEERING Nithin Meppurathu • VICE PRESIDENT, AD TECH Michael Bendell • VICE PRESIDENT, DATA Julian Pan • VICE PRESIDENT, PRODUCT Andrew Lee EXECUTIVE VICE PRESIDENT, CONSUMER INSIGHTS AND BRAND STRATEGY Gabriella Mirabelli VICE PRESIDENT, PRIDE Alexis Fish • DEPUTY EDITORS, DIGITAL Katie Atkinson, Joe Lynch DIRECTOR, DANCE AND ELECTRONIC PROGRAMMING AND CROSS DEPARTMENT CONTENT STRATEGY Matt Medved SENIOR EDITORS Gabriella Ginsberg, Hilary Hughes, Andrew Unterberger • ASSOCIATE EDITOR Bianca Gracie ASSOCIATE EDITOR, LATIN Suzette FernÆndez • HIP HOP EDITOR Carl Lamarre • TECHNOLOGY AND INNOVATION EDITOR Micah Singleton • STAFF WRITERS Stephen Daw, Taylor Mims, Chris Payne SENIOR WEB PRODUCER Rena Gross • SENIOR PHOTO EDITOR Jenny Regan • PHOTO EDITORS Tracy Allison, Jessica Xie INTERACTIVE ART DIRECTOR Rett Alcott • SENIOR PRODUCT DESIGNER Andrew Elder • DESIGNER Ady Chng • EXECUTIVE DIRECTOR, ARTIST RELATIONS Joe Kelley • VIDEO ANALYTICS SPECIALIST Tom Opitz DIRECTOR, SOCIAL MEDIA Stephanie Apessos • SOCIAL MARKETING MANAGER Dervla O’Brien • SOCIAL MEDIA MANAGER Becky Kaminsky • SOCIAL MEDIA COORDINATORS Alvin Benavides, Alexa Bianchi ARTIST RELATIONS ASSISTANT Bryan Kress • VICE PRESIDENT, DIGITAL REVENUE OPERATIONS Gina Perino EXECUTIVE DIRECTOR, ACCOUNT MANAGEMENT AND ADVERTISING OPERATIONS Shameka Frank • SENIOR DIRECTOR OF PARTNERSHIPS Shira Brown DIRECTOR, PROGRAMMATIC OPERATIONS Jeremy Zimmerman • ASSOCIATE DIRECTOR, ADVERTISING OPERATIONS Cheryl Kampanis SENIOR ACCOUNT MANAGERS Galina Druzhinina, Sarah Seo • DIGITAL ACCOUNT MANAGERS Alex Felser, Allie Hedlund, Ashley Johnson MANAGER, ACCOUNT MANAGEMENT Greg Johnson • DIGITAL ACCOUNT COORDINATOR Travis Johnson • PROGRAMMATIC YIELD MANAGER Francis Kremer Hannah Karp EDITORIAL DIRECTOR Denise Warner EXECUTIVE EDITOR, DIGITAL Dan Rys NEWS DIRECTOR Nick Catucci EXECUTIVE EDITOR, MAGAZINE Christine Werthman MANAGING EDITOR Frank DiGiacomo EXECUTIVE EDITOR, INVESTIGATIVE AND ENTERPRISE REPORTING Jennifer Martin Laski PHOTO AND VIDEO DIRECTOR Silvio Pietroluongo SENIOR VICE PRESIDENT, CHARTS AND DATA DEVELOPMENT Melinda Newman EXECUTIVE EDITOR, WEST COAST NASHVILLE Ross Scarano EXECUTIVE EDITOR, MUSIC Jason Lipshutz SENIOR DIRECTOR, MUSIC Gail Mitchell EXECUTIVE DIRECTOR, R if applied to all 19 North American dates, it could grow its overall gross by $1.3 million on the aisle seat o er alone. While Ticketmaster may be tapping into some pent-up aisle seat demand from average consumers, B rry K hn, president of pricing software company Qcue, says data suggests that aisle prices are also being in ated by scalpers. “ A lot of this is driven by the secondary market. When brokers are coming in and buying tickets [on the primary market], they will get aisle seats if available,” says Kahn. “You can’t necessarily charge more for the aisle, but if your ticket says ‘aisle’ and there are three other tickets in that row, yours will probably sell rst.” StubHub has o ered an aisle seat The Podcast Revolution pg. Kobalt’s Latin Strategy pg. The Sample Clearance Queen pg. Topline $3B Gross ticket sale revenue for the top 2 5 tours of 2 0 1 8 , a 2 0 % increase over 2 0 1 7 MARKET W ATCH 21.87B 0.2% TOTAL ON-DEMAND STREAMS WEEK OVER WEEK Number of audio and video on-demand streams for the week ending May 16. 12.77M 1.3% ALBUM CONSUMPTION UNITS WEEK OVER WEEK Album sales plus track-equivalent albums plus audio streaming-equivalent albums for the week ending May 16. 397 .0B 31.4% TOTAL ON-DEMAND STREAMS YEAR OVER YEAR TO DATE Number of audio and video streams for 2019 so far over the same period in 2018.TOPLINE 18 BILLBOARD | MAY 25, 2019 BY COLIN STUTZ P erhaps nothing competes more closely with music for fans’ ears these days than podcasts — so now the music industry is cranking out its own. On May 1 5 , Sony announced a joint venture with WNYC veteran L ur M yer and NPR’s Planet Money co-founder Ad m D vidson to produce original podcast series. Universal Music Group in April announced a partnership with independent Dirty John podcast producer Wondery to develop new programs around UMG’s artist roster. Warner Music Group began podcasting with Atlantic Records’ What’d I Say and Inside the Album and a Rhino Records catalog-specific podcast last year, and has more on the way. Each of the major record companies is now looking at developing podcasts in collaboration with artists, though none have launched. The major-label podcast push comes as Spotify readies to more actively steer its 1 0 0 million paid subscribers toward the growing slate of podcasts on its platform, after it acquired podcast firms Gimlet Media ( for a reported $ 2 3 0 million) in February and Parcast ( $ 5 6 million) in March. Increased podcast streaming could come at the expense of music, given the limited time users have for audio listening. For Spotify, which is under pressure as a public company to cut costs, promoting podcasts could improve its profitability. That’s because what the streaming service pays podcasters may be less in many cases than what it must pay copyright owners for music; a song’s record label and publisher typically take about 7 0 % of revenue per stream. ( Spotify doesn’t disclose its deal terms with podcasters.) Also, if Spotify decreases its dependence on music alone, it could gain more leverage in licensing negotiations with record labels down the road. “Spotify can own original and inexpensive podcast content, unlike music, and build its own back catalog,” says John Tinker, a media analyst with Gabelli PEEX will now be rolled out across the remaining dates of John’s farewell trek. “I have been delighted by the positive reaction from fans using this revolutionary technology,” said John in a statement. “It represents a significant improvement in the way live music can be enjoyed, bringing clear sound to fans wherever they are in the venue.” Ziggo Dome is the first arena to partner with PEEX on future touring shows (artists and venues receive a split of the PEEX rental revenue generated), and Hull says discussions are underway with another top-tier artist. “We’re certain there’s a large cohort of music fans that will love it,” he says, “and will want to use it as often as they get the chance.” BY RICHARD SMIRKE New wearable technology could transform the live audio experience Koba lt Cra cks The La tin Code How the publisher has managed to snag some of the booming genre’s biggest names, both new and established F our years ago, Kobalt’s Latin business didn’t exist. Nestor C sonú, previously CEO of EMI Latin America, had signed on as managing director after six months as a consultant, and for a year, “I stared at the wall,” remembers the Miami-based executive. “We didn’t even have an office.” But recently the company signed publishing agreements with some of the biggest names in Latin music, from urban newcomers Ozun , Anuel AA, K rol G, Bryti go and N tti N t sh to known acts like pop duo Jesse previously, the company had direct deals with Sacem in Mexico and Abramus in Brazil, but administered all else through Spanish collection agency SGAE. “Now they pay our artists directly through our London office instead of going through affiliates,” says Casonú. “It’s a more centralized process.” A major moment came in October 2016, when Casonú signed C rlos Vives, his former artist at EMI, to a global publishing administration and neighboring rights deal, giving Kobalt administration of one of the most prestigious catalogs in Latin music. The key to signing significant names, says Casonú, lies in competitive advances and deep relationships like the one he had with Vives at EMI. “It’s a blend of having a company that offers different kinds of services, with the fact that [ creative vp] Leslie Ahrens and I have worked together for over 20 years and have a lot of credibility in the business,” he says. Casonú then signed Iglesias in 2018 to a deal that includes both his catalog and future works. “I’m a frustrated teacher, so I was able to sit down with a flow chart and show him exactly how the rights and payments work.” For Anuel AA, says manager Fr bi n Eli, the decisive factor was financial: Kobalt offered a more tempting package. But there were other factors at play, including Kobalt’s online portal, which lets artists watch their money flow in. Says Eli: “We can see every detail of the money they’re collecting and what’s coming.” BY LEILA COBO Clockwise from left: Kobalt signees Ozuna, Karol G, Natti Natasha, Anuel AA and Vives. YOUR SONG, YOUR WAY Tull The PEE X app.FROM THE DESK OF BY HARLEY BROWN PHOTOGRAPHED BY GENE SMIRNOV Deborah Mannis-Gardner The “Sample Clearance Queen” on keeping prices low and deals fair FOUNDER, DMG CLEARANCES “I’ve got to stop sleeping with my phone,” says Mannis- Gardner, photographed M ay 1 4 at her home of fice in Hockessin, Del., about her policy of picking up calls at any hour. “DJ Khaled is one of my favorite clients and he calls me personally all the time, but if I don’t answer the first time, he just keeps calling until I answer.”W HEN DEBORAH MANNIS Gardner began clearing hip-hop samples in the early 1990s, she relied on her acting skills to get the job done. At the time, she says, performing rights organization BMI would only allow three questions from people looking for a song’s copyright holder, so Mannis-Gardner, 53, pretended to be someone else every time she called. “I come from a theater background, so it was easy for me,” she says at a Philadelphia cafØ near her home o ce in Hockessin, Delaware. “I would call Los Angeles, New York and Nashville and use di erent accents and names, depending on the time of day and who I was calling.” Her tenacity paid o . Mannis-Gardner, who founded her own DMG Clearances in 1996, has become the foremost authority on global music rights clearances in lm, TV, advertising, video games and music. Besides helping superstars like Kendrick L m r, Beyoncé and Rih nn clear samples, her client roster includes acts with catalogs that are notoriously di cult to license, from Led Zeppelin to Prince. “For me, it’s all about the fairest deal, not the lowest, so everyone is taken care of,” says Mannis-Gardner, who won a Guild of Music Supervisors Award in 2018 for her work on Grammy-winning HBO documentary The De ant Ones. After attending Emerson College in Boston, the Delaware native moved to New York. She got her start editing music together for media pulls before landing gigs at now-defunct clearance house Diamond Time (which worked on karaoke songs) and RCA Records, where she cleared samples for Wu-T ng Cl n, Mobb Deep and SWV. “I would go to meetings where people came up with ideas,” she says, “and I’d say, ‘You need to clear that,’ or ‘Excuse me, you can’t do that.’ I loved it.” In recent years, Mannis-Gardner has been active on the new frontiers of music usage, working with Rockstar Games and clearing music for use in a Google Doodle. She’s also a consultant for precleared sample library Tracklib, which she sees as an opportunity, not a threat, to her work. “This is a means for people who don’t have big budgets to be able to sample,” she says. Wh t do you do if copyright fee is more th n client c n p y? I’m dealing with an artist right now whose music is very expensive to license. We had a very small use — 18 seconds one time in the song intro — so we came in really low at 10% [of publishing royalties]. They’re like, “Unless it’s 20%, don’t talk to us.” We cut the sample out. I usually advise a client not to pay that kind of money. This is an A-list artist, but it wouldn’t make sense budgetwise. It wouldn’t make sense to set a precedent. If you do that, then they’re going to say that they were sampled by another A-list artist who paid six gures and feel as though they can always get those kinds of gures. H ve budgets for synchs gone down? Some ads, I’m told, “I have $75,000 all in,” which means $37,500 on the synch and $37,500 on the master, which would clear a song for six months for a commercial. Back in the day, you could get half [a million] to $1 million. I’m working on a commercial for a client who’s changing the lyrics to a song that deals with bathroom smells; let’s go with that. The songs that we are trying to appeal with are big names, but quotes were coming in with a quarter million to $1.2 million. But when you’re singing about poo. H ve the fee splits mong l bel, publisher nd rtist ch nged since you h ve gone into the business? It has changed a lot. When publishers are sampled, as compensation, they will ask to own a percentage of the new copyright on top of a nonrecoupable fee, which can range from $1,500 to $3,000. If there are multiple publishers, each publisher would get the same nonrecoupable fee; for example, if the sampled song is [Soul II Soul’s] “Back to Life” — which is co-published by Sony /ATV and Warner/ Chappell — the percentage they both agree on for use of the sample would be pro-rated between them, and each publisher would get the same advance; i.e., $2,500 apiece. On the master side, the sampled label 1 Mannis-Gardner has been working with Redman since his first album; she calls him Reggie, and he calls her Debbie Deb. 2 “ I have b e en colle c ting skulls for 3 0 years,” she says. “Stone, bone, clay, metal, paintings, dolls and jewelry.” 3 The Nightmare Before Christmas is her favorite movie, and she worked on Hamilton. 4 “Winning the Guild of Music Supervisors Award was the cherry on the sundae,” she says about The Defiant Ones. 5 She became Eminem’s sample clearance agent after working on 8 Mile. cannot own a piece of the new song. They can require a speci c revenue. Usually it’s a recoupable advance, a percentage of PPD [published price to dealer] pro-rated as applicable, and then a percentage of artist net receipts for third-party and streaming, which can range from 5% to 50%. Initially, when clearing samples, publishers would ask