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The Cramps‘ 1981 recording of “Goo Goo Muck” became an out-of-left field success story in November after its use in a dance scene in the hit Netflix series Wednesday helped a new generation discover the song, first released in 1962 by Ronnie Cook and the Gaylads.
Music trends, created by viral hits on TikTok and YouTube, are unpredictable, though. As soon as “Goo Goo Muck” was enjoying its newfound fame, along came “Bloody Mary,” a deep cut from Lady Gaga‘s 2011 album Born This Way. Fans inspired by the Wednesday scene uploaded videos of themselves performing the dance to TikTok and other platforms, but many swapped out the audio of “Goo Goo Muck” with a sped-up version of “Bloody Mary” — including Gaga herself after the singer caught onto the trend.
Lady Gaga may have stolen some of The Cramps’ thunder. As weekly growth of on-demand streams of “Goo Goo Muck” slowed — from 177% to 7% in the last two weeks — on-demand streams of “Bloody Mary” increased 88% to 43.1 million in the week of Dec. 9. About 89% of the streams came from video platforms, namely YouTube, where the sped-up version of the recording is used in videos of people recreating the Wednesday dance scene.
Still, “Goo Goo Muck” is having a fairy tale of a fourth quarter. Between Nov. 18 to Dec. 16, its weekly U.S. on-demand streams increased about 200 times, from 31,000 to 6.1 million. Download sales were strong enough to put “Goo Goo Muck” at No. 25 on Billboard’s Digital Song Sales chart for the week of Dec. 10. “It’s a really amazing, fun little bonanza,” Jim Shaw, owner of the song’s publishing rights, previously told Billboard.
Both tracks also got a boost from being featured on some major playlists. On Nov. 30, Spotify added “Goo Goo Muck” to its Big on the Internet playlist, which has nearly 3 million followers, and on Dec. 6 it added the track to its Teen Beats playlist, which boasts over 1.8 million followers, according to Chartmetric. “Bloody Mary” is also featured on both playlists and is currently the leadoff track on Teen Beats.
Earlier this month, breakthrough country superstar Kane Brown became the first touring artist to play all 29 National Basketball Association (NBA) arenas during a single tour, fulfilling a lifelong dream around his passion for pro hoops.
“Kane’s a huge basketball fan,” says his manager Martha Earls with Neon Coast. “He’s athletic, loves sports and first got the idea back in 2019 when he was invited to headline a 20th-anniversary show for what was then the Staples Center in LA (and now is known as Crypto.com Arena).”
The January 2020 show — postponed from October 18, 2019, due to the tragic death of Kane’s longtime friend and drummer Kenny Dixon days earlier — and a Lakers game attended the night before by Kane, Earls and promoter Rich Schaefer with AEG Global Touring became the genesis for Brown’s first arena tour.
Originally scheduled to be announced in March 2020, publicity for Brown’s tour was postponed due to the COVID-19 pandemic, with a plan to “be ready the minute we can get back on the road,” Schaefer recalls. “That opening came in April of 2021 and we ended up being one of the first sales in the year following COVID-19.”
Schaefer said he wanted Brown to get back on the road after releasing his EP Mixtape, Vol 1 in Aug. 2020 on RCA Records Nashville, which hit No. 2 on Billboard‘s Country Albums chart and No. 15 on the Billboard 200 albums chart. Mixtape, Vol. 1 included the crossover track “Be Like That” featuring Swae Lee and Khalid, as well as “Cool Again” featuring Nelly and “Last Time I Say Sorry” featuring John Legend.
“Sales for the tour were massive and the tour kicked off six months later,” Schaefer said of the Blessed & Free Tour, which officially launched on Oct. 1, 2021, at the Golden 1 Center in Sacramento and hit 28 of 29 NBA arenas and college facilities in Nampa, Idaho and College Station, Pennsylvania. The tour also made three stops at hockey arenas in Pittsburgh, Seattle and Las Vegas, wrapping its first leg at Sin City’s T-Mobile Arena on Feb. 4.
The final show took place 10 months later on Dec. 4 at the final NBA arena on the tour, ScotiaBank Arena in Toronto — marking the 29th of 29 NBA arena concerts. “We couldn’t get into Canada during the initial run of the tour because of the restrictions and the lockdown in the country,” Schaefer says.
In Jan. 2022, the Blessed & Free Tour was the most well-attended concert tour of the month, averaging 11,000 fans per show. “When we did announce the tour in April, I got some calls from people thinking we were maybe being a little bit bullish,” Earls recalls, “but we just felt there was such a desire from the fan base and an excitement from fans for live music coming back that we knew we were ready.”
Helping boost sales was the chart success of Chris Young’s track “Famous Friends” featuring Brown, which hit No. 1 on the Billboard Country Airplay in July, two months after the Blessed & Free Tour went on sale.
“At almost every show, we had NBA players come out on stage for ‘Famous Friends,’ often with the mascots from each team,” Schaefer said. In Milwaukee, player Khris Middleton appeared on stage for the song months after leading the Bucks to their first NBA Finals victory.
During the downtime between the February date in Vegas and the Canada show, Brown performed the first concert ever held at Finley Stadium in his hometown of Chattanooga, Tennessee, on May 7.
“It was a heavy lift and we all learned a lot together including the stadium staff,” Schaefer recalls. “We don’t really say no to a lot of things. If it’s Kane’s dream to do it, we’re gonna help make that happen. That’s what we do for a living here.”
A month later, Brown reached another milestone, headlining a stadium show at Fenway Park in Boston on June 23. The venue became available to Brown thanks to a quick sellout at the city’s TD Garden arena five months earlier on the Blessed & Free Tour.
“That was the great thing about this tour — each success lead to a new opportunity and a chance for Kane to hit a bunch of venues he has always wanted to play,” Earls said. “We learned more than we ever thought possible and watched Kane continue to grow and strengthen his relationship with fans who have grown with him. We are all so proud of what he has achieved.”
On Monday (Dec. 19), Sony Music Entertainment (SME) shared a recap with the company’s artists and earnings participants on the progress of its Artists Forward initiative, which encompasses SME’s legacy unrecouped balances initiative, healthcare assistance, advances on projected earnings and more.
Notably, the recap offers never-before-reported stats on Sony Music’s artist portal and real-time insights platforms. Introduced in 2019, the features offer music creators and their teams “best-in-class” payment capabilities and real-time updates on consumption of their music and audience engagement data. According to the company, artists and other earnings participants have withdrawn nearly $50 million combined from both the cash-out feature, which allows users to cash out payable monthly account balances, and the real-time advances feature, which allows users to receive advances on qualifying projected earnings.
Newly announced as part of the recap is Sony Music’s recent introduction of healthcare advocacy services for on-roster and legacy artists in the United States, designed to make it easier for artists to navigate the process of obtaining and utilizing healthcare coverage, finding a doctor, managing healthcare bills and more. Since launching in the fall, the program has helped U.S.-based artists realize hundreds of thousands of dollars in healthcare cost savings, according to the company.
The label first introduced the Artists Forward initiative in June 2021 with its legacy unrecouped balance program, which waives the unrecouped balances of artists who signed to Sony Music prior to 2000 and have not received advances since that same year. The following month, the program was expanded to include songwriters, and this past May, Sony Music began offering eligibility on a rolling 20-year basis — meaning artists not initially covered by the program will become eligible once they hit the 20-year mark of signing with the label. According to the Dec. 19 recap, eligibility notifications recently began going out to the first group of qualifying artists and participants under the new criteria (those who signed with the label prior to 2001) in select markets around the world.
In September 2021, the company further expanded Artists Forward by launching “Artist Assistance,” an initiative covering mental health services for its artist roster. According to the Dec. 19 recap, over 100 artists globally have since been provided with information and support related to the program, with dozens across more than 12 countries having utilized these services to establish recurring sessions with a licensed therapist or receive in-the-moment support to deal with “acute issues.”
You can read the full recap here.
Hipgnosis Songs Capital is in talks to buy Justin Bieber‘s interests in his recorded music and publishing catalogs for more than $200 million, with the deal likely to close in the next few days, according to sources. The acquisition would include Bieber’s biggest hits, from “Baby” to “Love Yourself” and beyond.
In correspondence with Billboard in mid-November, Hipgnosis founder and chief executive, Merck Mercuriadis, said the company was working to “close about $500 million in deals between now and mid-December.” Although he did not say what the deals were at the time, the reported Bieber acquisition seems like a possible part of that disclosure. News of the upcoming deal between Bieber and Hipgnosis was first reported by the Wall Street Journal.
The incoming deal arrives at the end of a year that saw a cooldown in the music catalog market. Though major acts like Justin Timberlake (who sold to Hipgnosis for $100 million), Sting (who sold to UMPG for an estimated $360 million), Genesis (who sold a package deal to Concord for around $350 million), David Bowie (whose estate sold his publishing catalog to Warner Chappell for $250 million) and more have closed deals in the last twelve months for blockbuster prices, 2022 has been a markedly quieter year compared to the red-hot market of the last half-decade.
“The environment has changed entirely since the end of last year — interest rates are significantly up, currency exchange rates are very different — I don’t think the current market is what it was,” explained Joe Brenner, partner at entertainment law firm Grubman Shire Meiselas & Sacks, in an interview with Billboard this fall. In a mid-year report to investors, Mercuriadis also admitted this year’s environment has proven more “challenging.” To top it off, Brenner added, there are simply fewer high-dollar classic rock catalogs left to acquire, as many of them have already been sold (Pink Floyd being a notable exception).
Catalogs only a decade or so old, like Bieber’s, are often considered riskier investments than those that have had a longer runway to prove they will stand the test of time, and, as a consequence, they tend to fetch lower sums. However, these younger song collections are often where Hipgnosis chooses to invest its capital. Between the Timberlake catalog purchase this year and other acquisitions like Jack Antonoff, Mark Ronson, Timbaland and more, the company has bet big on buying modern classics to flesh out its over 65,000-song portfolio, which also includes songs by more seasoned icons like Journey, Leonard Cohen and Barry Manilow.
Hipgnosis Songs Capital is an investment vehicle established by Hipgnosis in partnership with Blackstone. The New York-based private equity firm pledged $1 billion to further investment in music IP and also took a majority stake. Hipgnosis Songs Capital is considered separate from the London-listed Hipgnosis Songs Fund, the acquirer of music publishing and recording rights. Additionally, the Mercuriadis-founded company includes Hipgnosis Songs Management, which manages the publicly traded company’s catalog.
Representatives for Hipgnosis and Bieber have not responded to Billboard’s requests for comment.
Tory Lanez said Wednesday (Dec. 21) that he will not take the witness stand in his own defense in the trial over whether he shot Megan Thee Stallion in the foot, signaling the end of testimony in the week-long trial and setting the stage for jurors to begin deliberating on a verdict.
Putting a defendant on the stand to be cross-examined by prosecutors is a big gamble in any criminal case, and Lanez’s attorneys opted not to do so — resting their case without giving Lanez a chance to personally persuade jurors that he didn’t pull the trigger the night Megan was shot.
“I will not testify,” said Lanez, sitting beside his father, to Judge David V. Herriford.
During Wednesday morning’s proceedings, it was also revealed that Jaquan Smith, Lanez’s driver who was present the night of Megan’s shooting, would similarly not be testifying. Smith, who could have provided eye-witness testimony to the incident, had been present at the courthouse earlier in the day.
With no testimony from Lanez or Smith, both the prosecution and the defense will proceed to make their closing arguments later in the day on Wednesday. After that, the case will be submitted to the jury, with a verdict expected as early as Wednesday evening.
Lanez stands accused of three felony counts over the July 12, 2020 incident, during which prosecutors say he yelled “Dance, b—-” and shot at Megan’s feet, striking her at least once. If convicted on all three counts, he faces up to 22 years in prison. His lawyers have steadfastly maintained his innocence, suggesting throughout the trial that the trigger might instead have been pulled by Kelsey Harris, Megan’s former friend and assistant who was also in the vehicle that night.
Kicking off Dec. 12, the trial has seen gripping testimony from Megan herself, who recounted the alleged shooting, pinned the blame on Lanez and said, “I wish he had just shot and killed me.” Harris — expected to be a star witness for the prosecution — also took the stand, but she largely failed to re-affirm previous statements pinning the blame on Lanez. Then on Friday (Dec. 16), prosecutors played recordings of Harris’ earlier statements, in which she clearly stated that Lanez had shot the Grammy-winning rapper and then tried to buy both women’s silence with million-dollar bribes.
Back in court this week, jurors heard confusing and contradictory testimony from Sean Kelly, a man who allegedly saw the entire incident from his nearby home. Expected to be a key witness for Lanez’s defense team, Kelly told jurors that he saw Harris violently grappling with Megan outside the vehicle, but that he also saw a man matching Tory Lanez’s description holding a gun. Bizarrely, he then later said he never actually saw a gun at all.
Smith, the driver of the vehicle, could have provided additional perspective as the only other person present during the incident — and the only one who has never been suggested to have been involved in the shooting. But like Lanez, he was never placed on the witness stand on Wednesday.
Speaking to Billboard during the recess, Lanez attorney George Mgdesyan said he’d wanted Smith to testify, but that procedural wrangling and the possibility of a delay that could have forced jurors to return after Christmas prevented him from taking the stand.
This is a developing story and will be updated later on Wednesday with more information from the afternoon’s proceedings.
Elon Musk said Tuesday that he plans on remaining as Twitter’s CEO until he can find someone willing to replace him in the job.
Musk’s announcement came after millions of Twitter users asked him to step down in an unscientific poll the billionaire himself created and promised to abide by.
“I will resign as CEO as soon as I find someone foolish enough to take the job!” Musk tweeted. “After that, I will just run the software & servers teams.”
Since taking over San Francisco-based Twitter in late October, Musk’s run as CEO has been marked by quickly issued rules and policies that have often been withdrawn or changed soon after being made public.
He has also alienated some investors in his electric vehicle company Tesla who are concerned that Twitter is taking too much of his attention.
Some of Musk’s actions have unnerved Twitter advertisers and turned off users. They include laying off half of Twitter’s workforce, letting go contract content moderators and disbanding a council of trust and safety advisors that the company formed in 2016 to address hate speech, child exploitation, suicide, self-harm and other problems on the platform.
Musk, who also helms the SpaceX rocket company, has previously acknowledged how difficult it will be to find someone to take over as Twitter CEO.
Bantering with Twitter followers last Sunday, he said that the person replacing him “must like pain a lot” to run a company that he said has been “in the fast lane to bankruptcy.”
“No one wants the job who can actually keep Twitter alive. There is no successor,” Musk tweeted.
As things stand, Musk would still retain overwhelming influence over platform as its owner. He fired the company’s board of directors soon after taking control.
Exactly one decade ago, on Dec. 21, 2012, Psy‘s “Gangnam Style” made history as the first music video to reach 1 billion YouTube views. As a result, YouTube’s Billion Views Club was born. A way to celebrate official videos that have achieved peak virality, the club is now home to over 300 music videos, including many of the most iconic hits from the past 10 years — from Adele‘s “Hello” to Luis Fonsi‘s “Despacito” feat. Daddy Yankee.
But how much do artists get paid for crossing the billion-view threshold for a music video on YouTube? The royalties are dependent on a few factors. Label affiliation, location and type of view affect these rates significantly. For example, artists signed to major labels — which represent the vast majority of members of the Billion Views Club — earn higher rates on the platform than those who are unsigned or affiliated with an indie label.
But location is possibly the biggest determining factor of all: in the U.S., rates are generally higher than in other countries. So while an official YouTube music video for a major-label artist could generate a blended average of $0.0038 per stream in the U.S., globally — which is how YouTube counts its views — Billboard estimates that rate at $0.0026 per stream. YouTube Premium video streams (views from customers who subscribe to YouTube’s ad-free video-watching tier) are also higher than plays from users on the ad-supported tier, both in the U.S. and globally.
Consequently, for major-label artists, 1 billion video streams on an official music video would generate about $2.6 million globally. That’s, of course, before the label takes their cut of royalties, which varies widely based on each artist’s individual deal, and before the artist takes into account what, if anything, they owe to their featured artists or producers on the track.
For non-official videos that use music — like a user-generated video of someone’s visit to the zoo, set to a song by a major-label artist — that global blended stream estimate would drop down to $0.0021, given lower payouts on UGC videos and the over-indexing of UGC viewership vs. that of official videos. So for a major-label song on YouTube that generates 1 billion views across all videos that use it, the label and artist would generate closer to $2.1 million.
Of the more than 300 music videos on YouTube to hit 1 billion views, the fastest to reach the benchmark is “Hello” by Adele, which took just 88 days from release to amass such a viewership. Next is a tie between “Shape of You” by Ed Sheeran and “Despacito,” both of which took 97 days. The third and fourth places on the list are also both held by Spanish-language songs, with “Mi Gente” by J Balvin and Willy William earning the title in 103 days and “Échame La Culpa” by Luis Fonsi and Demi Lovato taking 111 days.
Additional Reporting by Ed Christman.
Preview
Is this finally the year that Christmas music streaming is cannibalizing holiday music sales? The raw numbers appear to suggest that’s the case, and some music industry execs have taken notice.
Since 2017, seasonal music album sales — physical formats and digital downloads — have dropped 61.8% to 1.44 million copies (so far) in 2022, as of Dec. 8. That’s down from 4.1 million copies in 2017, even though album sales are essentially at the same level of 90.55 million copies this year versus 91.64 million back then, according to Luminate data up to Dec. 8.
What’s more, seasonal music has held steady during that time, at 6.41 million album consumption units so far in 2022 versus 6.24 million album consumption units in the comparable 49-week year-to-date period of 2017, with an overall annual average coming to 6.3 million album consumption units during that five-year period. But within that, as you might expect, streaming has more than doubled, from 3.2 billion in overall holiday song streams, as of the 49th week of 2017, to 6.68 billion holiday song streams so far this year.
“This might be the year that streaming is impacting Christmas sales,” says one major label executive.
But while music wholesalers concede that the genre is not having the greatest holiday season in terms of sales, they counter there’s another reason this year’s numbers are sluggish. They argue 2022 is missing a key ingredient that in the past has proved to be a big catalyst for the overall genre during the holidays: a big, new Christmas album that drives traffic and fuels sales across the entire genre.
“While a lot of the new albums are doing fine and have done a decent volume, not one of them has been a breakaway hit,” says Alliance Entertainment senior vp of purchasing and marketing Laura Provenzano. In years past, big holiday music albums came from the likes of Josh Groban and his Noel album, which scanned 3.7 million album copies in its debut year of 2007 and now totals 6.32 million album consumption units in the U.S.; Michael Buble‘s Christmas, which scanned 2.45 million copies in its release year of 2011 and a total of 4.5 million album consumption units to date; or, going back further, Kenny G‘s Miracle, the Holiday Album, which scanned nearly 3 million copies in its 1994 debut. Those albums really stoked the genre’s sales numbers in the years they were released.
Besides lacking a big album this year, music merchandisers say the complexion of physical sales has changed, with more titles coming out in the expensive vinyl format while budget-priced CDs’ role in driving holiday sales has faced diminished floor space in discount department stores. So while merchants are realizing more revenue-per-copy thanks to vinyl’s popularity, they’re also seeing a drop in CD unit sales because of a squeeze on budget floor space.
“Some key retailers have pared back their presence in the budget business; there are fewer $5 bins on the sales floor nowadays,” offers Provenzano. Meanwhile, as more holiday albums come out on vinyl, “now that a lot of holiday music has a higher price point, it is no longer as much of an impulse item,” Provenzano adds.
For example, as of week 49 of 2017, physical holiday and seasonal album sales totaled 2.987 million copies, with 100,000 courtesy of the vinyl format. As of the 49th week of this year, total physical sales were 1.142 million, of which 637,000 were in the CD format and 503,000 vinyl, according to Luminate.
Music is generally considered impervious to economic downturns, but that doesn’t mean all genres are immune to the threat of recession, especially after the COVID-19 pandemic changed everything, music merchandisers say. While vinyl has been growing in leaps and bounds, when it comes to holiday music, shoppers are much more price sensitive these days, agrees All Media Supply music buyer Joe Pica.
Music retailers and wholesalers say that even if turns out to be a softer year for holiday music, many perennial Christmas titles are still selling consistently, if not as much as they once were; and that some of the new albums are doing pretty well too. The new releases they point to are Lindsey Stirling‘s Snow Waltz, which so far this year has generated 37,000 units — 25,000 physical copies — since its October release; and her 2017 collection Warmer In the Winter, which has generated 25,000 album consumption units so far this year and 455,000 units — 176,000 physical — since its release. Other new releases include the Bocelli’s A Family Christmas at 66,000 album consumption units — including nearly 52,000 physical copies — since its October release; and the Backstreet Boys‘ A Very Backstreet Christmas, which has so far accumulated 57,000 album consumption units, of which 38,000 are physical copies.
If only, music merchandisers lament, there was that one big album emerging from the pack. In fact, merchandisers were hoping the Backstreet Boys album would fill that role since it was initially going to be paired with a Dec. 14 special on ABC. But that show was pulled due to allegations that singer Nick Carter raped a 17-year-old girl during a 2001 tour — an accusation which he has denied. That news initially broke on Dec. 8.
A look at daily sales for that title for the last two weeks shows that the album is still selling at about the same pace, ranging from 1,100 to 1,400 copies daily through Dec. 12, with the exception of a 7,000 album consumption unit bump on Dec. 5. But even though its sales and streaming activity appears to be holding despite the allegations, the album is unlikely to enjoy a windfall in incremental sales that the holiday TV special would have delivered had it aired.
Besides new releases, other Christmas albums issued over the last few years — including Dolly Parton‘s A Holly Dolly Christmas — are also still generating healthy activity. Kelly Clarkson‘s When Christmas Comes Around has generated nearly 51,000 album consumption units, of which 15,000 copies are in physical formats, amounting to 106,000 units overall since its release in Oct. 2021; while Carrie Underwood‘s My Gift has garnered 46,000 album consumption units so far this year, of which 17,000 are physical, and 628,000 album units since its 2020 bow.
Meanwhile, Pentatonix has built up a strong holiday brand through six seasonal albums, which so far this year have garnered 251,000 album consumption units including 28,000 units from its latest effort, Holidays Around the World. However, only 10% — or 25,000 units — are physical copies. Trans-Siberian Orchestra is another holiday music brand still putting respectable numbers up on the board, as its four genre albums this year have collectively achieved 111,000 units in album consumption activity, of which nearly 28,000 are physical copies.
But even with that showing from current artists like Underwood, Clarkson and Pentatonix, plus legacy artists like Trans-Siberian Orchestra, Ingram Entertainment’s head of sales and marketing Steve Harkins wonders if we are seeing a changing of the guard in the holiday genre. For instance, the holiday seasonal album chart for the week ended Dec. 8 shows that albums from Christmas perennials from the last 50 years, like Bing Crosby, Nat King Cole, Frank Sinatra, Dean Martin, Andy Williams, Elvis Presley, Johnny Mathis and Burl Ives, collectively have only four albums in the top 25 of the Dec. 8 chart; and another six albums in the second half, from Nos. 26 to No. 50.
“We have always relied on the old staples, but now we are seeing more contemporary artists moving up into the top spots on the holiday charts; it could be a generational transition,” says Harkins. “Some of the crooners are being replaced. We are selling less units from them, although they do still sell steadily.”
Others disagree with that assessment, saying that while the old guard may not sell as well as they used to, they still do well, according to Provenzano. Or as All Media’s Pina puts it, “Are the kids today buying Bing? I find that hard to believe. But we still sell plenty of Alabama‘s Christmas album and other [perennial] holiday sellers keep plodding along.”
While the rise of newer holiday music may be true so far this year for the seasonal album chart, it’s not so for the overall holiday/seasonal song streaming chart. Of the top 25 in that chart, only three songs — Ariana Grande‘s “Santa Tell Me” at No. 6, Pentatonix‘s “Hallellujah” at No. 17 and Sia‘s “Snowman” at No. 20 — are from the last 10 years. That’s down from the prior year, when four songs within a 10-year release window made the Top 25 year-to-date holiday songs in the period ending Dec. 2, 2021. In fact, this year only 22 songs in that chart’s top 100 have been released in the last 10 years, and overall, only 34 of the top 100 holiday season songs were released in the current century. As for new holiday tunes released this year, only four songs made the top 100 holiday season songs as of Dec. 9, with Lizzo‘s “Someday At Christmas” showing the most activity at No. 55.
Some holiday classics remain strong sellers year in and year out, and some even grow stronger every year. Alliance’s Provenzano wonders how many copies of the Vince Guaraldi Trio‘s A Charlie Brown Christmas the industry can sell every year. Since 2017, that title has grown every year, from 76,000 album consumption units to nearly 191,000 units as of the 49th week of each subsequent year. This year represents its strongest frame yet, with the album up slightly from 189,000 last year, which was better than 2020 (164,000), 2019 (134,000) and 2018 (88,000).
But other traditional big holiday sellers, like the Mannheim Steamroller albums — consisting of nine studio and four compilation or live albums dating back to the late 1980s that have collectively amassed 23 platinum awards from the RIAA — have slowed down considerably. This year, that catalog has generated about 75,000 album consumption units so far, and of that only a little more than 3,000 were physical sales.
Still, the labels haven’t given up on their perennial sellers. They’ve begun boosting sales of various titles by refurbishing those albums, in some cases adding bonus tracks like the eight extras on Holly Dolly Christmas; or issuing the albums in different colored vinyl like with the Vince Guaraldi Trio classic. Up in Brighton, Mass., Newbury Comics buyer Larry Mansdorf says the latter LP is the chain’s No. 3 selling album — overall, not just seasonal — thanks to the chain carrying the album in green-swirl vinyl.
Still, unless holiday season album sales rebound, the major labels might begin to pare back their offering, says one label executive working in catalog. As it is currently, about 2,300 holiday Christmas titles are still in print, including about 400 that are also available in the vinyl format, wholesalers say.
“This may be the year we look at our Christmas title range and see what’s worth keeping in physical print,” the label executive says.
TAIPEI — Back in the early 2000s, Taiwanese artists such as Jay Chou and Jolin Tsai dominated Chinese-speaking markets throughout Asia, creating a golden era for Taiwanese pop music. While some, like Chou, continued to be influential, other music stars from the island disappeared from the public eye amid increasingly fierce competition from Japan, South Korea and mainland China.
Two decades years later, Taiwanese artists are making a comeback, as TV variety shows and music platforms in mainland China, in a wave of nostalgia rife with political undertones, have pushed their re-emergence. In May, over 100 million people watched re-screenings of Chou concerts from his 2013 and 2019 world tours as part of Tencent Music Entertainment’s Live Concert Series — a record for online concerts that emerged during the pandemic.
That same month, Cyndi Wang — the now 40-year-old Taiwanese singer dubbed the “Sweetheart Goddess” for her sugary pop songs — topped a Chinese music chart after her appearance on the variety show Sisters Who Make Waves. Nine of her songs from the early 2000s took over Chinese streaming site QQ Music’s “rising hits” chart for about a week. Wang’s fans called to buy shares of Mango TV, the station broadcasting the show, and threatened to dump shares if she was eliminated from the show, according to Weibo posts.
“Her appearance on the variety show and the need for entertainment during pandemic lockdowns created the hit,” says Shao I-Te, former China representative of Channel V and general manager at EMI Music China. “It’s a sense of nostalgia. Her fans who have the most purchasing power are now in their 30s, and artists like Cyndi Wang are like a symbol of their youth. With her, everyone starts to miss the good old days of the millennium era.”
Yet with tensions between Taiwan and Beijing’s communist government mounting once again, Wang’s sudden return to fame has also drawn online criticism in mainland China. After former U.S. House Speaker Nancy Pelosi‘s visit to Taiwan in August, netizens accused Wang of not supporting the “one China” principle after she initially failed to share a propaganda post from CCTV (Chinese state television) on social media site Weibo which declared “there is only one China in the world.”
Wang was among about 30 Taiwanese artists, including Chou and Tsai, that people online called out for not supporting the statement without hesitation. (She later reposted the CCTV message on Weibo and expressed support for the “one China” principle, which then generated criticism from Taiwanese citizens.)
China sees Taiwan as a breakaway province, while Taiwan has its own constitution and democratically elected leaders. China has never renounced the use of force to bring the island under its control and has held military drills in the air and seas around Taiwan, including the firing of ballistic missiles after Pelosi’s visit.
The Rise and Fall of Taiwanese Music in Mainland China
Taiwan’s pop music export wave started in the 1980s when Teresa Teng swept mainland China by storm. Then Jacky Cheung‘s 1993 album The Kiss Goodbye sold 1.36 million copies in Taiwan and over 4 million copies in greater China — sales that surpassed U.S. album sales for Madonna and Bruce Springsteen around that time, which helped entice global record companies to enter the Asian market.
Universal, Warner, Sony, EMI and BMG established their Asian hubs in Hong Kong, bringing capital and production technology and further spreading the influence of Hong Kong and Taiwanese pop music across Asia.
After the financial crisis in 1997, Hong Kong’s economy struggled, and a group of newcomers appeared in Taiwan. In 2001, Shao’s Channel V named Chou best male singer; it was the first time someone replaced Hong Kong’s Four Heavenly Kings in this award category. Since then, artists such as F4, Mayday, Tsai and Singaporean artists Stefanie Sun and JJ Lin — who went to Taiwan to jumpstart their careers — started to influence the next decade’s music.
“People born from 1980 to 1995, this entire generation has become an important generation supporting these singers, who have purchasing power and great acceptance of pop music, and with their help, these artists created the music taste of a generation,” Shao says.
In 2004, during the Taiwanese golden age, Wang performed her hit “Love You” on the Sisters Who Make Waves variety show. But after the global financial downturn of 2008, and the rise of China’s economy that followed, the fortunes of Taiwanese artists began to change.
Cyndi Wang attends a press conference to promote her new album on December 16, 2018 in Taipei, Taiwan of China.
Visual China Group via GI
Around 2010, Chinese internet giants Tencent, Netease, Alibaba and Baidu kicked off an era of online music streaming that created a more distinct mainland Chinese market, which made it tougher for Taiwanese and Hong Kong pop music to break into China.
By 2018, despite a history of rampant piracy, China had grown into the seventh-largest music market in the world with $531.3 million in total revenues that year, according to IFPI. (Taiwan, which has 23.5 million people — a small fraction of China’s 1.4 billion — has held around No. 25 the past few years.)
“Taiwan continues to breed contemporary pop acts but with reduced probability of success in the mainland market,” says Xing Xiaole, French music distributor Believe’s Beijing-based head of artist services for China. He says that’s because Taiwanese artists have struggled to adapt to the distinct ecosystem of Chinese social and advertising platforms, and had to endure travel and group gathering restrictions during the pandemic.
Xing, who also deals with Taiwanese clients, says the biggest Taiwanese music influence in mainland China today comes from indie bands such as the jazz-influenced synth-pop group Sunset Rollercoaster and The Chairs, which releases songs written in English, Mandarin, Japanese and the Taiwanese dialect.
But the rise of mainland China’s market means that Chinese-speaking musicians can no longer rely on Taiwan as a starting point to become as influential as before. Some of them choose to head west to China. And when tensions flare between China and its island neighbor, they often get tangled up in the political wrestling across the Taiwan Strait.
In the 1980s, the Taiwanese government used Teresa Teng’s love ballads, which were popular across China and then banned by communist Beijing, in anti-communist propaganda broadcasts.
The Chinese government, for its part, often requires artists to toe the party line, including referring to Taiwan as being part of China. Taiwanese singers whose careers are based in China have been invited to attend CCTV’s New Year’s Gala to spread pro-unification thoughts.
“There’s always been a red line for Taiwanese artists in mainland China, ever since the 1980s,” Shao says. “What the new generation of artists can do is draw from their everyday experiences and create music that can connect with the world.”
Sean Kelly, an alleged eye witness to the 2020 incident in which Megan Thee Stallion was shot, offered confusing and contradictory testimony Tuesday (Dec. 20) about what really happened, saying he never actually saw a gun — but also that he saw a man matching Tory Lanez’s description holding one, and that Megan’s former friend and assistant Kelsey Harris may also have fired.
During the seventh day of the blockbuster trial, Kelly (a key witness for Lanez’s defense team) testified that when he first looked outside his home on the night of the incident, he saw Megan and Harris kicking and punching each other outside of a vehicle. “They were pulling their hair and hitting each other. It was quite violent,” he told Lanez’s attorney George Mgdesyan.
Shortly after a man matching the description of Lanez’s driver Jaquan Smith got out of the car and attempted to separate them, Kelly says he heard a shot fired. He said a man matching Lanez’s description then exited the car, leading to a scuffle between all four people — and that four or five more shots then rang out.
Lanez’s defense team has suggested throughout the trial that Harris, not Lanez, potentially pulled the trigger, partly based on an earlier interview Kelly gave to them in Jan. 2021. In confusing testimony that repeatedly contradicted itself, Kelly didn’t offer much clarity on that point. The alleged witness, who called 911 but never identified the shooters on that call, first said he “never saw a gun” and “just saw flashes” and that he believed one of the women fired it — before later appearing to confirm that he saw Lanez (referred to as “the shorter guy”) holding the weapon.
“Did you see the shorter guy with a gun in his hand?” asked Mgdesyan.
“Yes,” answered Kelly.
Later in his testimony, Kelly said he witnessed three of the people beating one of the women in the street as she was curled in a ball, before hearing the man matching Smith’s description say, “The cops are coming!” He then said he saw someone in the group pick the woman up — at which point he believed the group was going to attempt to throw her into a nearby creek. “It appeared to me they were trying to kill her. Dragged her across the street and picked her up,” he said.
Kelly became visibly agitated during cross-examination from the prosecution, when he once again testified that he saw the man matching Lanez’s description shooting the gun, saying “the short guy was agitated; he got out of the car. His arm was stretched out and he was firing everywhere. Four or five shots.” At this point, Lanez, wearing a white turtleneck under a white jacket, looked on sternly, his eyes bulging as he listened to Kelly’s testimony.
During the redirect with Mgdesyan, Kelly once again appeared to contradict his own version of events, stating, “I believe the girl [Harris] fired the first shot.”
Kelly’s testimony came more than a week into a closely-watched trial over the July 12, 2020 incident, during which prosecutors say Lanez yelled “Dance, b—-” and shot at Megan’s feet, striking her at least once. He’s charged with three felony counts — assault with a firearm, gun possession and discharging a firearm with gross negligence — and could face as much as 22 years in prison if convicted.
The first week of the trial saw gripping testimony from Megan herself, who recounted the alleged shooting, pinned the blame on Lanez, and said, “I wish he had just shot and killed me.” Later in the week, Harris — expected to be a star witness for the prosecution — largely failed to re-affirm previous statements pinning the blame on Lanez. But on Friday (Dec. 16), prosecutors played recordings of those earlier statements, in which Harris clearly stated that Lanez had shot the Grammy-winning rapper and then tried to buy both women’s silence with million-dollar bribes.