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Hurricane Chris Acquitted On All Counts In Murder Trial

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Hurricane Chris Visits MTV's

Hurricane Chris was charged with second-degree murder in 2020 after shooting a man he believed was attempting to steal his vehicle. This past Wednesday (March 15), the artist born Christopher Dooley was formally acquitted on all counts during his murder trial.

Local outlet WBRZ reports that Hurricane Chris, 32, was initially indicted on second-degree murder charges for the shooting death of Danzeria Farris Jr. Farris was shot multiple times at a gas station in Shreveport, La., succumbing to his wounds. Hurricane Chris was also charged with illegal possession of a stolen vehicle.

According to the attorney for the “Ay Bay Bay” artist, Chris was acting in self-defense.

“He was simply trying not to be killed,” Dooley’s attorney, Alex J. Washington, told local outlet KTBS. “What we later learned is that this individual had concrete slabs in his pocket and it was a bulge in his pocket, so when Mr. Dooley faced off with him he believed that to be a weapon. When the guy put his hand in his pocket he was faced with a decision, ‘should I leave my life in this guys hands? Or, should I make a decision?’ And he made a decision to save his own life and he pulled the trigger.”

Washington added in his statement that Hurricane Chris was acquitted of the stolen car charge as well as he purchased the vehicle from an ex-girlfriend who later reported the car stolen.

Photo: Michael Loccisano / Getty

U2 Say ‘Achtung Baby’ Showed Fans the Band Wasn’t Taking Itself ‘As Seriously As People Thought We Were’

To celebrate the release of their Disney+ documentary Bono & The Edge: A Sort of Homecoming, With Dave Letterman, U2‘s Bono and The Edge reflected on their illustrious career with Apple Music’s Zane Lowe, premiering Thursday (March 16) and previewed exclusively on Billboard below.

The Edge discussed the release of the band’s 1991 album, Achtung Baby, which incorporated more alternative rock and electronic dance music into their sound. “We started to become caricatures on that basis, like the Joshua Tree period had way overexaggerated this sense of earnestness and responsibility,” the guitarist explained. “We just had to own up and say, ‘Actually… we’re very silly, we’re not those characters.’”

While The Edge noted that the group “absolutely” wanted to help society through their music, the public seemed to have the wrong impression about who they were as people. “We were also not taking ourselves nearly as seriously as people thought we were, and we were able to laugh at ourselves,” he shared. “Achtung Baby was that antidote for us as much as for music fans to that overly sanctimonious, pious and earnest sort of image that had grown up around us. We needed to flesh out the truth about who we were and give ourselves the freedom then to be in both. Because that was the thing we loved about Bob Marley. He was able to, without any issues, blend the spiritual into the political and sexual. To him, these weren’t different baskets. These were all part of who he was.”

Directed by Academy Award winner Morgan Neville, the A Sort of Homecoming documentary will debut Friday (March 17) on Disney+ and showcase Bono and The Edge‘s special concert performance in Dublin.

Check out The Edge’s thoughts below — plus another exclusive clip of Bono talking about considering himself a songwriter first and foremost — and catch the full interview at 1 p.m. ET. on Apple Music 1 at apple.co/_Zane.

Blxst, Victor Burnett and Karl Fowlkes Talk Indie Entertainment Company EVGLE at SXSW 2023: ‘We Wanted To Build a Transformer’

On Wednesday, March 15, fast-rising rapper blxst and his business partners, manager Victor Burnett and attorney Karl Fowlkes, opened up to Billboard’s Heran Mamo during one of SXSW’s 2023 featured sessions: How Music, Entrepreneurship, & Independence Intersect. 

While the three discussed everything from how they first connected to what’s coming up next (“I’m cooking up something big right now,” teased blxst), the conversation primarily focused on the artist’s multi-faceted entertainment company Evgle. 

Launched as an independent label in 2018, with Burnett and Fowlkes joining as co-founders, Evgle has since expanded to be all-encompassing – a reflection of blxst himself, who compares his many skills including production, graphic design and more to the feeling of constantly playing a video game – and always leveling up. 

Most recently, blxst – who was named Billboard’s 2022 R&B/Hip-Hop Rookie of the Year – released a sequel EP, Just For Clarity 2, through Evgle’s partnership deal with Red Bull Records. Here are the insights he and his tight-knit team shared about how to be a successful entrepreneur and maintain your independence along the way. 

1. Build With People Who Share Your Goals.

As Mamo pointed out during the conversation, Fowlkes is the rare forefront lawyer – and, much like blxst and Burnett, never wanted to confine himself to just one role. As he put it, “Lawyers have a vantage point in so many aspects of the business, we all view ourselves as dynamic people… we don’t just do one thing. We’re the type of people who want to run a business, be a lawyer, be a professor… so having those aspirations, it was easy to connect with [blxst and Victor] because of common themes of generational wealth and building something really special.” 

And while blxst added, “I always had a vision of making this bigger than me, and having other artists eat as well,” perhaps Burnett best summarized why this trio works so well. “One thing that made us like each other was: we want to own everything.”

2. Hire Believers.

When asked how they built the 10+ person team at Evgle, the three said they sought people who have specific traits: self-sufficient, already working in their craft, and able to walk into an opportunity they may not think they are capable of handling at first. “You have to hand things off and trust, that’s the base of it,” said Burnett. 

Added Fowlkes, “People don’t view music companies as start ups, but this is a start-up. So we needed people who believed. Creating a culture where people believe is super important when you’re building any company at the ground stages.”

3. Learn Your LOMO.

Blxst said the debate between remaining independent and signing to a major is a case-by-case scenario, but as it pertains to him, “I wanted to build my own leverage first, I understood the importance of bringing something to the table.”

Fowlkes, speaking like a true attorney, then revealed the acronym LOMO: length obligation money and ownership. “Coming into any partnership you should know those things,” he said, noting that Issa Rae talks about the concept often. “If you want to come in at the highest point of ownership, there’s a lot you have to [do first].”

4. Make Noise.

Burnett, who has a masters in PR and media development, shared his advice for young independent artists looking to break through on their own terms. He recalled something his professor told him that stuck: “Keep your channel noisy. Stay in front of your consumer with merch, pop-up shops, activations. Make sure the consumer is always interacting with your brand.”

5. Start Now.

“Don’t wait 20 years into your career to worry about what’s next,” cautioned Fowlkes. “Jay-Z, Nas, so many have created these channels for themselves, but later in their career. The cultural currency that [blxst is] developing… If you can strike when you’re hot, when you’re at your peak, if we can capitalize at that moment, it’s [game] over.”

6. Manifest Your Goals.

Early in the session, blxst discussed where the idea for the company name came from. “I always had confidence issues growing up,” he confessed. “The eagle is one of the highest-flying birds, but doesn’t fly in flocks … That represented confidence.”

The Cure’s Robert Smith Rages Against the Ticketmaster Machine Over Added Fees: ‘I Am Sickened’

After warning fans in a tweet spree earlier this week that Ticketmaster’s “Verified Fan” system was “far from perfect,” The Cure singer Robert Smith continued his Twitter rant on Thursday after his band’s 30-date Shows of a Lost World North American tour went on sale.

“I AM AS SICKENED AS YOU ALL ARE BY TODAY’S TICKETMASTER ‘FEES’ DEBACLE,” Smith raged in his latest all-caps broadside against Ticketmaster. “TO BE VERY CLEAR: THE ARTIST HAS NO WAY TO LIMIT THEM. I HAVE BEEN ASKING HOW THEY ARE JUSTIFIED. IF I GET ANYTHING COHERENT BY WAY OF AN ANSWER I WILL LET YOU ALL KNOW.”

Smith’s tweet came as fans complained that despite the band offering reasonably priced tickets for the outing and making sure the tickets will be non-transferable to minimize resale and keep prices at face value, in some cases the added-on service fees, facility charges and order processing fees added up to more than the cost of entry.

By making the tickets non-transferable, scalpers will be unable to purchase tickets and then resell them for a profit since the original owner will have to be present to enter the venue. For fans who purchase tickets but can’t make it to the event, they will be able to resell the ticket on a face-value ticket exchange.

Before the VF onsale, Smith assured fans that he was doing everything he could to alleviate ticketing pain points, including avoiding platinum packages and dynamic pricing, referring to those practices as “a bit of a scam.” But when he saw the complaints about the service charges during Thursday’s onsale, the singer could not hold back; at press time a spokesperson for Ticketmaster had not returned Billboard‘s request for comment.

Following up on his “scam” tweet, on Wednesday (March 15), Smith explained, “I HAD A SEPARATE CONVERSATION ABOUT ‘PLATINUM’, TO SEE IF I HAD MISUNDERSTOOD SOMETHING… BUT I HADN’T! IT IS A GREEDY SCAM – AND ALL ARTISTS HAVE THE CHOICE NOT TO PARTICIPATE… IF NO ARTISTS PARTICIPATED, IT WOULD CEASE TO EXIST.”

If nothing else, Smith implored his fans to avoid buying tickets secondhand from scalpers, writing, “I HAVE BEEN TOLD: StubHub has pulled listings in all markets except NY, Chicago, Denver (IE. CITIES IN STATES THAT HAVE LAWS PROTECTING SCALPERS). PLEASE DON’T BUY FROM THE SCALPERS – THERE ARE STILL TICKETS AVAILABLE – IT IS JUST A VERY SLOW PROCESS… I WILL BE BACK IF I GET ANYTHING SERIOUS ON THE TM FEES… IN THE MEANTIME, I AM COMPELLED TO NOTE DOWN MY OBVIOUS RECURRING ELEPHANT IN THE ROOM THOUGHT… THAT IF NO-ONE BOUGHT FROM SCALPERS… THEN.”

The Cure’s efforts to combat resale ticketing comes after a season of in-demand tours facing astronomical price increases due to dynamic ticketing and scalpers. Ticketmaster is currently facing government inquiries into its handling of the disastrous Taylor Swift Eras Tour presale, which left many fans outraged when service delays and website crashes (caused in part by bots) prevented many of them from securing tickets.

See Smith’s tweets below.

Alex Coslov Promoted to Dual Marketing Role With Republic and Mercury

Alex Coslov rises to executive vp of marketing strategy at Republic Records and head of marketing at Mercury Records, a dual role and a reward for leading the campaign for Morgan Wallen’s One Thing At A Time and other hits.

Based in Republic’s New York City headquarters, the marketing exec is a past 40 under 40 honoree in Billboard, and he’s had a hand in a growing list of wins. His professional highlights include Wallen’s blockbuster One Thing At A Time, which recently blasted to No. 1 on the Billboard 200 chart with over 501,000 equivalent album units in its debut frame, this year’s best single-week tally; and Glass Animals’ slow-burning Billboard Hot 100 leader “Heat Waves.” 

Coslov continues to lead marketing for frontline releases for Wallen, Pearl Jam, Eddie Vedder, Greta Van Fleet, Florence + The Machine, Noah Kahan, James Blake and Yung Gravy, reads a statement issued today (March 16).

“Alex intimately understands his artists at a core level,” comments Republic co-president Jim Roppo. “He speaks their language and immerses himself in their respective worlds for every single release. This is his superpower. By doing so, he develops innovative campaigns that reflect their identities and, simultaneously, engage audiences from a fresh perspective. It’s an honor to announce his promotion.”

Adds Mercury president Tyler Arnold, “we are thrilled to officially welcome Alex to the Mercury family. He is one of the most innovative and forward-thinking executives in our industry and has already played an integral role in the success of our artists’ careers. We cannot wait to shape this next chapter of Mercury Records together.”

Coslov joined Republic Records in 2017 as vp of marketing strategy, and has served as senior vp of marketing strategy since 2021. That five-year run has yielded four CLIO Awards, the annual award program that celebrates excellence in advertising, design and communication. Prior to that, Coslov chalked up four years with dance music brand Ultra Music, where he led its marketing department. Earlier roles included internships with SESAC, Epic Records and Red Light Management.

Wolfgang Van Halen’s Mammoth WVH Signs With BMG for Forthcoming Album: Exclusive

Mammoth WVH, the hard rock band led by Wolfgang Van Halen, has signed a global record deal with BMG for its forthcoming second studio album. The band has also signed a publishing deal with BMG. 

“The Mammoth team and I are so excited to now be a part of the BMG family,” Van Halen said in a statement. “The entire team have welcomed us with open arms and have been nothing short of wonderful. I couldn’t ask for better partners for the future of Mammoth.”

The BMG release, coming this summer, will follow Mammoth WVH’s 2021 self-titled debut on EX1 Records. That set reached No. 1 on Billboard’s Top Hard Rock Albums and Top Rock Albums charts, as well as No. 12 on the Billboard 200.  It also included two No. 1s on the Mainstream Rock Airplay chart — “Distance” and “Don’t Back Down” — while a third song, “Epiphany,” reached No. 9.  The group became the first act to send its first two songs to No. 1 on that chart since The Glorious Sons in 2019.  

At the time of the debut album’s release, Van Halen, who played every instrument on the effort, told Billboard, “I’m so proud of this record and have never worked harder on anything in my life. This is only the beginning. Thank you for being a part of this journey with me.”

Van Halen, the son of late rock god Eddie Van Halen, previewed the new album at Los Angeles’ 5150 Studio in Los Angeles March 6-7. The group’s name comes from the original moniker for his father’s band, Van Halen.

Dan Gill, BMG executive vp of recorded music, said in a statement, “It is rare to come across an artist with such exceptional musical abilities and Wolfgang is that shining example. His new album firmly establishes himself at the forefront of the genre and is destined to become the torch bearer for the new generation of Rock artists.”

Emi Horikawa, BMG vp of creative, added, “From our very first listen to Mammoth WVH, we knew this was something truly exceptional. Wolfgang’s songwriting and sense of melody, coupled with his ability to reinvent the elements of Rock’s power and energy, is sheer talent. We are proud to represent his music publishing and now call BMG his label home.”

How Nyla XO Used Her ‘DIY Queen’ Skills to Win the Samsung NXT 2.0 Competition, And Finally Take Center Stage

In a northeastern suburb of Los Angeles, a devout Radio Disney fan played tween pop’s most successful songs on repeat — and then, queuing up her cassette player, she tried to create her own track that would outshine them.

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Balancing two separate Record buttons while the radio played, Nyla Hammond synchronized the tracks by artists like Vanessa Hudgens with the recording of her own vocals harmonizing along. With one take, she reduced Disney’s brightest stars to backup singers and unwittingly cut her first cover. At that moment, Nyla XO was born.

“I was a hacker,” the singer-songwriter remembers. “I found the way.”

Nearly two decades later, in a small trailer in southwest Hollywood, Nyla was 20 minutes away from performing another cover — though this time, the stakes were a lot higher. Established stars Tinashe, Eric Nam and Natti Natasha would be assessing her delivery. A voting audience would determine her artistic potential. Extended family would watch a livestream in Puerto Rico and beyond. The 32-year-old was one of three finalists in Samsung NXT 2.0, a nationwide competition to discover the next unsigned music superstar, and she was having a panic attack.

Nyla’s mother, a classically trained singer, was greeted at the trailer door by a face streaked with tears. “Sing a song you know like the back of your hand as many times as you can,” she advised her daughter. Together, they sang Corinne Bailey Rae’s “Put Your Records On” until Nyla began to breathe easier. “I hope you get your dreams,” the mother-daughter duo sang, over and over. “You’re going to find yourself somewhere, somehow.”

And she did: That night, Nyla XO was crowned the Samsung NXT 2.0 champion during a finale that was musically rousing and personally gratifying. “I have a saying: ‘If there’s anyone who can figure it out, it’s Nyla,’ ” says Henry McDaniel, her husband, business partner and producer, known professionally as H.A.N.K. “She doesn’t quit until she finds the answer to whatever it is she’s searching for.”

H.A.N.K knew that Nyla — a descendant of Puerto Rican immigrants who was named after the birthplace of her mother (New York) and her own (L.A.) — was destined for stardom long before the NXT competition. When the pair met at Musicians Institute in Hollywood in 2012, Nyla was already multidisciplined: a classical pianist-singer who was also a graphic artist-designer. Soon thereafter, she became a director-video editor. She left college in 2013 after accepting an opportunity from *NSYNC star JC Chasez to join the lineup of an in-the-works girl group. But when the act disbanded a year later, Nyla began searching for musical work and fielding a slew of requests as a keyboardist.

In 2016, she performed in the house band of America’s Got Talent, and her hands plinked across the big screen as Nina Simone in the Zoe Saldana-starring biopic Nina; the following year, she hit the road on Betty Who’s Party in the Valley Tour. Nyla committed to finally pursuing an artistic career full time in 2018, and with the newfound freedom to indulge her creative impulses, her technical prowess took center stage.

“I call her ‘the DIY queen,’ ” H.A.N.K says. “I have watched her make full-blown music videos with a camera and piece of cloth where the result will give you the impression she spent thousands. I have seen her living room photo shoots turn into some of the most beautiful album artwork that I’ve seen. Even today, I rank the quality of my content on the scale of, ‘Would Nyla approve?’ ”

To that point, Nyla recalls the one request she had for her 16th birthday: to record a song, for real this time. Writing poetry as a reprieve in between hours dedicated to classical piano, she decided to try her hand at composing music, so she booked studio time, designed album artwork on Microsoft Word and distributed her debut single as a party favor to her classmates at her sweet 16 party. “For Who I Am,” a heartfelt coming-of-age track, was visually represented with a Clipart icon of a pink handprint.

“This is who I’ve always been,” she says with a laugh. “When I have the vision, I want to see it through.”

Nyla XO photographed using a Samsung Galaxy Z Flip4 on February 17, 2023 at El Rey Theatre in Los Angeles.

Nyla XO photographed using a Samsung Galaxy Z Flip4 on February 17, 2023 at El Rey Theatre in Los Angeles.

Christopher Patey

As comical as the earnestness of “For Who I Am” now seems to Nyla, the song hinted at what would become her songwriting signature: unflinching vulnerability. She’ll willingly divulge her darkest moments as a means of connection, lyrically disrobing to reveal depression or plaguing self-doubt. During the pandemic, she personally reached out to each new Instagram follower to thank them for their support, often receiving perspective-shifting feedback about her artistry in exchange. While performing her original song “Perfect View,” a genre-blurring love letter to her symbiotic relationship with her husband, Nyla paused and addressed the audience at the NXT finale. “Let’s get intimate,” she said.

“For me, music is a conversation,” she explains. “Saying, ‘Flaws and all, here I am.’ It does not matter how big I get. I always want to maintain some kind of relationship with people. That’s a core value for me.”

“Lyrically, she has always had this innate ability to paint vivid pictures through her musical storytelling, and the pictures have only become more and more clear,” adds H.A.N.K. “You feel as though you were there alongside her when she wrote the song.”

With a penchant for sonic spontaneity, Nyla is reluctant to define her sound. At one point, she says, it was “Popsical” — a pop-classical amalgam. Now each original track is more of a melting pot; jazz, R&B and bubble-gum hyper-pop are all anchoring ingredients, but at any given moment, she might sprinkle in an octave-spanning vocal run or melodic rap. “Perfect View” was the result of significant “trial and error,” says H.A.N.K, resulting in a 28-hour session in the lead-up to the NXT finale. “I wouldn’t say ‘obsessive,’ but it’s borderline,” he quips.

But such perfectionism often comes at a personal cost. For Nyla, that was heightened pressure — and a perception that it could possibly all be for nothing.

“There are so many different pathways to success that it can be overwhelming,” she says. “I’ve always loved creating, but you reach a point of, ‘Is all this in vain? Does any of this actually matter? Am I supposed to be releasing more music or do more live shows?’ It can feel discouraging to feel like no one is seeing the work you’re putting in.”

After five years of drip feeding her artistic persona, NXT forced Nyla to open the floodgates. With the defined parameters of each challenge — from 10-part a cappella covers with heavenly harmonies to self-styled and -edited music videos, all using the Samsung Galaxy Z Flip4 — serving as springboards, Nyla delivered a masterclass in capturing the attention of social media users in 60 seconds or less. Her online presence became synonymous with scroll-stopping content: “I Iike this version of the song so much better!!” reads a top comment on Nyla’s performance of BTS’ “Butter.”

In the weeks leading up to the NXT finale, Nyla often visualized being named as the winner; the concept was so all-consuming, she says she would “tear up” at the thought. However, days prior to flying to Atlanta to meet her assigned artist mentor, rising Alabama rapper Flo Milli, Nyla’s grandmother died. She had been a beloved high school math teacher in Pasadena, Calif., until she was 89 and watched 26 former students become teachers themselves. Consequently, Nyla eschewed the questions she might once have had about Flo Milli’s inspirations or the industry and instead asked her if she had considered her legacy.

“We talked about how all this is great, but it can’t be what defines me as a person,” Nyla says. “My legacy will be the things I say and the music I create, the person that I am — that’s what’s going to matter the most.”

Hearing her name called as the winner of the competition, Nyla felt a sense of solace: that all those many late nights were not in vain, that her sound resonated in spite of all of the sonic experimentation and that the aspiring singer-songwriter — patiently waiting for the perfect beat before hitting Record all those years ago — had realized her dream on her terms. She knew that somewhere, another little girl would be singing over the radio, and maybe someday sooner than later, the song playing would be from Nyla XO.

“I feel relieved,” Nyla says of her win. “But mostly, I feel seen.”

Nyla XO Samsung NXT 2.0 Billboard Cover

What Kind of Advantage Do Longer Albums Have in the Streaming Age?

Morgan Wallen’s new album, One Thing at a Time, didn’t need 36 songs to reach No. 1 on the Billboard 200 chart (dated March 18)— but the sprawling tracklist certainly didn’t hurt. The country singer’s third studio album notched 501,000 album equivalent units in its first week of release, according to Luminate, the biggest week of 2023 and one of the largest debuts in recent months.

One Thing at a Time undoubtedly benefited from its stats-padding length, but it still would have dominated the Billboard 200 had Wallen and his label, Big Loud Records, opted for an average length. With the bottom 18 tracks accounting for 36% of the album’s total on-demand streams, if One Thing were a single-CD, 18-track release, Billboard estimates it would have moved about 360,000 units last week — putting it well ahead of the No. 2 album, SOS by SZA. The 10 most popular tracks amounted to 41.8% of the album’s streams, with the track “Last Night” alone accounting for nearly 9% of the 36 tracks’ aggregated streams.

In fact, an 18-track One Thing at a Time would have bested most recent No. 1 albums in their debut weeks, including Lil Baby’s It’s Only Me (216,000 units), SOS (318,000 units), Metro Boomin’s Heroes & Villains (185,000 units) and Tomorrow X Together’s The Name Chapter: TEMPTATION (161,000 units). (That’s assuming One Thing at a Time would have sold the same number of CDs and digital albums with half as many songs.) Only two recent albums, Her Loss by Drake and 21 Savage (404,000 units) and Taylor Swift’s Midnights (1.58 million units), had better debut weeks than the hypothetical, 18-track One Thing at a Time.

One Thing at a Time is part of a curious paradox in current recorded music, as the widespread adoption of streaming services has caused artists to release single tracks more often while releasing increasingly lengthier albums, too. While the album is waning in popularity, it remains a vital artistic statement and commercial event.

The trend of longer albums runs counter to the experimentations of the early days of digital music. When Napster arrived in the late ’90s, many people believed file-sharing marked the death of the album format. In the ’00s, as consumers increasingly purchased individual tracks at online stores like Apple’s iTunes, labels experimented with the new paradigm. In 2005, Warner Music Group and Elektra Records founder Jac Holzman launched a digital-only label, Cordless Music, that released music exclusively in “clusters” of three or more songs instead of albums or singles. In 2010, country star Blake Shelton released two six-song EPs — called “six paks” — rather than a single 10- or 12-track album.

Today, streaming dominates music consumption and impacts how artists and labels package music. Album sales are lower than ever, but album lengths have never been longer. Because fans can stream an unlimited amount of music for a fixed price, artists can add songs knowing that a longer album equals more streams. And because streams tend to account for far more of an album’s chart position than downloads and purchases, artists have an incentive to keep people listening.

The result has been “track creep,” a consistently rising number of songs on popular albums. In 2022, the top 10 albums on the year-end Billboard 200 chart averaged 19.1 tracks and 69.9 minutes. The top album, Bad Bunny’s Un Verano Sin Ti, has 23 tracks and runs 81 minutes. Un Verano Sin Ti is a product of the streaming age: Physical album sales account for just 1.1% of its album equivalent unit sales compared to 97.5% for streaming. Track creep is made easier considering that many albums, such as SOS and Drake’s 21-track Certified Lover Boy, don’t have physical versions.

Changes in how albums are counted for the Billboard 200 can probably help explain some of the track creep: In 2014, the year Billboard began incorporating streams into the Billboard 200 chart, the top 10 albums averaged 13.2 tracks and 51.9 minutes, meaning album lengths have increased by about six tracks and 18 minutes in the last eight years. (Here, Billboard counts only studio albums and excludes soundtracks and Broadway cast recordings, which are filled with score and instrumental tracks.)

In 1992, when CD sales began to dominate recorded music revenues, the top 10 albums averaged 11.9 tracks and 51.1 minutes. Garth Brooks had two of the four 10-track albums in the top 10 — Ropin’ the Wind and No Fences — and the longest, Totally Krossed Out by hip-hop duo Kriss Kross, had just 15 tracks. Albums — particularly in the country genre — often topped out at ten tracks, a limit set by record labels for paying mechanical royalties to music publishers.

In 1977, when the vinyl LP ruled the industry, the top 10 albums averaged 10.3 tracks and 45.1 minutes, and half of them had fewer than 10 tracks. The longest, Stevie Wonder’s double album, Songs in the Key of Life, had fewer tracks — 17 — than half of 2022’s top 10 albums. The top album of 1977, Fleetwood Mac’s Rumours, ran only 39 minutes — a full half-hour shorter than the average length of 2022’s top 10 albums. (In the 1977 top 10, Billboard included the soundtrack to A Star Is Born, which had only 11 tracks. That’s compared to 32 tracks for the Frozen soundtrack, the top album of 2014.)

One Thing at a Time might not need 36 tracks to top the Billboard 200, but having more songs means the album gets more streams and generates greater royalties. The least-popular 18 songs amassed 170.3 million on-demand streams in the album’s debut week. If those 18 tracks were released as a separate album — similar to the way Guns N’ Roses released Use Your Illusion volumes 1 and 2 simultaneously in 1991 — it would have been the No. 2 album of the week. Additional tracks provide diminishing returns but can contribute meaningfully to a successful record. Wallen’s previous album, the 32-track Dangerous: The Double Album, has received about 22% of its total track consumption — streams plus downloads — from its less-popular half. For a label that invests heavily in marketing and promoting an album, track creep can improve the return on each release.

Something the One Thing album has that single tracks and EPs lack is the oomph surrounding their marketing and promotion. In the wake of Napster, people may have underestimated the album’s ability to be an event unto itself. Single tracks get the attention of both fans and streaming services’ algorithms, but neither has the promotional impact of releasing a full album. As long as a label is driving awareness to a new release, why not give fans a few more songs?

Plus, artists don’t release albums as frequently as they used to. In the late ‘70s, artists often put out an album every year. Today, an artist will take two or three years — and often longer — between albums. Putting out longer albums could help labels make up for these widening gaps, with the caveat that only superstar releases tend to merit the kind of sprawling length seen in the form of recent releases by Wallen, Drake and others.

This kind of full-court press also serves to prolong — and boost — the success of individual tracks that would fade more quickly without an album attached. Eight of the 36 tracks on One Thing at a Time were released prior to the album’s street date and putting up strong numbers on their own. Still, their streams increased 89% the week of the album’s release. Four of the 8 tracks ended up in the Billboard Hot 100. In its sixth week on the Hot 100, Wallen’s single “Last Night” shot from No. 5 to No. 1 after a 53.5% jump in streams. Three other previously released tracks — “One Thing at a Time,” “You Proof” and “Thought You Should Know” — broke into the top 10 of the Hot 100.

Posthumous Coolio Album, ‘Long Live Coolio,’ Features Too $hort, Naughty By Nature’s Treach

Fans will get a taste of the final music recorded by Coolio on Friday (March 17) when the first single from the “Gangsta’s Paradise” star’s posthumous album hits streaming. The song, “TAG ‘You It’,” features legendary West Coast MC Too $hort and it will preview the full-length, LONG LIVE COOLIO, whose release date has not yet been announced.

Coolio died at 59 in Sept. 2022 of suspected cardiac arrest; to date no official cause of death has been announced. According to a statement announcing the project, the first single from rapper’s follow-up to 2009’s From the Bottom 2 the Top was produced by and also features the rapper’s longtime friend DJ Wino. The statement about the collection and the video for “TAG” — which will also drop on Friday — says it was originally intended for release while Coolio was still alive and that they pay “homage to 90s hip-hop… the song is catchy, raunchy, and raw in all of the right ways. Paired with an extravagant video, this song is certain to create controversy and buzz.”

Indeed, the boxing-themed visual featuring a bevy of video vixens twerking finds $hort and Coolio dropping R-rated rhymes over a bouncy West Coast beat and the chorus, “Freeze tag, you it/ Freeze tag, she’s it/ Freeze tag, you it never gone be yours cuz it’s all about the bag.” After $hort’s predictably bawdy first verse, Coolio pulls up for his own NSFW run, including the lines, “Still livin’ with yo mama no plan to move though/ Common hoe, average hoe, Obama hoe/ She full of drama bro/ Find you a real one funky feel one/ One you can trust not have to kill one.”

Following his death, Coolio’s longtime manager, Jarez Posey, confirmed that the rapper (born Artis Leon Ivey Jr.) was found on the floor of a bathroom at his friend’s house and pronounced deceased at the scene.

Coolio placed six hits on the Billboard Hot 100 songs chart, including the No. 1 smash “Gangsta’s Paradise,” featuring L.V, from the film Dangerous Minds. The single spent three weeks atop the list in 1995 and finished as the year-end No. 1 song on the Hot 100. It also ruled the Hot Rap Songs list for 11 consecutive weeks. The track would go on to win the Billboard Music Award for single of the year, and a Grammy Award for best rap solo performance. In 2021, “Gangsta’s Paradise” ranked among the 100 Greatest of All Time Hot 100 Songs.

Sydney Sweeney Pulls a Gas Station Stick-Up on Halsey in Tense First Trailer For ‘Americana’

Halsey is not in the mood for anyone’s b.s. in the first look at director Tony Tost’s heist drama Americana. In a 90-second sneak peek that dropped on Wednesday (March 15), the singer — rocking a 1970s-style choppy shag cut and all-black ensemble — is minding her own business while filling up her orange muscle car when she’s interrupted not once, but twice.

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“Beautiful day today,” says Paul Walter Hauser’s (Black Bird) character Lefty to Halsey’s Mandy. “Still, they say it might rain. Any big weekend plans?,” he continues. Mandy is clearly not interested, snapping back, “Hey buddy, today is not the f—ing day.”

The confrontation is interrupted by Sydney Sweeney (Euphoria), whose character Penny Jo sticks a gun into Mandy’s back demanding the mythical Native American artifact that she and Lefty were planning to steal. “Do you have the artifact?” Penny Jo asks as Mandy looks back over her shoulder in annoyance.

“I thought you were sweet,” she says, her face softening in seeming condescension. “Do you have it?” Penny Jo repeats more menacingly as Mandy suggests she might have the object, or maybe not. “Give it to me,” Penny Jo demands. “No,” Mandy says as she finishes pumping, walks away and dares Penny to “shoot me” nonchalantly.

Americana marks Halsey’s big screen debut and according to Deadline, the movie follows waitress Penny Jo and lonesome cowboy Lefty as they plan to swipe the mythical “Lakota Ghost Shirt” from some criminals to fund Penny’s Nashville dreams. “Things get complicated when the lead criminal’s long-suffering girlfriend (Halsey) decides to take the artifact for her own personal reasons,” reads a description.

“It’s one of my favorite scenes because none of these characters are smooth, experienced criminals in the slightest, and I love how Sydney, Paul, and Halsey all play their desperate intentions and discomfort to quietly comedic effect,” Tost told Deadline. The film, Tost’s first major feature, also stars Eric Dane, Simon Rex, Zahn McClarnon and Gavin Maddox Bergman. Americana is slated to make its world premiere at 2:30 ET on Friday (March 17) at the Paramount Theatre in Austin, TX during SXSW.

Check out the Americana sneak peek below.