News

03 Nov 2022

Kanye West Tweets Pic of Kyrie Irving Amid NBA Player’s Antisemitism Controversy

After getting locked out of Instagram again earlier this week for violating the site’s policies, Kanye West re-posted an image from his suspended IG on Twitter early Thursday morning (Nov. 3) of controversial Brooklyn Nets star Kyrie Irving in what appears to be the embattled rapper’s latest provocation.

The timing of the tweet by West (who now goes by Ye) came after Irving released a joint statement with the Anti-Defamation League and his team in which the point guard and the Nets each pledged to donate $500,000 to “causes and organizations that work to eradicate hate and intolerance” after Irving was widely criticized last week for sharing a link to an antisemitic movie on his social feeds.

The since-deleted tweet linked to a video posted by conspiracy theorist Alex Jones which promoted the antisemitic 2018 movie Hebrews to Negroes: Wake Up Black America. The post by Irving drew widespread condemnation at a time when Ye has been deplatformed and seen his once-formidable fashion and music empire greatly diminished after repeatedly spreading antisemitic hate speech.

Like Ye, Irving steadfastly defending his right to spread such rhetoric in a post-game press conference on Saturday at which he said, “In terms of the backlash, we’re in 2022, history is not supposed to be hidden from anybody and I’m not a divisive person when it comes to religion, I embrace all walks of life. So the claims of antisemitism and who are the original chosen people of God and we go into these religious conversations and it’s a big no, no, I don’t live my life that way.”

The NBA, Nets owner Joe Tsai and the ADL strongly condemned Irving for spreading antisemitic speech, with ADL CEO Jonathan Greenblatt tweeting, “The book and film he promotes trade in deeply #antisemitic themes, including those promoted by dangerous sects of the Black Hebrew Israelites movement. Irving should clarify now.”

After initially defending his right to post on his personal accounts and vowing now to “stand down on anything I believe,” Irving reversed course and said in the statement, “I oppose all forms of hatred and oppression and stand strong with communities that are marginalized and impacted every day. I am aware of the negative impact of my post towards the Jewish community, and I take responsibility.”

Before his latest Instagram suspension, West posted a smiling pic of Irving on Sunday with the caption, “There’s some real ones still here.” Ye posted a different snap of Irving on Twitter Thursday with no comment just hours after the athlete’s mea culpa. In the wake of the Irving controversy, the Ye post was the latest provocation in a month-long spree in which the rapper has repeatedly made antisemitic remarks that Forbes reported has resulted in him losing his billionaire status as most of his high-profile fashion, music and sports marketing clients have fled his now-radioactive brand.

West had his Twitter account temporarily restricted after posting in early October that he was going to go “Death Con 3 On JEWISH PEOPLE.” The Irving post marked Ye’s return to the platform a week after self-proclaimed “free speech absolutist” Tesla/SpaceX CEO Elon Musk bought the site; a new study reported that homophobic, racist and antisemitic hate speech on Twitter dramatically spiked in the hours and days following Musk’s takeover.

The amplification of anti-Jewish tropes by such high-profile figures also comes just months after the Anti-Defamation League — which tracks anti-Semitic behavior nationwide — reported a 34% rise in anti-Semitic incidents in 2021 (to 2,717), which averaged out to more than seven such incidents per day.

Check out Ye’s tweet and the Nets and Irving’s statements below.

03 Nov 2022

Selena Gomez Drops Vulnerable ‘My Mind & Me’ Song and Lyric Video: Listen Here

Selena Gomez just dropped one of her most vulnerable songs ever. Gearing up for the release of her Apple TV+ documentary My Mind & Me, the 30-year-old pop star unveiled an emotional new song and lyric video of the same name — before teasing that more new music will soon follow.

Gomez’s first solo release since 2021’s Revelación, “My Mind & Me” hit streaming services at 8 a.m. ET one day prior to the documentary’s Friday (Nov. 4) premiere on Apple TV. “My mind and me, we don’t get along sometimes / And it gets hard to breathe,” she sings on the track, a sprawling piano ballad written by the Only Murders in the Building star, Amy Allen, Jonathan Bellion, Michal Pollack, Stefan Johnson and Jordan K. Johnson.

“But I wouldn’t change my life / And all of the crashing and burning and breaking, I know now / If somеbody sees me like this, then thеy won’t feel alone now.”

Directed by Alek Keshishian, Gomez’s raw My Mind & Me film follows the singer-actress over the course of six years as she deals with lupus, depression, anxiety and other mental health struggles. One particularly devastating time in her life was marked by an episode of psychosis in 2018, something she opened up about in a Thursday (Nov. 3) cover story interview with Rolling Stone.

The Grammy nominee told the publication that she heard voices and experienced severe long-term paranoia during the episode and was eventually diagnosed as bipolar. “It took a lot of hard work for me to (a) accept that I was bipolar, but (b) learn how to deal with it because it wasn’t going to go away,” she said.

Gomez also shared in the interview that she’s written 24 songs or so for her next album, something she also talked about at her documentary’s Wednesday (Nov. 2) premiere at the AFI Festival. Speaking to Variety, the former Disney star shared that new music is coming “hopefully next year,” potentially followed by a tour.

“Maybe!” she said about possibly hitting the road. “I know. I should, right?”

Listen to Selena Gomez’s new song “My Mind & Me” and watch the lyric video below.

03 Nov 2022

Rihanna Takes Fans Behind the Scenes of ‘Lift Me Up’ Music Video: Watch

On Thursday (Nov. 3), Rihanna gave fans an inside look of the filming of her newest video, “Life Me Up,” which offers an experience as serene and relaxing as the original.

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The 34-year-old’s rich and airy vocals soundtrack the video. It features her alongside Black Panther: Wakanda Forever film crew members setting up scenes, including her posing on the beach at dusk and shots of billowing smoke, makeshift snow and a bonfire on the sand.

At the end of the video, Rih poses with one of the crew members and makes an X across her chest with her arms, the official salute from the Black Panther movies.

“Lift Me Up” — which serves as a tribute to the late Black Panther star Chadwick Boseman, who died in 2020 at 43 after a battle with colon cancer — sees the pop star going the ballad route, accompanied by an acoustic guitar as she sings “Lift me up/ Hold me down/ Keep me close/ Safe and sound” on the chorus. The track was released as the first single from the Black Panther: Wakanda Forever soundtrack.

Following the Oct. 28 release of “Lift Me Up,” the track landed at No. 1 on Billboard’s relaunched Hot Trending Songs chart, powered by Twitter and sponsored by Xfinity Mobile, dated Nov. 5.

While more new music from Rihanna is still TBD, the singer — who is slated to headline next year’s Super Bowl halftime show — has her fans excited for the return of her upcoming Savage x Fenty fashion show, which will arrive on Amazon Prime on Nov. 9.

03 Nov 2022

Publishing Briefs: WCM Renews With Top Korean Publisher; Afrojack Extends BMG Deal

Warner Chappell Music Korea has renewed its global publishing deal with 153/Joombas Publishing, one of the top independent music publishers in the country. The two companies have been working together since 2018 and the partnership has entailed 153/Joombas’ entire catalog, including songs for aespa, BTS, EXO, (G)I-DLE, GOT7, ITZY, IU, Lim Young-woong, Monsta X, NCT DREAM, Red Velvet, SEVENTEEN, Stray Kids, and Taeyeon. Founded by Hyuk Shin — a South Korean producer known for writing “One Less Lonely Girl” for Justin Bieber, “Growl” for EXO, and discovering Blackbear and DEAN — 153/Joombas Publishing has a roster of almost 100 writers whose work both defines K-pop and popular music worldwide. CJ Kim, general manager of Warner Chappell Music Korea, said: “Joining forces with 153/Joombas Publishing again will further strengthen and solidify our position as a leader in K-pop music. We are pleased to elevate our alliance to a new level, and can’t wait to take their incredible songwriters with us on our journey as we continue to maximise the opportunities and value for K-pop music in unprecedented ways.”

Afrojack, the Grammy-winning producer and DJ, has extended his worldwide publishing deal with BMG, including all the works written and produced by the Dutch talent since he signed with BMG in 2008, including hits like “Titanium,” “Take Over Control” and “Hey Mama.”

Spirit Music Nashville has signed a co-publishing agreement with Joy Williams, half of the long-defunct duo The Civil Wars. The deal also includes the acquisition of compositions from her various song catalogs, including but not limited to The Civil Wars, as well as some of her masters. Spirit will handle her publishing on a go-forward basis with the exception of Front Porch, her most recent release, which will also be included for administration.

Reservoir has acquired rights to the entire catalog and future works of Naughty By Nature member KayGee as well as distribution rights moving forward. Beyond his Grammy-earning work with the hip-hop trio, KayGee, aka Keir Lamont Gist, made a name for himself writing and producing for 50 Cent, Notorious B.I.G., Mary J. Blige, Fat Joe, Luther Vandross, and Queen Latifah. he also founded his own label in the 1990s, Divine Mill, which represented artists like Zhané, Next, and Jaheim — all of whom he produced and wrote for as well.

Baby Queen has signed a worldwide publishing deal with Sony Music Publishing. A critical darling in U.K. pop music, Baby Queen, aka Bella Lathan, says of the deal she is “excited to be working with Sony and with a team that truly undersands who [she is] as a person and as an artist.”=

Page 1 Management, a writer-producer management firm founded by Ashley Page and led in the U.S. by A&R Danielle Middleton, has signed Travis Mendes. Known for his work as a writer, producer and engineer, Mendes has played a hand in making songs like “All Time Low” and “Guillotine” by Jon Bellion, “Fools Paradise” by Isaac Dunbar, “Love Me for Now” by Cheatcodes and more. He says of the deal “I’m so happy to join this beautiful, amazing family of creatives at Page 1, and I’m excited to continue to learn and craft more amazing music for the world to hear!”

Milk & Honey Music has launched the new Milk & Honey U.S. Scholarship, an initiative to develop and mentor Australia and New Zealand-based women in songwriting and production, and its inaugural recipient is Chelsea Warner, a Sydney native making R&B, pop and hip-hop. As part of the scholarship, Warner will be given a two month residency in Los Angeles, where she will receive mentorship from top songwriters Oak Felder and Jenna Andrews. Organized by Milk & Honey leaders Lucas Keller, Milly Petriella, and Peter Coquillard, Petriella says of the program, “Less than 20% of our industry is female and the number of women in production is considerably less, it’s time to create real experiences, connections, and provide financial support if we are to truly going to change the future landscape of the music industry.”

Warner Chappell Music France has signed Some 1ne and Machynist, the duo behind some of the country’s biggest hits. They are perhaps best known for composing “Djadja” and “Pookie” for Aya Nakamura and No Crari, the sophomore album from French rapper OBOY.

Pulitzer Prize and Tony Award-winner Michael R. Jackson (A Strange Loop) has won the ASCAP Foundation Richard Rodgers New Horizons Award. The annual award is presented to an ASCAP-affiliated musical theater composer that shows great promise at an early age. Previous recipients include Lin-Manuel Miranda, Pasek & Paul, and David Hein & Irene Sankoff.

IMPF partnered with Music Publishers Canada to host Create Nordic Bridges, a songwriting camp that promotes publisher and songwriter collaboration between Nordic and Canadian talents. The camp took place in Toronto from Oct. 27-29 and brought together 12 songwriters, producers and artists from Canada, Estonia, Finland and Sweden.

03 Nov 2022

MercyMe’s ‘Always Only Jesus’ Debuts at No. 1 on Top Christian Albums Chart

MercyMe banks its 12th No. 1 on Billboard’s Top Christian Albums survey as its new studio album, Always Only Jesus, blasts in atop the chart dated Nov. 5.

The 10-song set released on Oct. 21 earned 9,000 equivalent album units with 7,000 in sales during the tracking week ending Oct. 27 according to Luminate.

On Top Christian Albums Always Only Jesus follows Inhale (Exhale) which entered at No. 3 in May 2021 with 11,000 units, granting the group with its 14th of 15 career top 10s.

Prior to Inhale, I Can Only Imagine: The Very Best of Mercy Me opened at No. 3 in March 2018 then hit No. 1 in its second week, dominating for 19 frames. That set included two versions of “I Can Only Imagine,” the 1999 original and 2018’s “I Can Only Imagine (The Movie Session).”

The LP was released in conjunction with the movie I Can Only Imagine which starred J. Michael Finley as MercyMe frontman Bart Millard with Dennis Quaid as his father. The film chronicled the story of the band from its inception in the mid 1990s.

MercyMe’s run of 12 leaders began in 2001 with its first entry Almost There which debuted at No. 12 prior to its nine-week reign beginning in August 2003.

With a dozen No. 1s on Top Christian Albums MercyMe has the most of all duos and groups with Passion second (nine); then Casting Crowns and Hillsong United are next with eight leaders each. Currently on tour, MercyMe’s next stop will be at Boston’s Wang Theatre on Nov. 4.

STRYPER’S ‘FINAL BATTLE’

Also on Top Christian Albums the iconic Christian hard rock outfit Stryper’s new LP The Final Battle rockets onto the tally at No. 3. It earned 7,000 units in its first week and 6,000 in sales.

Stryper first reached Top Christian Albums with The Yellow and Black Attack which debuted in November 1984 and reached No. 10 the following June, marking the foursome’s first of 12 top 10s.

Battle, which sports 11 songs, follows the group’s first No. 1, Even the Devil Believes, which started atop the ranking with 10,000 units in September 2020.

The California based Stryper is fronted by founding member Michael Sweet (lead vocals, guitar); his brother Robert Sweet (drums); Oz Fox (guitar, vocals); and Perry Richardson (bass, vocals).

03 Nov 2022

Colton Dixon’s ‘Boat’ Docks at No. 1 on Hot Christian Songs and Christian AC Airplay

Singer-songwriter Colton Dixon scores his first No. 1 on Billboard’s streaming-, airplay and sales based Hot Christian Songs survey as well as Christian AC Airplay (both charts dated Nov. 5).

The 31-year-old Murfreesboro, Tenn. native’s latest single “Build a Boat” ascends 2-1 on both lists. The song hits the Hot Christian Songs summit as it drew 1.2 million U.S. streams and sold 1,000 downloads in the Oct. 21-27 tracking week, according to Luminate.

“Boat” rebounds 2-1 on Christian Digital Song Sales for a sixth frame at No. 1 after first reaching the apex on Sept. 17, becoming his third leader.

On Christian Airplay “Boat” floats 4-2 for a new best. It increased by less than 1% to 6.6 million impressions in the week ending Oct. 30. On Christian AC Airplay the single climbs 2-1 with a 3% increase in plays. Dixon earns his first No. 1 on both Hot Christian Songs and Christian AC Airplay. It’s his 14th Hot Christian Songs entry which includes two additional top 10s. His first appearance “You Are” reached No. 10 in 2013 and 2014’s “More of You” hit No. 9 that September. On Christian AC Airplay “Boat” follows “Miracles” which reached No. 8 in October 2020, giving Dixon his third of four top 10s.

“Boat” was co-written by Dixon, Pete Becker, Mikey Gormley, Johan Linbrandt and Seth Mosley.

“To anyone who had anything to do with this song, thank you,” Dixon tells Billboard. “Even more than having my No. 1 across these formats, I’m so grateful that so many people have applied the meaning of this song to their own story. Faith looks crazy sometimes, but the reward waiting on the other side far outweighs the sacrifice.”

Dixon, who competed during season 11 of American Idol in 2012, performed “Build a Boat” during his first appearance on the Grand Ole Opry on Oct. 24.

03 Nov 2022

Taylor Swift Claims Entire Top 13 of Streaming Songs Chart

For the second time in the nine-year history of Billboard’s Streaming Songs chart, the same artist occupies the entirety of the ranking’s top 10.

Songs from Taylor Swift’s new album Midnights make up the top 10 of the ranking dated Nov. 5, led by “Anti-Hero,” which bows at No. 1 with 59.7 million official U.S. streams earned in the tracking week ending Oct. 27, according to Luminate.

Only one other act has held down the entire top 10 of the tally at once: Drake, whose songs from 2021’s Certified Lover Boy swept the top 10 dated Sept. 18, 2021, paced by “Way 2 Sexy,” featuring Future and Young Thug, at 67.3 million streams.

Swift’s perfect score exceeds the previous best by any woman, eight of the top 10, achieved by Olivia Rodrigo on the ranking dated June 5, 2021.

Midnights’ Streaming Songs domination extends beyond the top 10. The album claims the entire top 13, following Drake as the second act to do so. Drake holds the all-time record, as Certified Lover Boy appeared in the entire top 14 in September 2021.

One thing Swift managed that Drake couldn’t: having the entirety of one’s standard-edition album appear on Streaming Songs before any other act’s songs. Midnights boasts 13 songs, with seven added to the deluxe 3am version. The No. 13 on the chart, “Sweet Nothing,” bows with 25.4 million streams, just over 1 million ahead of the next-closest song, Sam Smith and Kim Petras’ “Unholy,” at No. 14 (24.3 million).

Drake’s Certified, meanwhile, was 21 songs long, with its streak broken up by The Kid LAROI and Justin Bieber’s “Stay” at No. 15 (27.7 million).

The remainder of Midnights’ deluxe edition still appear on Streaming Songs, led by “Would’ve, Could’ve, Should’ve” at No. 17 (15.9 million).

Swift ultimately has 16 of the chart’s top 20, the most by any woman (surpassing her own mark Aug. 8, 2020, upon the release of her album Folklore, and Rodrigo’s on June 5, 2021 – both 11 apiece) and the third-most all time, following Drake’s 17 on July 14, 2018 (after the release of Scorpion), and his 19 after Certified.

She’s also the first woman to have at least 20 of the chart’s 50 positions, thanks to each of the 20 tracks from Midnights – standard and deluxe – reaching the ranking. Drake’s Scorpion week leads all acts with 28.

With 10 new top 10s, Swift now boasts 32 since the tally began in 2013, third-most among all acts behind Lil Baby (34) and Drake (73).

She also now has 104 career Streaming Songs entries, tied with Lil Baby for the third-most behind Future (108) and Drake (208). Those four are the only acts to top 100 entries in the chart’s history.

Concurrently, as previously reported, Midnights crowns the Billboard 200 and occupies the entirety of the multi-metric Billboard Hot 100’s top 10.

03 Nov 2022

Global Music Copyright Generated Nearly $40B in 2021 — Up 18%

Global music copyright generated $39.6 billion in 2021, up 18% from the previous year, according to the latest report by Will Page, industry analyst and former chief economist for Spotify. “The post-pandemic fallout has seen consumer subscriptions and ad-funded streaming continue to soar,” he wrote, “whereas business-to-business licensing by CMOs [collective management organizations] has only partially recovered.”  

Streaming accounted for 55% of global copyright revenue, up from 52% in 2020. The industry’s shift to streaming has been dramatic: jJust five years ago, in 2017, streaming accounted for just 30% of global music copyright revenues. 

Page brings together four sources of industry data for his analysis: IFPI’s annual Global Music Report, CISAC’s annual Global Collections Report, Music & Copyright’s analysis of music publishing and MIDiA Research’s estimate of royalty-free music licensing services such as Epidemic Sounds — a new addition to his study this year. He removes double counting in the reports, such as some mechanical royalties that are counted as revenue by both record labels and publishers.  

Record labels’ revenue grew to $25.8 billion in 2021 from $21.3 billion in 2020 and $19.8 billion in 2019. In terms of market share, record labels improved their percentage of global revenue to 65.2% in 2021 from 63.4% in 2020 and 60.6% in 2019 — a sign of healthy consumer spending on subscription services such as Spotify and Apple Music. 

On the flip side, publishers’ share of global revenue dropped to 34.1% in 2021, from 35.7% the year before. Still, as Page points out, this is more equitable than other points in history. In 2001, when labels’ revenues were peaking at the height of the CD sales boom, publishers received just 23% of revenues. In 2014, however, when label revenues had deteriorated, publishers were growing modestly and CMOs reported “record-breaking collections” up to 45% of global revenues. Record labels grew faster than publishers over the next seven years, however.  

Record labels’ share of revenue increased due to “the recovery in consumer spend on music,” according to Page, “which traditionally favors labels over publishers.” The trend was amplified by the pandemic’s impact on business licensing – such as performance rights blanket licenses for retail, radio and concert venues – that favors publishers over labels.  

Had the pandemic not occurred, performing rights income would have likely grown at 6% a year and would “arguably” be $1 billion greater today – a possible $9.4 billion rather than the actual $8.4 billion. On the other hand, wrote Page, “had the pandemic not happened, streaming may never have accelerated the way it did.”

Royalty-free music is a small part of the global music business but growing quickly thanks to the increasing need for easily licensed music on online platforms such as TikTok, Instagram and YouTube. MIDiA Research put the value of royalty-free music – meaning the license is a one-time purchase without residual royalties – at $250 million in 2021.  

03 Nov 2022

Clive Davis on Why Whitney Houston Biopic ‘Hit Home’ For Him

In May of 2019, Pat Houston — Whitney Houston’s sister-in-law and the executor of her estate — and music publisher and marketer Primary Wave announced a partnership that gave the company a 50% stake in Whitney’s assets — including her publishing, master recording revenues, name, likeness and brand — in a deal that valued the estate at $14 million. Since then, Primary Wave says it has quadrupled the estate’s fortunes — a figure it hopes will only explode further after a series of projects that will begin rolling out this fall, including a perfume line, a MAC Cosmetics partnership, an archival book and a biopic out Dec. 21: I Wanna Dance With Somebody, starring relative newcomer Naomi Ackie.

Centered on Whitney’s relationship with her mentor Clive Davis (portrayed by Stanley Tucci) and written by Anthony McCarten — whose previous blockbuster biopics (The Theory of Everything, Darkest Hour and Bohemian Rhapsody) have all yielded Academy Award wins — the film is being produced by Pat, Davis, McCarten, Primary Wave, Sony Tristar and Compelling Pictures. “My interest with the biopic has everything to do with Clive Davis,” says Pat Houston, noting the film will also contain a previously-unreleased song. “When she was here, he was always a fighter and always leading her career, and musically, he has that same vibe and feeling. You can’t mention Whitney Houston without mentioning Clive Davis, and I wanted it to be about the music and that relationship and how she got there.”

Davis, who worked with McCarten to develop the script and consulted on the historical aspects of the film, spoke to Billboard about bringing “the full picture of who [Whitney] was” to the big screen.

How did the idea for this biopic come about?

It was time that a full-fledged theatrical biopic be done on Whitney. And by total coincidence, one of my best friends was doing some production work with Anthony McCarten, who had done so well [as screenwriter of] the Queen film, Bohemian Rhapsody. So I started meeting with Anthony, and he was very, very interested in writing it. It was my task to really inform him, make sure that every aspect of Whitney was researched. I introduced him to the family, to everyone that had worked with Whitney, including her counselor, so he really embarked on a year to two years of research about Whitney and her life. When we both agreed that we had a final script that was authentic, honest and understood the full nature of Whitney’s life, I introduced him to Pat Houston and to [Primary Wave founder and CEO] Larry Mestel.

Were you involved in the casting?

I met and spent some time with Stanley Tucci, who plays me — and who was everyone’s primary choice, though I did not meet him until after he agreed to do the part. Before he and I spoke, he wanted to and did read my autobiography and saw my documentary [Clive Davis: The Soundtrack of Our Lives]. And then we Zoomed, and then I went up to Boston, where they were filming, and I met with him in person. I’m extremely pleased with the performance that he gives.

With respect to Naomi Ackie [who plays Houston], we knew it would be Whitney’s voice in the film, so we were not appraising musical performance, but acting strengths. When we watched the audition tapes of the leading candidates, we all agreed on Naomi being very, very special.

How did you feel watching this film come to life?

It hit home. It’s realistic. Scenes between Whitney and me, obviously, were emotionally impactful, from the time we first met to going through the musical, personal relationship we had, the more difficult times in dealing with her problems. I think the film is very accurate in its portrayal of the dialogues we had.

What was it like working with Larry Mestel and Pat Houston?

Larry and I got along extremely well. With our outlook, our goal, our mission, our sense of fulfillment, we were pretty much on target. I found him understanding [of] the big picture. Pat attended every meeting I did. We would all meet together, see drafts of the film, exchange viewpoints and have dialogues as to accuracy. It was obviously a very emotional experience with Pat, too.

What effect do you think the film will have on Whitney’s legacy?

I would hope a very positive effect. I think it shows real depth and understanding of who she was, as well as the magnitude of what her musical life represented. I was an admirer of Bohemian Rhapsody and the Elton John film [Rocketman]. A well-done biography film reviewing the totality of a life as far as the music certainly adds to the legacy of the subject.

With this film and the other Whitney projects coming soon, how does it feel to see her celebrated again?

It’s a combination of enormous pride, enormous regret at her premature passing, wonderment at the uniqueness of her incomparable voice and the impact she had on musicians, artists, singers everywhere, even young ones coming up today. It’s been quite the emotional human experience.

This story will appear in the Nov. 5, 2022, issue of Billboard.