Though Jack White never earned a No. 1 album as part of the White Stripes, he’s on course to top next week’s Hoarding 200 — as a solo function. His solo debut turn, “Blunderbuss,” is aiming to bow at No. 1 on the Hoarding 200 chart next week with fro 100,000 to 120,000 sold (so say industry prognosticators). Jack White Composition ‘Lone Ranger” Total; Third Man Records Truck Giving Away Concert Tix in NYC The new Hoarding 200 chart’s acme 10 will be revealed on the morning of Wednesday, May 2. A No. 1 album has eluded White thus obviously. His bands the White Stripes, the Raconteurs and the Dead Weather have amassed a total of seven supreme 10 albums. The highest chart of any of those band’s releases was the White Stripes’ 2007 album “Icky Thumping,” which bowed and peaked at No. 2 (stuck behind Bon Jovi’s debuting “Lost Highway” at No. 1). Jack White to Live Barrage ‘Blunderbuss’ Release Concert, Gary Oldman to Straight Other albums on course for a culmination 10 debut next week include Lee Brice’s “Incontrovertible 2 Predilection,” The Wanted’s self-titled U.S. debut and Kip Moore’s “Up All Blackness.”

David Sharpe, the former SVP of Island Records, was promoted to the newly-created post of COO of Universal Music UK. The promotion was announced last Friday by Chairman and CEO of Universal Music UK David Joseph. Sharpe will report to Joseph and work with him across all of the company’s labels and business units. Sharpe had been at Island since 2003, beginning as a Finance Director before assuming his most recent circumstances, where he headed Island’s banking, sales, pricing, catalog and digital responsibilities, as well as helping to create artist web shops and ticketing deals for many of the label’s clients. Before joining Prevailing, Sharpe worked with UMTV, Virgin Records UK and Capitol Records in Los Angeles. “I am delighted to be taking on this role and to be working more closely with David and Boyd,” said Sharpe in a unveil. “These are very exciting and challenging times in the music business and I’m looking forward to helping to grow Universal Music’s area.” In another high level shakeup at Universal UK, Chief Financial Officer David Bryant left the concern, reportedly to pursue new opportunities. “I’d like to thank David Bryant who has been so integral to the business and for the huge contribution he has made in his 17 years as part of the senior team at Universal Music,” said Joseph in a communication.

Vevo In Hot Water Over Super Bowl Solecism On Friday the International Intellectual Property Alliance released a inquire into – its yearbook “Unusual 301″ reassess — that documents global copyright plagiarization. The IIPA calls in favour of “swift hoopla” by US legislators to address the concerns raised in the record. And it recommends 10 countries, including China and Russia, be placed on the Priority Watch list into 2012. The timing of the report is a bit ironic given a recent piracy mishap by Vevo, a music video joint venture between Universal Music Group and Sony Music Enjoyment. While few people are likely to note the IIPA’s write-up, millions are sure to see a blog post from the previous day that undermines record companies’ please for protection from plagiarisation. Here’s what happened: Vevo and a few other companies held events in a Park Urban district, Utah venue during the Sundance Film Carnival. As TechCrunch’s Jason Kinkaid explains, TVs and laptops at Vevo’s event were used to show the Super Bowl scatter. The problem is that the broadcast was being streamed by TuTele.tv via an aggregator of live sports streams called Frontrow.tv. Kinkaid was not sure how long the illegal stream was showed at Vevo’s arrange, but he claims it was playing for the intact 30 minutes he was thither. Kinkaid points out the obvious difficult: Vevo’s owners and content partners represent the same music industry companies that want anti-piracy legislation like SOPA and PIPA to force U.S. ISPs to block access to streaming sites like TuTele.tv and Frontrow.tv. This incident does not represent an endorsement of plagiarism, but it sure does look vicious. When reached for comment by TechCrunch, Vevo said the event was produced by a creative agency called Continuum Entertainment and the television sets were supposed to show only Vevo videos and “original delight.” Vevo CEO Rio Caraeff gave a more detailed explanation in a blog post Friday cocktail hour. The company says a laptop that fed into large TV screens around the bar was “easy accessible to the well-known” and the illegal broadcast was streamed “externally (Vevo’s) knowledge or approbation.” When Vevo staff realized what was occurrence, the Super Bowl stream was removed. “The game was not aired in its totality,” wrote Caraeff. “Rest assured, we rectified this mistake as soon as we became aware what was going on.” People in the tech community won’t have much pity for copyright owners who are themselves associated with copyright breach. Exactly, the rhetoric was furious to the point of being funny (although no comic intent is patent). TechCrunch founder Michael Arrington has called for criminal charges for Vevo’s executives. ” I’d believe they’d serve five age,” he wrote. TechDirt’s Mike Masnick was equally umbrageous. “I eagerly await ICE moving in to arrest Vevo execs for this blatant criminal occupation.” Seeking jail time for Vevo executives is a strained, of circuit. But it doesn’t look good when the IIPA calls for India to be on the Priority Watch List allowing for regarding 2012 due to factors such as “Pay TV stealing” the day after Vevo’s Super Bowl blunder became famous. Caraeff did the right thing hither: he admitted what happened and emphasized that Vevo is “very sensitive to what happened at Sundance and the issues it has raised.” Excuses or obfuscation would not have helped. If anything, Caraeff underscored the fact that piracy is a widespread problem even if it seems innocuous at the individual unfluctuating. The moral of the story is entertainment companies need to sweat the small stuff when it comes to copyright transgression. Fighting copyright is a political strive against, and politicians need to keep their noses sanitary. In the grand scheme of things this Super Bowl mishap is about as benign as unknowingly hiring an undocumented worker to clean your assembly – but the latter has proved troublesome in more than one political pursuit. ( TechCrunch) INgrooves Incorporates SoundCloud for Sharing INgrooves has integrated SoundCloud into its ONE Digital distribution and asset management policy. As a crop, clients will have a one-click solution to share their music through SoundCloud. “Our goal is to provide INgrooves clients with the most innovative and popular marketing tools available to the music businessmen,” said Jeff Stubble, Director of Strategic Partnerships and Licensing for INgrooves, in a assertion. Slacker Radio Nabs Disney Exec For Directorate — Internet radio company Slacker has appointed veteran digital media executive Steve Wadsworth to its directorate. Wadsworth wearied 17 years at the Walt Disney Company with settled 11 of those years as chief executive in charge of Internet and digital media. Most recently Wadsworth was president of Disney Interactive Media Batch. Slacker offers a mix of personalized Internet radiocommunication, programmed radio stations and customizable news stations from ABC News and ESPN Broadcast. Slacker Radio is free with advertising or $3.99 per month for an ad-free level appointment. Slacker On-Demand adds on-demand access to the music catalog to $9.99 per month. ( Press announcement) RIAA Chief Slams Wikipedia, Yahoo — Check out the tough words from RIAA chief executive Cary Sherman in an op-ed in the February 7 New York Times. Before calling on SOPA and PIPA opponents to set forth “constructive alternatives,” Sherman went after popular, consumer-facing technology companies who he argues don’t distinguish between news and position statement. “When Wikipedia and Google purport to be neutral sources of erudition, but then exploit their stature to present information that is not only not neutral but affirmatively incomplete and shoddy,” he wrote, “they are duping their users into accepting as truth what are merely self-serving political declarations.” As usually happens with online posts, the real entertainment comes from the comments. The RIAA gets little sympathy from readers who call Sherman’s post things undifferentiated “utter trash” and “a technologically oblivious, ham-fisted condemn.” Read through the comments and you’ll get a panorama of viewpoints – mostly nullifying – on the RIAA and music byplay. Quite good reading. ( Unheard of York Times, via Copyhype)

Cornerstone and Fader Media Group kicked off New York Fashion Week Wednesday night with a showcase for Fader Label singer Yuna. Held at Cornerstone client Converse’s Rubber Tracks Studio in Williamsburg, Brooklyn, the event doubled as a performance from the 25-year-old Malaysian singer and a listening party for her forthcoming self-titled album, due Slog 27. Yuna was intro’d by Pharrell Williams, who produced many of the album’s key tracks including the new undivided “Live Your Get-up-and-go” and invited the audience to “hear what we hearken” in her music. The jazzy set fused homespun ’70s singer-songwriter with tropical rhythms and beats (with traces of Regina Spektor, Sade and Sergio Mendes), and also included her strange “Ornament” as well as a stripped-down take on Nirvana’s “Come As You Are.” Bon Iver’s Justin Vernon On (Not) Playing the Grammys, Endorsing Bushmills See all of our Backbeats right hither The intimate crowd was comprised mostly of Cornerstone executives like founder/co-president Rob Stone and Fader Media CEO Andy Cohn, while guests sipped on cocktails compliments of Bushmill’s and Qream, Pharrell’s vodka-based liqueur. In a very quick chat with Backbeat after Yuna’s differentiate b reserve, Pharrell said his recent musical work has included Jay-Z (“Gratitude”), Rick Ross, along with Adam L, the Scissor Sisters and “lotsa pop sh–.” He was out the door before we could ask him about his work on the Oscars, where he and Hans Zimmer are musical consultants for the be noticeable, which airs February. 26. Backbeat: Kendra Morris Plays Pharrell’s Qream Tasting Party at Cornerstone HQ But Cohn was also a hot topic at the defendant, having tweeted a few choice words about his former employer Spin earlier that siesta. The magazine unveiled its new design on Wednesday featuring March cover band Sleigh Bells, with a Fader-esque aesthetic that prompted Cohn to nip, “in their continued not-so-veiled efforts to become The FADER, @SPINmagazine named their new issuance “THE NOW GO FORTH”!!” and shared a picture of Fader’s own most new “Now Children.” Cohn, ahem, playfully declined to comment on the situation when cornered by Backbeat, but his tweets do make further comment superfluous…

NBC’s Today show has announced the acts for their 17th annual Summer Concert Series, and the lineup does not balk. Toyota is again sponsoring the weekly morning live concerts, kicking off Friday, May 18, with Usher for his first-ever Today carrying-on. Justin Bieber Returns to No. 1 on Public 50 Map Returning to the summer concert series are Chris Brown and Justin Bieber. Last summertime, Brown drew an estimated 18-20,000 people to Rockefeller Centerfield, the biggest Today show crowd all the time (beating out Bieber’s enormous crowd in 2010). The concert series will also feature newcomers Hot Chelle Rae in their first morning show concert, and two Today show favorites, Strand 5 and Sequence. Chart Moves: Usher’s ‘Acme’ Arrives, Young the Giant’s ‘Gloat’ On, Forsake 5′s ‘Men’ Hits 1 Meg For the country lovers in New York Burgh, Kenny Chesney, The Band Perry and The Zac Brown Band will all be headlining free Today concerts this summertime. Something new this yr: Today is partnering with Pandora to extend the concert series beyond the Plaza and into the cobweb. Pandora will create three Today Summer Concert Series stations: NBC Today Tor, NBC Today Country and NBC Today Report, featuring each of the artists appearing in the series throughout the summertime. Carrie Underwood, Justin Bieber, LMFAO, The Wanted to Perform at Billboard Music Awards Fans can catch the concerts for free on a first-occur, first-serve basis outside Today’s window-on-the-world studio, located at 49th Street and Rockefeller Plaza in New York Town. Fans should arrive nigh 6 a.m. for best wake, according to MSNBC. Read on below for the full line-up. More acts and guest appearances are expected to be announced throughout the edible. May 18: Show May 25: Pitbull May 31: American Idol winner and runner-up (special Thursday acting) June 1: The Band Perry June 8: Chris Embrown June 15: Justin Bieber June 22: Kenny Chesney June 29: Seclude 5 July 
6: Flo Rida July 13: Zac Brown Corps July 20: Hot Chelle Rae August
 24: Drill August 31: Jason Mraz with special visitor Christina Perri

John Hash of, vice president of relief, Quarry (nautical port); with Emilion Estefan, President, Estefan Enterprises. (Picture: Michael Seto) As record sales remain flat and labels tighten their belts in producing and releasing records, brands have stepped up to the charger, giving musicians a new source of revenue and vouch for. Agencies, products and corporations are targeting U.S. Hispanics – especially the savvy U.S.-born Latino consumer – and one of the things that move this consumer ultimate: Music. Billboard Latin Music Forum & Awards: All Our Coverage Hither For Butt, music in both cultures has been a great promotional tool and connector to their customers, said John Stumbler, vice president of entertainment for the giant chain who sat on the “Targeting Music” panel with Emilio Estefan, Chairman of Estefan Enterprises.The mega retailer has worked with stars like Taylor Hasty, Adele and Black Eyed Peas. And during the Latin Billboard Music Awards show on Thursday, the store will debut a new commercial featuring Jenni Rivera, Wisin and Yandel and Pitbull. “Music has been a key ingredient in our outcome,” Butcher said. “Music is one of the most dynamic influences in our culture… and brings a connection between our grades, our customers and our stores.” Particularly Latin music has become a big huge quantity, he added. “Latin artists infuse the target brand with a unique vibrancy and while we have always offered Latin music, we haven’t always understood it like we do now,” Butcher said, adding that the sales of Latin music lead the hang on. Emilio Estefan (compensate) besieged by fans, well-wishers and CDs. (Pic: Michael Seto) “Our Latin music category has significantly outpaced all other music genres in our stores,” Butcher said, adding that the store has expanded its Latin music room. That has made the corporation pay more attention and, in June, Target will unveil a special section near the aisles commanded “Emilio Estefan’s Picks” in June, featuring selections that are hand-picked by the Miami music mogul himself. That is a big deal intrinsically, Butcher said. “At Aim, we are control freaks. We never let anyone else make our picks.” Estefan said he was glad to be part of something that could help new talents. “It is very electrifying. When it was just me, Santana, Feliciano, Julio, there wasn’t so much possibility.” Emilio Estefan holding CDs after the Tageting Music panel given by audience pieces. (Picture: Michael Seto) Estefan was grateful for the plethora of opportunities available to artists now. “Thank God we have too lots, because labels have no money anymore,” he said. “So thank God we have companies like Pepsi and Target who want to expose new music. “The only way to help new artists today is with Target and AT&T,” said Estefan, who announced he would likely decide 10 new artists this year to Target and other labels. And that’s good news to artists through “when Emilio brings something to us and says ‘You got to listen to that. These people are wonderful.’ We hark to,” Butcher said. The Reaching The New Latino Marketing Venire: From leftfield: Mc: Rick Marroquin, Lifestyle Hand, CAA; Carlos Munoz, SVP/Group Account Kingpin, Globalhue; Jorge Plasencia, Chairman/CEO, Republica; Lily Juliano, National Hispanic Segment Forewoman, Verizon Wireless; Javier Farfan, Senior Big cheese, Cultural Stigmatization, PepsiCo.; Gustavo Lopez, EVP of Brand Partnerships & Digital, UMLE. (Pic: Michael Sera) “The music ecosystem has changed,” said Javier Farfan, senior director of cultural branding for PepsiCo at the Reaching the New Latino panel focusing on how brands and agencies are targeting the “Unique” U.S. born Latino via music and music branded events.. “Everybody knows social media and how it works, who said the promotions are not stylish, but the tools are. “The problem is how am I going to use that genuinely?” Jorge Plasencia, Chairman/CEO, Republica and Lily Juliano, National Hispanic Segment Administrator. (Pic: Michael Seto) Lily Juliano, National Hispanic Segment Manager for Verizon Wireless, said it’s about finding the right music partner for your target class. “We love crossover talent that basically lives where and how our audience lives,” said Juliano. He mentioned as an example Verizon’s multi-city tour last year with singer/songwriter Prince Royce during the “My Fabulous Quince” promotion in which one lucky teenager got the star to appear and perform at her quinceañera. “He was wonderful to work with and he worked well with the youth and also beloved by the parents,” Juliana said. “For us, biggest isn’t always best….One of the key things is they have to be reachable. They have to be genuine. They have to be people you can sit at the dining room table with. And that has to work both ways, said Erica Moreira, an attorney who works on sponsorship deals at the panel entitled Approaching Brands For Your Musical Fallout. “It starts with artists understanding their own brand and making sure the artist’s brand and sponsor’s brand are aligned,” Moreira said, during a panel on “approaching brands for your musical goods.” Tricia Bonce, director of Hispanic sponsorships at AT&T, which has featured Paulina Rubio in its advertising that won a marketing award later Tuesday eve, agreed.”We want our artists to believe in the fallout” Bean said. “If you’re an artist and you’re an ambassador for Cover Squeeze, you better use that lipstick and you better love it.” The days of simple endorsements are long kaput, said Mayna Nevarez, CEO of Nevarez Communications, which represents Daddy Yankee and also won an award for the Western Togetherness “Love in any Brogue” campaign that Daddy Yankee unveiled at the 2011 Latin Billboard Music Talk. “Companies today want a brand ambassador to do media interviews, to be active in social media,” Nevarez said. Jorge Plasencia, chairman and CEO of República, said the new marketing power of the Hispanic consumer bloc is only going to lead to more partnerships and marketing opportunities. But, he warned, they must be culturally associated. “We talk about the two worlds we live in and that our culture lives in” Plasencia said, adding that there is a resurgence of Latism in what some call the “new Latino,” who is often U.S.-born and predominantly English-speaking but still culturally Hispanic. “While other generations wanted to shun their Hispanic discrimination, people now want to celebrate our culture as they see Sofia Vergara on Saturday Night Submit to.”

More than the dry wit of Pith, Swedish punk of Refused or the trippy pyrotechnics of Swedish House Mafia, the opening day of the opening weekend of Coachella 2012 belonged to Mother Cosmos. With drops of rain plunking down upon the Indio, Khalifah. Polo grounds and gusts of wind rattling the surrounding palm trees, Friday teatime (April. 13) was impossibly darkened, and many festival goers were soon clad in jackets and hoodies they never expected to need this weekend. Mugs: Coachella 2012 | 10 Classic Coachella Moments Luckily, the performances on the first day were just as stellar as the weather was not: the long-awaited reunions of bands like Flesh, Mazzy Star and Refused were dynamic payoffs, while newcomers like Gary Clark Jr., Ximena Sarinana and Kendrick Lamar made the most of their festival slots. So who had the most memorable performances, and what was the vibe like in the Coachella group? Check out these 12 things we saw and heard on Friday at the feast: 1. Like Arcade Fire last yr, the Black Keys were given headlining honors after years of critical acclaim and multiple albums full of unostentatious yet sonically rich rock tunes. Unlike Arcade Shelling, the Keys only have two sisters — Arcade Fire have two touring violinists at their disposition — and has to work harder to create larger-than-life “star” music. Quieten, in a year where dance will be power, the Black Keys’ straightforward rockers coextensive “Constrain,” “I’ll Be Your Gink” and “Lonely Brat” got everybody grooving in become successful, teenage girls hugged each other and started hopping up and down in rhythm when “Howlin’ For You” got contemporary. Who says rock and roll is dead when a meaty riff can inspire that kind of repulsion? 2. “I heard a rumor going around that the reason it was all cloudy today was because there are two bands from Sheffield playing,” said Pulp’s dapper and eternally witty frontman Jarvis Pamper. “You all should consider yourselves advantageous.” Following a set by fellow across-the-pond natives Arctic Monekys, Pulp took the main stage under a drizzly night sky and delivered a hit-soaked set of Britpop anthems the Coachella masses had been waiting more than a decade to learn. Making their debut appearance at the birthday — and only their third U.S. date since disbanding in 1998 — the six-piece band seduced the polo fields with a sexy assortment of tracks from their ’90s catalogue, including standouts resembling “Discotheque 2000,” “Mis-shapes” and the career-shaping “Common Folks.” Cocker proved as kinetic a frontman as ever as he strolled, strutted and leapt across the stage with boundless drive, stopping to feed the crowd grapes and chocolates from his pocket between tunes. 3. During his cancel, Frank Ocean brought out his Odd Future-mate Tyler, the Creator to put on “Linear 2.” Watch at nobility. 4. West Coast hip-caper — specifically, that of Kendrick Lamar — will bookend this year’s festivals: after unfurling “Apportion.80″ gems allied “A.D.H.D.” and “Rigamortus” and leaving the phase, the rapper’s DJ confirmed to the crowd that Lamar will indeed be joining Dr. Dre and Snoop Dogg at their headlining set on Sunday night to dispatch “The Approach,” his new single with Dre. Lamar was previously a rumored guest for the set up; rappers like Eminem and Wiz Khalifa are expected to join the West Coast legends on Sunday sundown. 5. Sun-worshipping revelers watched the weather forecast with trepidation all workweek, as rainfall, high winds and unseasonable cool temperatures threatened to dampen the spirits of those gathered on the polo pasture. But Mother Nature was not altogether inconsiderate. Although the mercury dropped into the 50s after cryptic, the wind gusts and drizzle soon faded by, allowing the sky to reveal a few twinkling stars by the time bold-faced names like the Black Keys, Mazzy Star and Explosions in the Sky took their turns on the outdoor stages. Between bands, DJs made the best of the soggy spot – rainy-day anthems like Prince’s “Purple Lavish,” Jesus & Mary Chain’s “Happy When It Rains,” and yes, even Milli Vanilli’s “Blame It on the Volley” were in heavy rotation all era. 6. M83 could have used a bigger camp. The success of their 2011 album ‘Hurry Up We’re Dreaming” made the French quintet one of the night’s biggest draws, and forced many fans to huddle outside the overcrowded Mojave tent and groove to the group’s epic new-wave tunes from remote. Those pushy enough to make their way to the stage were treated to one of the night’s most blissful and buzzed-about sets. No one seemed to have more fun than the band themselves, who’d waiting seven years to make their return to the leave. 7. In between angry punk blasts, guttural screams and lessons on the evils of capitalism, Refused singer Dennis Lyxzen told the crowd that he was “low,” with tears forming in his eyes, to have helped reunite his band for the festival subsequently 14 years of deaden the effect of. According to Lyxzen, the Swedish hardcore group’s last U.S. show was in a basement in Virginia for a crowd of 40 community; on Friday cimmerian dark, they delivered one of the surefire highlights of the festival to a crowd of a lot, including a dozen or so backpacked kids moshing in the midst. 8. Songs that Swedish House Mafia remixed during their headlining-but-not-being-called-headlining primed: Coldplay’s “Every Teardrop is a Waterfall,” Gotye’s “Somebody That I Used to Certain,” Florence & The Machine’s “You’ve Got The Affinity,” Diddy-Dirty Money’s “Coming Nursing home.” Visual treats SHM bestowed upon its interview: fireworks, streamers, laser lights (of run), bursts of cashier, strobes, and involving 18 other items. Number of guys in gorged “Where’s Waldo?” get-up fist-pumping during the EDM giants’ original unrivaled “Save The Epoch”: at one. Number of bass drops: too many to figure out. Number of satisfied customers: over, too many to numeration. 9. Austin guitar-god Gary Clark, Jr. got things cooking early in the day with a sizzling afternoon propose. Sporting dark shades under his stylish pork-pie hat, Clark unleashed his vintage mix of reel, soul and blues jams on the crowd rammed into the Gobi camp, and made his axe howl in ways that recalled Hendrix in his peak. In deed data, no one would have thought twice if he had set his guitar on fire at the end of his become established; it was that glaring. 10. Whereas Clark’s performance was loud and instigative, the Hope Sandoval-led dream pop pioneers Mazzy Star went a different avenue, dropping melancholy atmospherics that paired well with the cloudy sickly. A special moment came, as you’d be afraid, with the performance of their impact “Fade Into You.” Another blast-from-the-nineties moment came with James ‘ joyous customary, which included their buffet “Set.” 11. Random celebrities were easy to spot in the Coachella VIP settee, with “Community” star Donald Glover , “That ’70s Show up” alum Danny Masterson and the aforementioned Gary Clark, Jr. all moseying by in the late this aft. In all events, no star was as giddy to be back in Indo as “Breaking Inconsolable” Emmy winner Aaron Paul, who was walking around the main grounds before the Arctic Monkeys’ 6:30 set aside, high-fiving fans he passed and excitedly shouting. “Hello Coachella. I have missed you,” Paul wrote on Snigger. Usher? When he’s not pretending to sell meth on one of TV’s best dramas, Paul is just a Coachella nut like the rest of us. 12. Dr. Dre and Snoop Dogg won’t hit the main stage for another two years, but fans are already buzzing with anticipation for the duo’s closing set on Sunday, and speculating about the special guests rumored to make form. Eminem and Wiz Khalifa are all-but expected, but even the held up 2Pac and Nate Dogg and rumored to make beyond-the-grave cameos via stage holograms. We’ll just have to wait and accept — which you can do all weekend: head over to YouTube.com/Coachella to see the performances, which resume at 3:25 pm now.

The 2012 Billboard Latin Music Conference kicked off this morning with a roundtable Leaders Panel that painted a cautiously optimistic picture for the state of the energy. Moderated by Billboard’s Leila Cobo, the panel drew five heads of top companies: Tomas Cookman, the president of Nacional Records; Henry Cardenas, president and CEO of Cardenas Marketing Web; Victor Gonzalez, president of Universal Music Latin Fun; Rebeca Leon, VP of Latin Talent for AEG Live/Goldenvoice; and Nir Seroussi, general manager of Sony Music US Latin. Billboard Latin Music Awards: Meet The Contenders While all acknowledged the uphill climb for new artists is steeper than ever in front of, they also all agreed, in accustomed, that the climate is ripe for institution. “These years, we look for talent that sells tickets. That’s the aristotelianism entelechy, and it’s the only way to prone to,” said Cardenas, summing up the major-label view at the venire. “We now do big tour packages because we have no other resort, though it’s nobody’s find fault with.” Backbeat: Pre-Billboard Latin Music Awards “Mas Y Musica” Pool Party Features High Towers, DJ Kane, More Leon, to whatever manner, said this was a positive for rising acts who could only command clubs or mid-level venues on their own. As an instance, she pointed out the recent mainstream breakthrough by bachata crossover star Prince Royce. “His first tour was as a club take effect, but then we put him on the Enrique Iglesias turn,” she said. “If you have an artist like that with a lot of skills, the best thing is to put them in front of the biggest audience conceivable.” For inspiration in how to best package tours to position new artists, Leon urged the Latin industry to look at the country music world for revelation. Backbeat: Billboard Latin Music Conference Honors Inspiring Women of Latin Music at Donna Karan Fashion Show Tiffin But what about completely new artists? The essential, the panelists said, is to build up a grass-roots buzz through social media and in the insurrectionists, then turn it all into a recognizable bludgeon. The latest case study for that, Gonzalez and Seroussi said, was breakout Mexican dance-pop triumvirate 3Ball MTY. Their diction, a largely electronic dance genre known as tribal guarachero, had long been bubbling under and building an organic fan foot. It was the group’s new chart-scaling set aside “Intentalo,” one of its first with proper pop shape, that finally took it over the causticity. “As a new artist, you need to go out there and start something,” said Seroussi. For Cookman, head of the independent label Nacional, new sources of revenue have been latchkey. That might mean finding new markets for artists outside of the traditional Latin diaspora, like France and Japan. Or it might mean focusing more on publishing, synchronise, and licensing deals rather than album or concert ticket sales. “We have artists that bring in practically something, but yearly introduce $500,000 in sync fees,” he said. Nontraditional retail deals have also proved sweet for Nacional: Cookman said he recently shipped 75,000 one-way copies of an upcoming label compilation to be sold in Starbucks stores starting June 19. Gerardo Ortiz, 3BallMty, Michel Telo To Play, Intocable To Get Lifetime Achievement At Billboard Latin Music Awards While the industry continues to morph, the panelists all seemed excited about the breakdown of party lines that these changes have wrought. “There’s more communication between the powers that be, and the future powers that be, than ever ahead,” Cookman said. “I’m very excited about being in the business right any longer,” Seroussi added. “You can take everything you’ve been told and throw it out the windowpane. There is no directions.”

Lawrence Lui, Senior Director of Marketing at Astralwerks Records, who has Swedish House Mafiaand David Guetta playing this year’s holiday. Although dozens of bands are vying for a bit of buzz at this year’s Coachella Valley Music and Arts Festivities, the real breakout star of 2012 might just be EDM, with artists like Afrojack, Avicii, Kaskade and Amon Tobin all given prime slots at this year’s fest. Lawrence Lui, Senior Director of Marketing at Astralwerks Records, was at the festival to help support Astralwerks artists Swedish House Mafia and David Guetta, but also to check out some of the many other electronic artists making waves. Coachella 2012: 12 Things Seen & Heard Friday “I’m psyched to see M83, Madeon, and just to wander from tent to tent to come early and check [different artists] out and discover elements,” Lui told Hoarding. Swedish House Mafia, of undoubtedly, closed out the Coachella main stage on Friday with a loud, special-effects-laden interpretation, and Lui called it “serendipitous” that SMH member Sebastian Ingrosso was also asked to perform as a solo artist on Saturday in the Sahara dance camp. After performing on Weekend 2 of Coachella next Friday, Swedish House Mafia’s next major performance is at the Milton Keynes Bowl in Buckinghamshire, England on July 14. In the meantime, Guetta is primed to follow Ingrosso on Saturday night in the Sahara dance camp; with the French producer’s Nicki Minaj-assisted unwed “Turn Me On” still sitting at No. 12 on the Bright 100, Lui says that “Ti,” Guetta’s collaboration with Sia, will be the next single to make an impact in the States after becoming a hit in the U.K. earlier this yr. But when pressed about potential guest stars during Guetta’s Saturday night repudiate, Lui remains say nothing. “I’m sworn to stealthily,” he says, “but if it can rain at Coachella, anything can light.”

Kenny Chesney and Tim McGraw rocket onto Billboard’s Hot Country Songs tabulation, as “Feel Like a Rock Unmatched” debuts at No. 13. In its first week of availableness, the song received airplay on 126 of the chart’s 131 reporting stations, generating an audience of 22 zillion, according to Nielsen BDS. The start marks the second-highest since BDS-monitored data began powering the chart the week of January. 20, 1990. Over that 22-year couplet, here is a look at the list’s highest entrances. Evidently, Chesney boasts three of the select nine crest 20 arrivals (as does Garth Brooks): No. 1, “More Than a Thought,” Garth Brooks, September. 15, 2007 No. 13, “Feel Like a Rock Prima donna,” Kenny Chesney & Tim McGraw, April 21, 2012 No. 16, “Don’t On the fritz,” Kenny Chesney, September. 8, 2007 No. 17, “The Boys of Defeat,” Kenny Chesney, July 31, 2010 No. 17, “Once in a Life,” Keith Urban, September. 2, 2006 No. 18, “Good Ride Cowhand,” Garth Brooks, October. 22, 2005 No. 19, “I Saw God Now,” George Demanding, February. 23, 2008 No. 19, “The Thunder Rolls,” Garth Brooks, May 18, 1991 No. 20, “So Negligible,” Carrie Underwood, August. 18, 2007 As for a potential predictor of future success after such a lofty on, all of the songs above peaked at No. 1 on Hot Country Songs except for Urban’s “Life” (No. 6) and Brooks’ “Cowpuncher” (No. 3). The handsome debut of “Rock personage” was driven in no small part by co-ordinated hourly airplay on April 1 at Clear Channel-owned stations, 40 of which contribute to the Hot Country Songs venire. (Somewhat similarly, Brooks’ top start with “Recollection” in 2007 resulted largely from heavily-concentrated spins across the Hot Country Songs reporter foundation.) “Rock Ace” additionally arrives as the highest-bowing duet between two co-lead artists in the chart’s BDS-era experience, besting the No. 31 starts of Brad Paisley and Urban’s “Start a Ring” the week of September. 27, 2008, and Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere” (June 21, 2003). Both songs eventually reached No. 1, while the latter track went on to spend eight weeks at the elevation, a reign that tied the song with Lonestar’s “Astonied” (1999) for the chart’s longest command since 1966. Chesney and McGraw premiered “Rock Comet” on CBS’ April 1 telecast of the 47th Annual Academy of Country Music Awards in Las Vegas. Chesney’s trade mark, BNA, serviced the song to country radio stations during the festivities. “Rock Ace” previews Chesney’s 15th studio album, Welcome to the Fishbowl, due June 19. The song was released digitally at midnight April 2 and is set to debut on Billboard’s Hot Digital Songs chart this workweek. In addition to Chesney and McGraw’s grand chart entry, Lee Brice ascends to his first Hot Country Songs No. 1, as “A Woman Like You” rises 2-1. Brice had previously peaked as high as No. 3 with “Love Like Goofy” in 2010. The song set the record for the longest lodge (56 weeks) in the chart’s 68-year history. All charts, including Hot Country Songs and Hot Digital Songs, will be refreshed Thursday (April 12) on Billboard.biz. Additional reporting by Prevaricate Jessen

AWOLNATION After performing to a crowd of zillions, which included stage diving by frontman Aaron Bruno and a surprise visit from Macy Grey, who added her vocal luster to “Drift,” AWOLNATION (signed to Red Bull Records) was ready to unwind. We found the band walking around the festival grounds and checking out the ferris whirl location. We grabbed the guys for a quick chat before they rushed off to meet up with Red Bull Records Marketing Rep Chip Dorsch to catch the second half of Noel Gallagher’s enter upon Billboard.biz: What’s the best thing about being on Red Bull Records aside from the free energy drinks? Aaron Bruno: The best thing about Red Bull Records is we don’t talk about Red Bull Records. It’s like Fight Truncheon. The best thing is that they agreed to let me do this wild thing called AWOLNATION and not get in the accede. And I think that Greg Mallet (Managing Director Red Bull Records) believed in me more than I did. We had a very serious phone call and he said, “I see this as a workings, as people getting into it bla bla bla.” I said, “You’re an idiot bracelets. Let’s eff, ok.” So the best thing is that they let us do what we demand. Dragonette We ran into Ayisha Jaffer, Dragonette’s manager who was setting up the press with clients, Dragonette. After taking a quick photo of her with the gang, we picked her brain on what’s coming up for Dragonette, as well as touched on her background at the Windish Intervention. Billboard.biz: How long have you been working with Dragonette? Ayisha Jaffer: I’ve been working with Dragonette conducive to 2/12 eld. I was actually at the Windish Agency before that. I worked as an intern coordinator in-house tour manager associate whatever multi-tasker extraordinaire. Before that, I was at Universal in Chicago as an Artist Development Characteristic. What are some of the artists you worked with in the pod auger? QTip, Kanye, Trite, Jimmy Eat Creation, At Windish we did Lawfulness, Free Might, which is another band that we work with and Cut Writing, which is another band that we work with, and Architecture Helsinki and so several. Tell us about Punkdafunk, where you are in these times: I left Windish from permission with Mr. Tom Windish to come over to New York (Punkdafunk is in Jersey New zealand urban area) from Chicago and help start doing management because I was just more interested therein. It’s a team of 3 of us and we take care of every single want: editorial writers, tour managing, and everything underneath the sun from like a breakup to babysitting, to getting them fed, to gifting – all the fun stuff and everything in inserted. And which bands are your personal primacy? It’s Dragonette, Free Vim, Cut Counterfeit, Architecture Helsinki, are our bands. What’s coming up for Dragonette? We’re gonna release a video in a couple of weeks to save “Let it Stretch” and then hopefully release the album and then just start touring and we hope this one takes us to the next neck. It’s got a lot of great responses and I’m really excited and we’re focusing on them and Free Energy right now because they also have a new album coming out and they’re just doing a good pain in the arse. Is there an ETA on the new Dragonette album? Sometime this summertime. So we’re getting approximately! Martin Solveig We ran into Kelly McWilliams – Manager Media & Artist Relations for Atlantic Records in the VIP beer garden. She introduced us to French electronic producer/DJ Martin Solveig who had just finished his set minutes ahead. Martin told us he had just gotten into town but is looking forward to hanging out with all his friends tomorrow. “It’s so great to have all the electronic guys in the same thrive. We are all really close and are going to definitely get together tomorrow. It’s great for the type of music that we make to be around each over-the-counter,” he said. Martin also hinted that Skrillex, although not playing (unless he jumps on stage with soul) would most likely be at the festival Sunday and that he plans to hang out with him. Martin’s global publicity executive, Jonathan Llewellyn, chatted with us about his current business administration: “The priority right now is The Night Out EP which features Martin’s own vocals from the Smash album. It might be the last single from the album. So there was “Hullo,” “Ready to Communicate with,” “Big in Japan,” and in “The Night Old-fashioned” featuring Madeon on remix, A-Trak, a whole bunch of others and that’s on Big Beat/Atlantic Records. That just came out last week and it’s doing really really evidently. It’s a big account. And that’s not just PR shucks. That’s what really happened. He’s touring. He’s doing 20 dates with Madonna over the summertime. His first main stage at Radical, Coachella, etcetera” Keep Shelly in Athens Following their offer, up and coming indie-electronic Greek party, Keep Shelly in Athens, stopped to talk to us about their reputation for being unclear. In an effort to keep the focus on the music, the duo never reveals their names to the prominent; they go by means of ” Sarah P and RPR.” “RPR” hid his face in our photo in order to maintain the band’s mission for confidentiality. Keep Shelly in Athens tour supervisor, David Kluger, said he’s excited about the hype the band has been receiving, especially since they haven’t even released an album all the same. The band catalyzed back in 2010 when RPR uploaded 3 tracks to his My Space signature, which were picked up by American bloggers. “He listed the project as a duo, but it was really only him at the term. He had the plan the whole time to add a female soloist,” explains Sarah P who joined forces with RPR shortly astern. Following only a handful of live shows, Keep Shelly in Athens began appearing on “Bands to keep one’s eyes open for” lists, including Hype Machine’s Covering 10 Most Blogged About Artists. “This was our first Coachella. We are so excited to be hither,” explained RPR. Kluger says the band is in the midst of a 2-month tour in which they will head to Europe before heading home to hopefully work on a debut album. Sarah P told us that she plans to be collecting information and experiences on the road to hopefully inspire their new facts. RPR told us that there are so many good bands emerging from Greece, but the challenge is for them to “expand past the borders.” “The Internet has really helped us with that. We’ve been lucky and hope that others will have the same opportunity as manifestly.” Grouplove Danny Masterson Jared Leto

Entertainment mogul Emilio Estefan, Univision Radio President José Valle and Target VP of entertainment John Butcher are among the top executives already confirmed as speakers for the 2012 Billboard Latin Music Colloquy & Awards, presented by State Grange, which will be held April 23-26 at the J.W. Marriott Marquis in Miami. The conference will feature two days of panel discussions and keynote Q&As with Latin music’s most important executives and biggest stars, as well as three nights of showcases featuring established and up-and-coming acts. The conference will be followed April 26 by the Billboard Latin Music Awards, which will air live on Telemundo from the BankUnited Center in Miami. The Billboard Latin Music Awards honor the most popular albums, songs and performers in the species, as determined by the actual sales, radio airplay and social media activity that informs Billboard’s weekly charts. The week’s events will also include the annual Billboard Bash honoring Latin Music Award finalists, the annual ASCAP artist showcase and the signature BMI “How I Wrote That Performance” venire. Other sponsors include Pepsi, SESAC and Morgan Renee Pageant. Billboard will also hold its second annual Latin Music Marketing Awards, celebrating the finest use of music in advertising sponsors. Agencies, labels and artists are being asked to submit their campaigns for regard, with awards to be given for the best circuit, copy, online/social media and television campaigns. For more information about the league, please visit BillboardLatinConference.com. Those who register by Adjoin 9 will be eligible for an early bird discount of $175 off the regular registration toll.

Louisiana has long popularized the tax breaks it supplies film and television shows, but at Saturday’s annual Only in Louisiana brunch, they added a message more directly targeted at the music sedulousness: Start a tour in Louisiana and get a 25 percent of your costs in serious trouble. The plan to benefit touring productions has been around for almost three eld, but rarely inured to. A tour of the Broadway euphonious “The Addams Inheritance” started last year and two weeks ago George Strait and Martina McBride launched their January-February trek at the Cajundome in Lafayette, La. Check Out All Our Grammy Coverage Right Hither “They rehearsed and did the tech thither. Now that (Louisiana) has someone like that in monkeyshines, the program should get a aid,” Philip Mann, number one, Live Performance and Music Industry Development for Louisiana, told Billboard.biz at the brunch that brought in music from around the state and the food of New Orleans chef John Besh. Mann added that Chicago and Toronto are looking into offering similar rebate programs for touring shows. The message that came through louder related to the music that came from the stage in a ballroom at the Millennium Biltmore in downtown Los Angeles. The funk band Playing for Change and gospel group Trin-I-Tee 5:7 opened the show with high energy music; Cajun accordionist Steve Riley jammed with guitarist CC Adcock, and Ledisi and Trombone Shorty threw down on Dave Bartholomew’s New Orleans time-honoured “I Hear You Knockin’.” CJ Chenier and the Red Hot Louisiana Band closed out the brunch with some rollicking zydeco. Scott Aiges, director of Programs, Marketing and Communications, New Orleans Jazz and Heritage Base, handled emcee duties in front of a crowd that included  music supervisors, publishers, Louisiana government representatives and visiting musicians such as Derek Trucks and Big Star’s Jody Stephens. Check Out All Our Backbeats Right Hither Bug Music president David Hirshland was engaged in conversation with Go Music’s Gary Calamar, who uses a considerable amount of Southern roost music on ” True Parentage.” Hirshland was particularly bullish on the Woody Guthrie catalogue; the family will learn 100 percent of the rights to “This Land is Your Native land” on Pace 30 and plans for Guthrie’s centennial include box sets of Wilco’s work with Billy Bragg on Guthrie songs plus James Farrar and Yim Yames’ Guthrie tribute project  “New Multitudes.”  In affixing, the Dropkick Murphys version of Guthrie’s “I’m Shipping Up to Boston” has become an extremely hot piece of sheet music for marching bands, Hirshland eminent. Some might say it’s heresy to talk about an Oklahoman at a Louisiana congress, so Billboard.biz visited with chef Besh, who was cooking for a crowd that included Verve Records A&R executives Jaymes Foster and Dahlia Ambach Caplin, producer Peter Asher, music publisher John Anderson, producer-music supervisor Jonathan McHugh, Nu Image/Millennium Films’ head of music Selena Arizanovic and Go Music’s Alyson Vidoli. Besh, whose eatery August is the flagship of his restaurant organization, plans each year’s menu based on the performers booked and Saturday he had twists on porchetta, eggs in a cup with shrimp, sausage and grits, and pasta shells stuffed with cycle. We sought his advice on foods to serve with various Louisiana musicians. His thoughts: Louis Armstrong and other early malarky: “Straight Creole. How did Armstrong used to sign his letters – red beans and rice? That dictates classic Treme latest thing.” Professor Longhair, James Booker and other pianists. “With Fess you have to break away and funk it up. You have to break some rules — green onion sausage with eggs sounds savoury.” Neville Brothers. “Mardi Gras scoff — big bowls of jambalaya and gumbo with fried volaille.” Zydeco. “That’s all about slow roasts – a whole suckling pig, field peas, corn breadstuff, crackling.” Cajun. “One pot meals with volaille and sausage.”

Newcomer Azealia Banks, who signed to Universal Music in January, is being represented by Lady Gaga’s manager Troy Carter. The rapper’s debut album for Interscope, Broke With Expensive Try, is slated for release in September. The 20-year-old Harlem native was previously signed to XL Recordings, home to Adele, and famously parted ways with the label citing conflicting creative visions. Lady Gaga Manager Teams With Industry Vets For Atom Factory Licensing After the rip, Banks self-released the highly hyped traces “212″ in December and momentum has only built since next. To madcap: Her first proper U.S. gig was at the massive Coachella Music and Arts Festival last Saturday, where she performed a 20-minute set that included several covers, among them Prodigy’s “Firestarter” and The Zutons’ “Valerie,” made famous by Amy Winehouse, which she sang a capella. Lady Gaga Manager Teams With Industry Vets For Atom Factory Licensing The L.A. Times described Banks’ style as “unapologetically alley” and warned fellow female pop-rapper Nicki Minaj to “be on the watch.” Carter is CEO of Atom Factory, which counts Mindless Behavior and Greyson Chance as clients. He is also an active investor in tech startups including digital billboard creation service Bread Labs and the much buzzed everywhere Turntable.fm.

Madonna’s new album is finished and will be released in Adjoin 2012 on Interscope Records, the label and Live Nation Entertainment announced on Thursday dayspring. The trade, which has been rumored for weeks, was confirmed by sources to Billboard Wednesday. In 2007, Live Nation signed the superstar to a 10-year deal reportedly merit $100 million that includes new studio albums, touring, selling, fan club/website, DVD’s, music-related television and film projects and associated sponsorship agreements. This portion of the commitment is being valued at $40 meg, sources tell Billboard. The Universal Music Group-owned label will release three albums by the Material Woman. Her first strange, signaled “Gimme All Your Luvin,” is due out the last week in January (a demo of the song leaked in early November) just ahead of Madonna’s halftime performance at the Super Bowl on February. 5.  Two days sooner, the film W.E., which Madonna directed and co-wrote, is scheduled to hit theaters. The as-yet-untitled album is her first in five age. Madonna had been signed to Warner Bros. since 1982. Van Halen, another Warners sketch, also recently signed with Interscope. “We look forward to a great partnership,” commented Live Nation Entertainment’s Chairman of Global Music & CEO, Global Touring Arthur Fogel said in a communication. Madonna’s manager Guy Oseary said: “We couldn’t be happier to work with Jimmy Iovine, Lucian Grainge (President & CEO, Universal Music Assemble) and the entire Interscope troupe. We anticipate a very bright future at our new proficient in.”  Added Jimmy Iovine, Chairman of Interscope Geffen A&M.  “Very rarely does an opportunity like  this come approximately. We would like to thank Madonna, Guy and Live Nation for their belief in us.” Live Nation CEO Irving Azoff reiterated to Billboard in February that it would partner with some other entity in releasing Madonna’s next album. Executives at the firm have stated repeatedly that they don’t intend to enter the record business full-heel. “Live State, prior to the fusing, entered into some of these all-rights deals, so there are certain artists, Madonna being one of them, that there is a recorded music game,” Azoff said. “Once she gets the album recorded, we’ll sit down with her and her manager Guy Oseary and figure out what’s best for the record. It has to starting with the music.”

Aloof 10 months after giving birth to twins Moroccan and Monroe, a soulful and scanty (“30 lbs [less] on Jenny Craig,” according to her rep) Mariah Carey returned to the stage with a set at New York’s Gotham Hall on Thursday eventide (Deface. 1). The performance was part of Caesar’s Entertainment’s “Escape To Total Rewards” launch outcome, which also featured performances by Lil Wayne, Sara Bareilles, Forsake 5 and other artists simulcast from cities like Los Angeles, Chicago and New Orleans. The concerts were promoted primarily through a Twitter hashtag #PlotYourEscape and a viral micro-site PlotYourEscape.com, neither of which were Caesar’s-branded in an effort to build buzz around the Caesar’s loyalty rewards syllabus. ABC’s “Jimmy Kimmel Contemporary” also played an integrated role in the syllabus, with highlights from each of the four concerts set to air during a dear “Kimmel” episode Saturday endlessly. Jimmy Kimmel himself even appeared during a pre-taped Caesar’s promo that aired during each of the four concerts, followed by two pre-recorded segments from Caesar’s biggest thespian, Celine Dion, who recently canceled 10 of her Las Vegas shows due to a vocal cord maltreatment. As for Carey’s engagement, Jason Gatswirth, Caesar’s senior VP of enjoyment, told Billboard the singer was on the company’s “short-short list of who would be fantastic for this presence.” Caesar’s coordinated the booking with Mariah’s management and agents at Creative Artists Energy, who confirmed the singer in short instruction. “It was not just a simple concert reservation. Everyone understood what we’re trying to do hither, and ultimately we wanted the artists excited about what we’re doing.” The Gotham Hall gig was short on industry executives and filled primarily with contest winners from an online ticket giveaway, as well as Caesar’s guests. Celebrities in attendance included “Smasher” star Katharine McPhee, “30 Dumfound”‘s Katrina Bowden, Miss USA Alyssa Campanella and “Mob Wives” co-stars Renee Graziano and Angela “Big Ang” Raiola, the latter two of whom got a special shout-out from Diddy during his opening conventional. Backed by a full band and four more-than-game backup dancers, Mimi strutted across the stage in a tight black dress and clutched a diamond-encrusted microphone over the course of her 40-minute harden. In between triumphant renditions of hits analogous “Always Be My Infant,” “We Belong Well-organized,” “I’ll Be Thither” and “Preoccupied,” Carey gave a shout-out to her husband Nick Shank, who was in the fabric; got her makeup touched up onstage by a crack team of cosmetic specialists; and spoke candidly about Moroccan and Monroe, whom she referred to as “dem babies.” “Do I bring dem babies outdoors?… They should be in bed!” she told the intimate herd. “I really wanted to bring them here tonight, but Monroe is sometimes shy and takes a while to warm up to an admirers.” During her deposit, Mariah Carey asked fans to sing along without bar, as if in their own private shower stalls. The highlight of the night came at the encore when Mariah Carey closed her 40-minute set with her lay, “Heroine.” Music writers Mikey Yi of Vibration, Jozen Cummings of the Village Turn, Rembert Browne of Grantland, Jeff Rosenthal from Rolling Pit, and Billboard’s own Erika Ramirez, Andrew Hampp and Jason Lipshutz, cast their own fears aside and sang along loudly and proudly- Mariah’s patented hand gestures included. Before Carey strolled onstage, Sean “Diddy” Combs delivered a rollicking performance to the New York clique, rolling through songs same “All About the Benjamins,” “Mo’ Money Mo’ Issues” and “Coming Household.” Former Spice Girl Melanie Brown was on hand to serve as emcee at Gotham Hallway.

The pre- Billboard Latin Music Conference introduced artists from around the world who took turns performing at the pool side stage during the “Mas y Mas Música” showcase at the JW Marriott Marquis featuring several genres from pop to tropical music. Backbeat: Billboard Latin Music Conference Honors Inspiring Women of Latin Music at DKNY Fashion Show Tiffin Introduced by SAM Broadcaster in collaboration with Musical Rhythms Advances, the event was hosted by Erick Cuesta and included performances by Kury Luna, Frankie Nino, Andre Marcel and artists from Spanglish Global including Maffio, DJ Kane, Davon and Ricky Turn. Also featured at the party included Mega “Tu Dulcero” and Aldo “El Arquitecto.” For Mega “Tu Dulcero,” whose real name is Samuel Serrano of Puerto Rico, the night gave him an opportunity to switch hats from producer to artist. CHECK OUT ALL OUR BACKBEATS RIGHT HITHER For Cuban artist Mr. D, it was about introducing his music, a craft that he’s been working on since he was a neonate. “I consider myself an urban act who does reggaeton with many other types of styles,” Mr. D said. “From the age of 10 I’ve been attracted to urban music and inspired by artists like Vico-C and Don Omar.” New Yorker Kury Luna, also known as Jose Miguel Blanco, also performed his music in bachata name. Pumva ” El De La Voz Urbane,” who also hails from Cuba, said that meshing different types of music is key to his work as an artist. Billboard Latin Music Awards: Meet The Contenders “I’m fusing merengue with other instruments like violins,” Pumva said. “I consider myself a versatile artist in the sense I can rap and snitch.” Aldo, also from Puerto Rico, said performing at the event was an important move for his business. Gerardo Ortiz, 3BallMty, Michel Telo To Go, Intocable To Get Lifetime Achievement At Billboard Latin Music Awards “Miami is an important city when it comes to music and performing at the Billboard event made it possible for industry people to hear my music,” Aldo said. Dj Kane, who dazzled the crowd with his vocal chops, said that being part of the new label Spanglish Global is a proud execution. “Spanglish Global is a Miami-based music label and I am working on my new album, Mi Stereophony, which includes my first single by the same autograph,” he said. “My album is scheduled for release in September 2012.” Reggaeton act High Towers also performed as part of the vitrine. The duo, P-Haze and Somerset, entertained with “Yo Quiero Que Sepas” and Mami Voy A Darte,” songs that got the crowd dancing around the kitty. Frank Nino, from Colombia, was also a crowd admired. Known for his raps about social causes, the artist said it’s very important for him to support social causes. He was raised during political and social unrest in his country and eventually helped launch a music-focused rehabilitation program for inmates in his native hinterlands. “Creating positive messages through music is distinguished,” Nino said. “And helping others is something that is part of what I do because I came from a family that did the same gadget.” Others that performed included Danny D, Dariel, Ricky Rick and Maffio, who said being a founder of the Spanglish Global label is something he wants to see become bigger by supporting other artists. “It’s about the quality of the music,” Maffio said. “We are all working on an album together, but we are all simultaneously working on personalized projects, too.”

KUALA LUMPUR, Malaysia (AP) — When Lady Gaga launches her hotly awaited “Born This Way Ballock” world tour Friday on what is expected to be an elaborate castle-like stage-manage, fans in Asia will be the first to see it. The singer leads off her travels with sold-out shows from South Korea to Singapore in a striking upgrade of her Asia itinerary over a previous tour that included only Japan. Western pop stars are increasingly criss-crossing the upwardly mobile region in search of new markets while financial malaise continues to afflict parts of the West – and Asian fans are enraptured. Exclusive Information: Lady Gaga’s ‘Born This Way Ballock’ Tour to Hit Asia, Europe, Latin America This Yr; North America in 2013 “We’re getting so many concerts present, it’s hard to decide which ones to go payment!” said Mindy Rebuke, an information technology consultant in Malaysia who snapped up $120 seats to watch Lady Gaga’s show in neighboring Singapore within 30 minutes after tickets went on sales event. “Some of these shows are like a once-in-a-lifetime time. I’m expecting lots of drama at Lady Gaga’s fair, lots of costume changes,” said Rebuke, who has caught performances by Gwen Stefani and Michael Buble in recent years in Malaysia’s biggest burgh, Kuala Lumpur. The long list of acts who’ve penned Asia into their tour plans this year include chart-toppers like Katy Perry, LMFAO, Strand 5, Nicki Minaj, Jason Mraz, Avril Lavigne and Foster The Citizens. Next to Lady Senile, rock band Radiohead has amassed the most buzz for its planned shows in Taiwan, Japan and South Korea this July. Radiohead Returns to Australia Abaft 8 Eld, Gaga Adds Dates Down Comprised in But fans also are looking forward to artists as varied as Elton Lavatory, Morrissey, Christina Perri, Lifehouse, Death Cab for Cutie, Avenged Sevenfold, Backstreet Boys, The Flaming Lips and Manic Street Preachers. For unbeatable star gift, this August’s two-day Summer Sonic Festival in Japan alone is supposed to feature Rihanna, Green Light of day, Ke$ha, Adam L, Pitbull, Calvin Harris and Gym Class Heroes. Japan has long been a hub for gigs by Western headliners, but touring activity has been building up in the rest of Asia over the past two eld, Alan Ridgeway, president of international markets for Live Political entity, the worldwide promoter for Lady Gaga’s shows, told The Associated Bear on. The reasons boil down to supply and insistence. Asia makes economic sense now because rising disposable income among fans here has driven up demand for live entertainment across the territory, Ridgeway said. “Even though Japan may be able to support three or four shows, this often wasn’t enough to justify the expense of bringing a tour to Asia,” Ridgeway said. “Now as we see increasing demand from other markets such as South Korea, China and Indonesia, it becomes possible to route a financially viable multi-date tour through the zone.” Last year was Live Nation’s most successful in China since it began operating there in 2005, with more 70 shows by regional and Western artists within a 12 month time, Ridgeway said. Persistent economic troubles in the West have also propped up Asia’s significance. Ridgeway said the touring business in Europe remains bracing, but other promoters believe there’s been enough of a downturn there to trigger concerns. “Some artists have found that ongoing economic problems in the United States and Europe have meant they are experiencing decreased demand for concerts, so Asia is a new market they want to develop to make up for the shortfall,” said Mindy Coppin, the Singapore-based managing director for IMG Artists’ Asia-Pacific operations. As countries become accustomed to international tours, the logistics become smoother. Singapore for example has made it easier for concert organizers to secure visas and permits and lowered taxes on artists’ fees, Coppin said. Culture clashes are among the remaining challenges. In South Korea, conservative groups complained that Lady Gaga’s lyrics and costumes were too sexually provocative and authorities barred fans under the age of 18 from attending her gig at Seoul’s Olympic Coliseum. Lady Gaga will also perform in Hong Kong, Tokyo, Taipei, Manila and Bangkok, but a senior official in Indonesia’s top Islamic authority has reportedly urged fans in that country to shun Lady Senile, saying her show is “intended to destroy the nation’s mores.” Stationary, that hasn’t stopped more 30,000 “Little Monsters” – as Lady Gaga’s fans call themselves – from purchasing tickets for her stop in the Indonesian capital Jakarta, including 25,000 in the first two hours of sales. The controversies haven’t dampened Lady Gaga’s enthusiasm either. She flew into Seoul a week before her show and has immersed herself in rehearsals, tweeting her delight about receiving a “warm and exciting hail” and whipping up fan anticipation for a stage that her publicity sketches depict as a medieval palace. Her only complaint so doubtlessly: jet poke along. Absent, Grammy-winning R&B star Erykah Badu ran afoul of Malaysian officials in February; after she disembarked, the government banned her show on the eve of the demeanour, saying a photo of her body art offended Muslims. Badu nevertheless voiced hopes of returning for a concert someday, saying she has “faith in people’s ability to develop.”

Carly Simon will receive the ASCAP Founders Award during the performing rights organization’s 29th annual Pop Music Awards on April 18. Backbeat: ASCAP Throbbing & Soul’s Grammy Brunch With Ne-Yo, Paul Epworth, Ledisi Simon will be honored at an invitation-only gala at the Renaissance Hollywood Hotel in Los Angeles that will also honor the songwriters and publishers of ASCAP’s most performed pop songs of 2011. ASCAP, Radio Music License Committee Announce Settlement in Principle The ASCAP Founders Award honors songwriters who have made exceptional contributions to music, inspiring and influencing their fellow music creators. Past recipients include Ashford & Simpson, Burt Bacharach & Hal David, Alan & Marilyn Bergman, Jackson Browne, Elvis Costello, Tom Waits, Neil Young and others. “Carly Simon has always poured her heart and soul into her songwriting, and in the process she has helped re-write the rule book on what popular music can achieve and how it can profoundly change people’s lives,” ASCAP president and president Paul Williams said.

TuneUp Recognizes Music, But Also Cleans Up Your Music Gleaning Apparently the market for music identification apps isn’t too crowded for new contender. TuneUp Media has released a song identification app for iPhone, iPod Touch and iPad to compete against established leaders Shazam and SoundHound. But unlike the leading two music identification apps on the chain store, TuneUp Media’s app is not the company’s core responsibility. TuneUp’s app does one thing Shazam and SoundHound cannot do: provide a free diagnostic of a user’s mobile music collections with statistics on missing song enlightenment, album cover art and duplicate tracks. These features are possible because TuneUp Mobile uses the Gracenote’s MusicID recognition technology that powers its metadata cleanup application for desktop. The goal of launching the mobile app is to compliment the desktop app. “Our vision is to create a thorough, seamless experience for our customers that enriches their enjoyment of digital music,” said Gabe Adiv, founder and CEO, in a asseveration. The company isn’t starting from a dead block. TuneUp Media already has once more 9 million registered users of its desktop bearing. Its services fix incorrect or missing song testimony, fill in missing album graphics, remove duplicate songs and provide artist bios and concert skinny. An annual subscription of the entire feature bundle goes in the interest of $39.99 and a lifetime subscription costs $49.99. Individual features be $19.99 per year or $29.99 for a lifetime fee. Even with an installed user base of nine million human race, TuneUp’s mobile app still lags behind Shazam, which has 65 million registered users in the U.S. and 200 million worldwide, and SoundHound, which boasts the top paid iPad app of all time in addition to popular smartphone apps. But there’s clearly room for growth in music identification apps, and TuneUp Media isn’t basing its entire business on its new app. Using a mobile app to drive another business is a little bit like using online news to drive subscriptions to print newspapers and magazines. The mobile app is free but has low-value consumers. The main product costs money but returns much more value per consumer. TuneUp Media already has a complementary rite, so its music identification app is meant to drive business to its subscription rite. Shazam and SoundHound are both standalone products and standalone businesses. TuneUp’s app lost a head-to-head matchup with SoundHound, withal. TuneUp could identify the more mainstream titles but was tripped up on such songs as “Stop the Bother” by reggae artist Horace Andy and “Big Six” by electronic artist Bonobo. ( TuneUp Media press releasing) Spotify Upgrades Its Android Present Spotify has launched a preview of its new Android app. Spotify’s Android app had been a pale imitation of the iPhone app. This update closes the distance between the two. The new Android app is a big improvement over its gawky, unattractive forebear. The main controller is a button in the upper left-hand corner that opens up a list of functions: look, playlists, new releases, inbox, friends and settings. The “what’s original” section with the new releases shows recommended albums, amigos’ top playlists and a small selection of new releases. Since the app is only a preview rather than a finished version being given a widespread let go, the download link is available at Spotify’s blog rather than Google Play’s app upon. No date has been given for a launch of the final reading, but Spotify’s announcement says the company is working on additional features such as folders and Last.fm scrobbling. To install the app, make sure you have checked the “Allow installation of non-Market applications” in the Settings

Screen shot from Facebook’s 188-page Securities Exchange Commission IPO filing. Reading through Facebook’s IPO filing is like an episode of “This Is Your Pungency.” This is where you and your artist’s fans spend a good chunk of your lives. This is how you will advertise on the Cobweb. This is where people share their interests in music, videos and disposeds. We already knew the role Facebook plays in our everyday lives. But now there are usage numbers, financial information and details of growth policy. Anyone looking for clues about Facebook’s role in the music business will be disillusioned. The 188-page certify, filed with the SEC Wednesday siesta, contains the in sum “music” 11 times – usually in context of content that can be shared on the podium – and only once mentions Spotify, the subscription music service with which Facebook has created a close partnership. But the filing contains plenty of indirect evidence that Facebook will increasingly play a vital role in music and other entertainment industries. We find alibi, for quotation, the service’s average daily users in December 2011 stood at 483 million worldwide and 126 million in the US and Canada. Monthly average users that month were 845 million worldwide (425 million of them via responsive) and 179 million in the US and Canada. Europe is Facebook’s biggest territory with 229 million monthly active users and 143 million daily active clients. We find out that Facebook is a revenue powerhouse even though it doesn’t yet monetize mobile transfer. The company’s revenue grew 88 percent to $3.7 billion in 2011. Exactly $3.2 billion of that came from publicity. Facebook $5 Billion IPO Fueled By Proclamation And we see that Facebook is already a large online marketplace and will become far larger. Facebook Payments, a digital goods system that’s already mandatory for all game developers, and “other fees” brought in $557 million last yr. Facebook charges developers for using its platform by taking a 30-percent cut of Payments return. The amount Facebook collects from Facebook Payments transactions is sure to balloon in the coming eld. One of the company’s stated goals is to enable developers to build on its platform while making Facebook Payments “as convenient as possible for users and platform developers.” Content owners shouldn’t worry that Facebook’s IPO is similar in scope and hype to that of Yahoo, a company with numerous run-ins with book publishers, record labels and newspapers. Facebook wants people to build and strengthen relationships on its plank. It doesn’t want to own or organize tranquillity, it just wants to help people share the their thoughts and activities regarding contented. Facebook Files For IPO, Hopes to Dig up $5 Trillion If Facebook’s IPO sends any message to entertainment companies it is that: the power of Facebook demands that you improve the social capabilities of your outcomes. Case in stage: A Facebook exec revealed earlier this week that 5 billion songs had been shared since September 22 through partnerships with music services. Ticketing services have baked social features into their creations, too, transforming fans’ discovery and buying technique. As if there was any doubt that social is the prospective, this IPO means there will be no going back after Facebook is a $100 billion comrades.

MUNICH – German collection society GEMA has adjusted tariffs for outdoor music concerts starting in 2013. Smaller events will benefit from the adjustment while larger events will have to pay more. GEMA introduced its new tariff structure at a press conference in Munich on Monday. The new structure applies to events with live-music or music from records and tapes. GEMA’s 2011 Earnings Drop-off “This new tariff structure will have distinct benefits for smaller size events and lower entrance fees, ” said Georg Oeller, member of GERMA’s house. Oeller pointed out that each year GEMA licenses about one million events with music of this kind and that therefore it is necessary to  have a fete, clear and transparent tariff structures. Oeller said that, “from 2013 there will only be two rates instead of xi. The calculation of the GEMA fees in the future will be based on the size of the upshot – over the used parade – and the amount of the entrance fees.” The GEMA fees for a dance-event with live music in a restaurant with a 300 square-meter dance floor and a ticket price of 3 euro were, for  example € 192 in 201, which will be lowered to € 90 in 2013. In converse, the fees for a gala event with live music in of 1,500  square-meter dance floor and an entrance fee of €60 were €1.470,70 until 2012 and  will rise to € 9.000 in 2013.  Oeller said ruthlessly 60% of all venues will benefit from the new tariff configuration. “With arrogance GEMA plays its overpowering position towards the users of  music in Germany,” Stephan Büttner, Managing Director of the German Hotel and Restaurant Association in Berlin, told Hoarding. “Without any willingness to seek compromises or to orchestrate, GEMA has presented new tariffs, which means raising feels for live-music and recorded music events that threaten the existence of the organizers.” Büttner said that GEMA’s fees increased 45% for events capable 200 square-meters and a €15 euro entrance  price, and 81% for capable 600 square-meters and 15 euro fee and 534% capable 2200  square-meters and 40 euro entrance charge. “In regard to the new tariffs, the only the way to [fight these is in] romance. There is no reason for such a new structure since the tariffs have worked for exposed to 50 years in the warehouse,”, Büttner said. In 2011 GEMA had revenues of € 825,5 million for the worldwide right-owners,  a drop of 3 percent compared to 2010.  In Germany, GEMA represents the copyright of more 60,000 members  (composers, lyricists and music publishers). Represents on top of 1  million copyright owners all over the world, GEMA is one of the world’s largest music aggregation societies.

A judge has granted a motion to dismiss concert promoter AEG Live from a wrongful-death lawsuit filed by Michael Jackson’s padre. City News Service says the judge agreed with AEG attorneys who said Joe Jackson should have joined a separate suit filed by his mate, Katherine. The judge says the law does not favor multiple suits by individual heirs. AEG also argued that Joe Jackson is not a legitimate heir to his son’s fortune since he was estranged from Michael when he died. The father was not mentioned in the King of Pop’s last will and testament. The decision leaves Dr. Conrad Murray and a Las Vegas pharmacy as the only defendants in Joe Jackson’s case. Murray is in jail after been convicted of involuntary manslaughter in Michael Jackson’s death and says he is destitute.

Singer/songwriter and former Soul Coughing frontman Mike Doughty is enjoying the present by looking into the past and crafting his own to be to come. He released a book this January screamed “The Book of Drugs” that delves into his time with Soul Coughing (and yes, drugs). He split with ATO Records to form his own SNACK BAR imprint through Megaforce, on which he released 2011 album Yes And Also Yes. And most significantly, he’s delved into his back catalog of demos and unreleased tracks and came to the surface with 32 songs that he will be releasing via a subscription service by 32 weeks. The project is called the Lo-Fi Apartment, and as a remedy for 20 bucks fans will receive one previously-unreleased track per week straight to their inbox, a mix of old and new elements, demo-type recordings, and forgotten gems that never came to the surface before in. Registration for the lodge ends April 27, and the first track will be available April 30. Doughty took time out from his solo/book outing (and his lunch minute) in Los Angeles, where he has been performing solo material and reading excerpts from his book around the countryside, to discuss the Lo-Fi Billet, working with Roseanne Bills, and writing songs about goth teenagers shoplifting on acid for the Twilight soundtrack. Billboard.biz: Are you on your book tour right sometimes? Mike Doughty: We just arrived in Los Angeles. I guess it’s about two-thirds performing songs and one-third doing readings, and otherwise just telling gnarly tales of Soul Coughing. It’s kind of terrifying to embark on doing readings in rock bars, but it’s been ardent. And how did the Lo-Fi Lodge idea come with regard to? It was suggested to me [by directorate - Pete Smolin, Mike Lavigne and Jamie Kitman at Hornblow Accumulation] that I do a subscription-type subject. I sort of excavated hard drives to see what I had, and I had all these songs, kind of acoustic and cheap drum machine versions of songs that I later put in more “realized” versions on the records, and I just dream, “oh, that is really virtuous.” And then there were songs that I found that I was care, “why did I not put this song on an album?” And I had 32 of them, so I wanted to do something a little bit more complicated than just put them all out at once on an album. Just under a third of it is new stuff, but its all 100% unreleased. Anybody else doing similar attributes? Every two months you hear about somebody who has some weird idea for like a post-album microcosm – stuff care “if you get revenge on $1,000 bucks a month, you’ll get a phone call from the artist!” – and all that stuff sounds kind of whack to me. But this is a very particular kind of body of songs, it didn’t quite entail an album… because it was such an odd proposition earlier, I thought it would be a decent way to do that. And a lot of people have been buying it truly, it’s kind of schizoid. How did you come up with the $20 assessment? It was suggested by Hornblow, and it seemed like a decent measure, not outlandish. Because it’s more than an album. So many artists are being talked into things commensurate “You could be a gold circle member of Mike Doughty!” you discriminate, just like these really weird ideas. It seemed smooth, it seemed a fair ticket; slightly more than usual since it’s slightly more than an album. On your latest album you had a duet with Roseanne Realize. We did a holiday show like two years since, and she said from the stage something equaling, “oh my tutelary, I’m really intimidated because Mike Doughty is such a great songwriter,” and my eyes popped out of my talent. I met her, she was really adroit. So Dan Wilson [of Semisonic notoriety] and I wrote “Fete,” the idea for which was just like we wanna do an emotionally resonant Christmas kerfuffle b evasion, but not your kind of hipster-haha-Christmas-is-dumb ado. We wanted it to be veritable, we didn’t want it to be platitudinal, you comprehend, emotionally relatable for us. So  there was a note I couldn’t ask for a come, and I was approximative, “you positive, I can get a backup chanteuse, but why not just for the hell of it, shoot an email over to Roseanne to see if she wanted to do that, as a full brace.” I’m not the sort of person who would walk up to a legendary artist upon first meeting and say hey let’s work in sync, so I approached her very deferentially and trepidatiously when I emailed her. She responded literally in proceedings, saying yes. It was mind-blowing. And you had written a number cheaply – which was spurned – for the Twilight Soundtrack? Yes literally! It’s jocular, because I thought it was, you apperceive, you usually get these particulars, and really they’re just putting out the word to 500 artists, and they’re all trying to do something. But actually Kenny MacPherson and Scott Cresto [of Chrysalis Music Order] sat me down and were congeneric, “would you be interested in that?” And you be versed, of course I was. But yea, it was probably just like the weirdness of my voice that made it not quite their predilection. It is a song about teenage goths on LSD in a train caste, shoplifting while light. I just sort of connected them with why quasi-gothic teenagers would be attracted to something like Declination. Whereas I didn’t do a lot of shoplifting while light – I kept those activities pull – I always hung out with the awesome goth girls in high shoal, sneering at everything and stealing items.

Jeff Bronikowski, who less than a year ago left Yahoo Music for AOL Music, has in turn left for a newly created position at the Echo Snuggle, according to a report in AllThingsD. Bronikowski is now overseeing corporate development for the Boston-area startup, which offers a development platform for music app developers. The Echo Nest is perhaps best known for powering many of the apps created through the Music Hack Days it sponsors, but it’s also behind many large-scale operations as spurt. That includes MOG’s music recommendation power plant, and most recently the personalized radio feature offered by the revamped iHeartRadio app from Clear Path. Bronikowski will be charged with landing more such partnerships. Q&A: The Echo Nest Ceo Jim Lucchese At AOL, Bronikowski was VP and head of music. AOL Music was once a force in online music streaming and determining, but of late has been outpaced by smaller, nimbler and more innovative startups. AOL shut down its entire music operations internationally, leaving only the U.S. portal retaining music subject. While AOL remains in the top-drawer 5 Web properties in terms of overall vehicles, according to Comscore, it is no longer in the cover 5 in terms of video parking lot, outpaced by YouTube (genuinely), but also Vevo, Facebook, Viacom (MTV) and Microsoft. The company recently added Slacker’s premium subscription service to augment its existing personalized radio appropriateness, the latter of which receives with regard to 3 million unique visitors a month according to company figures. Pandora, during the interval, gets anent 12 million unique monthly visitors, according to Vie. It’ll be worth watching to see what decisions AOL makes with what remains of the part. Lisa Namerow is replacing Bronikowski in overseeing the AOL Music content sites, while Geno Yoham is taking over the company’s Winamp services, according to the AllThingsD divulge. Before, Bronikowski was head of music at Yokel, but is perhaps best known in the music industry from his 12-year stint as senior VP of business development at Universal Music Class.

Vevo may be taking its music video service to Facebook, with preliminary talks between the companies signalling what may be the beginning of the end for Vevo’s current partnership with Google-owned YouTube, according to CNET. Though Vevo and YouTube still have a year left on their pact, it would appear that the company is considering charting its future with the social networking plat. The move would allow Facebook to stream music videos through Vevo and augment its expanding social music apportion, which has grown over the past few months due to deals with Spotify and its real-time social listening have a role. Vevo: The Numbers Behind Two Years of Crop Vevo, despite only being in operation for a little over two age, has enjoyed considerable improvement, with monthly video views that have reached as high as three quarters of a million, and is ranked at #2 on comScore’s list of top U.S. online video sites behind only YouTube. The deal with Facebook would presumably mirror Vevo’s current one with Dmoz, with the companies sharing advertising taxation. Vevo and Msn, through its Google Music navy, both have licensing deals with three of the top four labels, neither having come to an agreement with Warner. Vevo recently signed a deal in December with MTV, which has a licensing agreement with Warner, in a move that gave MTV access to the libraries of all four majors. MTV Nearing Deal to License Vevo Videos Business Matters: Vevo Racked Up 748 Million Views in September What may work against Facebook’s bid is the profitable pertnership Vevo and Google have naturalized. A December. Billboard.biz article on Vevo’s success since its December 2009 dispatch, noted that $100 million had been paid to content owners over two years and that 600 advertisers ranging from American Express to Vitamin Water had signed on. The video platform also has plans to expand its original programming as well as its television, mobile and international existence in 2012.

Walt Disney Pictures has wrangled Jack White to compose the score against “The Lone Ranger.” The studio announced Tuesday that the Grammy-winning rocker will decry, produce and perform the score for director Gore Verbinski’s upcoming adaptation of “The Lone Ranger.” Jack White to Live Swarm ‘Blunderbuss’ Release Concert, Gary Oldman to Conduct “The Lone Ranger” will mark The White Stripes frontman’s first time scoring a feature obscure. The film stars Johnny Depp as Tonto and Armie Hammer as John Reid. It is set to debut May 31, 2013. White’s first solo album, “Blunderbuss,” was released Tuesday. He previously wrote and performed the theme song to the 2008 James Bond fog “Quantum of At” with Alicia Keys. Third Man rolling record store parked out front of the label HQ in Nashville. (Pic: Jo McCaughey) In other Jack White report, it was announced last evensong (April 24) that Jack White’s Third Man Records Rolling Record Aggregate (i.e. a hopped up step-van) will be distributing concert tickets on the streets of NYC for White’s upcoming AmEx Unstaged show at Webster Hall this Friday. Record Store Day Nashville: Liquid-Filled Jack White Records at Third Cuffs; JEFF the Brotherhood Rock Grimey’s According to a statement released last gloaming, “White will be giving back to the city that’s so warmly embraced his debut album,”  as his Third Man Records Rolling Record Store hits the Big Apple on Thursday the 26th to bestow upon the citizenry free tickets to Jack White’s American Express Unstaged concert at Webster Hall on Friday April 27th…An educational vinyl adventure center on wheels, Third Man Records’ Rolling Record Store will be wheeling into locations all over the New York City room, then tweeting (@ThirdManRRS) each location along with instructions on how to claim a pair of free tickets to the swagger. There are only five pairs of tickets, one pair to be given away at each of five locations.” As previously reported, Jack’s American Express Unstaged event will be directed by actor Gary Oldman. The show will be live-streamed adn previewed by one new video each day leading up to Friday’s performance which can be seen hither: seen at hither.

If the consortium led by Sony Corporation. of America gets approval to acquire EMI Music Publishing, it would degrade 326 positions over two years to reach $70 million in net cost savings, according to a story by Ben Sisario published in the New York Times. That tidings–based on a copy of the prospectus obtained by the paper, issued to open $1.15 billion to help finance the plotted $2.2 billion acquisition of EMI–says that the EMI work force would be reduced by means of 142 people within the first year of ownership and 174 would be let go after serving on a transitional constituent. That would recklessness 189 EMI staffers with jobs. Neither Sony nor EMI Music publishing could be reached for comment at press spell. As has been previously reported, Sony/ATV would serve as the administrator for the EMI publishing assets, which would be maintained in a separate company since it has a different ownership structure than Sony/ATV. Sony/EMI Heap: Publishing Companies Would Remain Different, But Managed by Sony The latter company is a joint venture between Sony Corporation. of America and the Michael Jackson estate and Sony/ATV itself would have a 38% stake in EMI Music Publishing if the regulatory agency approval of the acquisition is allowed. The other investors participating in the proposed purchase of EMI Music Publishing are: Mubadala Development Company PJSC; Jynwel Capital Little; the Blackstone Group’s GSO Capital Partners LP; and David Geffen. Earlier this month, Sony/ATV offered to sell publishing assets good $20 million in royalties, according to a Reuters theme, in an attempt to get the EU to approve the transaction without having to face second stage scrutiny like Universal Music Group’s proposed $1.9 billion acquisition of EMI recorded music man. The EU regulatory commissioners are expected to announce tomorrow whether they are approving the attend to; or will take a longer second phase look at the deal like they did with Universal Music Group’s attempt to acquire EMI’s muusic assets which has been pushed from March to what will likely be August of this yr. European Commission Investigation Into Universal’s Purchase of EMI Music Enters Phase Two While the planned cutbacks would achieve a total of $120 million in savings, as the administrator of EMI Music Publishing Sony/ATV would be paying $50 zillion, based on the ritual 15% administration wages, which would be based on net publisher’s piece. Extrapolating out that $50 million admin fee means that EMI Music Publishing produced $344 million in net publisher’s share in its most recent fiscal yr. In its most recently available public numbers for the year ended Strut 30 2010, EMI Music Publishing reported with regard to $760 million in revenue with earnings before significance, depreciation and administration of $239 trillion. Sony/ATV Offers Unspecified Concessions to European Union in EMI Music Publishing See to Based on the $120 million in savings the Sony-led consortium anticipate by the layoffs, that means that EMI’s EBITDA for its most recent fiscal year ended Procession 30, 2011 was around $224 meg. With EMI Music Publishing having in 40-50 creative people on its staff means tthe Sony-led consortium will also keep some licensing and other business deal makers from the EMI personnel. Some of the retained staffers would likely help Sony/ATV deal with the added volume it would be manipulation. Sony itself is under pressure to reduce it’s own shillelagh, according to press reports about a plotted 10% staff step-down. Billboard estimates Sony/ATV’s revenue at at hand $500 million yearly, which means that the combined portfolios they will be overseeing will have almost $1.261 billion in annual comings in. According to financial reports, Universal Music Publishing has annual revenue of encircling $898 million while Warner/Chappell’s annual revenue total is to $544 meg. Universal Music’s EMI Acquisition Supported by SAG-AFTRA, AFM For the moment, in the scheme, according to the New York Times saga, the combined Sony/ATV and EMI Music Publishing portfolios would own 31% of the music publishing market stow. That implies a worldwide music publishing revenue of approximately $4 trillion. Under that presumption, that means that the majors combined own almost 68% of the music publishing mart, which is roughly in train, if a little tremendous, with the commonly-held industry view that those publishers represent take 60% of the warehouse. But according to an analysis of the IFPI estimate of 2010 publishing revenues written by Will Page and Bruce Dickinson, global music publishing revenue totaled $9 billion in that yr. If that number is truthful, Sony/ATV and EMI would be dressed 14% of the global make available, while the majors would prepare 30% of the demand. Its unclear why there is an apparent discrepancy between the IFPI global publishing estimate and the numbers used in the prospectus to raise funding for the EMI Music Publishing obtaining. In any anyhow, a number of organizations and independent music company organizations, including IMPALA and A2IM, have aligned opposing the deal while yesterday SAG-AFTRA and the American Federation of Musicians today gave their conditional backing to the EMI bargain.

Accurate, Jay-Z brought out Beyonce at Coachella in 2010, and Kanye West gave festival goers his ballerina-assisted best with Bon Iver last yr. But how many hip-hop headliners could resurrect Tupac Shakur from the tired out? Dr. Dre and Snoop Dogg, the G-funk maestros who provided Weekend 1 of Coachella with a thrilling outro on Sunday shades of night (April. 15), took their joint performance to a new level when they were joined by Tupac — their fellow West Coast rapper who was killed in 1996 –  in hologram skeleton, sharing the stage with the digitally recreated rapper and letting his likeness rattle turned “2 of Amerikaz Most Wanted” and “Hail Mary” in the middle of their lay out. Tv: Tupac’s hologram performs at Coachella The Tupac reveal was the high-investigator, rare, admittedly strange highlight of Dr. Dre and Snoop Dogg’s West Coast return, which coincides with the 20th anniversary of Dre’s “The Continuing” album later this year and the umpteenth delay of his enormously anticipated third album, “Detoxify.” While hip-hop fans still await the good Doctor’s studio reappear, Snoop and Dre touched upon their newer material by way of multiple guest stars. Full Coachella Reporting: Friday | Saturday | Kodachromes Wiz Khalifa shared a giant blunt with Snoop while dropping by to perform their recent Worsen 100 reach “Teenaged, Barren & At large,” while Kendrick Lamar returned to the main stage two days after his own Coachella set to manufacture “The Means,” his new single with Dre. 50 Cent and Tony Yayo bounced around the stage with a medley of “What Up Gangsta,” “P.I.M.P.” with Snoop and his Dre-produced standard “In Da Baton,” while Eminem, Dre’s most successful protege, blasted entirely “I Need a Physician” before trading stage positions with his mentor on “Forgot About Dre” and “Til I Tumble down.” Tv: Eminem performs “I Need a Fix” and “Forgot About Dre” with Dr. Dre Yet the bevy of high-profile guest MCs couldn’t detract from the real star of the elucidate: the magnetic chemistry between the stone-faced Dr. Dre and lovably stoned Snoop Dogg. Whether leading the crowd through a cover of House of Pain’s “Jump Enclosing” or trading bars on “Nuthin’ But a ‘G’ Thang,” the history that Dre and Snoop shared — and the deep bonds they had with the sunny state of California — pulsed through every head-knock and tossed-off out of it. Snoop Dogg’s personal catalogue, including surefire singles “Drop It Like It’s Unpredictable intensify,” “Gin & Vitality” and “Who Am I? (What’s My Sign?)” was given a little more time in the highlight, but when the long-reclusive Dre got flourishing — as on tracks close “California Sympathy” and “The Next Part” — it made forgetting about Dre seem crazy. Picture: Snoop Dogg performs “Gin and Pith” at Coachella Helping Dre and Snoop enrapture the crowd was a brilliantly designed stage setup, which included an ever-changing video screen in back of the duo’s full band and faux power lines turning the stage into its own miniature Compton. In support of “Still D.R.E.,” a percolating car tire and flashing neon lights kept the crowd zippy; in compensation “Ain’t No Jocularity (If The Homies Can’t Have Not one),” black-and-white images of the recently deceased Nate Dogg actually turned the sex jam into a tender wink of an eye. Dr. Dre and Snoop Dogg deserved the rock the west side in designate, and with an ornately designed backdrop aiding their hit splash, the hip-hop veterans more than did their home state justness.

The six artists at the Billboard Latin SXSW Vitrine, who came to Austin from Colombia, Venezuela, Spain, Mexico and Miami, were each met at the Soho Lounge Wednesday night by fans who sang along to their songs and pressed close to the stage for pictures. Read All Our SXSW Coverage Hither Girls lined up to kiss rapper Duran, who performed shirtless, at times with an accordion slung around his neck, while his Afro-Colombian band called everyone to dance with cumbia beats. The Mexican electro-pop group Jotdog’s set proved literally iffy, blowing a unite. The audience comrades, who had been mesmerized by the esoteric moves of singer Maria Barracuda, waited until they could begin once more. Picture: Judy Cantor-Navas) Muchachito Bombo Infierno, from Barcelona, brought the grit of flamenco and street party feeling of rumba, as well as rock star charisma, to the thespianism. Muchachito, who traveled to Austin without his full gather, beat his guitar and stomped on a board rigged to sound like an electronic cajon. Artist and cantautor Santos de Veracruz painted behind him while he sang, and joined in tattle, with a voice that came deep from flamenco usage. Like Muchachito, Javier Garcia showed why the power of simultaneous guitar playing and gyrating hips should never be underestimated. The Miami-based singer/songwriter sang tracks from his soon to be released album, “A Las Estrellas Volume. 1,”,produced by Latin hitmaker Sebastian Krys. Maria Barracuda of Mexican electro-pop group Jotdog helped blow a compound. Photograph: Judy Cantor-Navas) The Mexican group Radaid opened the vitrine, blanketing the stage with a mix of traditional instruments and digital tools. They played a powerful set of haunting rhythms and ethereal vocals, grounded by acoustic rhythms La Vida Boheme, currently South America’s biggest buzz gather, closed the Billboard Latin showcase The Grammy nominated group immediately got audience arms in the air with their hymn “Radio Prime”, their cowbell-accented adrenaline play 70s yahoo, that invokes both the chaos of their native Caracas and the universally shared legacy of rock and trundle. Photo: Judy Hazan-Navas)

Five precious guitars owned by Tom Petty that were stolen last week were returned to their rightful owner Tuesday. According to the Associated Prod, Culver City police arrested a private security guard named Daryl Emmette Washington, 51. He was working at the Culver Studios ration, which houses a soundstage where Petty was rehearsing with his band the Heartbreakers for an upcoming trek. “I am extremely grateful to the Culver City Police Department for a job well done and touched by the outpouring of good wishes and concern from our fans and colleagues,” said Petty in a statement provided to THR. The stolen guitars, collectively worth an estimated $100,000, included Petty’s 1967 12-string Rickenbacker and a Gibson SGTV Junior along with Mike Campbell’s blue Dusenberg, Ron Blair’s Fender Broadcaster and Scott Thurston’s 1967 Epiphone Sheridan. One musician likened the loot to “a fleet of vintage Rolls-Royces.” Washington allegedly tried to pawn one of the guitars in Hollywood notwithstanding $250, which provided a break in the situation. On the band’s website and Facebook page, Petty and crew offered a “no questions asked” $7,500 reward for information leading to the return of the instruments. It’s unclear whether the reward will be paid non-functioning and to whom.

Johnny Depp dropped acting for a night and joined Marilyn Manson onstage Wednesday, grabbing a bright yellow guitar and black cowboy hat for a performance of “Sweet Dreams” at Revolver magazine’s Golden Gods Awards concert. Were his face not recognizable worldwide, the 48-year-old actor may not have even been noticed as he played along quietly, hat tipped and eyes focused on the strings. Until the song over, that is, and Manson shouted to the force, “If you don’t recognize my personal concubine, personal saviour, personal guitar hero… Johnny Depp.” As the audience cheered for the double — at Manson’s repeated entreat — they kicked off a second flap, “The Beautiful Family.” The 43-year-old singer also brought to “Gossip Maid” alum and Pretty Reckless singer Taylor Momsen for a song at the L.A. become. Earlier this month, Depp and Manson collaborated on a cover of Carly Simon’s “You’re So Vain,” to be featured on the rocker’s upcoming eighth studio album, Born Villain, due escape May 1.

Dozens of journalists from around the country flew to Telemundo Studios in Miami to the set of morning show Levántate (Awake!) for the live announcement of the finalists to the 2012 Billboard Latin Music Awards. Don Omar, Pitbull, Prince Royce Lead Billboard Latin Music Awards Finalists Television hosts and music writers were joined by a steady stream of artists, including three-time finalists Chino y Nacho, urban star Daddy Yankee two-time finalists La Original Banda El Limón de Salvador Lizárraga. “The Billboards are the true radar of what happens in the music have,” said Yankee. “This is our true make the grade.” The Billboard Latin Music Awards cap off the 23rd annual Billboard Latin Music Conference presented by State Farm and taking place on April 23 – 26 at the JW Marriot Marquis in Miami, Florida. For information and registration, visit www.billboardlatinconference.com. Privately, Yankee said he is soon launch his new El Cartel Tequila as well as his Prestige headphones, made by Section A. See all of our Backbeats right hither The atmosphere was festive at the studios, with cappuccinos and lattes served along with breakfast. Chino y Nacho manager Pablo Villalobos said his clients are preparing a 21-date U.S. tour in May. The duo will likely play theaters, but final details are being ironed not allowed. Pitbull Confirmed For Q&A @ Billboard Latin Music Bull session Members of La Original Banda El Limón, lag, took advantage of the announcement to promote their new music in Miami. In addition to the finalists, for the first antiquated, Telemundo announced a handful of artists already confirmed to perform at the substantiate. They include Juanes – who will premiere his new apart – Jenni Rivera and Yankee. In a satellite meeting, top finalist Don Omar also confirmed he would be performing at the show, which will air live April 26 on Telemundo from the BankUnited Core in Miami.

Vevo Racked Up 748 Million Views in September — Music video network Vevo again ranks at #2 on comScore’s list of top U.S. online video properties according to number of unique viewers. The company racked up 57.3 million unique visitors and 748.2 million videos in the September. It has stratified #2 since it leapt over AOL, Yokel! and Microsoft in April. The music video network has grown considerably in the past yr. In September 2010, Vevo had 43.7 million unique visitors and 208 million video views. That works out to a 31-percent growth in unique visitors and a 260-percent growth in viewing sessions. Growth in viewers has dull, but Vevo has gotten more video views out of family. Vevo had 55.1 million unique viewers and 309 million views in April and 62 million unique viewers in July (the 57.3 million unique viewers achieved in September falls in between those two numbers). But views have increased from 309 million in April to 502 million in July and 748.2 million last month. One metric that has dropped since last year is minutes per watcher, which fell to 60.2 million in September 2011 from 73.3 minutes a year originally. But Vevo’s growth in unique visitors means total viewing minutes increased 7.7 percentage. Led by YouTube, Google sites had 161.4 million unique viewers, 18.6 billion videos and 378 minutes per witness. Vevo is a partner channel at YouTube. Company executives have said Vevo gets some 90 percent of its views at YouTube. (Press salvation) Companies Boosting Social-Media Efforts — Ninety-four percent of companies planning to put either somewhat more or substantially more resources into social media, according to a Booz & Company/Buddy Media survey of 100 leading companies (60 percent have annual revenues surpassing $1 trillion). At best 5 percent companies surveyed will hold social media investment habitu?, and none said they plan to put fewer resources behind social media. The main social investment being made is hiring full-time employees to dedicate toward social media. Sixty-three percent of companies surveyed already have a community manager to oversee social media projects and 59 percent plan to hire chestnut. Companies are not as well staffed for content foundation – 72 percent plan on hiring creative forte. Other common forms of investment are adding services by partners, creating more content and making more media buys. The survey shows the important role social media already plans in today’s corporations. Thirty-five percent of respondents say their company currently has a senior executive in charge of social media for the entire players. Thirty-eight percent say social media is on the company CEO’s agendum. Social media is not used to achieve hard goals like ROI. Preferably, social media is the domain of softer goals and fuzzy prosody. Eighty-eight percent already use social media for public relations and 75% use it for customer service while honest 48 percent use social for sales. The companies like social for its ability to build varietys, generate buzz and get consumer insights. But at best 46 percent use it to generate sales leads and a moment ago 38% create sales transactions through communal. The top social platform for these corporations are no madam ‘. Facebook ranks in the meridian 3 platforms appropriate for 94 percent of the companies. Twitter is a priority in the direction of 77 percent and YouTube conducive to 42 pct. MySpace is a top-three priority for only 2 of the 100 companies surveyed. ( Scribd, via IP Newsboy) Is a Lot More Vinyl Being Sold Than We Concern? — Ever wonder how much of the vinyl sold in the U.S. has a bar code and is actually counted by Nielsen SoundScan? Vince Slusarz, CEO of vinyl manufacturer Gotta Groove Records in Cleveland, has an guess. “SoundScan only gets with regard to 15 pct,” he told the New York Times. “The majority of the stuff we throng, it doesn’t even have a bar encipher.” ( New York Times) Dog Days for Netflix — The subscription business is perplexing. Netflix befuddled 3.3 percent of its subscribers last fourth, a reflection of the company’s botched attempt to separate its DVD and digital streaming businesses. That’s a pretty small reduction. Seemingly, investors had already priced in their assumptions about subscriber losses and what it would mean for earnings lump. It’s been a tough year for the leading subscription serviceability. Investors had already chastised the company by sending company’s stock fine-tune 57 percent in the last three months. (Or, put another modus vivendi = ‘lifestyle’, investors woke up to reality and realized the stock was overpriced and the company could not maintain its growth rate when it has to license nearly all of its video capacity.) Even with recent hardships, Netflix has grown mightily and still enjoys a market-leader station. Its total subscribers were still up 41.6 percent over the same period last yr. Revenues in the quarter were $821.8 zillion, up from $553 million in the prior-year period and $423 million in the same period in 2009. Net income rose to $62.4 million from $38 million in the prior-year period and $30.1 million in the third quarter of 2009. On a side line, CEO Reed Hastings’ “Mea Culpa Outing 2011″ continued with a short interview in the most recent New York Times’ Sunday Mag. Hastings blamed the failure on “missed execution details” and “underestimating the depth of emotional attachment to Netflix.” And as he had frequently done late, he tried to put content partners at ease by pointing out how Netflix is not in competition with them. “We’re not trying to put HBO out of point,” he said. “I’m an HBO subscriber, and I watch a bunch of great shows on HBO. We did compete with HBO in regard to ‘Cardhouse’ (a Netflix original series). We do compete for viewers’ continually, for dollars and contentedness, but they’re larger and certainly the required.” (Press manumit)

Attorneys for country duo Sugarland said concertgoers were at least partly to blame for injuries suffered in a stage go to pieces, drawing a sharp reaction from fans Tuesday and prompting the band’s manager to issue a statement criticizing the fingerpointing. Members of the band expressed shock and sadness after last summer’s stage collapse at the Indiana State Fair killed seven people and injured dozens more. But in their response to a civil cause, the band’s attorneys said injured fans “failed to exercise due care for their own security” and contended some or all of their injuries “resulted from their own misdeed.” The comments outraged Haley Waggoner of Cincinnati, who was in the front row with her twin sister when the collapse happened and suffered a concussion that caused headaches and other problems for weeks. “It disgusts me,” said Wagoner, who has attended eight or nine Sugarland shows. “Through this whole system, I don’t feel like the band cares that much about fans.” The band’s attorneys also called the high winds that toppled the stage rigging an “act of Power” and denied the band had any responsibility for the stage construction or to warn fans. Waggoner said while the band couldn’t control the weather and didn’t build the grade, she believes Sugarland could have done more to warn concertgoers of the impending hazard. She said she’ll never see them live freshly. “If they don’t believe in us for something that isn’t our criticize, then I don’t want to support them,” she said. Indianapolis attorney Carl Brizzi, who is representing the widow of Glenn Goodrich, a security guard killed in the founder, said he was outraged that the band tried to distance itself from the calamity. “Sugarland has engaged in a public relations campaign to put the best light on its role in the avoidable blow,” Brizzi said in a asseveration. “And this spin-doctoring of Sugarland’s role in the case is both offensive and foreign.” Sugarland attorney James H. Milstone would not elaborate Tuesday on the response to the civil suit. But the band’s manager issued a statement in which the due tried to distance themselves from the claims in court documents. “Sadly when a tragedy occurs, people want to point fingers and try to sensationalize the trouble,” Sugarland said in a statement Gail Gellman issued to The Associated The wire. “The single most important thing to Sugarland are their fans. Their support and love over the past nine years has been nonpareil. For anyone to think otherwise is completely devastating to them.” Another court describe, yet, casts doubt on the band’s claim that its fans come essential. In a January. 16 deposition on a lawsuit against the company that built the stage rig, Indiana State Fair Commission Executive Director Cindy Hoye testified that Sugarland resisted delaying the start of the concert despite threatening stand. Hoye said the band expressed concerns about how a delay would affect the time lead singer Jennifer Nettles needed to warm up and complicate the band’s travel to its next fireworks. Sugarland tour manager Hellen Rollens told IOSHA investigators that there was no discussion of delaying the representation. The band’s legal response has clearly been designed to shift blame away from the band and back to fair officials, the company that erected the stage rigging and others. An Indiana Occupational Safety and Health Administration Investigation cited the tow-haired, Mid-America Sound Corporation. and the stagehands’ union for violations in connections with the deaths of Goodrich and Nathan Byrd, a stagehand killed when the rigging collapsed. Two other investigations examining the engineering of the structure and the state’s response are on hold. The state has already paid wide of the mark $5 trillion, the maximum allowed under Indiana law, to victims and their families. State lawmakers are considering adding another $5 million to $10 million to that to cover medical bills for those who suffered long-term injuries, but even that wouldn’t be enough to cover future medical costs for the most seriously injured. That makes Sugarland a natural focus for legal remedy. It’s common for bands to be named in lawsuits after injuries or deaths at a give someone an idea of. For ideal, families of the dead and injured filed 33 lawsuits against The Who after a 1979 stampede in Cincinnati. The Who settled out of court for a total of $2.1 trillion, plus an undisclosed sum for the family of one schlemiel. But one attorney involved in the Sugarland lawsuit said the band’s response was unaccountable. “It’s unusual to put the blame on martyrs,” South Bend attorney Jeff Stesiak said Tuesday. “The concert wasn’t canceled and they weren’t told to except. I can’t imagine what the victims did to be at misbehaviour to blame.” He disputed the Sugarland attorney’s claim that an “open and obvious peril” existed before the crumple. “An open and obvious danger is more like walking along a road and seeing a downed power line and walking over it anyways. The storm wasn’t like that,” Stesiak said. The blame game isn’t likely to end any minute now, even as lawmakers and fair officials work to prevent future incidents. A plan to require inspections of all mammoth, temporary outdoor stages is advancing through the Legislature. And fair officials have moved all of this year’s concerts inside. At long last, a jury may decide where fault lies. Sugarland’s attorneys have requested a jury trial in the civil cause. Tina Williams of Indianapolis, who attended the concert, said there’s plenty of blame to go circumference. “Everyone has a little bit of possession,” Williams said. “Nobody can predict the weather. It was something that happened. I’m not interfere with with Sugarland.”

As widely hoped-for, the European Commission’s investigation into Universal’s proposed acquisition of EMI’s recorded-music division is to enter a provisional, more in-depth aspect, it has been confirmed. The announcement was made earlier now (Marchland 23) following the completion of the Brussels-based European Commission’s ‘phase a man’ investigation into the proposed combination. Universal Music Group formally requested European Union regulators’ approval to buy EMI’s recorded-music division on February 20. EMI Publishing Goes to Sony, Label to All-encompassing “The Commission’s initial investigation showed, in special, that the proposed transaction would lead to high combined market shares in the wholesale of physical and digital recorded music in the EEA [European Economic Territory] and in numerous Member States and that, post fusing, Universal would enjoy increased market power vis-à-vis its direct customers,” reads a statement from the European Direction . The European Mission (EC) went on to state that: “At this stage of the sounding, the new object, which would be almost twice the size of the next largest player in the EEA, would not appear to be sufficiently constrained by the remaining competitors on the fair, by its customers’ buyer capacity, and/or by the threat of illegal music use (so-alarmed “plagiarization”).” Universal Music Formally Requests EU Approval to Purchase EMI’s Labels Following today’s ruling, the EC now has 90 years, until Lordly 8, to make a final decision on whether to give regulatory approval as submitted, or whether they would seek additional remedies or divestments from Uncircumscribed. The findings of the European Commission’s ‘phase identical’ investigation into the proposed sale of EMI Music Publishing to a Sony/ATV Music Publishing-led consortium is not due to be announced until April 2. Commenting on the notice, Joaquín Almunia, Commission VP in charge of competition policy said in a disclosure: “The proposed acquisition could reduce competition in the recorded music market to the detriment of European consumers.” “The Commission needs to make sure that consumers continue to have access to a wide variety of music in different physical and digital formats at competitive weather,” Almunia went on to bring up. Following the advert, Universal Music Group issued the following proclamation: “Phase II was always expected; we recognise that the Commission needs time to fully review this transaction.  We will continue to co-operate fully with them and look forward to a successful resolution of the organize.”

Wiz Khalifa at Austin’s Club De Ville at Mountain Dew’s Greeln Label Sound’s SXSW vitrine. (Photograph: Jessica Lehrman) In a week filled with surprise guests, the unannounced lineup at Mountain Dew’s Green Label Sound showcase Friday night at Club De Ville was arguably just as exciting as its confirmed acts. Rapper Wiz Khalifa and dance-funk singer Penguin Prison joined a roster that already included dance acts like RAC and Starslinger as well as hip-hoppers Mac Miller and Three Six Mafia’s Juicy J. Khalifa was on hand to perform with Juicy J, who recently signed with Khalifa’s Taylor Gang imprint on Atlantic Records, as well as to support fellow Pittsburgh native Mac Miller. Fellow Taylor Gang rappers Chevy Woods and Lola Monroe also took stage during the surprise start out. Read All Our SXSW Coverage Hither, Yo Penguin Prison popped up halfway through DJ duo RAC’s set to debut a new not public, “Hollywood,” set for release in April exclusively via Green Label Yell out vituperate. As he introduced his new RAC particular, the band’s Chris Glover asked the pile, “Who out here lives in Los Angeles? Who here doesn’t live in Los Angeles and hates it? Fabulously, this song is about a girl who moved to L.A. and how it changed her life story.” The unannounced lineup at Mountain Dew’s Green Label Sound showcase was perhaps just as exciting as confirmed acts as Rapper Wiz Khalifa and Penguin Prison joined RAC, Starslinger, Mac Miller and Three Six Mafia’s Juicy J. (Picture: Jessica Lehrman) In other Dew communiqu?, the PepsiCo brand is set to back Miller’s Macadelic Tour when it kicks off Walk 27 at Norfolk State University in Virginia. Green Label Sound labelmates Cool Kids will carry. The Macadelic gigs come on the heels of Dew’s topple 2011 support of Holy Ghost’s first headlining outing. As the band told Billboard.biz in October, budget issues would have made it cost prohibitive for the band to tour with opening acts without outside mainstay. “Everyone thinks going on tour is alarming, all the girls and whatever and awesome shows,” Holy Ghost’s Alex Frankel said at the organize. “But the reality of touring for a band at our level now is without a major label or tour supporter, there’s a tremendous of logistical support required. It’s awesome when someone comes in and says, ‘We’re gonna help you.’” How Mountain Dew Booked Lil Wayne for SXSW, DeWeezy Cause Friday’s showcase came just one night after Mountain Dew announced that Lil Wayne would be its latest artist partner via a new endorsement-meets-philanthropic program shouted “DEWeezy.” Performing at the Young Money/Cash Money Records showcase Thursday dusk, Lil Wayne even filmed a live commercial for the upcoming electioneer, which will include TV, digital and print as well as the building a skate park in his hometown of New Orleans. Young Money Nicki Minaj is set to announce a partnership with at least one other Pepsi brand in the coming weeks, Billboard has well-informed. Amid the hip-hop heads and dance fans, brand execs like Mountain Dew’s brand manager Hudson Sullivan and Converse chief marketing officer Geoff Cottrill, who made the rounds after closing up shop at the Converse-sponsored Fader Fort for the sunset. Wiz khalifa with Lola Monroe (Picture: Jessica Lehrman)

It was a veritable industry gathering at the second day of taping for Colombian star Juanes’ MTV Unplugged set at Miami Beach’s New World Core. Accompanied by an acoustic band and just two guest artists-Brazil’s Paula Fernandes and Spain’s Joaquín Sabina-Juanes recorded new renditions of hits as well as new material for the special which will air on Tr3s: MTV, Música y Más, in addition to MTV Latin America, MTV Spain and VH1 Brasil in May 2012.  The special was produced by Juanes’ good friend,  Dominican star Juan Luis Guerra, who was largely behind the scenes but took the stage to conduct the 16-piece orchestra and the Frost Singers of the University of Miami for the show’s grand finish. Juanes to Bind ‘MTV Unplugged,’ Juan Luis Guerra as Musical Kingpin “I want to have him on the Billboard Latin Music Awards,” said show producer Tony Mojena, who was among those in presence. The Juanes album is slated for release in May, shortly following the April 26 Billboard Latin Music Awards, which air live on Telemundo. “Everything that’s happening here is grand, and I have to thank you too practically,” said Juanes during his act. Concert-goers later converged at the rooftop of the New World Center for cocktails and at the Delano Hotel for an after-party hosted by Juanes’ identifier, Universal Music Latin Presentation. Those in attendance included Universal Music Latin America/Iberian Penninsual Chairman/CEO Jesús López, UMLE president Victor González and Universal Music Latino GM Luis Estrada; AEG VP of Latin Engagement & Talent Rebecca León, TV producer Tony Mojena, Enrique Iglesias manager Fernando Giaccardi, Colombian star Fonseca, WME head of Latin business Michel Vega, who is Juanes’ deputy, and long-time publicist John Reilly, VP Music for Rogers & Cowan. Also there was former WME agent Jeremy Norkin, who just opened his own force, Norkin Talent Workings, representing Natalia Jimenez and Carlos Baute, among others. Backbeat: Juanes, Colombian Peerless, Gets TV Special On TR3s On his adrift, Giaccardi said Enrique Iglesias continues to capitalize on his extraordinary past two years and is currently discussing dates in Dud, Morocco and Montecarlo for this coming summertime. Bruno del Granado, who manages Ricky Martin, also made it to the show despite shuttling back and forth between Los Angeles-where Martin filmed his appearance in the interest of “Pleasure, including an unforgettable bilingual rendition of “Sexy and I Know It” (to air February. 7)-and New York where Martin will play Che Guevara in Evita, beginning in April. The Billboard Latin Music Colloquy & Awards, presented by State Farm taking place April 24-26, 2012 at the JW Marriott Marquis, Miami. Registration is open for the nonce. Register by Hike 9th for the Early Bird Rate and save $175. Visit BillboardLatinConference.com fitting for details.

NASHVILLE, Tenn. (AP) — Keith Urban was slyly dropping hints about the surprises he had in store at the All For The Hall benefit concert this workweek, but little did he know the night’s biggest surprise was aimed at him. Vince Gill and members of Rascal Flatts, The Oak Ridge Boys and Diamond Rio surprised Urban Tuesday night with the announcement he will officially join The Grand Ole Opry later this month, a revelation that clearly took the Australian country star by disconcert. Keith Urban Goes Three For Three Again on Country Charts “I’m shocked, I’ve got to power,” Urban told the sold-out crowd at Bridgestone Domain. “It’s a huge honor and how beautiful to have this happen tonight of all nights.” As for Urban’s surprises, he brought Merle Haggard and childhood hero Don Williams on originate, fittingly trotting out a couple of inductees for the fundraiser to benefit the Country Music Hall of Illustriousness & Museum. “This is one of the biggest thrills of my ?lan, getting to play a little guitar with this guy coming distant,” Gill said before brining Haggard on leg. Haggard played four songs, including crowd treasured “Workin’ Man’s Vapours.” Williams, a childhood idol of Urban’s, performed two songs, including “Tulsa Notwithstanding.” “I heard more records in my house growing up by this guy than anybody,” Urban told the crowd before bringing Williams on arrange. With the exception of the night’s surprise guests, the theme of Urban and Gill’s third installment of the benefit was duos, vocal groups and bands. Urban and Gill served as co-musical directors and house band leadership, sitting in on almost every song and merging their bands for the tenebrousness. “Thanks so much to Keith and Vince,” Miranda Lambert said. “That’s bright!” Other groups joining Lambert’s Pistol Annies on the night’s set list included Lady Antebellum, The Band Perry, Thompson Square and Little Big Township. Alabama was the only group not to use the supercharged backing pack. Turns out they didn’t need them on their somber hits “Lady Down on Guy” and “Feels So Out.” “Human beings, there is nothing like the sound of those voices,” Gill said after Alabama wrapped up. “Good The creator!” Soothe, little compared with the moment when Gill called all the Opry members in the house back on stage following Rascal Flatts’ show. That triplet, also recently invited to join the Opry, brought out a black duffel bag with a surprise inside for Urban. He opened it to find an Opry microphone cover for a be prominent. Urban appeared to tear up before recovering and addressing the gang. He also dedicated his invitation to his spouse, the actress Nicole Kidman, and his daughters. “I’ve been hither 20 years this year,” Urban said. “1989 was the first year I came over from Australia to take my demo to the record labels. I got a lot of strange looks. … This night here is in a whole otc stratosphere.”

The story behind Alabama Shakes’ sudden rise to band-most-likely-to has almost become urban epic: a blog post and some hot performances during last October’s CMJ Music Marathon sparked a buzz that’s led them from being virtually unfamiliar (singer Brittany Howard was famously still working for the post office just a few months lodged with someone) to a wildfire success comedy — a no. 3 debut in the UK this week and a no. 16 debut on last week’s Hoarding 200 for their eponymous first LP (based on digital sales only; it’s expected to rise to outstrip 10 this workweek) — all in just over six months. Check Out All Our Backbeats Right Hither Along the in work, their refreshingly rootsy pronounce, driven by Howard’s stellar telling, has led to a Zales ad featuring their prevarication “You’re Not Lone,” a management deal with Red Light and a one-album deal with its related label ATO, and countless keystrokes of feverishly positive force, ranging from underground blogs to an article in Rolling Pit, a big Sunday feature in the New York Times and a strong push from NPR and several MTV properties. And considering the role New York has played in the band’s fast get somewhere, its gigs in town last workweek — particularly their set in the basement Studio in Webster Lecture-room, which was live-streamed as part of MTV Hive’s “Live in NYC” series — had the air of a victory lap. Truly, the venue is so small that the most commonly overheard line was about how “you won’t get to see them in a venue this size over” — we saw them play before a much larger crowd when they sold out the 600-capacity Brooklyn Bowl in January — and not surprisingly, the small room was packed with media and biz types. Many MTV staffers, both on and off-tariff, were in the take in — VP of digital music procedure (and one of Billboard’s 2011 Women in Music honorees) Shannon Connelly, Hive’s Jessica Robertson, MTV.com’s Colin Helms, Expos?’ James Montgomery, MTV/VH1 Communications Director Kurt Patat, Music and Talent’s Lisa Lauricella – along with Verse 100′s Jessica Casano-Antonellis, RED’s Melinda Caffin, former Billboard.com reporter Jillian Mapes (who covered the show for the Village Raise), Fort Lean manager Talya Elitzer, Big Hassle’s Shira Knishkowy and Myles Grosovsky, and of course Shakes manager Christine Stauder. Backbeat: Fort Lean Rocks Santos Party House at Record-Release Gig Packed With Fans, Eager A&R Execs The by-now-seasoned band delivered a typically rousing hourlong go down — you can watch five full songs downstairs — although we do wish they’d played their stunning medley of Led Zeppelin’s “How Many More Times” and snippets of various blues songs. The Shakes have been a sort of textbook case for the kind of multi-platform push MTV has brought to up-and-coming artists over the past couple of eld: Florence and the Cabal, Mac Miller and Young the Giant are among the success stories, and they’ve admittedly gone the extra yard for the Shakes. “I have a team of passionate music fans [her staff of around 30 people across all branded MTV platforms] that are out seeing music every unceasingly, and many of us saw them at CMJ last commence,” said MTV Music & Talent EVP Amy Doyle, who is one of the key people behind that advance. “And rarely does everyone come back and have the same impression: Everybody just fell in love and were so inspired by the feeling, the soulful raw talents, Brittany’s unique vocals — so we decided we want to be involved in bringing this band to a larger fanbase. With all our different platforms, we could expose them to amuch larger moviegoers.” Alabama Shakes’ ‘Austin City Limits’ Taping: 8 Things Well-informed To that destination, the group got a prime slot during the O Music Awards (via a pre-taped performance at Stubbs’ in Austin), an interview with Matt Pinfield on the advanced ” 120 Proceedings,” named the band one of 11 “Artists to Notice of” in behalf of 2012, were nominated for an mtvU Woodie, were part of Hive’s “First Memo” series, and taped the group’s performance at South by Southwestward. Last workweek, the band was spotlighted as MTV Push’s multiscreen artist ambition, which included heavy rotation of their “Persevere” music tv, exclusive interviews, along with Tuesday night’s live beck. “CMJ was the band’s first-ever performance in NYC and the first time a lot of people got to see the join, so it was exciting to return to NYC for their album release and even better to team up with MTV to do a live stream of their show and broadcast it live online to an international spectators,” Stauder told Biz. “MTV have been very supportive of the band from the beginning and we appreciate all of the support and enthusiasm they have precondition.” In all, it adds up to a hell of a lot of Shakes in a lot of different MTV platforms. And while it’s difficult to quantify the direct effect of MTV’s efforts, given the wide base of support the band has developed over the past few months, it does show how many new ways the channel has found to support new artists beyond the traditional music picture. “Keep” “Always Okay” “Be Wealth” “Rise To The Trinkets” “You Ain’t Unequalled”

Victory Lap: Musician Bernard Pantryman, Lord Tim Clement-Jones, UK Music Chairman Andy Heathland, singer Martina Topley-Shuttlecock, UK Music CEO Jo Dipple and MU General Secretary John Smith at a reception to celebrate the passing of the UK’s Live Music Act held at London’s Houses of Sevens. Following years of lobbying from the British music determination, a small but important shake-up of the United Kingdom’s grass roots music scene is set to occur when the Live Music Act comes into effect on October 1 2012. First introduced by Liberal Democrat Peer Lord Tim Clement-Jones in July 2010 as a Private Members Bill in the House of Lords, the Live Music Bill gained Royal Assent Tread 8, passing the bill into British law. The Act sets out to remove much of the bureaucracy currently attached to hosting gigs in small-capacity U.K. venues. Most significantly, it exempts venues with a capacity of 200 persons or fewer from the need to obtain a local authority license for the performance of live music enclosed by 8am and 11pm. The Act also states that there will be no audience limit for performances of unamplified live music. Prior to the passing of the Live Music Order, which follows a near-decade of lobbying, small U.K. venues had to apply for permission to their local council authority for permission to host live music events (as dictated by the 2003 Licensing Turn). The bureaucratic red tape and costs involved in doing so is widely credited with deterring many U.K. venue owners from staging live music events, therefore significantly reducing the number of small venues available for live musicians throughout the U.K. “This will mean a whole lot of small venues – not primarily music venues, but many pubs, restaurants and wine bars – are going to be able to put on live music without any fuss,” Musicians’ Combination (MU) General Secretary John Smith told Billboard.biz, at a reception to celebrate the Act’s eagerness, held at London’s Houses of Sevens. “It will form a breeding ground for new acts. There’s a whole litany of acts that have started in smaller venues and I think it’s going to open the doors for many more. The whole ecology [of the music application] should benefit from it,” Smith went on to imagine, calling the Act a “truly, very rare political mastery.” Speaking at the well-attended opening, which also saw live performances from British singer Martina Topley-Bird and indie act Daytona Lights, Jo Dipple, recently installed chief executive of umbrella trade group U.K. Music, called the Live Music Act a “signal” piece of legislation that “has the potential to create thousands of musicians.” “The last thing to come out the House of Lords was the Digital Economy Act and we all know what’s happened – or didn’t materialise – with that,” Dipple said, referring to the U.K.’s long-delayed anti-piracy Bill, which was given Royal Assent in April 2010, but has yet to be implemented, largely due to now-resolved legal challenges from British ISPs BT and TalkTalk. “But, here we are. And we have something spacious, an act of parliament promoting music in the very heart of our communities,” Dipple went on to influence, later referencing “Joy Sectioning, the Sex Pistols, Rolling Stones, The Who” as just some of the many British bands, who started out playing tiny capacity pubs and venues. The Live Music Act has also been welcomed by the wider music community with Sting among the artists keen to praise the first move. “It’s great news that the campaign has been successful and small venues will be able to hold live music events without a lisence,” said the artist in a account. “Such venues are the essential shop floor of the U.K.’s multi-million pound music persistence.” Guy Garvey, singer with Mercury Prize winning rock band Elbow, also welcomed the Act’s potential significance by referencing back to his group’s origins playing a tiny pub in its native North West of England. “The encouragement the landlord and the friends that gathered back then gave us kept us writing and playing long enough to make a life from our passionateness,” Garvey stated. “This result is a very important step towards easing the path for musicians of tomorrow.” According to estimates from U.K. collecting society PRS for Music, the value of live music in the 2010 to the U.K. was £1.48 jillion.

Nicki Minaj scores her second No. 1 album on the Hoarding 200 as “Pink Friday: Roman Reloaded” debuts atop the list with 253,000 copies sold, according to Nielsen SoundScan. That’s a slightly better-than-expected sales picture, as industry sources had suggested last week that the album was on course for a launch somewhere in the range of 215,000 to 235,000. It follows her debut studio specify, “Pink Friday,” which climbed to No. 1 on the February. 19, 2011, graph, just as her “Super Deep” single was taking distant. “Pink Friday” bowed at No. 2 on the December. 11, 2010, chart with 375,000 sold, according to Nielsen SoundScan. (Its big debut was fueled by Christmas shopping, as the album bowed during Thanksgiving workweek.) Madonna’s ‘MDNA’ Officially Posts Biggest Second-Week Percentage Drop Ever For No. 1-Debuting Album Despite its epithet, “Pink Friday: Roman Reloaded” is not a reissue of the unique “Pink Friday” album. It’s an all-new notice, led by its official first unalloyed, “Starships.” The track has already sailed to No. 5 on the Billboard Popular 100. The album that Minaj replaces, Madonna’s “MDNA,” falls to No. 8 with 48,000 (refine 86.7%) It debuted at No. 1 last week with 359,000. Its steep drop is the largest second-week percentage decline for a No. 1-debuting album since Nielsen SoundScan began tracking sales in 1991. It surpasses the record set by Lady Gaga’s “Born This Particular,” when it knock 84.3% in its second week on the June 18, 2011, table. “Born This More” bowed the previous frame at No. 1 with 1.1 million and then sold 174,000 in its second week at the top of the plan. Focusing our attention on the rest of the choicest 10 this workweek, Minaj’s “Pink Friday: Roman Reloaded” is one of four debuts in the pale. Next up is Rascal Flatts’ “Changed,” which starts in the No. 3 slot with 130,000. It’s the country group’s eighth complete 10 on the Hoarding 200 and seventh No. 1 on the Country Albums table. Its last album, 2010′s “Nothing Like That” (its Big Machine debut after a career on Lyric Avenue), bowed at No. 6 with 165,000. Sandwiched between Minaj and Rascal Flatts is Adele’s “21,” which rises one spot to No. 2 with 153,000 (up 26%). Lionel Richie’s “Tuskegee” falls two rungs to No. 4 with 95,000 (pile 52%), and One Direction’s “Up All End of day” is up one to No. 5 with 92,000 (up 98%). Credit the latter’s big gain to the group’s performances on “Saturday Night Palpable” (April 7) and Nickelodeon’s “Kids Choice Awards” (April 1), plus gift-giving sales generated during the Easter furlough (April 8). At No. 6, rock band Of Monsters and Men’s debut album, “My Head Is an Bestial,” starts with 55,000. The set’s oddball “Little Talks” rises 11-6 on the Alternative Songs airplay chart this workweek. “The Hunger Valiants” soundtrack slips 5-7 with 50,000 (polish 22%), and Shinedown’s “Amaryllis” slides 4-10 with 36,000 (consume 66%). Gospel singer Marvin Sapp is the final bow in the peerless 10, debuting at No. 9 with “I Incline” (37,000). His last studio prepare b start, 2010′s “Here I Am,” debuted and peaked at No. 2 with 76,000. Over on the Digital Songs plan, nonsense.’s “We Are Innocent” (featuring Janelle Monae) regains the No. 1 niche (up in unison) with 390,000 (up 7%) while last week’s concert-master, Justin Bieber’s “Swain,” falls to No. 3 with a still-significant 295,000 (pile 43%). Lag, Gotye’s “Somebody That I Used to See” (featuring Kimbra) climbs 3-2 (311,000; up 28%). Thanks to a red hot song in “We Are Juvenile,” Bieber’s huge debut last week and then Easter weekend sales, the Digital Songs chart’s top two both trade 300,000 for the first time in successive weeks outside of the Christmas edible. One Direction’s “What Makes You Gorgeous” is up one to No. 4 (294,000; up 48%), and Minaj’s “Starships” slips 4-5 despite a outdistance (232,000; up 14%). Carly Rae Jepsen’s “Call Me Perchance” moves 7-6 (216,000; up 19%), the Wanted’s “Glad You Came” climbs 8-7 (209,000; up 24%), and Flo Rida’s “Wild Ones” (featuring Sia) waterfall 6-8 (198,000; up 8%). Katy Perry’s “Part of Me” is up one to No. 9 (138,000; up 13%), and Kelly Clarkson’s “Stronger (What Doesn’t Kill You)” slips one to No. 10 (137,000; up less than 1%). Overall album sales in this past chart workweek (ending April 8) totaled 6.4 million units, up 4% compared with the sum last workweek (6.2 meg) and up 9% compared with the comparable sales week of 2011 (5.9 trillion). Year-to-date album sales stand at 84.2 meg, up 1% compared with the same total at this point last yr (83.7 trillion). Digital track sales this past week totaled 29.1 million downloads, up 9% compared with last workweek (26.7 meg) and up 26% stacked next to the comparable week of 2011 (23.2 zillion). Year-to-date track sales are at 390.4 meg, up 8% compared with the same total at this point last yr (362.3 trillion). Next week’s Hoarding 200 competes with the same week in 2011 when: Foo Fighters’ “Wasting Deplane” gave the band its first No. 1 album, debuting in the top slot with 235,000. The previous week’s leader, Adele’s “21,” prostrate to No. 2 with 93,000 (up 5%).

Ronnie Wood says the Rolling Stones will meet in a recording studio later this month “to just throw some ideas back.” The guitarist for the legendary rock group said Monday that he and the band just hankering “to get the feel back.” He also added that the Rolling Stones 50th anniversary is like training for something jumbo. “It’s like working out for the Olympics or something,” Wood said. “You’ve got to go into breeding. So we’re going to go into breeding.” Wood made the comments Monday in an interview following a press conference for his exposition, “Faces, Time and Places,” which features his own paintings. It includes pieces of him and his band mates, as well as Muhammad Ali and Al Pacino. Woods, who said he first started painting at epoch 3, enjoys doing it because it’s a reflection of his own ideas, unlike music, which he calls “a group work.” The exhibit launched Monday and will close June 30. Wood’s week will get busier when he is inducted into the Rock and Roll Hall of Fame on Saturday as a member of The Faces, along with Rod Stewart. It will be the second induction for the 64-year-old Woodwind. The Rolling Stones were inducted in 1989. He’ll also perform a solo show at the Golden Nugget in Atlantic New zealand urban area, N.J., on April 21. When asked what fans should wait for, he said: “Lots of surprises because I’m going to surprise myself. I don’t know what the hell is coming succeeding. The whole set list is going to be made up. I’m making it up every day second.” Wood says he would love go on a solo go “if I had enough days, but I have too many commitments.” He also talked about possibly recording another solo album. “Lots of people don’t know I’ve made vii, ’cause most of my albums bugger off; they’re not released,” he said, riant. “Keith (Richards) says they all skyrocket to disregard.”

A New Zealand judge has ruled that law enforcement’s efforts to seize some $200 million in assets from Megaupload is “null and put aside,” the result of a procedural slip-up. As a development, Megaupload founder Kim Dotcom could get back his $30 million sign, luxury cars and other cash assets needed to mount a vigorous defense to allegations he participated in massive copyright infringement and racketeering. Cautious of: Kim Dotcom Defend Legality of Megaupload Justice Judith Potter made the ruling on Friday, according to The New Zealand Precursor. She determined that the police commissioner and the New Zealand-based law firm that’s representing the U.S. government applied for a foreign restraining classification, which didn’t allow Dotcom to contest the stunt, instead of a preferred temporary restraining apply for. Efforts by local authorities to correct the “procedural goof” were made as far back as January 30, but the judge says that the original restraining order now has “no legal create.” US Prosecutors File for Extradition of Kim Dotcom Dotcom won’t get his property back right forth. The judge has granted a new order on a temporary principle, but has scheduled a hearing to figure out whether the procedural errors were sufficient to allow Dotcom to regain his feature. In legal papers, Dotcom’s lawyers say the unlawfully seized assets “must be released.” Since the January raid that shut down one of the Internet’s most popular sites and caused the arrest of its chairwoman, Dotcom has been challenging one of the largest international anti-piracy efforts in account. He’s now out on bond, awaiting an extradition hearing that tentatively is scheduled for August. 20. The return of property would allow him to access funds for the oppugn. Canterbury University professor Ursula Cheer told the local paper that Dotcom’s lawyers would need to produce evidence showing a lack of good faith in the restraining order application in order to prevail over the law’s allowances for mistakes. Still, the development is being seen as an embarrassing blunder in the run-up to the big decision over whether Dotcom will be sent to the U.S. to face prosecution on criminal copyright disobedience charges.

Late last night-time, the New York Times published an blurb, citing leaked documents, that stated if the consortium led by Sony Corporation. of America gets approval to acquire EMI Music Publishing — which it did on Thursday — it would avoid 326 positions over two years to succeed in $70 million in net cost savings. Below is Sony/ATV Chairman/CEO Martin Bandier’s email to the company’s staff in response to the story, obtained by Billboard.biz: Dear all, By in, I am sure you have read or heard about today’s New York Times story that references Sony and the investor group’s plans for integration. I wanted to write to all of you to set some of the facts straight from the shoulder. Over the last several months, we have been working with many units of your company to develop a strategic integration outline. This plan changes continually, as we continue to analyze the vast amount of information and meet with the department and regional heads at EMI Music Publishing. Since various governmental agencies around the world are still reviewing the proposed annals, it was, to us, premature and inappropriate to share our thinking publicly. It is unfortunate that the New York Times received this information while we are still developing this integration script. While we do not have a completed integration plan to engagement, I will share with you some of our thoughts as to that summons. If the transaction is approved by all the necessary agencies around the cosmos, our current plan is to reduce the total number of employees of the two companies. The exact numbers or percentages are not ending. Since our companies remain partition, we continue to learn more about the existing structure of EMI Music Publishing, which is quite different than when I was thither, and evaluate the information we meet. Without a waver, it is our intention to retain the best and brightest employees at both companies. I will keep you apprised as all of these various events move onward. Marty

(Getty Drawings) Tim McGraw has competed 46 times in the beat 10 on Country Songs, and nearly made it a two-fer this workweek, as his current solo especial “Better Than I Used to Be” enters the upper level (11-10), and a new duet with Kenny Chesney barely misses a transcend 10 scratch. With 21.6 million audience impressions, “Feel Like a Rock Heavenly body” opens at No. 13, the second-highest debut since the chart adopted Nielsen BDS-based rankings in January 1990. Over that 22-year extend over, here is a look at the list’s highest entrances. Clearly, Chesney boasts three of the select nine top-grade 20 arrivals (as does Garth Brooks): Kenny Chesney, Tim McGraw’s ‘Rock Genius’ Roars Onto Hot Country Songs • No. 1, “More Than a Respect,” Garth Brooks, September. 15, 2007 • No. 13, “Feel Like a Rock Take the lead,” Kenny Chesney & Tim McGraw, April 21, 2012 • No. 16, “Don’t Start,” Kenny Chesney, September. 8, 2007 • No. 17, “The Boys of Downturn,” Kenny Chesney, July 31, 2010 • No. 17, “Once in a Life,” Keith Urban, September. 2, 2006 • No. 18, “Good Ride Cowpuncher,” Garth Brooks, October. 22, 2005 • No. 19, “I Saw God Tod,” George Box, February. 23, 2008 • No. 19, “The Thunder Rolls,” Garth Brooks, May 18, 1991 • No. 20, “So Matter-of-fact,” Carrie Underwood, August. 18, 2007 As for a potential predictor of future success after such a lofty organize, all of the songs above peaked at No. 1 on Country Songs except for Urban’s “Life” (No. 6) and Brooks’ “Cowman” (No. 3). “Rock Incomparable” additionally arrives as the highest-bowing duet between two co-lead artists in the chart’s BDS-era report, besting the No. 31 starts of Brad Paisley and Urban’s “Start a Team up” the week of September. 27, 2008, and Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere” (June 21, 2003). Both songs eventually reached No. 1, while the latter track went on to spend eight weeks at the top, a reign that tied the song with Lonestar’s “Stunned” (1999) for the chart’s longest command since 1966. Chesney and McGraw premiered “Rock Prima donna” on CBS’ April 1 telecast of the 47th Annual Academy of Country Music Awards in Las Vegas. Chesney’s label serviced the song to country radio stations during the festivities. The handsome debut was driven partially by coordinated hourly play on Monday, April 1 at Clear Channel-owned stations, 40 of which are represented on the Country Songs venire. “Rock Shooting star” previews Chesney’s 15th studio album, “Welcome to the Fishbowl,” due June 19. The song was released digitally at midnight April 2 and debuts on Country Digital Songs at No. 3 with 93,000 downloads sold. It enters the Billboard Sex-mad 100 at No. 40. PATTERN ‘SPOUSE’: In addition to Chesney and McGraw’s grand chart coming, Lee Brice ascends to his first Country Songs No. 1, as “A Woman Like You” rises 2-1. Brice had previously peaked as high as No. 3 with “Love Like Plumb loco” in 2010. The song set the record for the longest stopover (56 weeks) in the chart’s 68-year yesterday’s news. BIG RASCALS: Rascal Flatts pads its lead as the group with the most No. 1 debuts on Country Albums in the 21 year-old Nielsen SoundScan cycle, as “Changed” becomes the trio’s sixth set to open at the top. Lady Antebellum follows with three top starts, while the Dixie Chicks have a pair of No. 1 debuts during that time figure mood. Rascal Flatts’ new album arrives with 130,000 copies sold, good for a No. 2 start on the Hoarding 200. The trio’s biggest opening week was noted when “Me and My Troupe conspire” stated with 722,000 copies six years since. “Banjo” is the lead track from the new album; it bullets at No. 6 on Country Songs and No. 15 on Country Digital Songs (35,000 downloads). Additional reporting by Gary Depute.

Epic Records Chairman/CEO L.A. Reid announced today that Benny Pough would assume the role of Executive Vice Prexy, Urban Music at Larger-than-life. Pough previously worked for Motown and MCA Records/Universal before taking up his most recent post as Senior Vice President of Urban Promotion at Island Def Jam Music Group in 2004, where he had a major hand in breaking massive artists such as Rihanna, Kanye West and Young Jeezy, among others. His responsibilities at Epic will include creating and overseeing urban promotion strategies and developing Epic’s urban music business imitation, according to a press story. “I am extremely pleased and honored for the opportunity to work with an iconic label such as Epic Records and with such an extraordinary band leader,” said Pough in the disenthral. “I am looking forward to an amazing run and to making yesteryear.” Reid informed his staff that Pough will be reporting directly to him the executive VP’s new capacity. “Benny’s strong leadership and executive skills, coupled with his solid relationships with both artists and managers, make him a critical component of our mission to break and establish hotshot artists,” said Reid.

Universal Publishing Production Music’s Killer Tracks announced yesterday the beginning of its Killer Tracks Artist Series, which will be releasing a number of original EPs geared toward music licensing and syncs. Starting on May 22 with a 5-song EP from singer/songwriter Alex Horde, the company will come out with four releases, including efforts from Tamar Kaprelian on June 19, Rev Theory some time this summertime, and famous Motown songwriter Lamont Dozier in the be found wanting, with more to be announced later this yr. Corbis Simplifies Music Licensing With GreenLight Originate Each EP will be available for purchase via iTunes, but the main thrust of the Artist Series is as a licensing cock; Killer Tracks has built a reputation since its inception in 1989 for its background music licensing, but the new initiative follows on its recent success with lyric-based, full-length songs. “As we started licensing songs with lyrics, thousands of people started asking who the artists were and where they could buy the music,” said Artist Series overseer and Killer Tracks VP of marketing and business development David Gurule in a asseveration. “In some cases, the digital sales from a single placement were increasing the value of that placement many times remaining.” In teaming with these artists for original composition, Killer Tracks is hoping to boost its catalogue, give its clients more sync options, and also help the artists reach new audiences that may have previously never heard their tracks, thus the simultaneous commercial releases. “Our goal with this series is to combine the simple one-stop production music licensing model with the creativity of major artists for the benefit of our clients, our artists and their fans worldwide,” said Gurule. “The appeal of artists creates bigger sync opportunities. Those sync opportunities then drive digital sales and increase both public performance income and awareness for Killer Tracks and the artist. In wrench twist, that increased awareness creates even more sync opportunities and the circle just grows from thither.” “Working with Killer Tracks is a musically rewarding experience and it’s wonderful to see my music getting out there in new ways,” said Dozier, whose songwriting credits contain “How Sweet It Is (To Be Loved By You)” and “End! In The Name of Brotherhood,” in a declaration. “I can’t wait to create hits for a new generation through this exciting new beau idal.”

Lately there’s been speculation that Britney Spears is in talks to judge the sophomore season of Fox’s “X Particular,” but the singer is finally close to closing a $15 million deal with the web, TMZ reports. The debut season of Simon Cowell’s singing reality show ended with major shake-ups, with two of the four judges — Nicole Scherzinger, who reportedly pulled in $1.5 million and Paula Abdul, who weblike $2.5 zillion — leaving the contrast c embarrass. The play the host, U.K. television personality Steve Jones, was also let move one’s bowels. ‘American Icon’ and ‘X Part’ Nab Highest Ad Revenue Per Half Minute, According To Forbes Remaining judges Simon Cowell and L.A. Reid will be joined by Spears — if her contract negotiations go completely — and presumably one more justice. Earlier this yr, rumors of Mariah Carey and Beyonce joining the panel circulated, but were quickly shot down by Cowell himself. The major terms of Spears’ contract have reportedly been locked refine, and the legal teams are just sorting out the fine points. An official announcement is expected in the next workweek.

YouTube’s roll-out of original content is picking up steamer. Now, the Google-owned company announced a slew of exclusive programs featuring such music stars as Cee Lo Nave, Regina Spektor, B.o.B and Cody Simpson. Sleigh Bells Leads Bowery Presents’ New YouTube Play at SF MusicTech Among the launches slated for March is a channel called The Warner Quality, which promises “exclusive access to superstars, celebrities and breaking genius” along with artist interviews, rare films from the Warner vaults, live events, animated series, scripted comedy and “experimental concepts.” The channel will live-stream performances from Warner Music’s SXSW showcase which will include gigs by B.o.B, T.I., Dr. Lav, Ed Sheeran, Gary Clark Jr., Kimbra and Theophilus London. Former MTV News VP Ocean MacAdams will serve as general manager for TWS. Phil Botti, who worked at Atlantic Records as VP Video Subject-matter, will serve as the executive producer of the river-bed. Warner Music League, Eagles Considering Legal Action Against Frank Plethora Other content on deck includes ManTazia by Green and filmmaker Mikael Colombu, a shortform series that chronicles “the flavour, times and music” of the singer and The Voice determine. Actor-director Michael Rapaport will helm a documentary series called Untitled, which also will feature WMG artists. Interval, Staged takes the lyrics of popular songs and “re-imagines them as the script of a thespian.” The first episode will feature the words of Gym Class Heroes. Whitney Houston’s YouTube & Vevo Plays Earnings 4,523% The Live Room will feature intimate performances shot in recording studios all over the great. Promised for the open: B.o.B at Tree Sound Studios in Atlanta, with Spektor also slated for a future occurrence. Countdown To … takes a look at the final days before a hotly anticipated album comes into public notice, and in Finding Cody Simpson, fans will be able to create their own adventure series based on the teen principal. YouTube in October announced identically 100 new channels including ones curated by the music-focused Profligacy, Bowery Presents, Pitchfork and Fuzee. BonnarooTV is scheduled to launch on Stride 13.

Layoffs took place in the promotion department of Warner Music’s labels tod, sources tell Billboard.biz. People let go include Reprise Senior Vice President of Promotion Mike Rittberg, Warner SVP Ron Cerrito, Reprise VP of Pop Promotion Bob Weil, Reprise VP of Alternative Promotion Lynn McDonnell, Warner VP of Pop Radio Promotion Ken Lucek and others. At least a dozen regional reps — including veterans Kim Poole, Rich Garcia, Jim Kelly, Howard Frank and Bob Hathaway — were also let suited for, according to All Adit. A source close to the situation said that the Warner and Reprise labels are not being merged although the promotion staffs are, under the leadership of Peter Grayish, newly appointed Senior Vice President for Warner Bros./Reprize, who joined the company in June. With Len Blavatnik’s Access Industries completing its purchase of Warner in July, and the appointment of Stephen Cooper to the position of CEO, staff reductions have been awaited. A rep for Warner Music had not responded to Billboard.biz’s request for comment at press schedule. In a long and heartfelt email sent to many people in the manufacture, Rittberg thanked dozens of his colleagues and wrote in generally: “Before my first job at a record store I had dreamed to work at Warner Bros. Records.  Coming from A&M Records [to] Warner Bros. was the giant version of a boutique label that believed in artists and were committed to the tomorrow. … “I will always remember my lunch with [legendary Warner chieftain] Mo Ostin when I got the employ ‘down the entry’ to run Reprise.  He told me stories about Sinatra starting Reprise and how the first rock signings were Jimi Hendrix and The Kinks.  It’s that abscond with – of trying to forge new turf – that I will always carry with me in my next strive.”

Primary Wave Music is heading abroad. The publishing, marketing and talent management company announced Thursday it is expanding from offices in New York and Los Angeles and opening up shop in the United Land. Industry veteran Clive Black will head up the new Primary Wave UK. “Now is the perfect time to bring in a European partner to expand resources overseas and Clive is a force in the British music partnership,” Primary Wave founder and CEO Larry Mestel said in a communiqu. Atrocious, who founded Blacklist Entertainment in 1997, previously served as Director of A&R at EMI (UK) and also worked at Warner Music Accumulation. During his livelihood, Black has signed number one hit makers in the U.K., including Mark Morrison (“Return of the Mackintosh”) and Babylon Menagerie (“Spaceman”). “I’m excited to join the Primary Wave team and look forward to building a stronger appearance, and opening new opportunities for their artists, writers and producers,”  Black said in a account. Primary Wave Music represents artists including Cee Lo Verdant, Eric Benet and Cody Simpson, and also has interest in Beatles songs penned by John Lennon and the catalogue of Kurt Cobain and Paradise. In December, the company’s television team sold a reality program featuring Untested, which is set to premiere in the U.K. on Stream-bed 4 in the fizzle out.

Billboard Bulletin is your daily email summary of the top news stories, analysis and insight of the music manufacture, sent direct to your inbox. Bulletin is the “must-enjoy” news source for staying on top of the latest developments, including Billboard chart news and sales data alongside editorial content from Billboard’s worldwide team of reporters. Billboard Bulletin is available to subscribers but. Not a Billboard.biz Subscriber? See a sample of a recent delivery, or click here to find out how to start your subscription tod. Billboard.biz Subscribers: To view or download today’s Billboard Announcement, or any of this week’s issues, click hither. Billboard Print Subscribers: If you haven’t activated your online audience, click here to create your account and start receiving Billboard Bulletin now. Added to, you’ll have complete subscriber-only access to real-time and archived chart data. Questions? Please subscription nbb@omeda.com.

In yet another surprise during a week of head-spinning rumors and negotiations, Citigroup this morning announced the completion of the sale of EMI’s recorded-music operation to Vivendi/Universal Music Squad, ahead of its pending announcement of the sale of EMI Music Publishing to a Sony Corporation.-led investment dispose. EMI’s Deals WIth Wide-ranging, Sony Face Absolute — But Distinctive — Regulatory Check According to the notice, Vivendi will pay UMG “£1.2 trillion ($1.91 gazillion) representing 7 x EBITDA prior to synergies.” That means the recorded music had EBIDTA of £171 million pounds ($272 trillion). Sony, Universal Heat Up EMI Auctioneer In a account, Vivendi CEO Jean-Bernard Lévy said: “We are very proud to welcome EMI into the Vivendi one’s own flesh. We all respect the labels within EMI as well as the artists and employees who contribute to its realization. They will find within our Group a ok, long-term qualified in, headquartered in Europe.” He added that he is “confident that we will be able to create additional value for our shareholders thanks to our knowledge of the industry and our proven track record of successful integration.” UMG chairperson & CEO Lucian Grainge said in a assertion: “This is a historic acquisition for UMG and an important step in preserving the legacy of EMI Music. For me, as an Englishman, EMI was the preeminent music company that I grew up with. Its artists and their music provided the soundtrack to my teenage age. That being so, UMG is committed to both preserving EMI’s cultural heritage and artistic diversity and also investing in its artists and people to grow the company’s assets for the subsequent. As a consequence, we will be better positioned to fully capitalize on the many new and exciting opportunities in the current mart, and also able to better serve our artists, songwriters and business partners, while offering fans even more best.” Citigroup vice chairman and EMI chairman of the board Stephen Volk said in a communiqu?: “We believe that this transaction accomplishes Citi’s objective of maximizing the value of EMI, giving EMI Music a partner in Universal Music that appreciates EMI’s rich cultural legacy, its incredible stable of musical propensity, and its employees who work so hard to deliver successful outcomes for the artists they state. We are grateful to Roger Faxon, his management team and all of EMI’s staff for the continued success of this business during Citi’s possession.” Elegant: EMI CEO Roger Faxon Talks Citigroup Takeover The transaction has been approved both by the Management Board and the Supervisory Board of Vivendi, according to the statement. Vivendi will finance the transaction from its existing credit lines. Concurrently, Vivendi and UMG will also trade 500 million euros worth of non-core UMG assets. A source says which assets will be sold hasn’t yet been pronounced, but it would likely be one or two small catalogs. While the Citigroup announcement says that the closing of the administer “remains subject to a number of weather, including approvals of regulatory authorities in the countries and continents responsible,” sources tell Billboard.biz that UMG had agreed to take on regulatory jeopardy. While IMPALA has been making noise  that it wants the European Commission to block the deal on anti-trust reason, a major-label source point out that UMG/EMI’s combined market share will be with respect to 36% worldwide, which is below the 40% global market share that causes concern for regulators. Vivendi and UMG have been advised by Allen & Co. and SJ Berwin on this records. Citi Global Banking acted as financial advisor to Citi and EMI. Clifford Chance LLP, Shearman & Sterling LLP and Freshfields Bruckhaus Deringer LLP acted as legal advisors to Citi and EMI, according to the announcment. As part of its commercial, UMG supplied the press with several quotes from artists and managers: Mick Jagger: “This is a very positive development and I particularly welcome the fact that EMI will once again be owned by people who really do have music in their descent.” Dave Holmes, manager of Coldplay: “I look forward to working with the Universal group. They have assembled the most talented group of executives in the industry today and their success speaks for itself. This can only be a positive for the artists and executives at EMI.” Andrew Lloyd Webber: “This is thrilling news and a colossal act of faith in the future of recorded music. At finish finally, Britain’s greatest record company is in safe manpower.” Billboard.biz will have much more on these deals today and in the coming years.

In a major settlement between the music industry trade associations for record labels, music publishers and digital music providers, the Copyright Royalty Timber, is expected to maintain the mechanical rate structure set forth from prior proceedings concluded in 2008 while creating new rates and terms for five new digital music service categories. The bargain, which must still be formally approved by the CRB, maintains a song rate of 9.1 cents for downloads, CDs and other physical formats, 24 cents for ringtones, and the same formulas, with limited changes, used to determine the mechanical rate for different kinds of subscription and free interactive-streaming services. It also creates new rate formulas for five new digital business models: – For the paid locker services like the one iTunes offers consumers, music publishers will get a mechanical rate of 12% of revenue or 20.65% of total content cost or 17 cents per subscriber, which ever is greater. – For digital lockers that provide free cloud storage with a download buy, music publishers will get 12% of revenue or 22% of the total cost of gist, which ever is greater. – For the third family, called a mixed bundle such as when your cell phone services subscription rate comes with a music assistance, music publishers become known 11.35% of revenue or 21% of total content tariff, whichever is greater. – The fourth new group, called limited interactive service such as when a subscription service can offer limited amounts of music to, aver, one genre or playlists that the user can access at a lower bottom line, music publishers will attire 10.5% of revenue or 21% of total cost or 18 cents per subscriber, whichever is greater. – In the long run, for the fifth division, called a music bundles such as when a CD album comes with a download, music publishers will put 11.35% of revenue or 21% of total content tariff. The use of a total content cost will allow music publishers to potentially partake in whatever upside occurs when music labels negotiate in a free market how much they charge to supply their music to digital music service providers, according to National Music Publishers Assn. president and CEO David Israelite. “If they get a better negotiation, we get a better give out,” Israelite says. That means if a license expires and a label negotiates a better evaluation in any case, the publishing royalty can increase too. More, if a major comes up with a creative deal that includes an equity stake in a digital music service provider or a guaranteed allotment of advertizing, those items are assigned a value and included when figuring total content outlay, which allows music publishers to participate in such deals. “Digital Media Assn. executive Lee Knife said, “Today’s agreement paves the way for our members to continue developing exciting new business models that satisfy consumers, create greater revenue opportunities for music creators and effectively fight plagiarisation, the music industry’s greatest intimation.” Recording Industry Assn. of America chairman and CEO Cary Sherman said, “This is a historic agreement that reflects our mission to make it easier for digital music services to launch cutting-edge business models and streamline the licensing process. This is a major win for consumers, the music community, and entrepreneurs and investors in mod music services.”

The line up of international acts performing at the Billboard Latin showcase Cortege 14 at SXSW exemplifies the style-shifting nature of current Latin music. Grammy-nominated art punk rockers La Vida Boheme will be joined by Mexican electro-pop duo Jotdog, Barcelona’s euphoric rumba rock group Muchachito Bombo Infierno, Colombian cumbia-pop rapper Duran, singer-songwriter and Latin rhythmatist Javier Garcia, and Guadalajara’s Radaid, whose textured harmonies combine world folk and electronic music. The showcase takes place at the Soho Lounge on Austin’s Sixth In someone’s bailiwick. In addition to Billboard’s Latin spot, the weeklong festival features the current number one Hot Latin Songs artist, 3Ball MTY, the young DJ collective whose hyper mash up of electronic dance and Regional Mexican music is designed for dancing to in long pointy boots, will make their SX debut at the Nacional Records showcase on Marching 16. Backbeat: Not Your Daddy’s World Music: 2NE1, Yuna, La Vida Boheme Rock MTV Iggy Concert Pop superstar Juanes will return to his rock singer-songwriter roots in Austin, where, presented by BMI, he will play the Austin City Limits Live showcase at the 2700-capacity Moody Theatre on Border 16. He is also scheduled to perform in a Woody Guthrie tribute at the Austin Convention Center on Pace 15, and will be interviewed by esteemed rock critic Dave Marsh before an audience of SX attendees. Other showcases featuring Latin American and Spanish artists include a Latin reggae night,  “Sounds From Colombia”, a daytime paella party with bands from Spain, and appearances by past crowd pleasers Lila Downs and Bomba Estereo, as well as artists who will make their debuts at this year’s celebration. The flicks “Casa de mi Padre” starring Will Ferrell as a Mexican rancher and “Motorcycle Diaries” star Gael Garcia Bernal as a drug capo, will screen on Step 13. Billboard en Español Managing Editor Judy Cantor-Navas will medium “Is There a Latin Substitute”, a panel on the pros and cons of Latin branding for the U.S. market and the possible end of crossover in this bilingual hundred.

Nicki Minaj will be the latest pop star to hit the fragrance chain store, according to WWD. The “Beez in the Entrap” rapper will debut her scene this dwindle, with help from Give Back Brands LLC, who also worked on Justin Bieber’s fragrancy, “Someday.” Nicki Minaj Leaves Ado, 11 Million Followers After Fansite Allegedly Leaks Music “I have always been a huge fan of great fragrances,” Minaj said. “This is yet another extension of my creative expression and I can’t wait to share it with the time. I designed this scent and bottle with my Barbz in choose; I know they will love it!” Her scent will join recent offerings from Rihanna and “Give Me All Your Luvin’” partner Madonna, among others, with a scent from Lady Gaga also expected later this yr. If her record sales are any hint, Minaj’s latest venture should be another hit with her Barbz: sophomore album Pink Friday: Roman Reloaded bowed at No. 1 on the Hoarding 200 last workweek, on the move 253,000 copies.

Collector’s Considerations: Platinum League CEO William Preservationist (second from fittingly) with Mindless Front (from socialistic) Ray Flash, Child, Princeton and Roc Roya. (pic: Jesse Bad blood) Mindless Savoir-faire, Diggy Simmons, Snoop Dogg, Tupac Shakur and Notorious B.I.G. are among the offset 100 artists featured in the new Platinum League Trading Card Series ( platinumleague.com) launching on May 1. Billed as the “first-ever interactive hip-hop trading cards,” the series offers custom thesis, instant prizes and entry into a national sweepstakes. Available at major retailers including Objective, Walmart, 7-11, Best Buy and Hot Theme, the Platinum League Trading Card Series is also being promoted by a television commercial that will debut April 23 across cable outlets including MTV, PUT, VH1, Nickelodeon and Cartoon Web. The spot will feature Mindless Expression, Simmons and Snoop Dogg’s girl, singer Cori B. Tupac Shakur Hologram Could Tour Venues Beyond Coachella Priced at $3.79, each pack of Platinum League Trading cards includes five randomly chosen artist cards and a sixth prize membership card. The front of each custom-designed artist card features an exclusive photo of the artist or grouping, while the back is comprised of the act’s bio information and various career highlights. A limited number of cards will also be autographed. In the case of Tupac and Biggie, their respective mothers – Afeni Shakur and Voletta Wallace – have signed their sons’ cards. Each artist card also comes with a custom QR code icon that enables the music fan to download a diverse array of exclusive content from the artist, including video messages. Fans must first download the League Media Contestant, a free proprietary app available now to all iPhone and smartphone vendees. Launching with the “Self-sufficient” series, Platinum League will unveil a new card series evermore 90 years, updated with fresh custom serenity. Next in the series’ passage: “Hustle Conscientious” and “Candy Sod.” Merchandising ‘em/Draw up ‘em: Snoop Dogg’s Platinum League trading card with vital stats and QR symbol. (screen whack) The aforementioned sixth card sports a web link that lets consumers know which instant prize they’ve won. These prizes range from music, ringtone and screen-saver downloads to concert tickets, apparel and accessories. This card also allows consumers to enter The Platinum League Sweepstakes, whose prizes at the end of each 90-day cycle will run the gamut from private birthday bashes and backstage passes to watches. The sweepstakes’ grand champion: a 2012 Chevy Camaro. Platinum League Trading Card Series is the brainchild of owner/CEO William Rural, who began working on the venture in 2003. “This is the future of where music is growing,” says Green of his taking sports and Pokemon trading cards to the next like. He notes that his card series encompasses everyone from the “top row” of leading hip-hop artists to “the fresh faces, the next Lil Waynes.” “This is really cool-headed, bringing some of the old-school factor back in terms of fans collecting and trading cards,” said Mindless Behavior member Roc Royal during a break from filming the commercial in Los Angeles on Friday (April 13). He and other members of the R&B/hip-hop collect – Princeton, Wonder child, Ray Flash – are also working on the teen quartet’s sophomore follow-capable 2011′s #1 Lover. That set debuted at No. 7 on the Hoarding 200, No. 2 on Top R&B/Hip-Hop Albums and has sold 251,000 copies, according to Nielsen SoundScan. Later this yr, BET will premiere “The Mindless Behavior Work,” a film documenting the boy band’s burgeoning killing.

With video footage of Celia Cruz and Johnny Pacheco playacting “Quimbara” as a backdrop and N’Klabe crisply pouring faulty 1980′s classics such as “Lluvia” on the 19th floor of the JW Marriot Marquis, any whispers of salsa dying were barely audible over ” La Salsa Vive,” a tribute in celebration of the genre Tuesday night to conclude the opening day of the Billboard Latin Music Conference in Miami. Check Out All Our Coverage of the Billboard Latin Music Conference and Awards Right Hither “You hear that? There’s no way we can let the genre last resting-place,” said the 360 Group CEO Carlos Perez, who represents Colombian singer Charlie Zaa. “It’s too bad radio doesn’t believe in the genre because they want to feed the young fathering.” Speaking over a blistering rendition of Hector Lavoe’s “Hacha y Panga”, Perez pointed out the lack of newness, in addition to the decline of airplay and general public disinterest as serious issues plaguing salsa. “Let’s be up, most of the younger people in this room have no clue who Hector Lavoe is,” added Perez. “They need somebody they can relate to for salsa to have any chance of staying apposite.” The diversity in genres, including bachata and reggeaton, and the fading of the 1980′s salsa romantica movement have been to difficult to at a loss for words, said AJ Music president Jorge Luis Borrego. “It’s going to take new songwriters, new singers and new producers, not just bands rehashing the same old kit.” TIP OF THE HAT: AEG Live/Goldenvoice VP of Latin Talent Rebecca Leon was quite vocal during a lively Leaders Panel in stressing the importance of everybody in the Latin music diligence – genius, managers, and promoters – to work together in the tomorrow, instead of just focusing on the cash measure. Billboard Latin Music Conference Leaders Panel Talks Morphing Altercation, Success of Prince Royce, 3Ball MTY “It’s critical everybody put their egos by, stop thinking dollar signs and work as everybody,” said Leon, who pointed out how country music headliner Sugarland routinely tours with Lady Antebellum and Keith Urban. “We need to find a way to come calm, not continue to put barriers up when it’s time to do dealing.” Cardenas Marketing Network President/CEO Henry Cardenas wants more energy to go into finding new artists. “I always ask myself, ‘What is the future of the sedulousness?’” said Cardenas. “I ask people in the dynamism, record executives, ‘Where is the new cleverness?’” “You have a Prince Royce on the up and up, but you can’t name another up and coming artist, and that’s a stew.” GIANT EXPECTATIONS: Despite a downtrodden thriftiness, Cardenas has lofty goals throughout ” GIGANT3S”, a nationwide tour featuring Marc Anthony, Chayanne and Marco Antonio Solis set to kickoff August. 3 at American Airlines Arena in Miami. “This [tour] is going to work because of the quality of the production and promotion being put into it.” Marc Anthony, Chayanne, Marco Antonio Solis Circulate 14-City U.S. Trip Cardenas guarantees plenty of interaction among the three stars and interchanging of important, giving the tour a “different feeling.” “Marc will be singing Chayanne’s songs, Chayanne will be doing Marco’s songs and Marco Antonio will be singing some of Marc’s mundane,” he promised.

Watch for Christian rockers Casting Crowns’ “Come to the Mercifully” to possibly debut at No. 1 on the Hoarding 200 albums chart next workweek, with possibly 95,000-110,000 sold by week’s end on Sunday, October. 23, according to industry prognosticators. The set could mark both the act’s first No. 1 on the big chart and the first since 1997 to crown both the Hoarding 200 and the Christian Albums graph. LeAnn Rimes’ “You Light Up My Compulsion – Inspirational Songs” topped both tallies in September of that yr. Standing in Casting Crowns way is Adele’s uncompromising “21″ album, which has already notched a dozen weeks at No. 1. It hasn’t sold less than 110,000 copies in a week since late Venerable, according to Nielsen SoundScan, so it poses a real threat to Casting Crowns. Casting Crowns has visited the Hoarding 200′s topmost 10 three times in days — most recently with the No. 4-debuting album “Until the Whole World Hears” in 2009. That set launched with 167,000 sold. The closest Casting Crowns has come to No. 1 was the week of September. 15, 2007, when “The Altar and the Threshold” bowed at No. 2 with 129,000. (Standing in its way that workweek? The “High School Lyrical 2″ soundtrack, which stirred 210,000 in its third frame at No. 1.) In addition to Casting Crowns, look for R&B singer Joe and reunited rock band Jane’s Addiction to both start in the top-drawer 10 with their latest albums. Joe’s “The Established, the Melancholy, the Bedroom” would mark his fifth cork 10, and Jane’s contemporary “The Great Escape Artist” could be its first top 10 since “Strays” pummel No. 4 in 2003.

Google Trends: 16. j lo — Jennifer Lopez allegedly had a wardrobe malfunction at last night’s Academy Awards. Twitter Music Mode: #GYCToGoPlatinum — Fans of British boy-band The Wanted are hoping the band’s commotion “Glad You Came” (“GYC”) will go pt. Digg Music News/Tv 24 Hours: 6. New Sleigh Bells’ Cd: Someone Make the Pain Terminate! 12. Bee Gees Star Robin Gibb Suffers Setback In His Cancer Treatment 13. I Will Always Love You NPR Music Most Viewed: 1. First Hear: Andrew Boo, ‘Break It Yourself’ 2. First Prick up one’s ears: The Magnetic Fields, ‘Love At The Bottom Of The Profusion’ 3. First Harken to: Julia Holter, ‘Ekstasis’ 4. First Harken to: White Rabbits, ‘Milk Noted’ 5. First Mind: Robert Glasper Enquiry, ‘Black Present’ NPR Music Most Commented: 1. Oh, Dear God In Nirvana: Classical Dubstep 2. Robert Glasper: A Unified Field Theory For Black Music 3. ‘Favourite’ Reaches The Death Rounds, And A Real Girl Problem Emerges 4. Shannon Powell: New Orleans Measure, Straight From The Origin 5. First Mind: The Magnetic Fields, ‘Love At The Bottom Of The Domain’ NME’s Top Music Expos: 1. Hear Arctic Monkeys’ brand new without equal ‘R U Mother-lode?’ randomly 2. The Vaccines ‘can’t hang about’ to record their second album – tv 3. Blur’s Damon Albarn: ‘Graham Coxon and I have less issues now than we’ve ever had’ 4. Listen to Plan B’s comeback onliest ‘iLL Manors’ – aural 5. Bret McKenzie: ‘I can’t wait use the ‘Oscar file card’ on my ‘Flight Of The Conchords’ co-personage’ 6. Jack White confirms a second summer festival presence 7. Leeds venue The Well to close next month 8. Hear N-Dubz’ Dappy cover Queen’s ‘We Will Rock You’ with Brian May contemporarily 9. Hear The Black Keys’ collaboration with Michael Kiwanuka from time to time 10. Keane announce full details of comeback album ‘Strangeland’ Fader Most Flip through – Lifetime 1. Meet the 21-Year-Old CEO Who’s Been Hosting Your Rap MP3s 2. Picture: Waka Flocka f. Drake, “Round of Clat” 3. Azealia Banks Announces Details of Debut Album 4. Download Hodgy Beats’ Untitled EP 5. GEN F: Action Bronson 6. Watch the Official Trailer for Odd Future’s Loiter Team 7. Picture: Girls, “My Ma” 8. Black Hipster: A View from the Centre 9. Rhye, “Out” MP3 10. Nicki Minaj f. Lil Wayne, “Roman Reloaded” MP3 Fader Most Fresh 1. Picture: Buddy Overnight bag, “Liquid” 2. Meet the 21-Year-Old CEO Who’s Been Hosting Your Rap MP3s 3. Jason Nocito and Charles Negre Collaborate with Hixsept 4. DJ Sliink, “Put Cha Back In It” MP3 5. Watch the Official Trailer for Odd Future’s Loiter Band 6. Tv: Joey Bada$$ f. Capital Steez, “Survival Tactics” 7. Brooklyn Fated: Smith Westerns Live at Converse Rubber Tracks 8. Picture: Bon Iver, “Towers” 9. Picture: Waka Flocka f. Drake, “Round of Clapping” 10. Nicki Minaj f. Lil Wayne, “Roman Reloaded” MP3 Pitchfork News Most Current: 1. Sufjan Stevens Teams With Son Lux and Rapper Serengeti as s / s / s, EP Due on Anticon 2. Suckers Announce New Album 3. Do as one is told: Belle and Sebastian Cover the Primitives’ “Collapse” 4. Death Grips Sign to Epical, Ready Two 2012 Albums 5. Picture: Bon Iver: “Towers” 6. Hear a New Track From Flying Lotus 7. Tv: Girls: “My Ma” 8. New Arctic Monkeys: “R U Dig?” 9. Azealia Banks Reveals Debut Album Details 10. Watch a New Episode of “+1″ With Perfume Hotshot Rolling Pit – Recent report 1. U2′s Adam Clayton Sues Bank of Ireland 2. Week in Rock Annals: Whitney Houston Sets a Billboard Report 3. Pete Doherty Shows Blood Paintings in London 4. Melvins Roar Back With Two New Releases 5. Exclusive Album Pour: Delta Spirit Expand Their Sound on Third Album 6. Fred Armisen Plays the Hits 7. Chuck Berry, Leonard Cohen Get First PEN Songwriting Awards 8. Bruce Springsteen to Play Intimate SXSW Showboat 9. Steven Tyler Says Aerosmith Is “Cover” On New Album 10. Free Download: Chuck Ragan’s Hymn ‘Camaraderie of the Park’ Perez Hilton – Music Notes: 1. Watch Whitney Houston Sing In Upcoming Film Certain something 2. Strike Up The Body! The Muppets Just Won For Best Vocal! 3. Celeb Rehab’s Shifty Shellshock Officially Charged With Drug Proprietorship TMZ Music Despatch: 1. LIL WAYNE I Didn’t Drunkenly Torpedo Bahama Concert XXL Music Telecast 1. Wiz Khalifa Holds Listening Session for Taylor Allderdice Mixtape in NYC [Video] 2. XXcLusive: Baby Says Limp Bizkit’s First Single Features Lil Wayne, Explains Signing 3. Jimmy Henchman Charged in 2009 Eradication 4. Common Says He and Drake Squashed Beef at The Grammys 5. Rumour: Is Chris Lightly Under Hot Water w/ Russell Simmons and Rev Thumb through? 6. Diddy Wins Oscar for Best Documentary for Undefeated 7. Rumour: Is Chris Lightly Under Hot Water w/ Russell Simmons and Rev Diffuse? 8. Diddy Wins Oscar for Best Documentary for Undefeated 9. Jay-Z, Kanye West to Auction Improbable “Otis” Maybach 10. Jay-Z Reportedly Disappointed in Rihanna Over Chris Brown Duets CMT Statement 1. WING: Carrie Underwood Joins Whirl 2. Toby Keith’s Clancy’s Tavern Reaches Golden 3. Jerrod Niemann Offers Single From Upcoming Album 4. WING: Buy Zac Brown’s Harley for a Good Result in 5. HOT KNOCKOUT: American Idol’s Lauren Alaina Visits My Cookhouse Stocks (Windup 2/27) Trans World Entertainment Corporation. (TWMC): $2.28 (unch) (unch) Live Nation Fun (LYV): $9.8 (-0.20) (-2.0%) Sirius XM Radio Inc. (SIRI): $2.225 (+0.025) (+1.14%) Sony Corporation (SNE): $21.72 (-0.01) (-0.05%) Pandora Media (P): $12.84 (-0.04) (-0.31%) Apple (AAPL): $525.77 (+3.36) (+0.64%) Dmoz (GOOG): $610.29 (+.39) (+0.06%) Madison Square Garden (MSG): $31.97 (-0.21) (-0.65%) Paid (PAYD): $0.2 (-0.002) (-0.99%) Vivendi (VIVEF): $21.97 (-0.28) (-1.26%) Mound Media Inc. (CMLS): $3.51 (-0.06) (-1.68%) NASDAQ Composite (COMPX): 2971.76 (+8.01) (+0.27%) Dow Jones Industrial Avg. (DJIA): 13007.96 (+25.01) (+0.19%)

Congrats to our old pal Mike Rittberg — whom we first met when he worked with Cheryl Valentine at Metal Blade way back in the heyday — on his new gig at Verve Music Dispose. He’ll be working with David Foster and Robert Smith as VP of Artist Development and Promotion at the sticker, he confirmed to us in a phone call this eventide. Most recently mike was SVP of promotion at Warner Bros. but left the company along with many others in September. He’s already in the UMG email system: You can reaching him at MikeRittberg@umusic.com.

MIAMI — Although ominous gray clouds hung low and temperatures reached into the luxurious 80s, the red carpet scene at the Latin Billboard Awards was as full of colorful pageantry as even. Musicians, actors and industry honchos alike all strutted down the long walkway in front of Miami’s BankUnited Essence. At its transport, with reference to 100 superfans who had lined up hours before the ceremony populated an observation dump. They waved homemade signs, sported homemade T-shirts dedicated to heartthrobs like Jencarlos Canela and Prince Royce, and brandished cell phone cameras with the opening of each limousine threshold. They even duly shrieked for sponsor Target’s mascot bulls-eye-decorated dog, who took a gleeful early trot down the press gauntlet before posing for pictures with presenters and performers. Check out all of our coverage of the 2011 Billboard Latin Music Conference and Awards right hither. Early down the carpet were the regional Mexican stars, like El Trono de Mexico, who shone in matching drained, bedazzled suits and cowboy hats, and spontaneously erupted into group chants. A different kind of splash came from TV personalities like Mun2′s tattooed hostess Smash, who opted for rhinestone-covered cat-eye sunglasses by Kerin Roseate, famous for accessorizing the likes of Lady Gaga and Rihanna. Even the reggaetoneros looked grown up. Up-and-comers undifferentiated 24 Horas still opted for carefully sculpted facial hair and cornrows, but megastars like Alexis y Fido looked decidedly more grown up in skinny suits. That, they said, was a reflection of the state of their fashion. “The reggaeton business is evolving so now I’m dressing in Versace,” Fido said. Part of that production? A desire to work with global pop icons like Black-Eyed Peas, Dr. Dre, and Rihanna, Alexis added. Other stars said they were similarly intent on a similar kind of crosswalk. Natalia Jimenez, the stylish former frontwoman of Mexican rock group La Quinta Estacion, said she would soon release her debut bilingual solo album, produced by Emilio Estefan. “It’s a pop-rock album, and it also has Latin influences,” she said. “But when I started tattle, I actually started singing in English principal, so it was actually hard for me to switch to Spanish.” Bilingual bachata-pop stars like Prince Royce and D’Unit (Lenny y Max, formerly of Aventura), also said their new material would continue to cross languages. “I grew up in New York, but my parents are Dominican, so it’s genuine,” Royce said. Lenny and Max, for all that, said they would do so while still largely sticking to the musical style for which they first became known. “D’Element is a bachata progress,” said Lenny. The biggest stars, unsurprisingly, arrived on the carpet finish finally, some after the live broadcast of the ceremony was already underway. Billboard cover star Luis Fonsi basked in the crowd’s adoration while promoting his new album, “Ground,” and he didn’t dismiss the possibility of recording an English album, either. “I’ll never say not in any degree,” he said. “I do speak Received standard, and I’ve lived here for two-thirds of my moving spirit.” The most deafening screams were reserved for the last handful to walk by way of. Novela star turned singer Jencarlos Canela posed for pictures before female fans, until Pitbull showed up with T-Grief. Pitbull embraced his fellow Cuban before rushing through with Pain in the arse, on the way into the arena to present an bestowal. No matter although, because the highest watts came go the distance. Marc Anthony himself, nominated in six categories, arrived in a skinny suit as black and shiny as his limousine, and leisurely signed fans’ autographs. The best and last was crossover legend Gloria Estefan, who seemed to glide in a floor-ultimately, lace-and-satin gown before heading into the arena to accept a special lifetime achievement grant.

NEW YORK (AP) – Best Buy Co. CEO Brian Dunn has resigned from the nation’s largestconsumer electronics retailer, a company that has been struggling to rebound amid growing competition and changing shopping habits. Best Steal, based in Minneapolis, said Tuesday that it was a mutual ruling, and that there were no disagreements with Dunn on any matter relating to operations, financial controls, policies or procedures. But the company said it was time for new leadership given the challenges the company faces. Best Buy to Reserved 50 Big-Box Stores, Release 100 Mobile Locations Best Buy said that it has already created a search committee for identifying and choosing its new CEO. Board member Mike Mikan, 39, will serve as interim CEO while the company searches for a permanent substitution. Richard Schulze will continue as chairperson. Best Buy’s shares rosebush 52 cents, or 2.3 percentage, to $23.17 on the gossip. Major Labels Push Back on Best Buy’s Price Demands Dunn, 50, who is a 28-year veteran of Best Buy and started his career there as a store connect, had been CEO and director since June 2009. “I leave today in position for a strong subsequent,” Dunn said in a disclosure. The announcement comes a couple weeks after Best Buy unveiled a restructuring plan that calls for culmination 50 of its U.S. big-box stores, occasion 100 small-format stores and mordant $800 million in costs over the next five age. Best Buy’s plan is an effort to become nimbler and avoid the fate of former rival Circuit Megalopolis, which liquidated its business in 2009. Best Buy has been hit by a couple factors. Once the bread-and-butter of electronics retailers, sales of TVS, digital cameras and video game consoles have cut. During the interval, sales of lower margin items like tablet computers, smartphones and e-readers have increased. At the same eternity, Best Obtain, like other big-box retailers, is finding that those hulking stores are no longer attractive to consumers looking for one-stop shopping. As opposed to, more people are using them as showrooms to browse for products and then going online to Amazon.com and other rival sites to buy at a lower retail. As a corollary, Best Buy continues to exert oneself. The company past $1.23 zillion, or $3.36 per divide up, for the year ended Adjoin 3. That compares with a profit of $1.28 gazillion, or $3.08 per allocation, in the prior yr. Annual sales rosebush 2 percent to $50.71 trillion. But revenue at stores opened at least a yr, a key metric because it excludes results from stores and open and close during the yr, fly 1.7 percent for the year after having fallen 1.8 percent in the prior yr. Last workweek, credit ratings agency Benchmark & Poor’s put its corporate credit rating and other ratings on watch for a possible declension, saying at the time that the company’s restructuring system “underscores the problems that Best Buy is having with its current business mark.”

Regional Mexican singer/songwriter Regulo Caro ( @ReguloCaro) unveiled his new music during the release party for his second album Amor En Tiempos De Guerra (Del Records/Sony) at the Conga Room in Los Angeles. Attending the album release party was Del Records founder Angel Del Villar, Sony Latin’s Jennifer Bullshit, BMI’s Marissa Lopez and singer/songwriter Gerardo Ortiz who earlier this week was announced as a finalist for the 2012 Billboard Latin Music Awards for Albums Artist of the Yr (manful), Regional Mexican Songs Artist of the Yr (Alone) and Regional Mexican Album of the Yr. Check Out All Our Backbeats Right Hither Caro, who is Ortiz’s cousin-german, said that it was a night to celebrate the release of his new album, but also Ortiz’s achievements in music. “We’re cousins and we’re extremely supportive of each otc,” Caro said. As for the album, it was a labor of love that translated into one full year of work as he fine-tuned 18 songs, 12 in the style of corridos and the rest wrapped around romantic themes. “We plan on following the album release with a tour later this yr,” Caro said, before he took the showbiz. As with the rest of the new generation of regional Mexican artists, much of Caro’s success comes from a steady use of online platforms such as Chirrup, where he has more 25,000 following. “Twitter really does connect you to your fans,” Caro said. “It’s like having a friend that you can connect with almost anytime. I’m very humbled by having the followers that I do.” Caro said that he took his time on this project so he could have the album he wanted. As a Del Records artist, he said, he’s allowed flexibility to nurture his projects. “I wrote for half a year and the other half was producing the album in the studio,” Caro said. “I’m a huge fan of rock so you get a little bit of that and I also incorporate other genres such as bonk.” The Billboard Latin Music Discussion & Awards, presented by State Farm taking place April 23-26, 2012 at the JW Marriott Marquis, Miami. Registration is open contemporary. Register by Cortege 9th for the Early Bird Rate and save $175. Visit BillboardLatinConference.com for the duration of details.

R&B singer Monica is heading for her fifth straight ascend 10 album, as New Life is aiming to sell all round 60,000 by week’s end on Sunday, April 15, according to industry sources. That figure might be enough to give her a top five placing on the tally next workweek. The new Hoarding 200 chart’s pinnacle 10 will be revealed the morning of Wednesday, April 18. Monica’s last album, 2010′s Still Rank, debuted and peaked at No. 2 on the Hoarding 200, unfirm 184,000 copies in its first week according to Nielsen SoundScan. All of her efforts, save for her 1995 debut Miss Thang, have reached the ace 10. Her lone No. 1 stiff 2003′s After the Monsoon. While Monica will likely be the chart’s top launch, she may not sell enough to hit No. 1. That honor will probably fall to Adele’s 21 — encore! — which could move perchance 90,000 to 100,000 and notch a 24th nonconsecutive week at No. 1. Veteran singer/songwriter Bonnie Raitt may have her highest charting album in nearly two decades, as Slipstream may sell circa 40,000 copies. That could be enough to start in the uppermost 10, depending on how the rest of the week shakes ended. Raitt hasn’t visited the crown 10 since 1994, when Longing in Their Hearts spent seven weeks in the sphere, peaking at No. 1 on April 16. Counting Crows are also in the hunt for a high start next week with Underwater Temperateness, the rockers’ first studio album since 2008. It may move far 20,000 roughly, which would likely enable a lid 20 inauguration. The band’s previous studio unloosing, 2008′s Saturday Nights & Sunday Mornings, debuted and peaked at No. 3 with 106,000. On Nielsen SoundScan’s Building blueprint (inferior), Monica’s New Life is No. 1, Adele’s 21 is No. 2 and Nicki Minaj’s Pink Friday: Roman Reloaded is No. 3. The Building tally is a precursor to the final Hoarding 200 ranking, reflecting the first four years (Monday through Thursday) of SoundScan’s tracking week as reported by six major merchants. One Direction’s Up All Night is in fourth chore, Hoodie Allen’s All American is fifth, Raitt’s Slipstream is sixth and Lionel Richie’s Tuskegee is seventh. Rascal Flatts’ Changed is at No. 8, Alabama Shakes’ Boys & Girls is at No. 9 and Counting Crows’ Underwater Temperateness is at No. 10.

Live Nation Stock Jumped After Madonna Tour Advertisement Are investors excited about Madonna’s upcoming visit? Or are they increasingly convinced the concert business has left its troubles butt? Maybe a bit of both. Live Nation’s stock jumped 3.4% Friday following reports that tickets for the singer’s 2012 tour would go on sale after Sunday’s Super Basin. Earlier in the day Clear Channel launched the singer’s new unrivaled, “Give Me All Your Lovin’,” to radio stations and billboards worldwide Friday bright. Live Nation’s 10-year deal with Madonna, reported to be advantage $120 meg, attracted many critics when signed in October 2007. But given the Super Bowl’s unparalleled promotional power and the coordinated publicity push behind her upcoming album and walk, the size of that deal probably isn’t weighing too heavily on investors’ minds in 2012. Michael Rapino says he is “optimistic astir 2012″ and AEG president Randy Phillips thinks 2012 will be “a steady yr,” according to a Los Angeles Times article on the upcoming year in concerts. “If people are saying it’s going to be a banner yr, to me that would have to be 15% to 20% more than last yr,” continues Phillips. “My projections are for maybe a 3% snowball. But that certainly beats [revenue] going fine-tune.” Friday’s bump helped push Live Nation stock up a total of 30.9% in 2012. Friday’s close of $10.88 was 52.4% above its 52-week low of $7.14 set in October. Year to pass, the Dow is up well-founded 5.3% white the tech-heavy Nasdaq is up 11.5%. Kindle Fire Building Music Program, But Still No iPad The iPad is the tablet of choice for music fans, but Android tablets are starting to make a better run. For starters, Rhapsody just released an app for Android tablets that has “re-imagined the entire experience for the pill,” chief product officer Brenden Benzing said in a report. Amazon.com’s Kindle Fire tablet is helping get music to Android owners. The low-price device uses a customized version of the Android operating utilidor. I reached out to Songza CEO Elias Roman because the startup’s playlist streaming app is available in the Amazon Appstore. He told me the Kindle Fire is Songza’s “fastest-growing principles” and the source of the most active users than any non-Web stage – including Apple iOS and Android platforms. As Roman notes, Songza was released for iOS and Android in mid-September and didn’t have much time to get a head start on Kindle Spirit. All the same, he’s happy with the growth of the platform and its purchasers’ high level of activity with Songza. But the Kindle Fire is no iPad. Changewave Research launch 54% of Kindle Fire owners are “very slaked” with the purchase piece 38% are “somewhat slaked,” according to a mocoNews postal service. The firm’s research on the iPad late last year revealed 74% of owners were “very slaked.” Given its $199 price trail along after, the Kindle Fire was never expected to compete head-to-head with the more high-priced, elegant and feature-rich iPad. But Kindle Fire is doing better than competitors not named iPad: solely 49% of owners of other tablets reported beingness “very slaked” with their purchases. Amazon did not specify how many Kindle Fire units it sold in the fourth mercy, but the device was a factor in its 35% increase in net income. It its earnings release the company disclosed sales of Kindle devices – both e-reader devices and Kindle Fires – during the nine-week holiday period rosebush 177% over the same period in 2010 (part of the increase is obviously due to the fact that the Kindle Fire didn’t exist in 2010). The company also revealed the Kindle Fire is “the #1 bestselling, most talented, and most wished for product across the millions of items available on Amazon.com since its unveiling 17 weeks gone.” Changewave’s survey of 2,607 U.S. consumers found that 6% owned a Kindle Clat. Kickstarter Keeps Ontogeny There are more signs Kickstarter is making a serious impact on independent projects. The fundraising platform is becoming well known in music circles, but its impact might be greatest in the film terrene (where barriers to entry are higher). An portentous 17 of the films at this year’s Sundance Film Festival were funded by Kickstarter. The New York Times’ David Carr noted that Kickstarter seemed at times to be a movie studio at Sundance. “Funny thing about that. Kickstarter didn’t greenlight the movies; the people did.” In the grand scheme of details, Kickstarter doesn’t account for much of the music province. Total pledges to all music projects – EPs, albums, tours, etcetera – were back $19 million in 2011. But that number is bound to grow in 2012 like it did in 2011. Google search traffic for Kickstarter has more than doubled in the endure 12 months and has grown steadily over early, according to Google Trends. And that $19 million in pledges represents projects that may not have been undertaken or completed without fans’ escape. As John Elefante of the group Kansas explains in the video for his Kickstarter scheme, “Funding a project these days has become a serious challenge for most artists – even record companies would agree with that.” By the started, Elefante’s project has raised outstanding $19,000 and has 49 days left to reach its $35,000 object.

EMI has lost its appeal in an Australian court ruling that found Men at Work’s 1980s discern “Down Inferior to” was lifted from a campfire folk bother. Last yr, Australia’s Federal Court found that Men At Work’s hit had reproduced a “substantial faction” of “Kookaburra Sits In The Old Gum,” a Girl Scout anthem represented by Sydney-based Larrikin Music Publishing, a division of the U.K.’s Music Sales. The case has made headlines around the globe since jammed 2008, when Larrikin Music Publishing went ahead with proceedings against Men at Work’s songwriters Colin Hay and Ron Strykert, EMI Songs Australia and EMI Music Publishing Australia, claiming the flute refrain in “Down Under the control of” infringed its copyright. Men At Work were subsequently ordered to pay well-deserved 5% of royalties from their iconic hit dating back to 2002, plus future royalties. Attorneys for Larrikin had argued that damages in the region of 40% and 60% of royalties accrued past “Down Beneath the waves” was intelligent. EMI wanted that original court decision overturned and filed papers in 2010 with the Federal Judicature, listing 14 grounds for appeal and claiming that Hay and Strykert did not breach copyright. The music major had argued that the disputed riff was no-more than a tribute to the original enlarge on a excite, written in the 1930s by an Australian teacher Marion Sinclair. But the court didn’t see it that break down. A three-judge panel today upheld the decision and ordered EMI to pay court costs for the appeal in addition to the royalties it now owes to Larrikin Music, a total sum which could reach well into seven-figures. Men At Work became members of an elite circle of artists when in 1982 they secured simultaneous No. 1 singles and albums in the U.S. and U.K. with “Down Secondary to” and the longplay it was taken from, “Business As Customary.” “Down Eye” is a favorite with Australians wide, and is regarded in these parts as an “unpublicized” national hymn, particularly during sporting occasions. In his keynote conversation year at the APRA Song Summit in Sydney, Hay spoke of his “special relationship” with the tune, which he told the audience he played nightly. A NYC-based spokesman for EMI Music Publishing could not be reached for commentary at deadline.

Soundgarden’s first new song in 15 age, “Live to Get ahead,” will be available as a free download beginning April 17 on iTunes as part of the promotion of Disney’s coat “Marvel’s The Avengers.” The iTunes puffery, which runs through April 24, includes an exclusive blow — “The Face Substandard” — from the big, which opens May 4. “Live to Mount rebel” is the first single from the Marvel Music/Hollywood Records album Avengers Gather, which will be released May 1. Tracks from Shinedown, Rise For, Bush and Five Finger Death Punch are among the 14 cuts on the album. “The hard part of writing a song for a film is it has to act as a Soundgarden melody, first and noted, then apparently, it has to coexist with the take,” Soundgarden singer-songwriter Chris Cornell tells Hoarding. Soundgarden was approached in early March to contribute a song to the pic. They were working on their reunion album, a fall release of which is awaited, and after going through their tracks nothing seemed make away. Cornell and guitarist Kim Thayil started from scratch and came up with “Live to Position.” It is the first Soundgarden track to be written for a movie. But Cornell has contributed tracks to such movies as “Mission Impossible II,” James Bond motion picture “Casino Royale” and last year’s “Machine Gun Reverend.” “The biggest discrepancy,” Cornell said in drawing the distinction between his solo work for film and the new Soundgarden footmarks, “is that, on my own, I’m only responsible for the identity of me. In the context of Soundgarden, it’s a band that has a long and prominent place in rock music and all four of us have our own ideas of what the musical identity of Soundgarden is. That has to be served first. It has to function naturally as a Soundgarden song before you even excogitate anything else.”

R onnie Wood recently caused a stir when the music press quoted him as saying the Rolling Stones were preparing to hit the recording studio again later this month, but he tells Billboard those comments were not accurately reported and led to an unfortunate conversation with the band’s frontman. “I heard from (Mick) Jagger; he’s loss, ‘What the gehenna?! We don’t know anything anyway!’ And I said, ‘you know what (the media) are ilk. I just expressed my personal panorama; I would love to go into the studio.’ Then they took it all in error,” he said. He added, “So I have to make a personal apology to the rest of the combo unite. I didn’t mean to say things out of goods.” Rock Hall Inducts Faces, Guns N’ Roses, Beastie Boys Those comments, that the Stones would be hitting the studio “to just throw some ideas just about,” were made Monday after a press conference for his “Faces, Time and Places” art display. Speaking to us from Cleveland over the weekend, where he was inducted for a second time into the Rock and Roll Hall of Notoriety, this time for The Faces, a sober Wood said he’s looking forward to the “Rolling Stones 50″ coffee table book in July and an as-yet-untitled documentary due in the allied with. “We do have a 50th anniversary,” the guitarist promised. “Whatever is going to be done, we will know in the next insufficient months.”

Alabama Shakes live at Austin City Limits during SXSW where the band’s buzz sky-rocketed. Adele’s “21″ (XL Recordings) is back at the top of the U.K. album plot, for a 22nd aggregate workweek, mounting 3-1 to depose Nicki Minaj’s “Pink Friday – Roman Reloaded” (Cash Money/Universal Archipelago). Alabama Shakes’ “Boys & Girls” (Rough Dealing) made a strong debut at No. 3. Carly Rae Jepsen’s “Call Me Perhaps” (Interscope/All-inclusive) started a second week atop the singles plot, beating out her fellow Canadian Justin Bieber’s “Fellow” (Def Jam/Common). Adele’s album was last at No. 1 on the U.K. survey seven weeks since, and was helped back to the summit by a BBC1 TV repeat of her September 2011 concert at London’s Royal Albert Entry (first broadcast on New Year’s Broad daylight) on April 5. The Official Charts Company reports that the album’s latest record-breaking achievements include the fact that it’s now spent more time at the summit than two Beatles classics, “With The Beatles” and “A Hard Day’s Ceaselessly,” both of which had 21. Adding her one week on top with her debut album “19,” Adele’s career total of 23 weeks now exceeds the 22 weeks apiece racked up by both David Bowie and Dire Pass. “19″ itself climbed 15-12 on the new plot. Alabama Shakes’ ‘Austin City Limits’ Taping: 8 Things Practised “Roman Reloaded” fell to No. 2 in its second week as newcomers Alabama Shakes made a powerful No. 3 start with their debut fasten on. “Boys & Girls” had been at No. 1 in “midweek” OCC picture, and also debuted at No. 16 on the current Hoarding 200. Jessie J’s “Who You Are” (Lava/Universal Key), which debuted at No. 2 in the U.K. in March last yr, climbed backbone 8-4 as her “Laserlight” private, featuring David Guetta, arrived at No. 26. Emeli Sandé’s “Our Versions of Events” (Virgin/EMI) held at No. 5 as Lana Del Rey’s “Born To Go to meet one’s maker” (Polydor/Cosmic” climbed disregard 11-6. “Now That’s What I Call Music 81″ (EMI TV/Universal Music TV) is in a second week atop the compilation plot. Jepsen’s second week in the singles hotseat saw her aggregate 110,000 new sales to last week’s send-off 107,000, to outsell Bieber’s No. 2 debut by two to story. With Gotye’s “Somebody That I Used To Comprehend” (Universal Isle), featuring Kimbra, steady at No. 3, there were three further debuts inside the top ten: Usher’s “Trail” (RCA/Sony Music Diversion) at No. 4, U.S. hit “We Are Litter” (Fueld By Ramen) by jollity. featuring Janelle Monae at No. 7 and “Level Up” (3 Beat/All Around The World/Universal) by British rapper Fluctuate at No. 8.

Without the aid so far of radio or an all-out promotional rebuff, Jason Mraz blasts onto the Billboard Sharp 100 at No. 8 with “I Won’t Deliver,” courtesy of a No. 1 debut on the Digital Songs blueprint. The song starts with 229,000 downloads sold, according to Nielsen SoundScan, and marks his first No. 1 on the latter calculate. On the Ardent 100, the track’s launch is the highest for a male pop/rock singer-songwriter since David Cook burst in at No. 3 with “The Time of My Being” the week of June 7, 2008, after he was laureled “American Graven image” mavin. Also on the Charts this Workweek: Adele’s ’21′ Hits 15th Week at No. 1 on Hoarding 200 On Digital Songs, “Won’t” marks the first No. 1 debut since Lil Wayne’s “How to Delight,” featuring Drake, bowed at the summit the week of September. 3, 2011, with 254,000 downloads sold. “Won’t” is the lead single from Mraz’s as-yet-untitled fourth studio album, due May 8. The set comes next 2008′s “We Tattle. We Th? dansant. We Steal Characteristics.,” which debuted and peaked at No. 3 on the Hoarding 200 and has sold 1.7 million copies in the U.S., according to SoundScan. Mraz premiered “Won’t” live during his 2011 concert walk, well before an official version was released. The buzz was so great on the track that it quickly caught viral fire and, in the past couple weeks, garnered cover versions by YouTube luminaries Christina Grimmie and Tyler Quarter. Dane Venable, Atlantic Records senior VP/merchandising, saw Mraz complete “Won’t” at Carnegie Hall in New York in late November and recalls it as “absolutely breathtaking. It got a standing acclaim.” Even though the song had already been laid down in the studio with a full body, Atlantic then encouraged Mraz to re-record it acoustically. Venable says that Atlantic “knew the emotional impact of the kerfuffle b evasion” and thought it would be a “great gift for the fans (for us) to release it at the top of the yr, to just kick high 2012 with this gift of promise.” “I won’t give up on us, even if the skies get unladylike,” Mraz sings in the song’s refrain. “I’m giving you all my solicitude. I’m still looking up.” As the tracklist for Mraz’s forthcoming album is still being finalized, Atlantic says that it’s too early to confirm if both the acoustic and full-band versions of “Won’t” will appear on the turn. Last month, Mraz told Billboard.com that his new set will trait “less horns, more piano and guitar textures (and) more vocal landscapes. That, to me, has always been my favorite part of making music; the singing and what voices can do and voices singing in consistency.” While the official lyric video in place of “Won’t” has racked 2.5 million views since its upload to Mraz’s YouTube channel January. 2, a proper video is on the clearance. Atlantic says that Mraz is currently reviewing treatments and hopes to film the clip before the end of the month. The label aims to release the short by the second or third week of February. Also due next month: “Won’t” will get its first TV performance February. 16 when Mraz sings it on NBC’s “Now.” The gig is scheduled two days later “Won’t” earns a rare physical CD single release February. 14 – not so coincidently, Valentine’s Heyday. The single’s tracklist isn’t yet final but may include both the acoustic and full-band versions of “Won’t.” Following the song’s viral buzz and impressive sales first, Atlantic will begin promoting “Won’t” to wireless, working the song to Mraz’s home bases of adult pop and adult alternative February. 23. The label is likely to follow with a push to pop radio shortly thereafter. “Won’t” marks Mraz’s second Heighten 100 excellent 10, following his No. 6-peaking 2008 hit “I’m Yours.” The latter song set the record for most weeks (76) that a single has spent on the Brand-new 100 in the chart’s 53-year representation. At 5.9 million in digital sales to-engagement, “Yours” is the eighth-best-selling download in SoundScan history and the highest by a male pop/rock singer-songwriter. Check billboard.com later today for our weekly Wednesday preview of the Sharp 100 when we count down the chart’s trim 10. Tomorrow (January. 12), all charts, including the Concupiscent 100 in its entirety and the Digital Songs rankings, will be reinvigorated, as they are each Thursday.

From sinistral: Musicians Craig Morgan, Blake Shelton and TV personality Lee Lakosky participate in the NRA Country ACM Celebrity Shoot Hosted By Blake Shelton at the Desert Hills Shooting Club in South Boulder Town, Nevada.  (Photo by Ethan Miller/Getty Images for ACM) LAS VEGAS — The Academy of Country Music takes on some heavy duty lifting when it comes to putting together their awards show weekend of activities. From the awards show itself – this year was figure up 47 – to the special tribute taping, ” Lionel Richie and Friends together,” the Academy has a full plate as it presents activities that span industry and fan events. While it might seem challenging to hold fan events mixed in with the awards guide, the three-day weekend seems to work well for the constitution. Throw in a few record company parties and announcements and the weekend is full of activities for industry insiders and fans way. From leftover: John Copious, Blake Shelton, Warner’s John Esposito and Big Kenny at the Warner Music Nashville Post Accessory. Both Huge & Rich performed on the Lionel Richie & Friends in Concert TV Unusual. Shelton won his first ACM Male Vocalist of the Year laurels. (Picture: Courtesy of Warner Music Nashville) One of those hard at work this weekend was Fred Bronson (also a Billboard.biz subscriber), who wrote the script for the Lionel Richie homage. Both the ACM awards and the tribute show are produced by Dick Clark Productions. Jason Aldean, Kenny Chesney and Rascal Flatts were on hand for the taping of ‘Lionel Richie & Souls mate: A Lifetime of Hits,’ a special slated to air later this year on CBS. “One thing about this show and all the ones we’ve spent – George Jam, Brooks & Dunn, the Girls’ Night At liberty – one reason the show is so emotional is that we do talk to all of the artists and get their personal stories. By the time they get their talks, it’s based on their own row, which is probably why they don’t change it.” Bronson said one of the most interesting things about doing this tribute show was watching Richie interact with all the other acts on the deliberate. “When you watched him and Kenny Rogers in rehearsals, you felt like you were watching little piece of life,” Bronson said. One of the record company events was held by Big Machine Label Unit, who announced that the company and its artists are teaming with General Mills and Feeding America to Outnumber Hunger.  The record company held a press conference on Friday, Walk 30, to make the announcement that Rascal Flatts, Reba, Martina McBride, The Band Perry, Eli Young Party, Justin Moore, Brantley Gb, Sunny Sweeney, Edens Work one’s way, Ella Mae Bowen and Thomas Rhett, along with BMLG President and CEO Scott Borchetta, will participate. “When you think and you see the facts and the statistics that say one in six Americans are going hungry it’s unpleasant,” Borchetta says. “The entire label group has banded together to bring awareness to that, and with General Mills there’s a way to actually have a return thereon.” Rascal Flatts will be the face of the campaign and by working with local radio across the boonies, they will empower listeners to help make a contribution without having to make a gift. People can purchase any General Mills product that is branded Outnumber Hunger on the back of the boxes. They can then go to outnumberhunger.com website and enter the code on the packages, put in their zip customs, and they immediately send five meals to the nearest food bank to their zip corpus juris. As a thank you, they also get a free download from Big Utensil. General Mills’ Mary Jane Melendez explains that their goal is to help Feeding America to protected 15.6 million meals. Gary LeVox of Rascal Flatts’ says the statistics of hunger in this country were staggering to him and immediately got his contemplation. “When we first heard the astonishing numbers of how many Americans were in need and on the verge of going empty – you be read, 17 million people in our own backyard – we just knew what we wanted to do whatever we could to help put a dent in that numerator.” From Formerly larboard: Chris Cox, Executive Director of the NRA – Institute for Legislative Representing; Bob Romeo, Academy of Country Music Executive Supervisor; musician Blake Shelton; Wayne LaPierre, Executive Vice President and Chief Executive Officer of the National Rifle Association of America and musician Craig Morgan attend the NRA Country ACM Celebrity Shoot Hosted By Blake Shelton at the Desert Hills Shooting Club on Saturday. (Picture: Ethan Miller/Getty Images for ACM) While the National Rifle Association and the ACMs might seem unlikely partners, the second annual NRA Country/ACM Celebrity Shoot Hosted by Blake Shelton was held on Saturday. A number of artists, including Craig Morgan, Craig Campbell, Lee Brice and Jake Owen, turned out to participate in the at any rate. Faith Quesenberry Malloy with Honor Music Entertainment explains why they wanted Morgan to participate. “NRA country gives my artist Craig Morgan a great lifestyle platform that is vey much in line with his core values and beliefs,” she says. “It is a win-win and we were happy to participate in the harm.” The Second Annual NRA Country/ACM Celebrity Shoot will support Wounded Warrior Job, The Folds of Honor Foundation and the Nellis Air Force Base Youth Programs. Another sports activity is the ACM Lifting Lives® Celebrity Golf Classic hosted by Darius Rucker. This event drew entertainers Charles Kelley, Rascal Flatts, Eric Gunderson (Love and Pilfering), Jake Owen, Dean Alexander and Stephen Barker Liles of Love and Theft to the greens on Saturday. The golf tournament benefited the Diane Holcomb Emergency Relief Capital. From communistic: Capitol Records Nashville SVP Promotion Steve Hodges; Lady Antebellum’s Charles Kelley,  Hillary Scott and  Dave Haywood; Capitol Records Nashville SVP Marketing Cindy Mabe and COO Tom Becci at the Capitol Records Nashville ACM after party.  (Photo by Rick Diamond/Getty Images for Capitol Records Nashville) From odd; Dierks Bentley, Luke Bryan, and Eric Church attend the Capitol Records Nashville ACM after party held at Aureole at the Mandalay Bay Place to turn & Casino on April 1, 2012 in Las Vegas, Nevada.  (Photograph: Getty Images for Capitol Nashville) Musician Brad Paisley (betray) and CBS Executive Vice President Jack Sussman at the 47th Annual Academy Of Country Music Awards rehearsals at Mandalay Bay Events Center in Las Vegas, Nevada.  (Photo by Mark Davis/ACMA2012/Getty Forms) While in Vegas for the ACM Awards, Toby Keith and the Warren Beavers were presented with plaques commemorating the platinum certification for Keith’s “Red Solo Cup”. The single is approaching the 1.7 million sales score. From pink: Sara Johnson  Publisher  BMG/Chrysalis;  Ben Vaughn  Publisher  EMI; Brett Warren  Writer EMI; Brad Warren Writer  EMI; Toby Keith; Brett Beavers, Writer BMG/Chrysalis; Jim Beavers Writer Sony/ATV; Troy Tomlinson,  Publisher, Sony/ATV; Mark Wright President Show Dog Universal Music. (Picture: Courtesy Show Dog, Universal Music) Golfcarts and guns! Neil and Reid Perry of The Band Perry attend the NRA Country ACM Celebrity Shoot Hosted By Blake Shelton at the Desert Hills Shooting Club on Trek 31, 2012 in South Boulder Urban district, Nevada.  (Photo by Ethan Miller/Getty Images for ACM) A good portion of the the Capitol Records Nashville ACM after accessory: Sitting, L-R: Musician Karen Fairchild of Little Big City, Capitol Records Nashville SVP Marketing Cindy Mabe, musician Kimberly Schlapman of LBT, singer Hillary Scott of Lady Antebellum, musician Phillip Sweet of LBT, musician Kelleigh Bannen, Capitol Records Nashville SVP Promotion Steve Hodges (standing back row L-R) Capitol Records Nashville COO Tom Becci, musician Luke Bryan, musician Dave Haywood of Lady Antebellum, musician Charles Kelley of Lady Antebellum, former Capitol Records Nashville Prexy & CEO Mike Dungan, musician Jon Pardi, musician Dierks Bentley, musician Eric Paslay, musician Jimi Westbrook of LBT, and musician Darius Rucker attend the Capitol Records Nashville ACM after party held at Aureole at the Mandalay Bay Visit & Casino on Sunday.  (Picture: Getty Images for Capitol Nashville) From Formerly larboard: Blake Shelton, John Esposito, Prexy & CEO of Warner Music Nashville and Hunter Hayes at the Warner Music Nashville Post Coterie. Both Hayes and Shelton performed on the ACM Awards. (Photo: Good manners Warner Music Nashville)

The RIAA today announced the promotions of two executives to the rank of executive vice president from the senior vice presidential smooth out. Michele Ballantyne steps into the role of executive vice prexy, public theory & industry relations, while Jonathan Lamy assumes the role of executive vice prexy, communications. Both will report to Chairman/CEO Cary Sherman. Ballantyne will be serving as the major labels’ chief advocate on Capitol Mound, representing their interests in front of the nation’s government on such issues as copyright and intellectual property laws, both of which have large-scale ramifications for the music work. Building from her prior experience as a general counsel for Senator Tom Daschle and as special assistant to President Bill Clinton, she was able to help push through Congressional reforms that updated intellectual property laws for the digital century, including helping to establish the 2008 PRO-IP Act that created the position of Intellectual Property Enforcement Coordinator in the President’s room. Lamy has been in charge of the Communications and Strategic Analysis department of the RIAA since 2004, during which time he oversaw legal battles such as the 2005 Grokster Supreme Court circumstance, which sided in favor of the major labels in their copyright claims against the Grokster and Streamcast P2P sites. Prior to his work with the RIAA, he served as press secretary for members of both sides of Copulation, as well as for Bread for the Over the moon marvellous, the largest anti-hunger organization in the U.S. “Michele’s expertise in political strategy and ability to manage complicated projects are among the very beyond compare. Her impressive track record speaks volumes and I cannot be more thrilled to watch her shine in this place,” said Sherman in a annunciation. “Jonathan has led the RIAA’s communications team with extraordinary expertness… his strategic thinking and understanding of complex issues make him one of the best and most well-respected communications professionals in the industry. “With Michele and Jonathan, the music industry is undoubtedly kindly-served.”

How Jamaica’s Sizzla Kalongi can sing righteous lyrics decrying social and political injustice on his new album The Chan” (out on Afro swarm, a subsidiary of the Munich-based Kosmo Music), while violently and unjustly denouncing homosexuality on older songs is something many people find distressing. So much so that Sizzla’s recent European tour had four shows canceled following protests against the veteran choirboy. Spain Touring Notes: Sizzla Dates Canceled; Dylan Headlining COCK-AND-BULL STORY; James Potato, Lana Del Rey at Sonar; More Twenty-five albums from Sizzla’s big 67-album catalogue, recorded over the antecedent 17 eld, have reached the Reggae Album enumerate; The Route: The Very Best of Sizzla (Greensleeves) disgorge 72 weeks on the design, peaking at no. 4 on July 12, 2008. Sizzla has previously ventured into hardcore dancehall, R&B, and Hip-Vault, but it’s the burnished roots reggae rhythms utilized by his longstanding collaborator and producer Everton “Troglodyte” Moore, that provide the ideal complement to his peevish, melodic sing-jay approach and rather thoughtful subject matter on The Chant.  Here songs address the plight of “Hungry Children” and offer evocative impressions of “Zimbabwe,” where Sizzla and Caveman own a recording studio in the capital Harare. “I sing about Jah, love for the ladies and enfranchising, positive vibrations that are part of the good breeding; gangster songs and gal songs only last for a extent, roots reggae can last incessantly,” explained Sizzla (born Miguel Collins), 36, in a rare interview granted to Billboard.biz at the recording studio he recently opened with Caveman at the Eastern Peace Centre (EPC) in the Mountain View area of Kingston. For eld, Mountain View was gripped by gang cruelty, which climaxed in 2003 with 40 lives lost in 90 years. The EPC’s director Orlando “Majesty” Hamilton, a significant mediator between Mountain View’s warring factions, is also a partner in the studio. “After all that music has done for me, I want to help the youths learn in britain artistry, engineering and other industry skills that bring an honest income to them, that’s why I am hither,” Sizzla explained. Philip ‘Fattis’ Burrell, Jamaican Financial manager, Manageress, Xterminator Records CEO, Dead at 57 While still a high school swot, Sizzla began refining his vocal talent by working with Moore’s Caveman Sound Entity. Producer Homer Harris guided the early development of Sizzla’s vocation. Now the director of The Kalongi Youth Creation (which provides financial assistance towards the education of children in the August Town community where Sizzla operates a studio at his Judgment Yard hq), Harris gave the sing-jay his fiery soubriquet. He also introduced him to other notable mentors, including acclaimed saxophonist/producer Dean Fraser and producer Philip “Fattis” Burrell who remained Sizzla’s manager until his death in December 2011. With the release of his second and third albums in 1997, Praise Ye Jah, produced by Fattis, and Bobby Digital’s Black Woman and Youngster, Sizzla emerged as that era’s most influential reggae artist, his songs providing a overruling, provocative voice echoing the struggles faced by disenfranchised ghetto youths. Degree, as he concludes a month-long European tour supporting The Paean, Sizzla experienced renewed rounds of demonstrations there by activists who say nearly a dozen songs he recorded betwixt 2000-2005, aggressively denouncing queerness, incite violence towards gays. Commencing in the primordial ’00s, organized campaigns against the references to shooting and violent “batty boys” (gay males) in such songs as “Pump Up” and “Get To The Dot”, resulted in the revocation of Sizzla’s UK and Canadian visas, in 2004 and 2007, mutatis mutandis. The rescinding of Sizzla’s US visa in 2008, says the artist, stems from a possession of marijuana charge in 2000. Sizzla has since been granted a US work-let, notes Harris, while the restoration of his US Visa is on hold. Members of the Swedish Federation for Tribade, Gay, Bisexual and Transgender Rights (Riksförbundet för homosexuellas, bisexuellas och transpersoners rättigheter, RFSL) say some of Sizzla’s lyrics advocate violence towards LGBT people and started a apply for. The chairman of RFSL, Rickard Svahn, called for promoters to take a stand against the concert as it could tarnish Stockholm’s gay friendly standing. This helped bring about the cancellation of Sizzla’s Marchland 28th concert in Stockholm. Three dates in Spain (April 12-14) were also car, the outcome of online petitions and an email campaign led by the State Federation of Lesbians, Gays, Transsexuals, and Bisexuals. The remaining tour dates, spanning eight European countries, took place as scheduled with Sizzla refraining from performing any offensive consequential. On Marching 23rd Sizzla issued a press release citing the concert cancellations as “censorship designed to create maximum economic damage for everyone involved in the tour and the reggae industry at portly.” Querying the lack of protests against marquee names in hip-hop and go off visit “who make clear stances against these same issues” the statement attributed the international community’s lack of understanding of Rastafari, which traditionally rebukes queerness (as it does cruelty) and “the metaphoric and allegoric phraseology” of Sizzla’s Jamaican patois lyrics, as significant factors in the ongoing battle waged against his music. When asked about these songs at the EPC, Sizzla, who subscribes to the Bobo Ashanti order of Rastafari, would ony say that, “They are fighting Rastafarian artists who have different insights based on their song lyrics; when we say we bash you, it doesn’t mean we will attack you, but it is name, sound and power we use to speak out against you.” Kosmo Music founder/CEO Michael Rank says the continual opposition to a few Sizzla songs has obscured the artist’s expansive body of culturally enriching put together. It has also stifled his label’s promotional strategies for The Chant beyond the core reggae admirers. “I wanted to freedom “Hungry Children” to mainstream disseminate (in Europe) but several programmers said they would have problems if they played a Sizzla tune in these times,” explained Rank on the phone from Kosmo Music’s annex office in Lisbon, Portugal. According to Distinction, his European distributor Good To Go/Rough Trade reported “certain record store chains would not stock a Sizzla album at this ease.” The U.S. distributor, New York based VP Records, for the moment, has not received any complaints. “The amount of units shipped through our distribution arm VPAL were typical for their stocks exchange,” says Dane Bogle, VP’s A&R/Radio Hikes. Back in Kingston Sizzla remains focused on his new studio and its extended community outreach, seemingly resigned to taking his scaled back touring options in step. “Yes, you do lose a great percentage of your income by not performing in those countries,” he admitted. “They use those things to stop you but they can’t stop the in a nutshell a quarrel, sound and skill.”

Ever since Facebook announced it would be filing for an IPO February. 1, speculation has been widespread as to when the company would officially go mr. With reports stating the company was aiming for late May coming as far back as January, TechCrunch today cited multiple sources close to the company zeroing in on May 17 as the target date for the IPO. Facebook Files For IPO, Hopes to Put forward $5 Zillion Facebook’s offering still has to be cleared by the U.S. Securities and Exchange Committee, but pending approval the company was looking to bring $5 billion from the filing, obliterating Google’s initial offering of $1.9 billion in 2004 that had set records for an internet crew. The company has hardly been idle since the initial advertisement, making huge waves with its purchase of Instagram in support of $1 billion ten days ago and announcing its Listen button to strengthen its music internalisation. The Message of Facebook’s IPO Filing: Social is Your Expected With Facebook being valued at upon $100 gazillion, the company could debut on the market at as high as $40 per deal.

As Calvin Harris’ career has taken in error, so have the fortunes of electronic dance music management company Three Six Zero Clique. Founded in 2007 by Mark Gillespie, a talent booker for dance festival firm Global Meeting, and Dean Wilson and Alan Rutherford, who were partners in 24 Running, Three Six Zero counted Harris as its first patron. His early success with his 2007 debut I Created Disco helped Three Six Zero gain stature in the United Kingdom that led to the signing of Chris Lake, Tom Neville and eventually a global signing of EMI’s Deadmau5 in 2009. Tod, the company’s growing roster encompasses 18 artists and four writer/producers (Swedish House Mafia, Fred Falke, Nero, Funkagenda) as well as pop acts Kelis and Hurts. Three Six Zero also manages labels from Harris (Fly Optic), SHM’s Sebastian Ingrosso (Refune), Lake (Rise) and Michael Woods (Diffuse). To read the full Calvin Harris story associated with this article and much more take Billboard magazine hither. In July 2010, Three Six Zero inked a partnership with Roc Country, putting the two in constant contact and giving Three Six Zero a presence in Live Nation’s Beverly Hills, Kaliph., offices. (Three Six Zero has a direct partnership with Roc Polity, but is not ultimately owned by Live Nation or Front Virgule.) “There isn’t a week that goes by that one of the principals of Roc Nation isn’t doing stuff together with us,” Gillespie says. Here’s how the partnership has evolved. MUSICAL PAIRINGS After proving the potential of a Roc Nation/Three Six Zero pairing with Rihanna’s “We Found Lose one’s heart to,” new Roc Nation signing Shakira recently hit the studio with Three Six Zero artist Steve Angello of SHM, while Nicole Scherzinger has recorded tracks with songwriting duo Nexus. There’s also the just-released “Awarding (Lose My Note),” a collaboration between Ingrosso and Ryan Tedder, who’s managed by Front Line’s Ron Laffitte. Gillespie also notes there’s some “interesting collaborations” on Deadmau5′s upcoming LP, though nothing he could confirm at the on one occasion. “There’s a strong affinity between the two [companies],” he says. “At the time the partnership was forged there was a large difference between what we did. Now it’s probably the strongest affinity everlastingly.” Backbeat Coachella: Swedish House Mafia’s Sebastian Ingrosso, One Republic’s Ryan Tedder on Collab ARTIST DIRECTION Roc Nation’s artist/producer/songwriter roster experiences much cross-pollination with Three Six Nix. Mark Ronson had some shared carelessness, but is now solely managed by Roc Nation’s Rich Kleiman. “Whether it’s [Roc Nation co-founder/president Jay Dark-brown] being involved in the Swedish House Mafia side of things [or Roc Nation partner John Meneilly] from Calvin’s point of believe, creating partnerships takes some time to do,” Gillespie says. “But we got to know the guys really well and forged great relationships with them…They’re involved with us on a day-to-day basis scarcely.” DEMANDING Richard Palmese, a veteran marketing executive at RCA and Arista, now consults for Roc Nation parent company Live Nation and led the promotion of Harris’ “Feel So Nearby” at wireless. “He’s part of what we see as an executive part of Three Six Nada,” Gillespie says of Palmese. “With the electronic market secure, for it to be at the forefront right now is really moving. So to have somebody with the experience of Richard working on the radio side of things is stupefying.”

The normally press-shy David “Boche” Viecelli, president of powerhouse indie touring agency Billions, made a rare speaking appearance at Boston’s Rethink Music Conference on Tuesday to talk the perils of an over-branded South by Southwest and the dangers of diluting acts’ touring power at this year’s Coachella. As a booker for acts like Arcade Spark off, Sharon Jones and the Dap-Kings, St. Vincent and others (Billions also represents Bon Iver, Neko Case and Death Cab For Cutie), Viecelli had many choice words for the state of the 2012 festival circuit  — “Let’s admit that South by Southwest had nothing to do with music” — and the brands that pervade it — “Can you imagine Arcade Fire playing in the giant Doritos put on? I can’t.” Below are excerpts from his conversation with Billboard.biz following his 20-minute display. Billboard.biz: What was your take on this year’s South By Southwestern? Was the presence of major acts like Bruce Springsteen, Eminem, Lil Wayne and Fiona Apple ultimately too distracting for developing acts to break wholly? David Viecelli: I think the acts we had there did pointed, but it’s true this giant engine runs supposedly on the idea that it’s about music and community. Bands bust their ass to get down thither, then they have their big break because of everyone that’s thither — the music dynamism “start” a bunch of musical heroes. I can’t recall the last time where two weeks after South by Southwestward, everybody was raving to me about the same body. The way [SXSW Film Carnival] has blown up and with all the money pouring in with [SXSW] Synergistic, bands are kind of an reconsideration. I’m wondering if we get to a point where SXSW is a bunch of lasers and logos everywhere and you just get in there and get drunk for awhile. Backbeat: Snoop Dogg Plays Surprise Set Inside Giant Doritos Vending Machine at SXSW One could argue that already happened this yr. Is South By still good for bands? Viecelli: It is when you have a quality ecosystem. The reason we’ve held onto [the annual Billions] Antone’s showcase is because it’s a proper venue. But in another situation, bands get presented there in such horrible environments – slammed up onstage with no line checks and lousy PAs in many cases – a lot of substandard production citizens. I’ve seen ones that just didn’t happen because things were so screwed up. That obviously is a colossal, huge problem … St. Vincent a couple years gone — when we had her down there she played two shows. Two, not ogdoad. Two good ones: a label showcase at the Presbyterian Church and the Billions show at Antone’s. Those statements, people knew they needed to ride out. When a band plays 10 times, people look at listing, realize they have conflicts and believe, “Oh, I can see them succeeding” — and then they never be extinguished b depart. You just need to have two really good shows so that people schedule around that everyone. What about Coachella this past workweek – was the new two-weekend approach good for bands? Viecelli: Annie [Clark, of St. Vincent] really ruled it, Bon Iver really arrived as a festival stance. I was watching on the internet — I wasn’t out there but many people at my company were. I’m trying to convince myself I’ve gone to my last Coachella. If we had a headliner I would be there but it seemed like a good year to take a year off…I don’t love the double weekend. I love Paul [Tollett of Goldenvoice], and in general there’s no festival I respect more than Coachella. I understand why they did [two weekends]. They’re paying acts 150 to 180% of what one weekend would be, not 200% [Note: Tollett had not responded to Billboard.biz's request for comment at press anon a punctually, but he recently told Billboard  that the festival ended up paying acts double the single-weekend speed], and the production costs were probably divided by way of 15% that second weekend, so it’s huge wealth. It’s not like they’re making twice as lots, they’re qualification 2,3, 4 times as practically, so it’s monumental. The way I don’t think it works from their perspective is you’re trying to make your festival stand alone as a singular event and meet with. Now you’re just doing the same thing double – it was preternatural. Some of our artists were able to play shows in interpolated, but a lot of things underperformed. St. Vincent and Tune-Yards teamed up for four shows around Coachella, [Tuesday was] the last of them at the Fox in Oakland. We sold that out at 2,900 but we struggled to chafe 900 at House of Blues in San Diego. We sold out the 800-capacity Glass House in Pomona only two days before the show…But even in Tucson we had a bill of Bon Iver and Feist that was only at 1,800 tickets a week loophole. You’re also not a big fan of sponsored pre-sales for shows and tours, though you did make an exception to save “American Precise: Unstaged” with Arcade Fire in 2010. What’s the issue with those programs? Viecelli: A lot of the bank stuff gets done by automatically — the AmEx pre-buying, Citibank, those things are a bad look and we talk about it a quantities. When a manager or an artist really wants to eff, I won’t argue hard against it. If my opinion is asked, I’ll say I do think there are some people that will feel its somehow distancing for you to be aligned with something like that. The more you continue to offer preferential treatment to people who are better off financially, at what point to do we arrive at something like where professional sports are? The working dude who can’t take his family to the ballgame at some point is pushing people out of the architecture. I worry if you’re not the right person with the right place with the right banknotes, you get access and if not you don’t. It’s hard to find ways to access that every so often, the money those people bring to the table can be valuable. Usually with things like the AmEx essence, those are often no net for the artist – if they spent all this money marketing the show and we’re willing to do what they’re doing, there’s otherwise nothing that goes directly to the artist. In a of cases it’s not even that, the promoters are getting all the money from the financial outfit. So what commemoration, if any, are you personally looking forward to this yr? Viecelli: Sasquatch. You usually see far less industry people there, it’s basically eight people from Billions and two agents. It’s a great place to just satisfaction in the music.

Hi, Austin. We have what you’re looking as a replacement for. Lionel Richie, whose timeless hits encompass “Easy and “Endless Idolize,” will headline Billboard’s annual showcase at South by Southwest’s Music Festival on Parade 14 at Austin’s ACL Breathing. Marking Richie’s SXSW inauguration, the showcase will focus on the icon’s catalog spanning 44 years in the hit-making business and promises a fair share of surprise guests. Joining Richie will be an eclectic mix of the buzzworthiest acts visiting Austin this yr, including indie darlings Poliça, stylish party band Wallpaper., retro-soul rockers Vintage Trouble and R&B hit maker The-Speculation, who has achieved international success as a solo artist and also composed a string of chart-topping singles for artists such as Beyoncé, Rihanna, Justin Bieber and Mariah Carey. The opportunity to explore new music with other passionate fans was just one of the reasons Richie chose to make his first trip to SXSW. “It’s so great to be a part of a festival that for two decades has helped launch the careers of some important new artists and celebrates iconic artists who have had a lasting impact on the musical view,” he said. “I’m looking forward to checking out some of the new bands that I’ve been reading about for the last several months and making some new friends who share my passion for music.” Richie, whose 10th album “Tuskegee” is scheduled for release on Butt 26, has created an unforgettable body of work both as a solo artist and as frontman of pioneering ’70s soul/funk band the Commodores. “All Night Gangling (All Edge of night),” “Say You, Say Me,” “Hi,” and “We Are the Community” are just a few of the 22 ascend 10 hits he’s had on the Billboard Sex-mad 100 blueprint. “Tuskegee” is a collection of many of those hits, but on the album Richie is joined by some of the biggest names in country music including Kenny Rogers, Jason Aldean and Sugarland’s Jennifer Nettles. He plans on bringing that spirit of collaboration to SXSW as coolly. “I will be joined by a surprise guest who will help me unveil music from ‘Tuskegee,” Richie said of Billboard’s showcase in Austin. “I can’t think of a better way to launch this album than by sharing the new music at South By Southwestward.” Bill Werde, Billboard’s editorial official, calls Richie’s canon of hits “amongst the most beloved and time-well-tried” of any artist tod. “That his current project is built on those hits gives you a sense of what to expect at the pretension,” he said. “Add to that some of the amazing artists that we have up our sleeve to join Lionel on step, and you’re looking at a night that will be one memorable moment after another. This show is going to blow people surrender.” Billboard’s 2012 SXSW showcase show will begin at 8 p.m. CT on Step 14 and is open to festival badge holders. A limited number of non-badge holders will be able to buy tickets at the door as luckily.

Vivendi’s Universal Music Group today formally requested European Union regulators’ approval to buy EMI’s recorded-music frontier. An initial deadline of Parade 23 was set for a ruling on the bargain, according to the European Committal. “Universal Music Group confirms that it has submitted its filing to the European Commission for the acquisition of EMI’s recorded music craft,” a UMG statement reads.  “We will work closely with the Commission and remain confident of securing licence.” EMI Publishing Goes to Sony, Label to All-inclusive Top executives at Warner Music, which tried many times to purchase EMI over the years but was knocked out of the running late last be infatuated with b be fooled, have said they will oppose the marketing, with former chairman Edgar Bronfman Jr. saying last month the company will fight it “tooth and collar.” EMI’s Deals WIth Ubiquitous, Sony Face Sure — But Mismatched — Regulatory Investigation Impala, a collection of independent labels and other music companies, issued a statement today saying that it “welcomes” the start of the regulatory process in Europe and reiterating that it expects an “outright renunciation” of the jumble sale. Scrutiny: Edgar Bronfman’s Big Statements About Universal/EMI Deal Are Business As Stereotypical — But Much More Every tom In a related circumstance, the New York Post reported today that UMG CEO Lucian Grainge guaranteed current EMI owner Citigroup its reported $1.9 billion purchase price even if regulators quashed the deal; sources have been making similar statements to Billboard.biz since the sale took dispose in November.

SAN FRANCISCO — Apple’s new iPad modelling, with a sharper screen and a faster processor, will go on sale in the U.S. and six other countries next Friday, the company confirmed Wednesday. The new features mean the iPad will be slightly thicker and heavier than the iPad 2. Apple iPad 3 Expected To Launch Tod Prices aren’t changing from the previous models. They will start at $499. Versions capable of accessing cellular networks will toll $629 to $829. Anyhow, Apple is keeping the basic model of the iPad 2 in building, and dropping the price to $399. Apple said the new display will be sharper than the high-definition television set in the living lodgings. The company says it will show more saturated colors than previous models. The company said the iPad is powered by a new chip with four processing cores, for smoother art. The new iPad will be 9.4 millimeters pea-soup, or 0.37 inches. That compares with 8.8 millimeters, or 0.34 inches, for the iPad 2. The weight is going up from 1.33 pounds to 1.4 pounds. At the launch event in San Francisco, Apple Inc. CEO Tim Cook said, “We are taking it to a whole new level and are redefining the category that Apple created with the original iPad.” Originally, Cook spoke of a “post-PC” era dominated by the iPad and other Apple preparations. In addition to the U.S., the new tablet will go on sale in Canada, Britain, France, Germany, Switzerland and Japan on Hike 16. A week posterior, it will go on sale in 25 more countries. Compared to the iPad 2, the new model features a higher-resolution camera on the retire from, similar to the one in the iPhone 4S. Apple also confirmed that the new model will come in a version that can use Verizon Wireless’ and AT&T Inc.’s “LTE” wireless broadband networks. They offer speeds that are faster than the “3G” networks used by previous iPads, and current iPhones. Apple is updating some of the software on the tablet to take advantage of the new features. For exemplification, it’s introducing a version of the Mac’s iPhoto photo organization and manipulation program for the iPad. Apple also said it would start letting users store movies in its iCloud remote storage ministration, so they can be accessed through the Internet by PCs and Apple devices. It already lets users store portraits, music and documents in the post. Apple is also upgrading its Apple TV set-top box so it can play movies in 1080p, the highest-resolution commonly used video standard. Peter Svensson reported from Callow York.

NEW YORK (AP) — A federal appeals court reinstated a copyright case against YouTube on Thursday, finding that a jury could conclude that the online video service knew it was infringing rights when it allowed the distribution of videos of popular television shows and other programs. The 2nd U.S. Circuit Court of Appeals decided the case after hearing lawyers several months ago debate whether the 1998 Digital Millennium Copyright Act shields a company like YouTube from broad copyright claims. Google bought YouTube because of $1.76 billion in 2006.The appeals decision pertained to several lawsuits filed against YouTube, including one in which Viacom Inc. claimed the video service giant committed “rampant copyright transgression” and others in which The Football Association Premier League Ltd. and various film studios, television networks, music publishers and sports leagues joined to challenge YouTube’s practices. National Music Publishers’ Assoc. Resolves Copyright Lawsuit With YouTube The plaintiffs said YouTube committed copyright infringement based on the display and reproduction of almost 79,000 audiovisual clips appearing on its website midway 2005 and 2008. In a allegation, YouTube portrayed the 2nd Circuit decision as a overcoming, saying the courtroom “rejected Viacom’s reading of the law.” It added: “All that is left of the Viacom lawsuit that began as a wholesale attack on YouTube is a dispute over a tiny percentage of videos long ago removed from YouTube. Nothing in this decision impacts the way YouTube is operational. YouTube will continue to be a vibrant forum for free expression around the fantastic.” Viacom said in a statement that it was pleased as stream. “This balanced decision provides a thoughtful way to distinguish legitimate service providers from those that build their businesses on violation,” it said. “The Court delivered a decisive, common sense message to YouTube – intentionally ignoring theft is not protected by the law. We are confident we will prevail when the merits of our case are heard.” A lower court judge had ruled that YouTube was protected from copyright infringement claims. The ruling concerns the safe harbor provision of the 1998 Digital Millennium Copyright Deception. That provision shields a company from liability if it doesn’t have actual knowledge of copyright non-compliance. Once notified, the company must eliminate the infringement immediately. A three-judge appeals panel said the lower court judge correctly concluded that the safe harbor provision requires knowledge or awareness of specific infringing efficiency. But it said it must reinstate the lawsuit that the judge had tossed out because a reasonable jury could find that YouTube had actual knowledge or awareness of specific infringing activity on its website. It said the lower court erred when it interpreted the “right and ability to qualification” provision of the safe harbor provision appropriate “item-established” grasp. The New York-based Viacom owns popular cable channels such as MTV, Comedy Central and Nickelodeon. Google is based in Mountain Seascape, Khalif.

Howard Stern’s hopes for a $300 million payday from Sirius XM Radio Inc. have been dashed by a infer. His show’s Twitter feed said the shock jock was “really bummed” by the decision and plans to pray. Stern sued last Pace, arguing that he was entitled to a huge stock-based bonus in his contract because the number of Sirius subscribers exceeded the company’s internal forecasts. But his initial job contract was signed in October 2004, well before Sirius acquired XM in July 2008. New York state court judge Barbara Kapnick ruled Monday that Stern couldn’t count XM’s wellnigh 10 million subscribers in calculating his incentive, saying that the language of his contract was clear and unequivocal. Kapnick dismissed Stern’s suit “with racialism,” which means he can’t bring another case based on the same set of facts. Sirius XM’s stock rosiness 7 cents, or 3.2 pct, to $2.24 in afternoon trading Tuesday. The ruling by New York’s trial courtyard, the Supreme Lawcourt, was decisive and “finally removes lingering headline imperil,” Set & Poor’s equity analyst Tuna Amobi said in a research line. He has a “get” rating on the shares. Sirius XM, which now has more 21 million subscribers, acknowledged the ruling in a securities filing Tuesday. “The court found the agreement unambiguous and that we had complied with all our obligations,” it said. Stern had already received a $75 million stock bonus for exceeding the 2006 subscriber estimate by more 2 million subscribers. He was also paying $25 million when Sirius combined with XM, in order to enable Stern’s show to be broadcast to XM listeners as robust. Stern’s agent Don Buchwald, who stood to increase the lead $30 million from a favorable ruling, did not immediately respond to a request for comment Tuesday. Buchwald also received a $7.5 million stock bonus when Stern exceeded the 2006 subscriber estimate and $2.5 million when Sirius acquired XM, the ruling said. In December 2010, Stern signed a contemporary 5-year catch, keeping him at Sirius XM from one end to the other 2015.

Universal Music Latin Entertainment president Victor Gonzalez sat down at the Billboard Latin Music Conference to talk about UMLE act Belanova’s partnership with Coca-Cola in the build up to this summer’s Olympics in London. Billboard Latin Music Conference Leaders Panel Talks Morphing Furor, Success of Prince Royce, 3Ball MTY The band will be singing the Olympic anthem as part of Coca-Cola’s branding and promotional efforts beginning in May. Belanova adapted and produced their version of the inexpensively, titled “Move To The Outdo” ( originally written by Mark Ronson), and also recorded a picture, which Coca-Cola will be using in targeted ad and promotional campaigns across television and portable radio. UMLE and Coca-Cola also have eight different proposals targeting different areas with different activities, mostly centered on invitation-only performances by Belanova. Check Out All Our Billboard Latin Music Conference and Awards Coverage RIGHT HITHER “We know how the business can be developed through a air, through a relationship,” said Gonzalez. “That’s something that is unexcelled, because you don’t have it very again.” CHECK OUT THE FULL VIDEO INFERIOR:

Arwen Hunting ( ATC Management out of London) introduced us to her confederate, We Are Augustines, and posed for a photo with us. Check Out All Our Backbeats – And Our Revamped Backbeat Core! – Right Hither “We’re on the back end of the promo run now with their latest album, Rise Ye Sunken Ships. They are going to be writing a new album at the end of the year so hopefully it’s released in another yr (through Oxcart Records, the band’s own form, which is Turnout Records in the US). They released an album here last year which was released in the UK and Europe this year so it’s still brand untrained. They’re on their second single and getting TV shows and that all seems to be significant. In the UK and Europe, it’s just the beginning for them to get on radio and playlists so it’s like a whole new cycle for them over thither. They are cognate, ‘Oh we’ve done this already. OK.’ The priority is to get through the summertime, do a lot of touring, get through the festivals here and in the UK and Europe and then get them back in the studio for the next album. Coachella Backbeat: Fitz and the Tantrums Rock A Red Skirt, Revel In Radiohead I’m also working with Kate Nash who is coming out with a third album at the end of this yr. She’s gonna do a few small key market shows in the US in July. She’ll come back end of October/November before Thanksgiving so we’ll do some before then and some later.”

Ne-Yo, with girlfriend Monyetta, at his fourth annual Midnight Brunch at Hollywood’s Supper Fellowship. (Picture: Arnold Turner) News of Whitney Houston’s death broke just hours before Ne-Yo’s fourth annual Midnight Brunch at the Supper Club in Hollywood, Khalif. on Saturday nightfall, so needless to say a somber mood was cast over the result. The singer/songwriter commemorated the life of the six-time Grammy conqueror, saying that the death of the iconic chanteuse was not a time for mourning but for celebrating lan vital. Brandy, who was celebrating her 33rd birthday, at the party with brother Ray J (conservative, in the hoodie). Ray J was close with the late Whitney Houston. (Pic: Arnold Turner) “The wonderful thing about Whitney Houston was she was the kind of person that you could not keep fine-tune,” Ne-Yo told Billboard.  “She went through bumps and bruises in her vocation, in her passion, whatever the case may be. That’s humming, everybody goes through it, but it’s not about the cooperate with — it’s about the get congest. That’s what Whitney Houston was almost, the get-back-up. So even in this situation she wouldn’t want us to be sad right straight away occasionally, she would want us to celebrate the great thing that her life was as grammatically, as opposed to mourning her mortality.” Study: Clive Davis’ Comments About Whitney Houston at Pre-Grammy Happening Houston’s life and subsequent death elicited emotional reactions from celebrity party-goers including Amerie, Will.I.Am, Carmen Electra, and the night’s performers Marsha Ambrosius, and Miguel, who praised the 48-year-old while taking the stage to perform a small set of his hits. “We are celebrating the life and legacy of Whitney Houston,” he told the pour. “Even though it’s dolorous, while we’re here in this allowance, we’re going to rejoice in.” Whitney Houston Tributes From Artists, Executives Pour In From leftist: Ne-Yo (essence) with Will.I.Am and Apl de ap of the Black Eyed Peas (Pic: Arnold Turner) In foil, singer Estelle was visibly upset by the news of Houston’s passing and refused to comment on the place, while Will.I.Am, openly expressed his misery. “I’m depressed, she was a associate,” he said. Later in the eventide, Brandy and her chum (also Houston’s ex-fellow) Ray J enjoyed a brief celebration of Brandy’s birthday after attending the Clive Davis reception. Slides: Clive Davis, Alicia Keys, Diddy Pay Tribute to Whitney Houston at Pre-Grammy Happening A host of guests including Matted, director Chris Robinson, and Best New Artist Grammy candidate, J.Cole, opted to skip the red carpet and go straight advantageous, but were seen moving to Houston’s songs “I Wanna Dance with Big gun,” “How Will I Conscious,” and her most recent arrive at “Million Dollar Reckoning,” which rang through the speakers, as party-goers cheered and did their best to mimic the powerful voice of the New Jersey indwelling. From leftover: Ne-Yo (second from left-hand) Malibu’s new Creative Officer who helped create the Malibu RedCompound drink with Compound Entertainment executives (from liberal) Tishawn Gayle, Reynell “Tango” Hay, and Malibu global marketing director Ian Crystallization. (Pic: Arnold Turner) The night also marked the launch of Ne-Yo’s signature Malibu Red slug, a 70 proof blend of Caribbean coconut rum and silver tequila.  Over the last four years the 32-year-old has amassed a reputation for throwing one of the biggest Grammy bashes held during the week leading up to music’s biggest sundown, and was also excited about his newly announced position with Motown Records. As previously reported by Hoarding, Ne-Yo joined the label both as an artist and Senior VP of A&R where he will develop new and existing talent under the Motown umbrella and with his Compound Records form. Singular: Ne-Yo Joins Motown Roster, Also Appointed Senior VP of A&R “The whole plan is to revitalize it [Motown], to take it back to it’s original gratitude. There was a time when everything that came out of Motown was the best you ever heard in your vivacity. Very big shoes to stretch, a very very large goal to obtain but I feel with the team that we put in sync, we can get it back thither. It’s not about R&B music, pop, whatsoever, it’s just about good music stretch, that’s the objective.” Estelle and Tika Sumpter (Photograph: Arnold Turner)

The first panel of the Latin Billboard Music Conference’s second lifetime, dubbed “Do It Yourself,” made a strong case for going excluding, even though major labels remain a driving force in Latin music. All of the six panelists knew first-hand of what they spoke. Check Out All Our Billboard Latin Music Conference and Awards Coverage Right Hither Alberto Del Castillo of In Motion Merchandising, David LaPointe of LP Merchandising & Backings, Sergio Rozenblat of the Quantity, Jeff Young of Venetian Marketing Troupe, and Gabriel Buitrago of Summa Entertainment all worked for years with major-label artists before starting their own companies. Ricky Munoz, one of the founders of regional Mexican group Intocable, also appeared to give his perspective from the artist’s slope. All agreed that the biggest benefit for leaving that system is the freedom of independency, both artistic and pecuniary. “It would put us in a bad mood when we’d hear there was a due date on an album. We would pronounce, ‘We’re painting Mona Lisas hither, not dumps.’ It was difficult for us to work under that tension,” said Munoz of Intocable. “The liberty we have now is incalculable. We had a great contract with our record mark, but we became the girlfriend they couldn’t communicate.” Buitrago, for now, insisted similarly huge acts he currently works with are hoping for these greener pastures. “They’re just waiting for their contracts to conk,” he said. “The artists control the industry nowadays. They have the sponsors, the endorsement deals, they have the touring means. The labels are after all that now because the CD sales are nominal.” Pitbull Says Music Business is ’90 Percent Subject, 10 Percent Aptitude’ at Latin Conference Q&A Rozenblat added that not only should Latin artists consider going unrestrained, but that many should also try to break out of the “Latin” industry ghetto. “It’s interesting that we’re all speaking English onstage, and this is a Latin bull session. I don’t think we should look at ourselves as a ‘Latin’ business any more. We’re in the music business immediately,” he said. “With immigration increasing and generations of children born here to Latin parents growing up, that’s some 50 million people in our dime store.” During the panel’s Q&A term, a former major-gone-independent musician himself stood to speak up from the assemblage. Flautist Nestor Torres told aspiring artists to take a deep look and decide what they really want out of the enterprise. Latin League: Univision’s Jose Valle Says Latin Artists Need To Push Into Mainstream Radio Grocerteria “Do you want to make music because you have a natural talent you must partition, or is it because you want to be a star and have a fantasy of it? None of those approaches are odd, but go there and develop your characterization, and then do what you need to do,” Torres said. “What is natural to you? How do you make a living with that? You can create your own situation right right away.” Later that afternoon on the same level, five writers of recent mega-hits convened in a BMI-sponsored panel titled “How I Wrote That Long story.” Duo Chino y Nacho, along with writers and performers Gocho, Benny Camacho, and Horacio Palencia took turns explaining the genesis of some of their best songs. Emilio Estefan at Billboard Latin Meeting: ‘When It Was Just Me, Santana, Feliciano, Julio, There Wasn’t So Much Moment…’ Venezuelan duo Chino y Nacho’s back stories induced “awwws” from a female-heavy stuff. “Mi Nina Bonita,” for in the event, a sweet tropical dance long explanation, wasn’t just meant for couples. “It’s also about the love between a parent and a issue,” explained the group’s pin-up, Nacho. “Tu Angelito” was equally sentimentally inspired, said Chino. “That came from seeing couples who have been together for the purpose 60 years and still call each otc ‘spoil.’” Puerto Rican artist and songwriter Gocho drew some inspiration from children as opulently, recalling how he drew the hook for Angel y Khris strain “Ven Bailalo” from a child he overheard singing on a playground. His own slightly raunchy radio basic, “Dandole,” came from a markedly different running. “My music is usually more romantic and commercial-grade, and when I was done with my last album, I thought it needed something slightly more smouldering, something more all-inclusive,” he said. “And eventually, what’s more all-embracing,” he asked, “than copulation?”

With two more debuts this workweek, the cast of Fox’s “Schadenfreude” ups its total of career charted songs on the Billboard Frying 100 to a milestone 200 titles. Surprisingly, the TV troupe has reached the sum in less than three age. The cast first appeared on the Scorching 100 the week of June 6, 2009, led by the No. 4 arrival of its cover of Journey’s “Don’t Stop Believin’.” The act’s highest charted entry to date even bested the peak of the original rendering, which rocked to No. 9 in 1981. No ‘Mirthfulness’ Tour in 2012; Charity Concert In the Works This workweek, the “Joyfulness” cast hits an unchanging 200 career Lubricious 100 appearances, as its remake of Gotye’s “Somebody That I Used to Be acquainted with” – the original of which becomes the new No. 1 song on the Sharp 100 – debuts at No. 26 and its mash-up of Duran Duran’s ’80s smashes “Hungry Like the Wolf” and “Rio” enters at No. 98. (“Big noise” marks the 61st charted remake of a Spicy 100 No. 1 with which the “Exhilaration” ensemble has charted.) Here is a recap of the acts with the most Lustful 100 hits dating to the chart’s inception the week of August. 4, 1958. (Under its current prescription, the chart blends Nielsen Music digital sales and airplay data for the majority of its weekly points unconditional, with streaming data accounting for a smaller part): 200, “Rapture” form 108, Elvis Presley 101, Lil Wayne 91, James Browned 74, Ray Charles 73, Aretha Franklin 71, the Beatles 70, Jay-Z 67, Elton Lavatory 63, Stevie Stunner (Presley’s career predates the Peppery 100′s launching. Combining his songs that reached various Prurient 100 predecessor charts beginning in 1956, his total would swell to an unauthorized 139, according to Billboard historian Joel Whitburn’s reference thesaurus “Top Pop Singles.”) Meaningfully, despite the cast’s record total of Dangerous 100 visits, big end “Gloat” songs spend a mere one week on the plot. Simply 33 of its 200 entries have racked more than a single frame on the name, with “Believin’ ” leading with seven charted weeks absolute. As “Elation” releases multiple tracks alongside each new scene, fans generally move on each week to the cast’s next available batch of songs. The “Gloating” cast has charted almost exclusively with updates of songs already made popular by other acts, although original rails “Loser Like Me” remains its second-highest-charted bat, having reached No. 6 last yr. (The cast notched the other of its three Scalding 100 refill 10s with a remake of Katy Perry’s “Teenage Hallucination.”) More just now, the series has begun to help create hits for other acts. On its December. 6 instalment, “Jubilation” covered then-little-known send up.’s “We Are Juvenile.” The cover debuted on the Keen 100 at its No. 12 peak and the original entered at No. 53 the week of December. 24, 2011 – two months before high spirits.’s version reached the chart’s eminent 40 (spurred by its inclusion in a Chevrolet Sonic ad that aired during the Super Spin). This workweek, entertainment.’s version of “Junior” waterfall 1-2 on the Lubricious 100 after six weeks in raid, ceding the top spot to “Mr big,” one of the show’s latest remakes. How skylarking jokingly.’s ‘We Are Litter’ Scored Chevy’s ‘Stunt Hymn’ Super Bowl Discoloration After breaking the 200-hit barrier this workweek, the “Gaiety” cast could keep extending its Fervent 100 record total as soon as next workweek, when remakes of songs by the Bee Gees and otc ’70s acts could debut following last night’s (April 17) disco-centrical, polyester-infused episode, “Saturday Night Joviality-ver.”

(Pic: Robert Hooman) Stevie Puzzle, Metallica, Neil Brood & Crazy Sawhorse, Jack White and the Foo Fighters lead the lineup for the fifth annual Outside Lands Music & Arts Entertainment, which will invade San Francisco’s Golden Gate Park from August. 10-12. The 2012 fest marks the return of Metallica and Neil Innocent & Crazy Horse to their native burg; last December, Metallica celebrated its 30th anniversary at the Fillmore in San Francisco. During the interval, Neil Babies & Crazy Horse have reunited for a new album, “Americana,” that is set for a June 5 save. Outside Lands also marks the first announced major festival appearance for Wonder in 2012, after the R&B legend headlined the 2011 Austin City Limits festival and the 2010 Bonnaroo fest. Jack White continues making the festival rounds after being booked for Sasquatch! and Lollapalooza, while the Foo Fighters head to San Francisco two weeks before headlining the Reading and Leeds festivals this yr. Other notable artists on the Outside Lands 2012 lineup include indie hero Beck, beloved jam band Take for a ride, reunited angular rockers Bloc Party and the buzziest of all buzz bands right contemporary, Of Monsters and Men. And don’t worry dance fans — Skrillex, Justice and MSTRKRFT got you covered. Tickets for this year’s Outside Lands fest go on sale this Thursday (April. 19) at noon PST. Last year’s festival boasted headliners Ruminate, Phish and Arcade Lan. Here is the lineup for the 2012 Outside Lands Music & Arts Red-letter day: Stevie Be curious Metallica Neil Girlish & Crazy Knight Jack Pale Foo Fighters Skrillex Sigur Ros Objectiveness Norah Jones Bulletin The Kills Regina Spektor Passion Crater awful Andrew Hiss Grandaddy Big Boi Bloc Rave-up Explosions In The Firmament Franz Ferdinand Mstrkrft Rebelution Die Antwoord Fitz and The Tantrums Portugal. The Servant Punk & Mariam Wolfgang Gartner Dr. Dog The Walkmen Washed Short City and Warp Two Gallants Of Monsters and Men Mimosa Alabama Shakes Reggie Watts Trampled By Turtles Tame Impala Jovanotti The Be Good Tanyas Geographer Sharon Van Etten Yacht Sean Hayes Bomba Estereo Dirty Dozen Brass Group Big Thumping Thee Oh Sees Wallpaper Tennis Zola Jesus White Dungaree Allen Pit The M Manufacture Michael Kiwanuka Tanlines Father John Fuzzy Electric Company Troglodyte Yellow Ostrich Honey Island Swamp Ensemble Animal Territory

Executives from bilingual cable network mun2 unveiled a new slate of reality programming that includes shows about regional Mexican crooner Larry Hernandez, singer Jenni Rivera’s girl, Chiquis Rivera, and a weekly magazine series featuring celebrities and car good breeding. The new shows, presented during an upfront event in Los Angeles on Tuesday to media and advertisers, will air in the summer and capture. The programs are part of the network’s mission to continue reaching a young bilingual and bicultural demographic. “We’re trailblazing at mun2,” mun2 GM Diana Mogollon said. “At first people thought we were avid. I think in the last couple of years people are finally realizing the power of the mart, the power of the audience and we all know that they (Latino viewers) are underserved. The content out there is not adequate.” Joined by mun2 senior VP of programming and production Flavio Morales, Mogollan introduced talent from the shows and offered clips of the new offerings: — “Jenni Rivera Presents: The Chiquis Devise” premieres in the summer and features a one-minute, 11-part reality show featuring Rivera’s girl, Chiquis Rivera, who moves out on her own to start a business and experience life severally. — “DUB Latino” airs in the summer in a half-minute, eight-part weekly magazine series featuring celebrities and the cars they be fond of, own and thrust. — “Larrymania” airing in the move it, is a one-hour reality program around the life of regional Mexican singer Hernandez, who for the first time in his career opens up about his personal life as an artist and family restrain. Network officials also announced other programs including a new telenovela “Ojo Por Ojo,” a romantic drama based on Laura Restrepo’s novelette, “El Leopardo al Sol,” airing in the springiness; and “Premios Billboard All Adit,” a recap of the “Latin Billboard Music Awards,” airing on May 5. The network is also planning programming featuring the London 2012 Olympic summer games, documentaries and other music-inspired shows. Mun2 is part of Telemundo Media, a arm of NBCUniversal.

Mexican rock band Maná, the biggest-selling and touring Latin rock set, last year tied Britney Spears with eight sold-out shows at Los Angeles’ Staples Essence, but this week return to the Southland for another career milestone: three more nights, giving the rock act a total of 11 unprecedented sold-out shows at the venue. The upcoming concerts — April 19, 20 and 25 — are part of the 2012 leg of their Drama y Luz peregrination, which launched in 2011. Known for its signature hits such as “Oye Mi Amor,” “Eres Mi Creed,” and “Mariposa Traicionera,” Maná has captivated audiences since the 1980s and has continued to grow with a fanbase that keeps reaching new generations of music fans. Last yr, just days after releasing its new album and announcing their world globe-trot, Maná made more Billboard chart information: its album “Drama y Luz” opened at No. 1 on the Top Latin Albums and Latin Pop Albums with just under 47,000 copies sold, according to Nielsen SoundScan. Maná’s chart presence has continued. “Lluvia Al Corazon” was No. 1 for eight weeks on Latin Songs; “Amor Clandestino” was No. 1 on Latin Songs; “El Verdadero Amor Perdona” (featuring Prince Royce) was No. 1 for four weeks on Latin Songs and the most recent separated, “Mi Reina Del Dolour,” peaked at No. 37. “Drama y Luz” has spent nine weeks at No. 1 on Latin albums, the most weeks at No. 1 among all their albums. Additionally, the album has spent one year on the charts as of last workweek (52nd workweek) and has sold 191,000 units. During the band’s last concert in L.A., Olvera paid homage to his homeland with a nearly five-foot Mexican flag that he planted onstage. The Staples Center was filled with screams and applause as the band received a ovation. Since the 1980s, Maná has created music ranging in theme from romantic to the socio-politically conscious compositions that have garnered accolades and a strong following of fans. The remainder of the 2012 tour includes other newmarket in California, Arizona, Texas and Florida.

After declaring bankruptcy along with her group TLC in the mid-’90s, Tionne “T-Boz” Watkins has filed for Chapter 13 for the second time this year after defaulting on mortgages on her Atlanta, Georgia home and failing to keep up with medical bill and car payments. Watkins, an Atlanta, Georgia remaining, filed on October 31, 2011 in U.S. Bankruptcy Court after failing to keep up with mortgages on her Duluth, Georgia on, valued at $1.2 trillion. The documents reveal that Watkins owes creditors $768,642.99 on the family, and has assets that absolute $1,716,508. The papers specify her monthly return, which amounts to $11,700 — very recently $1,200 of which stems from TLC royalties — and that her estimated average future gross monthly income will be $10,500. T-Boz pays $8,821 in monthly expenses, including two mortgages on her primary hall, two vehicles, medical bills and more. She also is owed $250,000 in child support payments, though it is unclear why they have not been confident. Watkins will income $2,880 per month for a commitment period of 36 months to repay the note. UB40 Declares Failure: Reputation Watkins originally put her 9,654 square feet house up for sale in 2009 for the asking price of $1,250,000, an uptick from the $1,122,700 she paid to purchase the residence in July 2001. The mansion is located in the Sugar Loaf Country Golf-club, described as a “prestigious and successful splendour” community in Southeast Atlanta. Though largely unreported, the singer originally filed for bankruptcy earlier this yr, declaring Chapter 13 on February 25, 2011. She developed a plan to pay the sum of $2,500 per month for a period of 60 months. Watkins was dismissed on July 19, while the case was terminated on September 13 after she “made distribution of all funds paid into the hands of the Trustee.” Watkins’ financial troubles began as early as June 1995, when she originally filed for Chapter 11 bankruptcy with her group TLC. During an episode of VH1′s “Behind the Music,” the triptych, consisting of Watkins, Rozonda “Chilly” Thomas and Lisa “Left Guard” Lopes, discussed the incident in detachment, explaining that a poor recording contract with LaFace Records through their manager Perri “Pebbles” Reid’s Pebbitone shingle caused them to slip into the financial red. “The bad thing about the deal was that Pebbles had us signed to so many deals. She just had her fingers in the pot all across the room,” Lopes said on the steer, claiming Reid was making business decisions without their confirmation. Even after severing ties with Reid, the trio was forced into bankruptcy after selling 10 million records on account of amounting expenses and debt to their record trade mark. “People to this day still do not believe that we were ruined — but we were, OK?” said Watkins. The group made $5.6 million in profit, but the sum was cut down to a only $50,000 per member after paying back their label for funding the album and its buildup; managers, lawyers and accountants; and income taxes. Over the past few eld, Watkins has appeared on “The Real Housewives of Atlanta” and as a consultant on “The Celebrity Learner” where she was fired for volunteering to return to the boardroom. The 41-year-adept, who suffers from sickle-cell anaemia, revealed in October 2009 that she overcame a potentially fatal brain tumour, from which she suffered for three eld.

NOVEMBER. 30, 1929 Richard Wagstaff Clark is born in Bronxville, N.Y. His father was a salesman and, subsequent, the manager of a radio station in Utica, N.Y. Works as an office boy and then as an announcer at the station his father managed, WRUN. Having graduated from Syracuse University, Clark moves to Philadelphia to work for WFIL radio and TV. To Read This Article and More In Billboard’s Special Dick Clark Tribute Culmination, Subscribe HITHER JULY 9, 1956 Clark replaces Bob Horn as full-time host of a local afternoon record-hop TV panoply, “Stand.” Clark founds his own production proprietorship, Dick Clark Productions. AUGUST. 5, 1957 ABC takes “Stand” civil, renaming it “American Stand.” Jerry Lee Lewis performs “Whole Lotta Shaking Going On.” The show is 90 minutes long until October. 2, 1961, when it’s shortened to an minute. OCTOBER. 7, 1957 ABC gives “American Stand” a 13-week run on Monday nights from 7:30 p.m.-8 p.m Highlights From Dick Clark’s Legendary Livelihood, As Featured in Hoarding FEBRUARY. 15, 1958 ABC pose “The Dick Clark Saturday Night Beechnut Screen,” which runs until September. 10, 1960. APRIL 1960 Clark testifies for two days at the -congressional payola hearings. Based on the advice of ABC’s lawyers, he would divest himself of his ownership stakes in 33 different record labels, distributors and manufacturers based in the Philadelphia ar, plus his -songwriter credit on 150 copyrights. SEPTEMBER. 7, 1963 “American Stand” switches to a once-a-week series on Saturday -afternoons. Neil Sedaka performs “The Idealizer” and the Jaynetts -operate “Sally Whack ‘Round the Roses.” NOVEMBER. 30, 1963 Before moving his operations to Los Angeles, Clark takes a bit of Philadelphia to the Sunset Strip for the ABC extra “Celebrity Carousal.” The celebrities were mostly associated with Clark’s confidante, Chancellor Records’ Bob Marcucci, and included “Stand” regulars Frankie Avalon, Freddy Cannon and Annette Funicello Dick Clark: An Appreciation of the Man Who Took Rock and Roll Nationwide, and Helped Pioneer Its Affair FEBRUARY. 8, 1964 “American Stand” moves to its new home in Los Angeles. A week after, Clark devotes nearly all of the show’s second L.A. episode to the Beatles, who made their U.S. debut on “The Ed Sullivan Explain” on February. 9. Yet another sign of Clark’s keen sense of teen trends. JUNE 28, 1965 Clark begins a three-yr, 113-episode run of “Where the Action Is,” a weekly music show filmed around the -country with Paul Beatify & the Raiders as hosts. Otis Redding fathers 10 appearances on the ostentation; other guests include the Turtles, Roy Headman, Pecker & Gordon, the Four Ace, Tina Turner and the Mamas & the Papas. WALK 6, 1968 “Psych Not on,” the first film produced by Clark, is released in theaters. Among the musical acts featured in the cinema: Jimi Hendrix, the Seeds and the Strawberry Alarm Time. Clark makes two more exploitation films, “The Savage Seven-spot” and “Killers Iii,” before the end of the tenner. OCTOBER. 1, 1968 Clark launches “It’s Occurrence,” another musical variety show that lasts two seasons. FEBRUARY. 1970 Clark produces “Get It Unitedly,” a 30-minute musical show that features performances by the Beach Boys, Donovan, Jethro Tull, the Moody Vapors, Ringo Starr and others. It lasts one available. Ryan Seacrest, LA Reid, Russell Simmons, More Pay Tribute to Dick Clark DECEMBER. 31, 1972 “Dick Clark’s New Year’s Rockin’ Threshold” debuts. Produced and later hosted by Clark, the show’s first two telecasts were filmed aboard the Queen Mary in Long Lido, Kaliph. The first united -featured Three Dog Night and Parentage, Slogging & Weeping. The show becomes an -annual occurrence. MARCHING 26, 1973 CBS hires Clark to innkeeper “The $10,000 -Pyramid” game drama. Filmed in New York, it also ran on ABC and in -syndication. Clark left after a year when CBS canceled it and ABC picked it up. He returned in -January 1981 to host the syndicated “$50,000 -Pyramid” and remained as host when it moved to L.A. and the CBS daytime lineup in -September 1982. After CBS picks up the contract to air the Grammy Awards (which ABC aired in 1971 and 1972), ABC asks Clark to create the -American Music Awards. -Produced by Dick Clark -Productions, the AMAs debut February. 19, 1974, with Michael Jackson and Donny Osmond as co-hosts. JULY 7, 1977 Clark marries his third mate, Kari Wigton, who survives him. Clark serves as executive producer of TV cinema “Elvis,” the first biopic about Elvis Presley. That yr, the Academy of Country Music joins forces with Dick Clark Productions to produce its awards bestow make an exhibit. Clark and Al Schwartz produced, moving it to from ABC to NBC and then to CBS, where it remains tod. Clark co-hosts NBC’s “TV’s Bloopers and Practical Jokes” with Ed McMahon. The role gives him the distinction of being a show host on all three networks. Picture: 10 Classic Dick Clark Moments From ‘American Stand’ Dick Clark Productions, which also had a restaurant chain in addition to TV and film properties, goes conspicuous. SEPTEMBER. 5, 1987 Astern 30 age, ABC michigan -constant “American Stand.” No network series targeting the youth market had a longer aztec hop. SEPTEMBER. 19, 1987 “American Stand” moves to first-run syndication. APRIL 8, 1989 “American Stand” moves to the USA cable network with David Hirsch replacing Clark as throng. It lasts only six months. Clark is inducted into the Radio Hall of Superiority. Clark is inducted into the Rock and Roll Hall of Fame as a non-thespian. He’s pictured here with his better half, Kari. DECEMBER. 8, 2004 Clark is hospitalized for a dash. Due to his delivery, he doesn’t multitude “New Year’s Rockin’ Evening” for the first time in decades. After his health improves, Clark becomes an advocate and fund-raiser for a state-of-the-art neuroscience program at the -hospital where he was treated, the Providence Paragon -Joseph Medical Center in Burbank, Kaliph. JUNE 19, 2007 A group led not later than -Washington Redskins owner Daniel -Snyder buys Dick Clark -Productions suited for $175 zillion. DECEMBER. 31, 2011 Clark makes his definitive -appearance on “New Year’s Rockin’ Night before” in New York’s Times Equilateral. APRIL 18, 2012 Clark dies of a spunk -attack at Providence Saint Joseph Medical Centre. SUBSCRIBE TO BILLBOARD HITHER

(Photograph: Andrew Hampp) The Walkmen previewed tracks from upcoming album Utopia (out June 5 on Fat Possum/Bella Conjoining) at a private concert held Wednesday night at New York’s 8 Bond High road. The appearance was the kick-off of a 10-city event series sponsored by Diageo’s new Captain Morgan Black spiced rum that continues Tuesday in Phoenix with buzz-band Poliça. The Roots drummer ?uestlove spun an old-school R&B-heavy set to warm up the horde. The event marks the first phase of a busy summer for the combination, which will next appear as the headliners of Crossing Brooklyn Ferryboat, a three-day festival at New York’s Brooklyn Academy of Music curated by the National’s Bryan and Aaron Dessner on May 3 before opening for Florence & The Machine on her summer U.S. turn. Slots on festivals like Sasquatch and Lollapalooza have also been confirmed. Check Out All Our Backbeats Right Hither With alternative rock having a moment at radio right now courtesy of bands like glee. and The Black Keys, Walkmen manager Jonathan Eshak of Mac Management is hopeful that the group is poised for a breakthrough with Nirvana. “They wanted to make a bigger sounding record and definitely accomplished that without losing what makes them The Walkmen,” he tells Backbeat. “It’s rare to see a band that has gotten bigger and grown in stature over the decisive 10 years like they maintain. A lot of other bands rise very quickly and fall just as very soon, but they’ve slowly taken steps toward artist development and becoming a stronger orchestra.” Though the Captain Morgan event is currently a one-off promotion for The Walkmen, Eshak is open to further partnerships with the brand or any other potential marketing husband. “It’s understandable for artists to get involved in working with speciess,” he says. “Revenues are down and everybody needs the capital and funding to tour aptly. We’re always looking for like-minded brands to expand our report.” The Captain Morgan program is aimed at positioning the popular rum among a more guiding, mixologist crowd outside the signature rum’s jr., male-skewing 21-to-25-year-old aim. The new target will skew more as a help to 25-to-34-year-olds, per Tom Herbst, Diageo’s director of rums exchanging, accompanied by a new TV campaign directed by Academy Award nominee Todd Applicants (“In The Chamber,” “Little Children.”) The three spots, by ad agency Anomaly, play up the campaign’s tagline “Step Into the Threatening” and mark the return of actor Josh Burrow as the Headwaiter. A 60-second clip features Hanni El Khatib’s “You Rascal You” as its soundtrack. “In the first instalment, Captain Morgan spots a young chick – not just any woman nevertheless, there’s something special about this one,” Field tells Billboard via newsletter. “He decides that it is his duty to free her from a non-stop, if not an entire pep, of respectable tedium by introducing her to this intriguing, much more exciting domain, and ultimately inviting her to ‘Step into the Raven.’”

Fans were rocking as The Barbarian Group and Tumblr hosted the biggest rock party of SXSWi at local Austin favorites Club Deville and Mohawk Monday round-the-clock. The venues came together and gave music fans three stages of a mix of indie jar, lemonade, techno, hip-spring, and indigent, with performances by WAVVES, Kool Keith, Japandroids, Sleep Onto, Beach Fossils, Oberhofer, The Progeny, Grape St., The Sour Notes, Isabel J & ulovei, Hobo D, Tim Sweeny, Mathew Expense, Mike Simonetti, and Orthy.  Fans were on their feet from start to finish across all three stages. Check Out All Our SXSW Coverage RIght Hither

Rascal Flatts themselves, (L-R) Gary LeVox, Jay DeMarcus, and Joe Don Rooney attend the ‘Changed’ movie premiere in Times Sqaure. (Getty Appearances) Superstar country music trio Rascal Flatts, in conjunction with AEG Live and NCM Penetrate, held a one-night only special theater event on Thursday eve, titled “Changed,” to coincide with the release of the band’s eighth studio album of the same pre-eminence, which hit retail two days sooner. The film was broadcast to down 600 theaters nationwide. The trine – Jay DeMarcus, Gary LeVox and Joe Don Rooney- were in attendance at the Red Carpet VIP screening at AMC Empire Theater in New York’s Times Square among a crowd of record label executives, radio programmers, industry luminaries and – fitting for the theme of the documentary/performance intercrossed – kind. Check Out All Our Backbeats Right Hither Among the label execs at the New York screening were Big Machine’s President/CEO Scott Borchetta ( No. 54 on Billboard’s Capability 100) and label staffers John Zarling, Jack Purcell and Erik Powell. Also in attendance were Universal Republic & Island Def Jam Chairman/CEO Barry Weiss ( No. 18 on Billboard’s Function 100), Universal Republic President/CEO Monte Lipman ( No. 36 on Billboard’s Gift 100), and Universal Republic co-president/COO Avery Lipman. Representing radio were programmers Al Skop and John Marks ( Sirius XM), Marty Mitchell ( WKMK Monmouth-Oodles, NJ), Jody Svoboda Wheatle ( WQMX Akron) and Tanya Burko ( WGGY Wilkes-Barre, PA). Representing on the national radio front were Alissa Pollock, Mediabase/Clear Channel Executive Vice President of Integrated Music Marketing and National Programming Platforms and Todd Alan, VP/Entertainment Division for Dial Globose. Rascal Flatts poses with producer Shaun Sylva (nautical port) and director Don Lepore. (Getty) Produced by Shaun Silva and directed by Don Lepore, the film opens with the act taking questions from an intimate audience at the Franklin Theater in Franklin, Tennessee prior to a performance at the venue. The initial feeling that “Changed” will be nothing more than a taped Q&A/concert footage file subsides quickly as the film takes the viewer into the personal lives and feelings of each band member with separately taped interviews which are interspersed with performance footage from the Franklin Theater as well as more low-key song renditions taped at a Nashville studio. Music For Champions Benefit Concert to Feature Rascal Flatts DeMarcus, LeVox and Rooney speak from the heart about a host of subjects, starting with poignant memories of their parents and grandparents who knowingly or unknowingly nudged them into a music craft. They reminisce about childhood memories and the passing of loved ones, and reflect on how, afterwards 13 years cool, they have gone from three single men trying to succeed as a band to husbands and establish, a path which has made them more grounded in their personal and professional lives. It is the clips of the Flatts guys at home with their families that struck the largest chord with the congregation, as each member became visibly choked up discussing how much the love they received from their family growing up has now been passed on to their young children. You can see the joy and pride in each of their eyes as they discuss what their family means to them and how the life of a musician often-times plays havoc on the quality time a father and husband longs for with his patrimony. Rascal Flatts poses with Big Machine President/CEO Scott Borchetta. (Getty) Speaking to Billboard after the viewing, Rooney stated that the viewing “was the first time we all got to see the finished artifact. We really didn’t discuss what was said on camera with each over-the-counter. It was interesting that we were all experiencing similar soul, both about the group and our families. It was certainly emotional watching it.” The trio also recounts the crossroads the band faced in 2010 when their long-time record label Lyric Street folded, leaving the act to question whether they were ready to continue calm. At the eventually, the band was in dissension, with LeVox stating, “We were not talking to each over-the-counter. We communicated through our overseer. It was like a marriage gone base.” After some soul-pursuancing, the band committed to going forward and mended whatever fences that were broken over space. They were also reinvigorated by their move to Big Machine Records, led by President/CEO Scott Borchetta which resulted in the act’s sixth No. 1 on Billboard’s Country Album charts with “Nothing Like That” and its first Country Songs No. 1 since 2009 with lead lone “Why Mark time,” one of three tracks from that set to reach the top iii. Not long after moving to Big Car, Flatts made what they awaiting orders within earshot “one of the most difficult decisions we ever had to perform as serve as,” when they decided to leave the their long-time time management company Turner Nicholls & Associates, later signing with Spalding Diversion. So competently, the title of the film and just released album – which could very well become their seventh No. 1 on Country albums when the charts are released April 11 – certainly signifies a ‘mutate’ on many levels. It’s the first album produced under the supervision of Big Engine, first with new management and it’s a step up musically than what they’ve put forth on recent releases. I wouldn’t call it a reinvention of the Rascal Flatts inquire, but more of a reinvigoration. And rest assured that the music was a big part of the “Changed” movie as ably, with exclusive performances of a half-dozen or so tracks from the new set featured (it is release week finally!) as well as some classic Flatts tunes thrown in for good scope. Of the new titles, the fun an titillating “Hot In Hither” and rocker “She’s Leaving” stood out among the up-tempo tracks, patch “Come Wake Me Up” and the inspirational “Changed” resonated among the ballads. Label executives told Billboard at the film’s after-party that they are leaning towards one of the two ballads as the follow-up to current highest 10 private “Banjo.” So piece “Changed,” the talking picture, served as a suitable documentary of the history of the most successful country group of the last ten, where it really soared was in bringing the act’s fans into the personal worlds of DeMarcus, LeVox and Rooney where their public amiable personas were confirmed, but also accentuated by their passion for music, for their families and, subsequently 13 age, for each over-the-counter.

NEW YORK (AP) – Long gone, Joan Jett and the Blackhearts professed their love for ruined ‘n’ register. It’s time to see if the feeling runs both ways. The iconic rock act is on the list of Rock and Roll Hall of Fame nominees for the 2012 class released Tuesday. Women who rock feature prominently among first-time nominees. Joining Jett, whose “I Love Destroyed ‘n’ Sports line-up” remains a classic rock banner 30 years after its liberation, are sister act Heart and Rufus with Chaka Khan. They’re joined by Guns ‘N Roses, hip-hop pioneers Eric B. & Rakim, glum glam Goths The Cure and The Small Faces/The Faces, which includes Rod Stewart. Bluesman Freddie King and The Spinners are also first-time nominees on the ballot for the hall’s 2012 prestige. Previous nominees up again include The Beastie Boys, The Red Hot Chili Peppers, Donna Summertime, Laura Nyro, Donovan and War and its an eclectic alliance, running from lush British folk to classic early beats and bone-crushing power stun. An act must have released its first single or album 25 years ago to qualify for trigger. More 500 voters will determine who makes the lecture-room. New members will be inducted at a ceremony at the hall of fame in Cleveland on April 14. The leather-clad and tough-as-nails Jett was an early icon for women. A founding member of the all-female The Runaways, she went on to become a chart-topping success after forming the Heartbreakers in 1982. Heart similarly made an indelible mark on the rock scene of the 1970s and ’80s. Among the first women to front an aggressive rock circle, singer Ann Wilson and her sis, guitarist Nancy Wilson, cut some of the era’s most memorable songs, from “Barracuda” to “Magic Chain,” and inspired a generation of women along the course of action. Then a teenager, Khan burst on the seen with the Chicago-based Rufus in the 1970s. She defied easy compartmentalisation, moving easily between R&B, rock and disco before going onto an enviable solo speed.

Ryan Tedder (communistic) of One Republic and Sebastian Ingrosso of Swedish House Mafia performed their performance “Happening” at Coachella on Saturday night.  (Photograph: Catie Laffoon) Songwriter Ryan Tedder of One Republic has written songs for the likes of Beyoncé, Kelly Clarkson, Hilary Dud, Far East Movement and others. Biz caught up with him and Swedish House Mafia’s Sebastian Ingrosso at Coachella before their set to talk about their collaborative one “Province,” which was the EDM anthem at this year’s Miami Music Workweek, and also got the scoop on songwriting in airplane bathrooms and more. Coachella 2012: 10 Things Seen & Heard Saturday Billboard.biz: How was your Coachella set last night with Swedish House Mafia? Sebastian Ingrosso: It was calculated. It was intimate. Did it rain on everybody? Yeah yeah yea. Congrats on the success of “Cry.” Did you think it would do as well as it did? Yeah [Laughs]. I mean we have Ryan on the trail. It sine qua non! Ryan Tedder: It sine qua non. I heard the kids in Miami were loving it and it became the music fest’s anthem down thither. SI: Oh yea! How did the song grow. RT: It originated with Sebastian. We had a guy at our record label who connected us. Two years ago he started talking to me about Swedish House Mafia and Sebastian specifically and then to be honest how it happened, I heard there was an instrumental that they wanted me on and I was moving a million miles an hour doing One Republic and other stuff and what finally got me to nearly, “OK we have to do this modern” – I was in a club at an after party for something and the DJ was playing all this music and again “Trouble” came on and it was like someone poured kerosene on the room and lit a juxtapose. It was about! I was with my wife and I turned around and was akin, “This is the song they want me to sing on” so that moment I emailed my manager and I was like you tell them next workweek. They had a melody and I used some of the lyrics they already had written and I changed it to “Lose My Positive” in the conception. SI: Yeah and it’s ethical! And Sebastian, you were probably excited because Ryan can’t be an easy person to nail refine. RT:  Well we’re both so busy at this period. I mean every time I email him, he’s in Brazil or Thailand. How long did it take you to put everything well-organized? SI: We met inasmuch as 45 minutes and it was agnate “Go Go Go rearrange” and then Ryan went back to Denver and recorded. Ryan: I actually recorded it in DC. RT:  We were going to the White House and doing the Christmas tree lighting and all that and I booked a studio in DC and that morning recorded it there and then fired it dippy. I think he was back in Sweden or something I omit – or maybe LA. You recollect, the modern way of recording records. You’re in one country and he’s in another. As long as it sounds honest. SI: Just. Do you guys plan to collaborate on anything together in the next? SI: I hope so. RT:  I’d love to. 100%. Have you talked about anything hitherto? RT:  Not furthermore. No. I’m working on One Republic right now and then who knows? I have to climb on his back to get some Swedish One Republic. I mean I’m all for it. Swedish Republic. From leftist: Laura Hess, Marketing Directior,  Interscope; Ryan Tedder; Sebastian Ingrosso; Stephan Markovits, Label Superintendent, Refune Records (Sebastian Ingrosso’s designation).  (Pic: Catie Laffoon) So are you  both working on new material before long? Swedish House Mafia and One Republic? SI: Yes. All the every now. RT:  Yes, full time trendy So you guys can actually write on the avenue. That’s uncommon. Most people say they can’t fuck. SI: I mean we work kind of the different. Other bands work in the studio then voyage. We tour and work at the same schedule. RT: I do the same liking. I bring a mobile studio with me everywhere and work in hotel rooms and tour buses and wherever. SI: It’s have a screw loose. RT: The artists that I welcome – and you know I work with a ton of different society – and the ones that I see that have the longest career and the most consistent have tackled that hurdle and figured out that you don’t have to have a certain candle and a certain lighting to be inspired. If you’re in a hotel room in Albania you can still write something. Do you guys wait until you feel inspired or do you sit down and set aside time to transcribe? Sebastian: You can tickle your inspiration I propose b assess. RT:  Yes! SI: You can tickle it back and forth approximating, “Hmm what happens if I do this or that?” You can tickle it and scratch. I think what he says, you don’t need the lights and the candles and I usually get creative half an hour before I retire. That’s when I start to. (Picture: Catie Laffoon) Have you ever done the writing with the lights and candles? RT:  Back in the broad daylight, I’ve done that – way back in the day when I was related 20 and I thought you had to create some sort of writing mood but now most of my ideas and concepts come on airplanes. So I go into the bathroom and record into my sound. I could play you 10 ideas right age. What I think could be One Republic’s first single came to me on a run away – I don’t know where I was quick – and I was singing it in my head and I went in the bathroom and I sang the melody into my iPhone and then you hear the “Rclame. We are descending.” I do it all the heretofore – airplanes, cars. If I sit down and command, “OK be ingenious” it doesn’t work like that I love travelling – walking through the French Quarter of New Orleans or walking through wherever – Hong Kong, I listen to community, listen to the cadence, pay attention to the movement of the people and tap into that. Who have you guys been checking out while you’ve been at Coachella? SI: I’ve seen Alesso obviously and that’s it. I saw some of Black Keys. It was best. That was it I deliberate on. RT: I saw Black Keys and I saw them – Swedish last endlessly. Are you going to try to see anyone else while you are hither? SI: Yeah I’m going to see some of Martin Solveig’s set I think because he’s playing before us. RT:  I’m going to see Radiohead tonight.  I’d love to catch Kasabian and Noel Gallagher. I’ve never seen Oasis so he’s the next best thing I can mind. So you guys are playing “The Command” tonight, I’m presumptuous. Do you have anything else special planned for the behaviour? SI: We’re just gonna throw a wobbly. RT:  I’m going to do a back summersault. SI: Do we have insurance for that? RT:  Let’s check a depart.

The Sydney Entertainment Inwardness, for many years the biggest arena in Australia’s largest mart, is facing the wrecking testis. The New South Wales Premier Barry O’Farrell today confirmed the site would be demolished in behind time 2013 as part of a “complete lift” for the site on the city’s scenic Darling Protect. “The NSW government is creating a vibrant world-class normal, exhibition and entertainment precinct at Darling Harbour that will keep Sydney center stage as Australia’s global bishopric,” O’Farrell comments. According to reports, the integrated convention center will increase the size of the existing precinct by two-thirds to 20 hectares and will include the largest exhibition space in Australia at 40,000 square meters. Plans include a premium entertainment facility with a capacity of more 8,000. The redevelopment of the precinct in the scenic Darling Harbour will take up to three years and will meridian $1 billion Australian ($1.03 million). O’Farrell reckons the economic benefit will meet that outlay within five age, on the proviso that the site raises its game in the conventions manufacture. “NSW has already wrecked $150 trillion (US $155 zillion) in economic benefit over the four years to 2010-11 because the current facilities have not been able to supply 169 conventions and 12 exhibitions,” O’Farrell added. If there is a winner from the SEC’s shuttering, it’s the venue’s cross-town rival the Allphones Stadium (formerly Acer Stadium), which stands to pick up most of the big shows which come into village. Competition parenthesis, the iconic SEC has endured a troubled recent anterior. The venue was caught up in the collapse of its former operator Kevin Jacobsen’s Arena Command, which entered into administration back in 2009 with spiralling debts estimated at alongside $10 million Australian ($10.3 meg). In August of that yr, the venue’s owner the Sydney Harbour Foreshore Authority evicted Arena Direction, which had leased the 12,500-capacity venue since it was opened to the public in November 1983. Soon astern, the Darling Harbour Convention and Exhibition assumed management of the SEC, and appointed a team led by venues veteran Steve Romer to take charge of the lavatory. Romer couldn’t be reached for comment at deadline. For the time organism, it’s business as usual at the SEC. Upcoming bookings include dates by Radiohead, Florence & the Machine, Jason Derulo and the Hateful Keys.

The reshaping of the Universal Music Group continues. With executives like Motown president Sylvia Rhone turning down an offer from the company to run a to-be-created rights-management company and Universal Motown Republic Group chairman Mel Lewinter exiting, sources say that the company is having discussions about bringing aboard former Warner Bros. Records chairman/CEO Tom Whalley and Virgin A&R head Rob Stevenson. According to sources, Whalley is in discussion with Barry Weiss, chairwoman & CEO of Island Def Jam and Universal Motown Republic Catalogue, about heading up a joint venture boutique denomination, although details have yet to be worked discernible, sources tell Billboard.biz. For the moment, Stevenson is in discussions with Weiss and Universal Republic Records President/CEO Monte Lipman about taking a senior A&R post in the Universal Republic group, sources contemplate. Rhone is rumored to be heading to Sony to restore the defunct Portrait tag, where she would work closely with new Epic head L.A. Reid. The propose, which has been long expected in one form or another, would see new Sony Music Chairman/CEO Doug Morris reuniting Reid and Rhone, both of whom joined him at Universal in 2004 and left the company just months after his long-rumored departure from UMG was announced earlier this yr.

Overkill bassist DD Verni (second from hand) throws the horns in commend, backed before (from radical) Overkill singer Bobby “Blitzkrieg” Ellsworth, eOne Music VP of metal Scott Givens and Skateboard Marketing owner Munsey Ricci. (Pic: Christa Titus) Billboard lucked into dining with Overkill singer Bobby “Blitzkrieg” Ellsworth and other industry folk prior to a release party for his band’s new album, “The Electric Seniority,” held Tread 23 at the downstairs lounge of New York eatery Three of Cups. Having a New Jersey connection in inferior, we kibitzed with Ellsworth about Garden State rock dives and how he enjoyed Overkill’s gig on the 70,000 Tons of Metal Coast, which sailed in January to George Townsfolk, Cayman Islands with dozens of bands and hundreds on headbangers onboard. Seton Hall University’s WSOU (89.5 FM) South Orangish, N.J., hosted tonight’s effect come what may, which was open to fans and industry members similar to one another. The cozy venue-covered in black coat, stickers, red lights and rock memorabilia-soon filled to capacity as people dropped by to get autographs from band members and hear the new album, which includes the tracks “Black Nonplussed,” “Drop the Hammer Fine-tune” and “Old Wounds, New Scars.” Amid the thrash music and fun Overkill’s label eOne Music hinted the company is getting ready to finalize a new venture with another record earmark, but remained mum on further details. Manning the electro turntables for the party was WSOU station boss/”Choice ’80s” radio show host Omar Ahmad (exactly) and guest Morgan. (Picture: Bill Meis) All smiles around the bar are (from heraldry sinister) eOne Music production coordinator Julia Sutowski, Guitar World Web producer/writer Josh Stag, Loudwire.com senior editor Graham Hartmann and guest Nikki Nadeau. (Picture: Chrsta Titus)

Kobalt Music Group continues moving forward with their planned restructuring and distension, as today Founder/CEO Willard Ahdritz ( No. 88 in Billboard’s Turn 100) announced that Pete Escape from, formerly the Managing Director at IODA UK and Vice President of IODA Cosmopolitan, would take over as its new General Manager/Vice President of Artist and Label Services. The appointment follows the company’s announcement in January that they had purchased digital distributor AWAL and were expanding their scope with two new divisions, Artist and Label Services and Kobalt Neighboring Rights Little. Those moves gave Kobalt the ability to serve their artists in a more comprehensive style, rather than just the publishing arm they began as. Kobalt Music Group Purchases AWAL, Expands With Two New Divisions At the time of the augmentation, Ahdritz said in a statement that it delineate “a response to our clients’ needs and to a major shift in where we see the market is head,” and Dodge’s hiring marks a further statement in that aiming. Dodge’s background in distribution and marketing at IODA saw him in charge of all digital distribution in the UK, while he also previously worked at digital distribution pioneer Uploader, and as manager of European Operations at hip hop label Definitive Jux and General Manager for PIAS Recordings. At Kobalt, he will be working to implement sales and marketing strategies for recording rights, and will work with another new Kobalt trainee, Managing Director of Artist & Label Services Paul Hitchman (who Dodge will report to), and AWAL’s management team to expand the company’s digital and physical distribution around the terra. Richard Sanders Appointed President of Kobalt Music Assemblage Echoing his previous utterance, Ahdritz added this go, “The future is at the present time, and in response to our clients’ needs we are investing on many levels including the hiring of top experienced and dynamic executives such as Pete Dodge and Paul Hitchman. We are committed to empowering artists and labels with the same high level of transparentness, original, technology, accuracy and efficiency for their recording rights as Kobalt has successfully provided to songwriters and other owners of copyrights.” Kobalt, the subject of a recent Billboard cover fantasy (January. 28), will begin steering its Artists and Label Services division toward maximizing revenues from digital ret, payment, and social media services within the next yr.

Sleeper Ingredient – Alex Kandel We found Alex Kandel, vocalist for Bowling Green-based Sleeper Attorney, refueling with a coconut water and resting on a couch in the VIP section following the band’s 12:00 pm set on the outdoor lap. Check Out All Our Backbeats – And Our Revamped Backbeat Nucleus – Right Hither “It was so much hold up to ridicule! I don’t think I’ve ever smiled so much on leg. People are ilk, ‘Why do you usually look so sad and miserable on phase.’ It’s kind of just my veneer confront. But I seriously don’t think I’ve ever smiled that much while playing. It was just so much gaiety. I couldn’t have been conscious of it. I was so in the moment of how fun it was that I was just being in it,” she told Biz of her first Coachella wisdom. Kandel was bummed that Sleeper Agent didn’t arrive on site until late on Friday and that they missed the performance of her friends in Grouplove. She was planning on seeing Wild Flag and At The Drive In downstream. “I did catch Bon Iver, notwithstanding that. Besides, I’m interested in EDM because I don’t really know that much about it so I kind of went over to that side last tenebriousness. I watched David Guetta. I just felt like I was like just watching a bunch of mosquitoes. These lights come on and all these people are slowly zombie-like getting closer to the stage and I’m such, ‘What is going on?’ But it was really coolheaded. I can’t imagine what a production goes into those facets. It’s enthusiastic.” Wolf Circle Brit alt rockers Wolf Gang and crew were huddled around a picnic table preparing to do a photo shoot on the Coachella ferris hoop. “I’m not looking forward to that. I hate high,” said lead vocalist Max McElligott. Coachella Backbeat: Fitz and the Tantrums Rock A Red Courtship, Revel In Radiohead Wolf Gang’s manageress, Angus Murray ( Everybody’s Music Manipulation), said the current priority for the band is to focus on pushing them in the USA. “We’ve got a track at radio right now and we’re doing a Coldplay tour in June and July when we get invest in. They’re also writing for a second record at the mo.” McElligott said he is really looking forward to playing with Coldplay and that Wolf Gang will be opening fit 12 shows on their summer US circuit. “We got the news when we were recording some demos. My girlfriend came over there and I was saying goodbye to her and I came back to the studio and these guys were double, ‘We got some great dope. We’re playing with Coldplay.’ And I didn’t believe them. I had to call up my boss,” said guitarist Gavin Slater who explained that his bandmates are perpetually “winding him up.” ” Guy Berryman is the one that made it ensue. He knows someone that works with us and he really liked the music so he really hustled to get us on that outing. It’s going to be really nice meeting him and thanking him and getting some advice from these guys. They do their jobs so well and they are brilliant songwriters and it’s going to be a really nice taste of what it could be like if you really work inescapable,” McElligott explained. Backbeat Coachella: Swedish House Mafia’s Sebastian Ingrosso, One Republic’s Ryan Tedder on Collab, Airplane Bathrooms Murray told us that he and Iain Graham, Wolf Gang’s tour director ( Axletree) checked out Bon Iver and Radiohead the night on the eve of. “Bon Iver was dazzling. Radiohead was a little slow and I had to leave halfway on account of. I missed all the good Radiohead flapdoodle. The first twenty minutes they did “The King of Limbs” and I don’t like that cv; I haven’t listened to it correctly. I did become popular “Pyramid At a bargain price a fuss” which was amazing even though.” Morgan Paginate After jumping off the podium from his bustling DJ go, Morgan Page threw on a hat, grabbed the sunscreen and headed out into the “Coachellaness” to investigate the prospect socialize. “I saw a little Radiohead, a little Kaskade, the Swedes on Friday,” he told us. Page explained that he was trying to catch as many EDM guys as possible and that Dada Life was going to put on an amazing set later that night and he hoped to catch up with them afterwards. “It’s nice to have the pass to get offstage. I didn’t know I could get back thither. I didn’t realize till like a day into it. I was cognate, ‘no shucks.’ I’m hoping to see more of the guys now that I know I can get back thither. We’re all bosoms buddy. It’s like a truncheon, it feels like that at times. You gotta stay in the club notwithstanding. You don’t want to get kicked unserviceable.” Coachella Backbeat: We Are Augustines Manager Arwen Hunt Gives the Lowdown on the Band’s Next Album We asked what would get you kicked out to which he replied, “I don’t have information. Make bad music?” Accompanying Page was his manager of 5 age, Jared Barboza ( Abbot Monroe), Liz Erman, Senior Director Marketing at Nettwerk Music Platoon, and Heather Henninger, Nettwerk Director of Digital Sales. The foursome were buzzing about the “extreme Coachella ill” and reminiscing on freezing their asses off Friday night during Radiohead. “I was uncomfortable. I had a t-shirt and a really thin jacket and I saw people in bikinis and piffle,” said Page. Henninger told us that Nettwerk, a Canadian label that specializes in dance and electronica and singer/songwriters, is currently focused on Morgan Page and Great Lake Swimmers, who just had a record out on April 3. According to Erman, on May 4th the Great Lakes Swimmers kick off their tour with the first date in Chicago. They are going on the road with Lukewarm Specks as openers.

The launch party for music creation product Zya was hard to miss Monday night at SXSW. The event took up the entirety of the Six Lounge at 4th Street and Congress in downtown Austin and a big Zya banner hung on the outside of the home. Zya is the product of Music Plan, a company co-founded by Grammy Award-winning producer/songwriter and former Chairman/CEO of Virgin Records Matt Serletic. Zya is software that allows users to easily create songs in an animated studio setting and with a variety of virtual instruments played by virtual musicians. Well-known songs, licensed from the rights owners, can be used to create original songs. It’s kind of homologous “Guitar Heroine” meets GarageBand. Check Out All Our SXSW Coverage Right Hither Downstairs partygoers enjoyed DJ sets by Nick Shank, DJ C-Squared and 16-year-old Kidd Koby Roc. Music industry people milling about the upstairs patio included John Frankenheimer (Partner and Chairman Emeritus, Loeb & Loeb LLP), Darryl Ballantyne (CEO, LyricFind), Ted Cohen (Managing Associate, TAG Critical), Antony Bruno (Strategic Counsellor, former Billboard camerawoman), Deborah Sassing (VP Business Unfolding, TAG Cardinal), Ron Gillyard (Gillyard Fun), Ariel Hyatt (Landowner, Cyber PR), Robert Singerman (Brasil Music Truck) and Neill Dixon (Prexy, Canadian Music Workweek). Looking at the deck filled with partiers and thinking of the Zya demos being given in the company’s suite at the Hilton, I asked Serletic if this kind of effort was required for a product as ambitious as Zya. After four years of development and two years since the first prototype was revealed, is this what it takes for a company to make a proper splash at SXSW? Unexceptionally, he replied. “You need a unalloyed, galvanizing issue.” SXSW is a competition for thoughtfulness. A huge installation by Google and a Nike event with a line that snaked around the block were on the same block of 4th Street as Zya’s function, and a Peep #FEED party a few blocks north on Congress had people waiting an hour to see its digital installations. A company may get noticed at SXSW, but it will have to try harder to make an take-off.

Google Inc. plans to split its amass 2-representing-1 to preserve its leadership’s control over the company and maintain its long-term distinct. The online search leader said Thursday that it is issuing a new class of stock to shareholders, but the new shares won’t have any voting gift. All current stockholders will get shares in the new Class C bloodline. Google says the split is something investors have been asking seeing that. In adding up, employees given Google stock in the future will get the non-voting cut, allowing voting power to remain with existing shareholders. The same will hold true for stocks-based acquisitions that Google effects. Investors will vote on the proposal in June. It’s expected to pass because Google’s senior leaders have most of the voting bent. “It’s important to bear in mind that this proposal will only have an effect on governance over the very long assumptions agree,” CEO Larry Page and fellow co-founder Sergey Brin wrote in a letter for letter. “It’s just that since we know what we want to do, there’s no reason to delay the conclusiveness.” Google also said it earned $2.89 trillion, or $8.75 per due, in the first leniency. That’s up from $1.8 trillion, or $5.51 per due, a year sooner. Excluding scoops, Google says it earned $10.08 per serving. That’s higher than the $9.66 expected by analysts polled by FactSet. Total revenue was $10.65 trillion, up 24 percentage. After subtracting ad commissions, Google’s revenue totaled $8.14 jillion. Analysts were expecting revenue of $8.09 billion on this foundation. Mountain Opinion, Kalif.-based Google’s stock climbed $1.66 to $652.67 in after-hours trading. The stock had closed up $15.05, or 2.4 pct, to $651.01.

A screenshot of Warner/Chappel Production Music’s new website showing some of the music catalogs housed thither. Warner/Chappell Music, the global music publishing arm of Warner Music Group Corporation., has announced the launch of Warner/Chappell Production Music, uniting the company’s production music caves, which consist of more 70 catalogs, including 615 Music, Non-Stop Music, Groove Addicts, Full Tilt and CPM. As part of the runabout, the music publisher has unveiled a new website, www.warnerchappellpm.com, which allows visitors to search its production music catalogs from a single source.  The site allows users to preview tracks, sort them by quality, catalogue, spirit, or have in mind. The site also features video and audio montages of the various uses of Warner/Chappell’s production music, including sports scheduling, word, music packages, and advertisements, among others. The site will also provide users with up-to-minute news from across its various casts, including the latest additions to its catalogs. 

”Warner/Chappell is home to production music catalogs that span decades of high-quality works,” said Cameron Strang, Chairperson & CEO of Warner/Chappell Music, in a account. “The launch of Warner/Chappell Production Music combines the strength of these brands-each of which has a reputation for producing some of the most popular compositions in the production music space-under the Warner/Chappell protection, all in order to better serve our customers.” Randy Thornton, Prexy & CEO, Worldwide, Warner/Chappell Production Music, added that, “With the launch of the new website, we’re giving our clients a cretinous, central point of access to our enormous collection of compositions.” The Warner/Chappell Music catalog includes standards such as “Happy Birthday To You,” “Rhapsody in Improper,” “Winter Wonderland,” the songs of Cole Porter and George and Ira Gershwin, as well as the music of Eric Clapton, Green Day, Katy Perry, Led Zeppelin, Lil Wayne, Madonna, Nickelback, Paramore, Red Hot Chilly Peppers, T.I. Timbaland, and others.

Veteran media industry executive Cristina Schwarz has been named VP of programming and production for Univision Cable Networks. Schwarz will be based out of Miami, supervising programming and production for the Galavision cable network plus a suite of six cable offerings:  film networks De Película and De Película Clásico, Mexican music network Bandamax, music network Ritmoson, entertainment/music network Telehit and Clásico TV, which pose “undying” scheduling, mostly from Mexico. Schwarz will dual-report to Univision Cable Networks senior vice president Jessica Rodriguez and Sebastian Trujillo, senior vice president and Operating Manager for Galavisión. Univision Gaining Bilingual House, Highlights New Season of Scheduling @ NATPE Schwarz’s new post marks her return to Univision. She previously worked for the company in the New York market to go to 17 years in a broad variety of positions, including production and sales, and served as VP and GM for three New York TV stations with the Univision Television Arrange. After leaving Univision in 2005, Schwarz launched her own concourse, CSLR, a consultancy for international media companies. She’s also previously led sales teams for the Telemundo web. “I am pleased to welcome Cristina back to the Univision people,” said Rodriguez in a disclosure. “Her depth of empiricism, combined with her personal knowledge about the Univision showgoers, makes her the perfect choice to help us build on our success at Univision Cable Networks as we look to grow and hone in on our audiences’ passion points.” Univision Cable Networks also includes the soon to be launched Univision Telenovelas, which will be dedicated solely to novelas, and two sport cable networks which will launch later this yr. The Billboard Latin Music Discussion & Awards, presented by State Farm taking place April 24-26, 2012 at the JW Marriott Marquis, Miami. Registration is open on occasion. Register by Border 9th for the Early Bird Rate and save $175. Visit BillboardLatinConference.com on account of details.

A New York judge Friday ordered pop star Prince to give someone a bribe $3.95 million to a perfume maker for failing to promote the 3121 line of scents. Prince was sued by Revelations Perfume and Cosmetics in 2008 for failing to promote the toilet water, which was supposedly inspired by his 2006 album3121. The company said it spent millions of dollars in out-of-pocket expenses in reliance upon Prince’s commitment to recommend, and when the matter went before a special umpire, the estimation of actual damage was recognized. For the time being, a New York Supreme Court judge has confirmed the reward. Throughout the eld, Prince has made a series of unique moves in the music business, from the changing his name to the way he bundled the sale of albums with concert tickets. On 3121, which became the first Prince album to debut atop the Hoarding 200, the musician again made a highly interesting array: Tying an album with a scent and clueing Universal Music Publishing Group into 50 percent of the perfume net. Revelations made the licensing agreement with Pandemic, with an expectation that Prince would perform for them. But something didn’t smell put. Revelations accused Prince of refusing media interviews and doing in-store events. “Since July 2007, despite repeated attempts by Revelations, there have been virtually no communications from anyone who could commit to or coordinate any promotional efforts by Prince,” the lawsuit stated. Minimum sales requirements weren’t met, and the licensing agreement was canceled. The dispute wound up in courtyard, with the company’s founder telling a special referee about the Prince statements he relied upon to make expenditures and with an expert testifying about the importance of a celebrity’s active participation in his name redolence. The referee found that the evidence supported the company’s claims of fraudulent incentive, fraud and tortious interference and awarded its out-of-pocket losses of $3,948,798.58 while denying lost profit damages and an award of punitive restitution. The dispute then went before a state determine, who heard arguments by Prince’s lawyers that the plaintiffs hadn’t showed that the representations and promises were the proximate cause of the expenses. For illustration, Prince contended that on December. 2, 2006, the day after Revelations signed the licensing deal with Universal Music, he informed Revelations that he would not give interviews for the launch party nor would he provide a single photograph for the press unshackle. That reason, Prince argued, the company couldn’t have relied on these representations when deciding to spend millions. But in the opinion Friday, the judge isn’t buying it. “The fraud committed by the Prince Defendants was not fully manifest on December 2, 2006, and the Prince Defendants continued to send mixed messages to Revelations regarding Prince’s commitment to promoting the balm. For benchmark, it was not until January 2007, when [Revelation's top numero uno] met again with Prince, that Prince informed him that he did not want his name to appear on the fragrance bottle or cartonful. When, in late February 2007, Prince represented to Revelations that he would commit to appear on The Oprah Winfrey Show prior to the launch of the smell. … In any event, this appearance never occurred.” Prince also wouldn’t distribute samples of the perfume at concerts, as he promised. During this for the nonce at once, Universal is said to have made assurances, and while the decision says that Revelations never gave up on trying to persuade Prince to change his mind about such things as putting his image on the publicity, the company eventually seemed to hit the bottom of the dutch courage. One bright side for Prince: The judge confirmed that punitive damages are not warranted because there wasn’t any evidence that the artist acted with malicious absorbed. Prince attorney Howard King has provided THR with the following announcement: “This was a default sagacity, not based on any trial on the merits and without any ability of Prince to challenge the factual assertions of the plaintiff. The Judge’s refusal to set aside the default for good cause is currently being appealed. From time to time “fact” in the Judge’s opinion was an adoption of the assertions made by the plaintiff due to said default judgment and are vehemently denied away Prince.”

This year’s Coachella Valley Music & Arts Anniversary, to be held consecutive weekends on April 13-15 and April 20-22 at Empire Polo Field in Indio, Kalif., has sold out in just under three hours, according to the festival’s Twitter narrative. The Goldenvoice-produced festival announced its lineup through Facebook on January. 9, revealing headliners the Black Keys, Radiohead and a collaborative performance by Dr. Dre and Snoop Dogg. The remaining festival tickets, after an initial offer earlier in the week,  went on sale this prime, January. 13 at 10 a.m. PST. The festival’s official twitter run-down (@coachella) announced at 3:57 EST (12:57 PST) that both weekends were completely sold not at home (see farther down than). Coachella, one of the elite music festivals in North America, drew 75,000 paid per day over three days in 2011, for a gross of $24.9 million and aggregate attendance of 225,000. The gross is up from $21.7 million in 2010 and was a record for the celebration. Coachella ranked No. 1 among the world’s top-grossing festivals in 2011, according to Billboard Boxscore. Coachella 2012: Radiohead, Dr. Dre, Black Keys and Punk Reunions Top Lineup Coachella 2012 will also feature an appearance by Neutral Milk Hotel’s Jeff Mangum, marking the first Southland appearance of the previously hermetic indie musician’s current jaunt, as well as punk icons Refused and At the Drive-In, which announced its reformation on Twitter earlier on Monday. ’90s alt-rockers Mazzy Celeb, who surprised fans with new recordings late last yr, will perform on the festival’s first daytime — as will the resurgent Jarvis Cocker-led British act Flesh. As worn out, the considerable lineup ranges from electronic dance music (Swedish House Mafia, Girl Tattle, DJ Follow) to adventurous hip-hop and R&B (Azealia Banks, the Weeknd, A$AP Hard) and indie favorites (Arctic Monkeys, Fice, Wild Peter out). Among the higher-profile acts is the Grammy nominated Bon Iver, who made surprise appearances at 2011′s festival alongside the National and Kanye West. Diva fans can get their fill with Florence + the Machine, who will produce on Sunday.

The Tupac Shakur “holograph” used onstage at Coachella Valley Humanities & Music Festival over the weekend isn’t a novelty in just the live music point. It’s also a rarity in entertainment law. “It’s very one,” says Donald Passman, an entertainment attorney for the Los Angeles-based firm League, Tyre, Ramer, and Browned, Inc. and author of “All You Need to Know About the Music Livelihood.” The performance of Dr. Dre and Snoop Dogg at Coachella featured a two-dimensional digital double – not an actual holograph – of the late rapper Tupac Shakur projected onto a camouflage. In basically, Tupac appeared to be performing right there on stratum. The reproduction used in the songs “Hail Mary” and “2 of Amerikaz Most Wanted” was created by Digital Domain Media Gather, the company’s CEO told the Wall Street List. Tupac Shakur Hologram Could Tour Venues Beyond Coachella That use of image didn’t come for unlock, says Passman. The final digital reproduction that was used on showbiz “had to have started with some image of Tupac, and somebody would own that facsimile,” he says. “Somebody would have taken a copyrighted picture of it.” Rights issues and fees extend beyond pictures. Had the Shakur image been a haze, Passman says the record company may own the rights because record labels’ exclusive recording agreements often cover any recording made of the artist during the term of the knit. “If this was like a TV performance or something like that they manipulated, the record company may have something to say about it as thoroughly.” Other artists’ likenesses have been used in untraditional ways in the pod auger. The Black Eyed Peas’ Will.I.Am appeared on CNN via hologram on the presidential election night in 2008, although Passman notes that was a promotional use of his sculpture. The use of Elvis Presley’s likeness and image in a duet with Celine Dion on “American God” in 2007 most certainly involved rights issues, although CKX, the owner of “American Tiki,” also owns 85% of the company with the rights to Presley’s style, image and figure, Elvis Presley Enterprises. Typical uses of an artist’s likeness include goods, album art, sponsorships and commercials. But Passman says the Tupac example is “very conflicting” than the usual use of an artist’s likeness because the producer manipulated the image and repurposed it for a specific end. How much would it cost to use Tupac’s likeness for two songs at a Coachella discharge? “Brat, I have no reason,” says Passman. “I guess if I represented him I would want a good sized fee for it because it’s an element of the exposition. And I could go anywhere from what I would charge as a live artist to show up as a guest down to what I would charge to do a lighting stratagem.” But he admits arriving at a fee wouldn’t be easy. “There’s no precedent in the direction of it.”

According to multiple sources, the European Commission is expected to announce Thursday its approval of the purchase of EMI Music Publishing by the Sony  Corporation. of America-led pool. The news was first reported in the Financial Times. That acquisition will give Sony/ATV, which will remain a separate company but serve as administrator for EMI Music Publishing, control of publishing assets that generated roughly $1.26 billion in annual get, Billboard estimates, as opposed to the $900 million that UMPG produces p.a.. In days of old, UMPG had been the largest owner of publishing assets in the mankind. As has been previously reported, Sony/ATV would serve as the administrator for the EMI publishing assets, which would be maintained in a separate company since it has a different ownership structure than Sony/ATV. The latter company is a joint venture between Sony Corporation. of America and the Michael Jackson estate and Sony/ATV itself would have a 38% stake in EMI Music Publishing if the regulatory agency approval of the acquisition is apt. The other investors participating in the proposed purchase of EMI Music Publishing are: Mubadala Development Company PJSC; Jynwel Capital Reduced; the Blackstone Group’s GSO Capital Partners LP; and David Geffen. Late Tuesday, the New York Times reported that if the EMI acquisition is sanctioned, Sony will cold shoulder 326 positions over two years to obtain $70 million in net cost savings. Sony/ATV Chairman/CEO Martin Bandier sent a memo to his staff on Wednesday saying the report was undeveloped. That myth–based on a copy of the prospectus obtained by the paper, issued to comb $1.15 billion to help finance the plotted $2.2 billion acquisition of EMI–says that the EMI work force would be reduced through 142 people within the first year of ownership and 174 would be let go after serving on a transitional underpinning. That would make an exit 189 EMI staffers with jobs. Earlier this month, Sony/ATV offered to sell publishing assets importance $20 million in royalties, according to a Reuters clause, in an attempt to get the EU to approve the transaction without having to face second stage scrutiny like Universal Music Group’s proposed $1.9 billion acquisition of EMI recorded music operative. The EU regulatory commissioners are expected to announce tomorrow whether they are approving the large; or will take a longer second phase look at the deal like they did with Universal Music Group’s attempt to acquire EMI’s muusic assets which has been pushed from March to what will likely be August of this yr. While the planned cutbacks would achieve a total of $120 million in savings, as the administrator of EMI Music Publishing Sony/ATV would be paying $50 zillion, based on the customary 15% administration salary, which would be based on net publisher’s split.

Lil Wayne has become synonymous with the Young Money/Cash Money phenomenon that has swept up names such as Drake, Nicki Minaj, Mystikal and Busta Rhymes, and the rapper isn’t going anywhere before long. Weezy just signed a 4-album deal with Cash Money records, he announced in an interview on new MTV mortify “Hip Hop POV.” Lil’ Wayne Branches Out Into Shoe Job The describe, which he has been signed to since he was eleven years well-versed, is reaping the sales of Nicki Minaj’s Pink Friday: Roman Reloaded which debuted at no. 1 on the Hoarding 200 last workweek, and is set to gear up for Wayne’s first album since last year’s The Carter IV, titled I Am Not A Human Being II. “Contract-quick-witted, I only get paid an eye to 12 songs. Maybe on a Carter album, you probably only gonna find out 12 songs, maybe a perquisite 13,” Weezy said during the evaluation. “But on this I Am Not a Human Being object, I really don’t suffering… you’re probably gonna elude one’s captors 16 on thither.” How Mountain Dew Booked Lil Wayne for SXSW, DeWeezy Run Wayne also announced that he’s working on an album of “love songs” – but in the Wayne fad, not the typical crooners one might suspect. The album will be titled Devol – “loved” spelled slow – and was borne out of his preoccupations while serving eight months in prison in 2010. Lil Wayne to Remission ‘I Am Not a Human Existence 2′ Before Summertime, Birdman Says With those two projects in the works – Birdman told Billboard in January that I Am Not A Human Being II is slated to desert “before summertime,” though a release date has still not been congeal – as well as collaborative albums with both Birdman and Juelz Santana on the agendum, Weezy may hit his four album mark sooner rather than subsequent. Just don’t expect the Young Money CEO to be jumping ship on the label any time in the end.

Google Trends: 4. esperanza spalding – the jazz singer and last year’s Best New Artist winner performed on “The Daily Eclipse” last blackness. Twitter Music Inclination: None at this life span. Digg Music News/Tv 24 Hours: 1. OK Natter – White Knuckles – Ordered 3D Picture NPR Music Most Viewed: 1. First Attend: Spiritualized, ‘Sweet Heart Sweet Simplify’ 2. First Prick up one’s ears: Alabama Shakes, ‘Boys And Girls’ 3. First Do as one is told: Horse Feathers, ‘Cynic’s New Yr’ 4. Can’t Fake The Quail: 11 Smooth New Latin Songs 5. Freddie Regent: Rock Hall Inductee, Patriarch Of Blues Roll NPR Music Most Commented: 1. Hearing In Megaupload Case To Determine Fate Of Final users’ Memorandums (13) 2. Remembering The Titanic’s Intrepid Bandleader (10) 3. Freddie Power: Rock Hall Inductee, Patriarch Of Blues Stone (10) 4. Rock Hall Inductees Battled For The Future Of L.A. Poverty-stricken (11) 5. Everybody Wants To Be A K-Pop Falling star (19) NME’s Top Music Word: 1. Ex-Guns N’ Roses bassist Duff McKagan: ‘Rock And Roll Hall Of Fame isn’t about Axl Roseate’ 2. Frances Bean Cobain: ‘Twitter should ban my old woman’ 3. Green Day speak fro ‘fucking expert’ album trilogy – picture 4. Marion air new material at first London gig in six eld 5. Korn’s Jonathan Davis: ‘Skrillex was like a little kid when he worked with us’ 6. Olympic concerts to use pre-recorded backing tracks 7. Arctic Monkeys, Levigate, Black Keys to play Coachella tonight (April 13) 8. Charlie Simpson makes his acting launch ‘In God We Conglomerate’ – take heed of Fader Most Comprehend – Lifetime 1. Based Sacred writings: The Full Transcript of Lil B’s Lecture at NYU 2. Download French Montana’s Coke Boys 3 Mixtape 3. Frank Lots, “Whip Collection (SBTRKT Cut)” 4. Hear Two New Zomby Tracks, “Digital Sitting” and “808″ 5. LoveRance f. 50 Penny, “Up! (Remix)” MP3 6. Move: Joyce, “Keep the Lights On (Clams Casino Remix)” 7. Tv: Nicki Minaj f. 2 Chainz, “Beez in the Ambush (Physical Therapy Order)” 8. Hear New Kanye West, “Theraflu” Fader Most Up to date 1. Tv: Lil Rue, “Wassup” 2. M.I.A. Writes Theme Music for New WikiLeaks Talk Splash 3. Download Rizzla’s Official Bootleg EP 4. Picture: Nicki Minaj f. 2 Chainz, “Beez in the Snare (Physical Therapy Bowdlerize)” 5. Well up: Joyce, “Keep the Lights On (Clams Casino Remix)” 6. Discussion: Sam McPheeters 7. Download French Montana’s Coke Boys 3 Mixtape 8. Hear Two New Zomby Tracks, “Digital Sitting” and “808″ 9. Picture: Bruce Springsteen, “Death To My Hometown” 10. Based Koran: The Full Transcript of Lil B’s Lecture at NYU Pitchfork News Most Just out: 1. Watch Coachella Streamed Live All Weekend 2. This Week on Fork 3. New Beach Cubbyhole: “Lazuli” 4. M.I.A. Teams With WikiLeaks Founder Julian Assange, Writes Music for His New TV Express 5. Mind: Titus Andronicus Cover X-Ray Spex 6. More Footage From Lil B’s NYC Philippic 7. Bruce Springsteen Expands Visit 8. Watch Fice, the Shins, Arctic Monkeys, and Alabama Shakes Perform on TV Last Dusk 9. Tv: Cloud Nothings: “Stay Barren” 10. Leonard Cohen’s Former Business Manager Convicted of Molestation Rolling Pit – Recent dirt 1. Weekend Rock Distrust: What Is the Best Red Hot Chili Peppers Strain? 2. M83 Set for Big Find 3. M.I.A. Records Music for Julian Assange TV Expose 4. Exclusive Download: Blondfire, ‘ Hide and Quest after’ 5. Kraftwerk Diary Day Tercet: 1977′s Dominant ‘Trans-Europe Phrase’ 6. Olympics Organizers Ask Keith Moon to Play Closing Formalities 7. Bruce Springsteen Releases Dates For Fall Stadium Outing, New Picture 8. Exclusive March: Devo’s Theme Song for the sake of ‘Monster Mortals’ 9. ‘American Paragon’ Review: Shock and Awe 10. Song Leaving aside: Doug Paisley, ‘Learn to Be defeated’ (accomplishment. Fice) Perez Hilton – Music Picayune: 1. 2Gether Reunites To Sing Calculus To… 2. Mindy McCready Pushes Out Twins A Son! 3. GLEE First Hark to! Check Out The Songs From The Saturday Night Glee-Ver HITHER! 4. Jennifer Hudson And Ne-Yo Slay The Idol Situation! 5. Jean Paul Gaultier To Dress Madonna For Her World Ramble!!! 6. Music Brings Alzheimer’s Patient Back From Wind 7. Mike Tompkins Plays With Himself In We Are Young Dust-jacket! 8. Marina And The Diamonds Lie To Us So Sweet CMT – Recent Scoop: 1. CMT Will Air Punk’d With Taylor Fleet, Justin Bieber 2. Kenny Chesney Will Sing at Drew Brees, Matthew McConaughey Occurrence 3. Around the Trap: Pistol Annies Suss out d evolve 9 to 5 XXL – Recent Bulletin: 1. G. Dep’s Attorney Insists His Client Didn’t Kill Presumed Shlemiel 2. XXL Quick Hitters: Nicki Minaj, Diddy, Will.i.am 3. Iggy Azalea Responds to Threshold, Says Female MCs Are Competitive by Identity TMZ Music Telecast: 1. 2GE+HER Reunites on an L.A

After weeks of relatively few new major album releases, Tuesday (January. 24) brought a bevy of titles to market that are aiming for the top of next week’s Hoarding 200 map. While Adele’s “21″ seems set to spend an 18th nonconsecutive week at No. 1, according to industry sources, Tim McGraw’s “Emotional Influx” could drive in at No. 2 on the screed. Those in the know suggest the album may sell betwixt 60,000 and 65,000 copies by week’s end on January. 29. The new effort is McGraw’s last for Curb Records, following a court ruling in November that the singer was free to record for another docket (or his own) without Curb’s participation. Curb had been his home for his entire two-decades-plus bolt. Elsewhere on next week’s blueprint, look for rock band Lamb of God to debut in either the Nos. 3 or 4 slots, as its “Explication” is aiming to sell all 50,000 copies. After that, the next-biggest new entry may be the “Grammy Nominees 2012″ compiling. The latest installment in the long-running series is on course to sell here 50,000 as intimately. Other albums looking to make high debuts next week include Ingrid Michaelson’s “Human Anew,” Kellie Pickler’s “100 Hold up,” Kari Jobe’s “Where I Find You” and Seal’s “Individual 2.” The new Hoarding 200 chart’s superb 10 will be revealed on the morning of February. 1.

What Becomes A Legend Uttermost (from leftfield): Our Lady Peace’s bassist Duncan Coutts, frontman Raine Maida, boxing legend George Chuvalo, OLP manager Eric Lawrence, guitarist Steve Mazur, drummer Jeremy Taggart (pic: Luther Mallory) Just prior to their North American turn, a 74-year boxing legend joined Canadian rock band Our Lady Peace in a cramped Toronto hotel suite.  The provoke: a preview of the Canadian band’s eighth studio album, Sheer, inspired by the prizefighter, is due out in the United States on April 22 (it came out in Canada April 3). Read All Our Music Industry Centric Backbeats Right Hither George Chuvalo – the tough-as-nails Canadian heavyweight who went the distance with Muhammad Ali (1966 and 1972) Joe Frazier (1967) and George Gaffer (1970) and was said to have the greatest chin of any paladin – is featured on the album wrap (an early pic) and on the album’s closing to-do, “Nerve.” George Chuvalo is featured on the Our Lady Peace’s new album Sheer. Our Lady Peace has consistently gone au, platinum and double-platinum at home in Canada. Clumsy achieved that rare feat of a diamond documentation (then signifying 1 million units sold) and was platinum in the U.S. Gravity went double-platinum in Canada and gold in the U.S. In Canada, the band has had five No. 1 singles, 1997′s “Ill-chosen,” 2000′s “In Patch,” 2002′s “Somewhere Out Thither,” 2005′s “Angels Losing Doze” and the current undivided, “Whale.” In America, 1994′s “Starseed” reached No. 7 at Mainstream Rock and No. 10 at Modern Broken-down; “Cloddish” was No. 5 at Modern Penniless,” “Somewhere Out Thither” No. 7 at Modern Rock and No. 12 at Adult Crest 40. The belt, which used to be on Sony Music worldwide, is now on their management’s identification, Conglutination, which is distributed by Warner Music in Canada and eOne in the U.S. “A song commanded ‘As Fast As You Can’ will be our first U.S. private, and it will be our second single for Canada,” OLP’s manager Eric Lawrence told Billboard.biz. “We start working that in the next couple of weeks. Rock radio will be serviced ‘Whale,’ which is a rock radio hit for us here in Canada, but Alternative is going be where we’ll spotlight ‘As Fast As You Can.’ Hits Periodical, who also work records, are going to be our radio promotion folks and [in Canada] it’s Warner and my offices.” Once the hotel suite filled up, OLP frontman Raine Maida hopped on a chair to address the congregate. “Thank you for coming to this cramped little train. We’re very proud of this latest release. If anyone doesn’t know that, George Chuvalo is on the cover and there’s a lot of parallels that we drew when we were making this register, the packing, the struggle that boxers face in and out of the ring and George for some reason befriended us and went through his collection and gave us that photo for the cover and, like I said, befriended us and we got to have some conversations with George and we taped some baloney. Our Lady Peace frontman Raine Maida gets above the crowd in a Toronto hotel suite talked about the new album, Cut, and George Chuvalo’s cover inoculation, friendship and impact on the music (photograph: Luther Mallory) “He was gracious enough to let us do that,” Maida continued, “and we put it on one of the songs on the narrate, some of it spoken word pieces and just little insights into life because I don’t know if any of you have information, or how well you know George and his life story but there’s so much dignity thither; there’s so much sustain; there’s so much manhood. He’s a really incredible man and obviously a Canadian ikon. So for us to have him be on this record both speaking and on the cover is a big deal to us.  George is actually hither.” The 74-year-old Chuvalo had a tough flair: He lost a son and wife to suicide and two sons to drug overdoses. He current speaks at schools and to other youth assemblies through The George Chuvalo Fight Against Drugs Foundation.  Maida announced at the event that the band will be qualification “a substantial present” to the considerateness. Boxer George Chuvalo going the distance with Muhammad Ali “We’ve been a band against 18 or 19 age – I think everyone who has been in this business for a patch, you can understand the scramble, of sometimes just keeping the band cool, trying to navigate these crazy waters in the music business and then also the challenge of trying to dig into yourselves and mature as an artist and musicians and trying to make something as authentic and genuine as you can,” Maida added. “So that’s what George represents for us, completely legitimate, completely true, completely Canadian. We just couldn’t be prouder of this whole predilection. We’re going to play a bunch of songs. We’re going to start with ‘Spunk,’ which is the song that George is on and we’ll just play a insufficient, so drink and listen and thank you for forthcoming.”

Facebook’s Listen Clit, Timeline Challenge Developers and Artists — Facebook’s expansion of its Timeline layout in April and the debut this week of its Listen button are presenting new challenges for the companies that provide direct-to-fan applications built specifically for the popular social web. But don’t believe that Facebook apps are now unessential, executives tell Billboard.biz. Facebook’s New Listen Button Plays Artist Catalogs From Spotify, Rdio, MOG The Listen button appears on an artist’s Facebook phase — in a prime location next to the like clit — and links the user to a music service such as Spotify, Mog or Shirker. Facebook will default to a particular service the listener uses the greater. If you’re a frequent Spotify listener, clicking the Listen button will play the artist’s five most popular songs and then run through the rest of the catalog in the order it appears on the artist’s Spotify surface. The big question is the degree to which these changes reduce the usefulness of the apps built for Facebook by BandPage, ReverbNation, FanBridge, FanRx and others companies and used by millions of artists around the in every respect. Low, Timeline made the artist’s main page the default entry site, pushing music apps off the main page and onto less visited secondary pages. Succeeding, the Listen button replaced the apps’ streaming ceremony. As a termination, fewer people are seeing apps that used to be a common get a load of. “We’re pretty indifferent to whether or not there’s a listen button up there or not,” ReverbNation CEO Mike Doernbeg says. He explains the company provides both apps for Facebook and a digital distribution service that puts artists’ music in subscription services’ catalogs. As a conclusion, ReverbNation is neutral in how an artist chooses to reach citizens. “In the end we want the artist to pick out — we think that’s a good fixation,” he says. “Whether an artist chooses to use Spotify or they choose to use some other vehicle is really up to them.” Gray Lewd, director of music industry relations at FanBridge, doesn’t think the Facebook listen button will spell the end of direct-to-fan applications, but he acknowledges that it’s a “brilliant proceed” that makes Facebook a force in streaming music. “Facebook has taken the lesson MySpace learned and made a better judgement,” he says. “They chose not to do the licensing agreements.” There’s no denying the impact Timeline has had on the use of Facebook apps that stream music and tv, be that as it may. ReverbNation’s Fan Page application fell to 200,000 daily average users from upstairs 350,000 from early to mid April, according to AppData. The traffic of FanRx’s Facebook application plummeted from over to just guardianship 50,000 daily average users from 250,000. Bandpage, formerly RootMusic, could be more exposed to the impact of Timeline than its competitors because its business is focused on developing for the Facebook stand. Its app’s daily users have fallen to regarding 200,000 per day from in the first place 600,000 before Timeline was fully implemented in early April. Cynics aren’t hard to catch sight of. “BandPage might as well close their doors right sporadically,” says one person at a digital music startup. BandPage did not respond to Billboard.biz’s request for footnote. But don’t write off Facebook apps just in the future. There are good reasons for app developers to continue making Facebook apps and for artists to continue to demand them. For starters, not everybody who visits a Facebook page uses one of the music services connected to the Play push. Facebook has at hand 165 million U.S. end users. Subscription services currently linked to the Listen clitoris (Spotify, Mog, Rdio) have somewhere between five million and 10 million active customers. Slacker Radio claimed to have six million active users back in September. Those numbers are sure to rise over sometimes, but there’s little doubt the Play button cannot serve even a small percentage of current Facebook representatives. In counting up, Facebook apps allow for the kind of narrow marketing needed by artists and labels. Timeline is a blunt marketing stooge. App developers allow for more precise merchandising. FanRx co-founder David Nelson explains that a pre-release campaign that targets a specific song or album needs more than Facebook’s Play push. He adds that the introduction of Timeline means artists will have to put more effort into driving traffic to Facebook apps. “We’re trying to educate people and make them realize they’re going to have to reach out to fans a little more. They’re going to have to use social a little more.” Jennie Smyth, president of marketing agency Girlilla Bartering, says the Play button isn’t ideal for her company’s targeted marketing efforts. “Say I want to have them listen to an exclusive acoustic track that’s very time raw. Since I am not sure how the process will be to coordinate having that play first in each of the services, and I can’t control the user liking, it’s easier for me to keep them on my own call out. I do think it’s a great addition to the pages, but for an artist I like having creative be in control of.” Even though developing for Facebook presents occasional challenges, the platform is still an invaluable marketing guide, ReverbNation’s Doernberg says. “We fully expect Facebook to continue making changes and give us and the artist very little admonish,” he says. “The thing we’ve all got to appreciate about Facebook is we all think of Facebook as this enormous institution, but they’re still figuring it off, too. As they figure things unacceptable, we should expect to feel the ripples of that.” Social Media Continues React to — Social media is on track to surpass Web portals as the most engaging content category on the Trap. From December 2010 to December 2011, portals’ share of Web activity hide 3.6 percentage points, while social media rosebush 2.2 points and email floor 1.7 points, according to comScore. ( comScore Voices web site) TuneCore Library Distributed by Deezer — TuneCore’s library is now being distributed to Deezer, the music subscription based in France and available in the United Province. Deezer claims to currently keep 20 million total streaming users around the exactly (it does not specify if those 20 million are active users or merely registered consumers) and six million unique visitors per month in France (roughly one out of occasionally 11 people in the boondocks, based on the World Bank’s 2010 population estimate of 64.9 trillion). This deal highlights the global nature of digital dispersal. Other services to recently ink deals with TuneCore include iTunes Latin America, simfy and Google Play. TuneCore has also signed a unique direct licensing deal with Deezer for users of TuneCore’s new service for songwriters. The deal means an artist who uses TuneCore for both digital distribution and songwriting administration will receive royalties for both the sound recording and composition copyrights. An independent artist without a songwriting administration deal is typically paid only for the sound transcription royalties.

Universal Music Group is planning to sell three of its music-publishing catalogs to help finance its acquisition of EMI’s recorded-music segment, a source told Billboard.biz. The news was first reported the Financial Times. Universal has brought in Bank of America Merrill Lynch to sell its classical catalogue, along with a Christian (Brentwood Benson) and German schlager (Koch) catalogue, a sale that could introduce $200 zillion, a source told FT. The company also plans to sell real estate holdings in France and Germany that are leased to other companies. FT reported that 12 parties are interested 12 parties, including US and European private equity substantials, and BMG Rights Guidance, adding that Imagem Music “is likely to be interested.” The European Commission’s investigation into Universal’s proposed acquisition of EMI’s recorded-music division is to enter a indirect, more in-depth insert, it was confirmed on Friday. Universal formally requested EU regulators’ approval of the sale in February. Opposition to the sale has been fierce since it was first announced in November, with the independent coalition IMPALA and others being particularly vocal in their insistence that Universal’s holdings would create unsurmountable “competition complications.” EMI’s Deals WIth Cosmic, Sony Face Authoritative — But Disparate — Regulatory Examination

Lionel Richie (truthful) with Kenny Chesney performing together at the “ACM Presents: Lionel Richie & Friends together,” which aired on CBS this past Friday. Lionel Richie might be “dancing on the roof” right in the present climate, as his “Tuskegee” album is on track to hit No. 1 this week on the Hoarding 200 diagram. It would mark his third chart-topping album — and his first since 1986′s “Dancing on the Cap” spent two weeks at No. 1. We’ll have exact Nielsen SoundScan figures and official chart positions on Wednesday dawn, April 18. Adele’s ’21′ Heading Back to No. 1 after 24th Workweek While last Friday it seemed Adele’s “21″ set was on course for a 24th nonconsecutive frame at the vertex, Richie’s “Tuskegee” pulled in big sales over the weekend. Industry sources say the album sold concerning 125,000 copies through the week ending Sunday, April 15 — well ahead of the perchance 90,000 that Adele’s “21″ sold. Richie’s weekend sales were driven by his two-hour Friday night CBS concert weird “ACM Presents: Lionel Richie & Friends together.” The all-star show featured Richie singing with Tim McGraw, Kenny Rogers, Martina McBride and more, all of whom appear on the collaborative album. The broadcast earned 7.7 million viewers according to Nielsen and was the most-watched show on Friday eve. Who Besides Lionel Richie Has Topped Billboard’s R&B and Country Charts? Richie’s “Tuskegee” debuted at No. 2 on the Hoarding 200 two weeks ago with 199,000 — his best sales week since SoundScan began tracking sales in 1991. He was lodged behind the also-debuting “MDNA” by Madonna, which topped the list that week with 359,000. Last workweek, “Tuskegee” fell from No. 2 to No. 4 with 95,000 (pile 52%).

The freshly expanded Edward Sharpe and the Magnetic Zeros did something Thursday they have never wired: Perform their upcoming Community Records/Vagrant album Here start to extermination. The 11-piece ensemble premiered the new songs, release date is May 29, in a performance at Bob Clearmountain’s studio in West Los Angeles. Santa Monica, Kaliph., public radio station KCRW presented the presentation, which they will broadcast on the album’s release date and stream video footage at kcrw.com. Check Out All Our Backbeats Right Hither “We figured out how to do this three minutes since,” group leader Alex Ebert said as the band took the packed stage at the Berkeley Street Studio. The band played the album’s nine songs and a track that is in oblivion, “If You Wanna.” Ebert, interviewed by KCRW DJ and music supervisor Liza Richardson, said the band recorded so many songs they have a companion album almost ready to voyage, though they are unsure how or when that album will be released. Edward Sharpe and the Magnetic Zeros, featured in the concert obscure “Big Easy Particular” that was a hit at SXSW, spent three years touring on their first album, which led to a stockpile of songs. With more band members contributing as writers and vocalists, they spent five months recording in Ojai, Kalif., near Santa Barbara making the transactions. Bob Marley, Mumford & Sons, Ginger Baker Docs to Premiere at SXSW Film Red-letter day “The first album was made in sections,” Ebert famous. “This one was made all at as soon as.” Edward Sharpe and the Magnetic Zeros start their U.S. summer tour the first week of May, nearly a month before the album’s pass out. With the band heading out betimes, it meant taking advantage of promotional opportunities while the group was still at home in Los Angeles. New Community Management’s Bryan Ling, who manages the corps, and Blaine Kaplan, who joined the New Community team a month gone, were on hand at the Berkeley Street Studios along with Jon Cohen and Dan Gill from Vagrant. Among the KCRW DJs in the audience were music governor Jason Bentley, Jason Kramer, Raul Campos and Valida Carroll.

LOS ANGELES (AP) — Universal Music Group has won the qualified support of two North American artists’ unions for its proposed $1.9 billion acquisition of the recorded music division of the U.K.’s EMI Group Ltd. The unions gave their conditional backing in letters sent last week to the Federal Trade Committee. Analysis of Martin Mills’ Harsh Words on Universal-EMI Mixing In their letters, SAG-AFTRA and the American Federation of Musicians said they would support the deal if there were adequate mechanisms to ensure that Universal complies with its commitment to re-invest in artist increase. EMI is home to the recorded music of The Beatles, as well as American artists such as Norah Jones and The Smashing Pumpkins. Universal artists include Rihanna, Lady Gaga and U2. EMI’s Deals WIth Widespread, Sony Face Authoritative — But Altered — Regulatory Inquiry “It has been wrenching to watch EMI fade” as its former private equity owner Terra Firma cut costs, wrote Kim Roberts Hedgpeth, SAG-AFTRA’s co-national executive commander. She urged regulators to examine Universal’s commitments to artist maturing. “Should the commission be satisfied that there are adequate mechanisms to ensure compliance with those commitments, we respectfully request that it look favorably on Universal Music Group’s stewardship over EMI,” she wrote. European Commission Investigation Into Universal’s Purchase of EMI Music Enters Phase Two Universal said in a statement it was “happy” that the unions took a positive view of its plans. In belated 2010, Terra Firma defaulted on the $5.5 billion in debt it amassed in its 2007 purchase of EMI. Lender Citigroup foreclosed on the storied recording label in February of last yr, and agreed to sell it in two parts for the sake $4.1 billion in November. Uncircumscribed, a division of France’s Vivendi SA, agreed to buy the recorded music english. A consortium led by Sony/ATV agreed to buy the publishing assets in the course of $2.2 trillion. That has sparked fears of market potency. On the recording face, the purchase would give Universal about a 40 percent market share in the U.S., towering over Sony Music Entertainment at 29 percent and Warner Music Group Corporation. at 19 pct. It will also be among the world’s largest music publishers. Outgoing Warner Music chairman Edgar Bronfman Jr. has called the on offer “severe” and bad for artists. Independent music labels have also come out against the attend to. The European Commission launched a probe into the acquisition last month, saying that Universal would be nearly twice the size of its next-largest competitor in Europe. The EC has said it will decide by August. 8 whether the takeover will impede game. Both Sony/ATV and Universal have offered concessions to get the deal over. Universal has said it would barter $660 million worth of non-core assets, mostly minority stakes in companies that it did not blow the gaff.

This week’s Rethink Music conference kicked off with a weekend Hackathon, where participants built and presented 25 music “hacks,” or hastily-created apps, at Microsoft’s New England Research and Development Plaza (a.k.a. N.E.R.D) on Sunday. You can use most of them tod, and we see a good deal of potential for some of them to evolve into fully formed apps. The top three winners will present their creations to Rethink Music attendees tod (Monday). Rethink Music Hackathon Winners Kinect Bomba: Named for the Latin dance fad, Kinect Bomba leverages the Remix API from The Echo Resort ( publisher of Evolver.fm) against Microsoft’s Kinect motion sensing input technology to create tempo-synced music as users move and shake along to any MP3 — creating remixes, adding layers, and even triggering loops through motion unattended. Fundamentally, it’s a way to make music by dancing along thereto. This is sort of a tricky conception, so we shot some tv (audio is silence): Concert Playlist Source: This hack keeps track of the concerts you plan to follow, building a Spotify playlist featuring music from the headliners and opening bands, helping you prepare for the let someone in on — and, in the case of opening bands, deciding when to hit the venue. Unhappily, there’s no live version of this for you to play around with at this unit, but the app’s official status is “in move,” so that could change after the league. The Byrds and The Bee Gees (MediaNet, EMI, and The Echo Nest prize victor): This app humorously explains how you, I, and anyone else came to be, through a musical approach to “the peach” parents give children about the so-called birds and the bees. Enter a birthday and this web app figures out when you might have been conceived, presents some information about what life was like on that date, and generates a Spotify playlist based on what your parents could have been listening to. It’s stark, even if deciding to receive “the peach” is not. The hardest part might be — as Paul Lamere put it — coming to grips with whether or not your Dad was “smooth back again,” which affects the app’s music prime. Company Prizewinners (chosen by API sponsors) Hiptap.es (Songkick, 7digital prizes): Hiptap.es lets artists and promoters create custom concert posters with which fans can interact through QR codes and a corresponding mobile devotion. By aiming a smartphone with a QR code reader app at the circular, fans at a concert can access everything from event information and ticket sales to MP3s and staples. Hiptap.es made its debut at Boston Music Hack Age 2011, but has since grown through the incorporation of APIs from Songkick, Lyricfind, and The Echo Lair. After choosing an semblance, artists and promoters can opt to play an MP3 automatically when the user scans the cryptogram; sell music and other pack up; and encourage fans to leave a message on the artist’s Facebook page from within the app. Lyrical Sonnet Wondrous – (Lyricfind choice): CJ Carr, who made the brain wave goggles that so impressed us at last year’s Boston Music Hack Heyday (I’m pretty sure I saw them in a bag at the Rethink hackathon) closed out the demonstration round with an impressive automatic poetry generator that can assemble a coherent sonnet — in iambic pentameter no without — based on seed row. The app extracts lyrics, line by get in line, from 14 different songs based on your specified row. It is now available in a slightly rough manifestation. To create your own sonnet with Lyrical Sonnet Wondrous, enter capable 14 words separated by commas after the equals sign in the following URL, then paste it into your browser. Plan a Blocking (Spotify and The Echo Nest prizes): Plan a Jam can optimize your party playlist based on the musical tastes of attendees who have RSVPed to the event on Facebook. The app takes into account the music “Likes” of registered attendees, adds extra weight to artists Liked by more than one ourselves, and then outputs a Spotify playlist based on all of your guests’ preferences so you can choose the perfect music for the gathering in mere alternatives. Opera Omnia (Free Music Archive swag): Introduced as “a horrible experiment that is an abuse of every information retrieval technique constantly,” this hack reassembles songs in new styles — claim, for when you want to hear what a Björk song would sound like injected with shots of Mastodont. (We saw this hack online after the present, but appears to be down at the shake.) Honorable naming Map of Music Denominate – Paul Lamere is a sort of commissioner of all things hackathon. His past entries — Jennie’s Ultimate Road Dive (built as a father-daughter unite); Bohemian Rhapsichord, which morphed the classic Queen song into a playable web written agreement; and a Grammy Award predictor that nearly matched Billboard.com’s predictions — have always highlighted fun and interesting uses of music technology. With Map of Music Mode of expression, Lamere graphically represents the relationships between music genres, visually reinforced what most of us were thinking all on: that nothing could be further from old school hip-hop than j-call. You can try this hack yourself on his web log, Music Machinery, where you can read about how he built it and explore genres with the interactive map. This article nearby:

For the second yr, the Billboard Latin Music Marketing Awards will recognize the growing importance of consumer brands and marketers in the promotion and marketing of Latin music at the Billboard Latin Music Seminar, presented by State Smallholding. Tomorrow eve, April 24, Billboard will recognize and honor the year’s best blasting, branding and sponsorship campaigns that use Latin artists and their songs. Here are snapshots of this year’s finalists. BEST PRINT CRUSADE Description: Dr Spray Medium: Lopez Negrete Communications Throw: Vida 23 Artist: Pitbull Labels: Mr. 305, Polo Yard, Sony Music The print component of Dr Pepper’s multimedia Vida 23 campaign was a key part of the overall marketing striving. Mark: Western Joining Agencies: Moroch Partners, Bromley Communications Drive: Love in Any Words Artist: Daddy Yankee Identify: El Cartel Records A strong online presence and innovative contests, coupled with traditional media and direct artist impinging, made this a winner for Western Union’s Mother’s Day championing. The brand reported 260,000 visits to the contest platform in four weeks. Make: Grito Canalla Intervention: Unusual Communication Operation: Acuérdate de Este Canalla Artist: Grito Canalla Ticket: Kronborg Records Spanish group Grito Canalla launched a adroit, innovative campaign in support of its debut album that included eye-catching printed earthly. BEST ONLINE/SOCIAL STRUGGLE Species: Coca-Col Supervision: Laverde Pro Effort: Esta Noche Seremos Más Artist: Chino & Nacho Earmark: Universal Music Latin Presentation Venezuelan duo Chino & Nacho penned “Seremos Más” specifically for Coca-Cola’s “Esta Noche Seremos Más” operation. The track topped the charts in Argentina, Chile and Ecuador, and its online promotion was supported by personal appearances from the duo, raising brand awareness in the teen corner store. Stigma: Heineke Intervention: Nevarez Communications Manoeuvres: Noches Latin Grammy Artists: Gocho, Alexis & Fido, Siete, DJ Candy House-servant Labels: versatile A series of South Florida concert events leading up to the Latin Grammy Awards featured live performances by rising artists from all genres. As part of the run, fans could compete to win a “green rug” experience for two at the Latin Grammys. Trade name: Time Warner Hawser Agencies: Edelman, Castells & -Asociados, Creative Artists Procurement Fight: El Reto Fast Five-The Time Warner Cable Hispanic -Heritage Month Run Artist: Don Omar Trade mark: Universal Music Latin Production Don Omar was the face of that 360 integrated marketing campaign timed around Hispanic Heritage Month. The programme, promoting Time Warner Cable’s Movies on Demand approach, capitalized on Omar’s vast social network appeal and his appearance in the film Fast Phoebe. It included a three-city concert tour sponsored by Time Warner Cable and powered by a Facebook rivalry. BEST TOUR SPONSORSHIP Grade: 5 Gum Means: Cardenas Marketing Web Stump: 5 Gum/Camila’s Dejarte De Amar Turn Artist: Camila Hallmark: Sony Music Latin Camila’s 10-stop tour included a series of fan-driven works, beginning with contests at retailers in five cities that allowed fans to compete for concert tickets and exclusive tour traffic in. More 54,000 consumers were reached through one-on-one interactions and the program yielded more 55 million impressions. Trade name: MetroPCS Intervention: Richards Heap Offensive: MetroPCS and -Huawei Present The Enrique Iglesias -Euphoria Turn Artist: Enrique Iglesias Labels: Universal Music Latin -Distraction, Republic In an effort to target childlike, Hispanic fans, MetroPCS partnered with AEG Live to launch its new Huawei sound. MetroPCS customers were given exclusive online access to Enrique Iglesias and his social media gratified. Every Facebook and Twitter post from Iglesias featured the tag path “Sent via my MetroPCS Huawei telephone.” This was MetroPCS’ first national sponsorship. Species: Post Honey Bunches of Oats Procurement: MV42 Stump: Post Honey Bunches of Oats Artist: Jencarlos Canela Mark: Bullseye Jencarlos Canela was the face of Post Honey’s “Let’s Think Sure” campaign oriented to Latinas and wrote an inspirational song that was used in a music tv, behind-the-scenes footage and in-show integrations, all made available through a Facebook fan ground. In summation, the brand distributed 4 million specially marked bilingual cereal boxes that featured Canela and the chance to win VIP seats at a concert in Miami. BEST TV RIVALRY Trade-mark: Objective Means: Grupo Gallegos Stump: Target Fall Campaign-Latin Indie Music Breaks At the end of one’s tether with Artists: Ximena Sariñana, Koko, the Pinker Tones, the Plastics Gyration Labels: sundry Target turned to Latin indie music for its seven-spot fall electioneer. Grupo Gallegos used music-integration platform MuuseMe.com to preselect more 100 emerging acts, then picked four artists and songs-in English and Spanish-that aligned with Target and its campaign statement. Variety: AT&T Bureau: Bravo Electioneer: Paulina Rubio AT&T BlackBerry 4G Rivalry Artist: Paulina Rubio Nickname: Universal Music Latin Recreation AT&T launched its new BlackBerry phone victimization “Me Gustas Tanto,” the first single from Paulina Rubio’s new album, Brava! The spot featured Rubio singing her spoor, launched in tandem with her album. Label: Dr Scatter Mechanism: Lopez Negrete Communication Electioneer: Vida 23 Artist: Pitbull Labels: Mr. 305, Polo Yard, Sony Music The Spanish-language TV spot for the Vida 23 campaign and its general-market adaptation were launched with Pitbull’s Spanish-language album, Armando. The spots feature Pitbull singing “Vida 23,” the song he penned for the drive and which appears on his album.    ••••

This week on the Hoarding 200, One Direction makes history as the first U.K. group to bow at No. 1 with a debut album as “Up All Round-the-clock” starts atop the list with 176,000, according to Nielsen SoundScan. The arrival prevents Adele’s “21″ from returning to No. 1 for a 24th week as it holds at No. 2 with 148,000 (consume 24%). One Direction Make History With No. 1 Debut on Hoarding 200 Albums Plot Last week’s No. 1, Bruce Springsteen’s “Wrecking Egg,” falls to No. 4 with 57,000 (pile 71%). Guns N’ Roses’ “Greatest Hits” makes an eye-popping jump from No. 31 to No. 3 with 85,000 sold after it was priced as 25 cents in both the Google Play and Amazon MP3 stores for one day last workweek. It posted a 618% upward (up from 12,000 the week foregoing). The “Rage: White Degenerate” album debuts at No. 5 with 48,000 and also starts at No. 1 on the Top Christian Albums plot. The break the ice, recorded at the Passionateness 2012 conference in Atlanta in January, features live performances assisted by genre superstars like Chris Tomlin and David Crowder Bind. It’s the best sales week and first stopper 10 for any “Rage”-related album. Whitney Houston’s “The Greatest Hits” holds at No. 6 (45,000; consume 35%), as does Drake’s “Take Control” at No. 7 (36,000; pile 38%). The “Under 41″ compilation falls five rungs to No. 8 (29,000; refine 81%), collapsing after the impact of a 25 cent promotion the previous week subsided. Gotye’s “Making Mirrors” reaches the ace 10 for the first instant, mounting 16-9 with 24,000 (up 14%) — its best sales frame in time to come. Rounding out the cork 10 is fooling around.’s “Some Nights,” returning to the cut off 10 (13-10) with 22,000 (down true 2%). Over on the Digital Songs design, about.’s “We Are Babyish” (featuring Janelle Monae) is steady at No. 1 with 349,000 (up 8%) while the Wanted’s “Glad You Came” also stands still at No. 2 with 183,000 (polish 4%). Nicki Minaj’s “Starships” sails 4-3 (172,000; up 6%), Gotye’s “Somebody That I Used To Be cognizant” (featuring Kimbra) jumps 5-4 (166,000; up 8%), and Kelly Clarkson’s “Stronger (What Doesn’t Kill You)” slips 3-5 (162,000; pile 7%). Flo Rida’s “Wild Ones” (featuring Sia) is a non-mover at No. 6 (158,000; up 5%) while One Direction’s “What Makes You Handsome” jumps 17-7 with 135,000 (up 63%). Train’s new distinguished “Drive Via” arrives in the superior 10 — mounting 11-8 — with 125,000 (up 26%). Carly Rae Jepsen’s “Call Me Peradventure” waterfall 8-9 with 123,000 (polish 4%). Closing out the supreme 10 is Katy Perry’s “Part of Me,” descending 7-10 with 114,000 (refine 8%). Overall album sales in this past chart workweek (ending Walk 18) totaled 5.6 million units, refine 10% compared with the sum last workweek (6.2 zillion) and polish 1% compared with the comparable sales week of 2011 (5.7 meg). Year-to-date album sales stand at 66.2 trillion, up 2% compared with the same total at this point last yr (64.7 meg). Digital track sales this past week totaled 25.2 million downloads, polish 2% compared with last workweek (25.8 zillion) and up 1% stacked next to the comparable week of 2011 (24.9 meg). Year-to-date track sales are at 309 trillion, up 7% compared with the same total at this point last yr (289.8 trillion). Next week’s Hoarding 200 competes with the same week in 2011 when: Chris Brown’s “F.A.M.E.” debuted at No. 1 with 270,000 while Jennifer Hudson’s “I Remember Me” launched at No. 2 (165,000). The previous week’s chieftain, Adele’s “21,” fell to No. 3 with 96,000 (polish 2%).

Global management company IMG Artists has named Jerry Inzerillo its new President and CEO, effective April 16. Formerly head of Kerzner Entertainment Group and founding president of what has become Ian Schrager Hotels, will be tasked with leading IMGA’s charge toward expanding its activities and visibility through journey, touristry, and lifestyle events. IMGA represents more 500 artists worldwide, recently expanding its operations in artist supervision, touring, consultancy, facility executives, and artist event. In October 2011, Alexander Shustorovich became an equal partner in the company and led a round of financial investment aimed toward helping build the company’s worldwide class, and Inzerillo will help lead the suffuse. “Jerry is the right man at the right moment for IMGA, and frankly for the entireperforming arts manufacture,” said Shustorovich in a communiqu?. “The key to his success as a hotel and entertainment executive was his ability to visualize how to reach increasingly sophisticated and discerning audiences for whom culture and travel are intertwined. These are people who view leisure and entertainment as active experiences. These arethe people we want to scope. Jerry brings us not only this vision but a lifetime of contacts in the field that can broaden the appeal of performing artists and change our industry the world once again.”

Companies that stand to benefit the most from music discovery are creating the technologies to connect Spotify listeners with their music. Record labels created or backed all 12 of the apps unveiled for Spotify’s desktop client Thursday. Spotify to Reveal 12 New Apps Thursday, Including Def Fill up, Warner, Matador, Domino Three of the four majors and a handful of indies are represented in the new batch of apps. One additional app, ” Now That’s What I Call Music” created by EMI, is available in the UK but is not one of the apps available to US-based Spotify purchasers. Combined with the 15 apps that debuted November 30th, Spotify now offers 27 apps to help users navigate its immense catalog of music. Six of the new apps are branded by their record label creators: Def Pickle, Domino, Matador, [PIAS], the warner sound and Legacy Recordings’ the Legacy Of. Each helps the listener dig into the label’s catalog and new releases. Warner Music Group is also behind the Hot or Not app that allows users to vote on songs – all from the Warner catalogue – and earn points and badges along the go to pieces b yield. Business Matters: Can Spotify Catch iTunes in Two Age? The Numbers Behind Sean Parker’s Hint X5 Music Group is the creator of Separate, a classical music app that allows users to browse a library of music by composer, days, temper, instrument and sort. X5 is the label behind the successful and affordable classical compilations such as “The 50 Most Essential Pieces of Classical.” “Our goal is to simplify finding music,” X5 Music CEO Johan Lagerlöf tells Billboard.biz. Whereas iTunes and Amazon.com are good at displaying music and encourage browsing, Lagerlöf says Spotify’s search locomotive “isn’t that approving” and the service doesn’t naturally lend itself to displaying music. Spotify is indeed light on visual supplicate. Without naming names, an Rdio executive bemoaned the “tiresome, spreadsheet-like way of consuming digital music” when the company unveiled its album artwork-heavy redesign last workweek. The Classify app, built in-house by X5, was created to help people find the music they need in as few as 3 or 4 furthers, says Lagerlöf. Classify lists a number of X5 releases, such as “Classical Chill Outside” and “The 50 Greatest Pieces of Classical,” along with links to composers, eras, instrument and moods (staunch, joyous, doleful, sentimentalist). “The idea is to create a playlist for every possible hurting for.” Universal Music Group is behind Digster, Tweetvine and the Complete Garnering. Digster is a playlist service launched by Universal Music Group Distribution last September. TweetVine was created at a Music Hack Day by Matt Larsen ( @thebluebadger) and Matt Schofield ( @callmetonystark) and its ongoing costs are paid by Universal Music. The app creates playlists based on tweets that use the #nowplaying hashtag. On Thursday morning Larson tweeted that Tweetvine was “averaging 1,400 launches per hr.” The Complete Whip-round, the most basic of Universal’s three new apps, lists the entire catalogs of select artists and labels under the Universal cover. The app offers playlists comprised of complete catalogs of record labels (Shady Records, Cherrytree Records, Verve Records) and artists (Lady Gaga to Lionel Richie). Sony Music Entertainment is behind Filtr, a playlist generator that works from the music tastes of vendees’ Facebook adherents. Just type in the name of one or more artists, genre, country or Facebook friend or event and Filtr creates a playlist. If logged into Facebook, a playlist generator will suggest Facebook friends from which to create a playlist. Filtr also offers ready-made playlists and contemporary releases.

How ironic that a song about something as old-fashioned as a payphone sets a digital download release. With digital sales of 493,000, according to Nielsen SoundScan, Seclude 5′s “Payphone,” featuring rapper Wiz Khalifa, roars onto the Billboard Lickerish 100 at No. 3. Gotye’s “Somebody That I Used to Grasp,” featuring Kimbra, in the interim, spends a second week at No. 1. Thanks to its opening sales workweek, “Payphone,” which enters at No. 1 on the Hot Digital Songs graph, arrives with the best digital sales frame by a arrange, besting the 465,000 sold by the Black Eyed Peas’ “Boom Boom Pow” the week of April 18, 2009. The sum of 493,000 marks the eighth-best sales week overall since SoundScan began tallying download sales in 2003. (Flo Rida’s “Right Troll” boasts the best weekly total among all acts, having sold 636,000 the week of February. 28, 2009.) Radio also gives “Payphone” a ringing authorization, as the song enters the Precarious 100 Airplay chart at No. 36 with 33 million first-week audience impressions, according to Nielsen BDS. With its spellbind, Strand 5 bests its previous highest Randy 100 first; “Moves Like Jagger,” featuring Christina Aguilera, entered at No. 8 the week of July, 9, 2011. Nine weeks posterior, it spent its first of four weeks at No. 1. The group also establishes a personal best bow on Radio Songs, topping the No. 49 debut of “She Will Be Loved” in 2004. On Hot Digital Songs, Cast away 5 had soared in at No. 1 once once, with “Makes Me Stunner” the week of May 12, 2007. “Payphone” just misses debuting on the On-Demand Songs blueprint, bubbling under with 210,000 opening-week streams, according to BDS. Aiding the song’s strong first? A TV appearance and anticipation for Isolate 5′s forthcoming album. The group and Khalifa performed “Payphone” last Monday (April 16) on NBC’s “The Decision,” where Forsake 5 frontman Adam Levine moonlights as a bus. The song previews the band’s fourth studio album, Overexposed, due June 26. The set was executive produced by Max Martin, with additional cuts produced by OneRepublic’s Ryan Tedder. ” Overexposed is definitely our most diverse and poppiest album all,” Levine says. On “Payphone,” the same two songs from last week maintain the Peppery 100′s Nos. 1 and 2 positions. Gotye’s “Somebody That I Used to Recognize” spends a second week at No. 1, gaining in both airplay (as the Burning 100′s top Airplay Gainer) and streaming. The track lifts 8-6 on Radio Songs (85 meg, up 19%) and tallies a second frame atop On-Demand Songs (1.4 zillion, up 10%). The song dips to No. 2 after a week in charge of Hot Digital Songs (463,000, 15%). clowning.’s “We Are Prepubescent,” featuring Janelle Monae, holds at No. 2 for a second week after logging six stanzas atop the Ardent 100. The cut leads White-hot 100 Airplay for a second workweek (136 meg, up 4%) and descends 2-3 on Hot Digital Songs (251,000, refine 25%). The sales sum halts the group’s record run of seven consecutive weeks selling more 300,000 downloads in each pattern. On On-Demand Songs, “Babies” stays at No. 2 (1.1 meg, fine-tune 2%). Beneath “Payphone” at No. 3, Justin Bieber rises 5-4 on the Loud 100 with “Fellow,” which takes the chart’s top Streaming Gainer honour, rise 10-6 on On-Demand Songs (738,000, up 28%) and sporting a 25% increase in overall streams. The track remains at No. 4 on Hot Digital Songs (235,000, polish 8%) and climbs 15-13 on Piping hot 100 Airplay, although with a 2% drop to 57 zillion. The Wanted’s “Glad You Came” rounds out the Sensitive 100′s top fivesome, slithering 3-5. Flo Rida’s “Wild Ones,” featuring Sia, is stationary at No. 6 and Carly Rae Jepsen’s “Call Me Dialect mayhap” jumps to a new top (8-7), pushing 44-35 on Ardent 100 Airplay (33 zillion, up 16%) and holding at No. 3 on On-Demand Songs (954,000, up 9%) and No. 5 on Hot Digital Songs (221,000, fine-tune 3%). Filling out the Commercial 100′s beat 10, One Direction’s “What Makes You Pulchritudinous” waterfall 4-8; Nicki Minaj’s “Starships” slips 7-9; and, Kelly Clarkson’s former three-week No. 1 “Stronger (What Doesn’t Kill You)” slides 9-10. Just outside the top file, Train’s “Drive By means of” scores the Piquant 100′s top Digital Gainer stub, chugging 13-11 with 146,000 downloads sold (up 23%). Check billboard.biz tomorrow (April 26), when all rankings, including the Steaming 100, Hot Digital Songs, Torrid 100 Airplay and On-Demand Songs, will be reinvigorated, as they are each Thursday.

Mexican-American diva Jenni Rivera – songbird, songwriter, player, auteur, reality TV supernova, radio show entertainer, television maker, fashion artist, compulsive tweeter and future maker – may be the “most successful female recording artist of our dated,” as Billboard’s Leila Cobo introduced her to standing-room only crowd Tuesday at the magazine’s conference in Miami. But there is one role that is most important to her. “I’m a mother above all attributes,” said Rivera, whose family of five children, one grandchild and another nieto on the way is on “I Love Jenni,” the Mun2 show she launched in 2009. Check Out All Our Billboard Latin Music Conference and Awards Coverage Right Hither Other tasks include hours of emailing each prime, the radio manifest, tweeting to her fans, designing jeans for women with big hips, taping for the TV show and writing her autobiography. “That would be a Wednesday, let’s opportunity. Sometimes I get home at 2 a.m. and start the day freshly,” Rivera said in a Q&A conversation with Cobo and Flavio Morales, senior vice president of programming at Mun2. Rivera has come a long way since she was a real estate agent in suburban Los Angeles, a single mother trying to make it out on her own in business and figuring out if she wanted to be a lawyer or a teacher or a nursemaid. Diva was not in her plans. She recorded in her father’s studio as a diversion, for hold up to ridicule. But one date, she was meeting a couple to show them a house and, waiting in her jalopy, she heard herself on the receiver. Picture: Don Omar Talks New Album, Zumba Partnership at Billboard Latin League “It was simply my hobby to record music,” Rivera said. “Nobody believed a single mother could be a recording artist. At that time, they were picking people off the street because of their looks and making them into a containerize.” But since that eventually, she has taken her successes and her missteps and turned them into the story of a role model for other Latina artists. Or, mayhap, businesswomen. “I keep feeling more like a businesswoman than an artist,” she said. “The music is a remedy, an emotional release of everything I lived.” Any longer, everything she lived can be seen on TV in the Mun2 disclose, “I Love Jenni.” Some of the impetus for the show was because there was so much tabloid talk about her anyways, she decided she would set the record straight on her terms. Latin Convention: Univision’s Jose Valle Says Latin Artists Need To Push Into Mainstream Radio Warehouse “When I saw that my life caused hobby, I kindness, ‘I am going to use my name in my approach,’” she added. “My name is used in many ways in many arenas and I said, ‘I am going to produce TV programs and design a clothes belt, have a fragrance and a radio programme.” Morales asked her if there were times she regretted that steadfastness. “It could make you upset but if I allow that to overwhelm me, I’m going to be frustrated and take,” she said. “What matters is that I know this is part of the business and I will do everything possible to turn the negative into something undeniable.” Not just the TV manifestation, but the radio show and her Twitter account also help her do that. “Having direct contact on my radio programme, I can clarify things and people can interview me,” said Rivera, who added that she loves Twitter for the same propriety. “In Bustle, every time I just write something, everybody responds,” she said. “I really like talking to people on Twitter because it is contact with my catholic. A ‘happy birthday,’ apophthegm ‘kudos’ is important to them. They feel in use. They feel they have me close around.” Billboard Latin Colloquy: Artists Need Brands As Much As Brands Need Artists Silent, it is the Mexican artists that came before her – way before her – that ultimately influenced her musically, Rivera said, naming Rocio Ducal, Isabel Pantoja and Lupita D’Alessio. In 1994 or 1995, she heard a young singer named Selena and admired her as a woman who did things her own something like a collapse. But like Selena, Rivera – who was born in the U.S. after her mother crossed the border while in a family way — has done things her way and has kept true to her Mexican-American roots. “I had the good fortune that my parents were very complete. They didn’t let me speak English at home or listen to English music at digs. “They instilled in me even more my roots, my erudition.” “I’m super happy with what I’ve skilled,” she said. “I want to see my products fructify. I can do a lot more when it comes to music, but I think it is my responsibility to inspire the world more, my fans more  — not only through music, but maybe through my record, the story of my duration.” “I want to be more of an voice.”

Universal Music Group is once-again ramping up its digital operations with the promotion of Francis Keeling to the role of global head of digital dealing. Effective as soon as, Keeling will report to Rob Wells, UMG president of global digital business and will remain based in London. Prior to the place, Keeling was VP Digital, at Universal Music Group Foreign (UMGI) – a position that he has held for the past three eld. He joined the music major in 2002, having previously held content and business development posts with Vivendi, Launch.com, Pearson and the Financial Times. In his new post, Keeling will assume responsibility for generating growth and new revenue streams for Universal Music’s digital businesses worldwide, according to a statement from the describe. One of his core tasks will be working with the company’s digital partners, including retailers, telecom operators, ISPs, device manufacturers and social networks, to create and license new digital opportunities and propositions. “Francis is by far the best at what he does in the entire global music manufacture,” said Rob Wells in a annunciation. “He is expert at finding the commercial viability in any new business model or in an existing model that needs to be finessed,” Wells went on to divulge, adding that Keeling “troubleshoots like a true entrepreneur, is a joy to work with, and continues to impress and inspire people who work alongside him.” Commenting on the appointment Francis Keeling said in a affirmation: “The internet is a global curtness, and it is vital for Universal Music to have a global approach to licensing our partners, to encourage hunch, new models and their international expansion.  I am extremely excited to be leading this process to grow the digital business for UMG and our incredible roster of artists.” The announcement of Keeling’s promotion coincides with the same-day publication of a guest editorial column for U.K. newspaper the Financial Times (behind a pay-bulkhead) in which he calls for greater external investment in the music specialty. Entitled “Now’s the perfect time for investors to target music,” Keeling pays tribute to what he terms the “continuing conveyor belt of British aptitude.” “This represents a creative success story that sees the U.K. punch well above its weight in the global general store,” he continues, before stating the case for continued investment both from within and outside the traditional effort. “A key part of our growth will come from external investment in new digital services,” he goes on to give the word deliver, citing Spotify as a platform that delivers a better alternative to piracy and offers an appealing business model to consumers. “Retailers, with the support of rights owners, need to offer consumers long-term trials, so they can assess what model is right for them. Spotify has proved that, by converting millions of its free open service users to paying subscribers,” Keeling states. “Only by working in conjunction with technology can we, the music creators, beat the pirates at their own meet,” he goes on to say, concluding with the edict that “Now is the perfect time for investors to butt music.”

(Getty Copies) Some of the key figures weren’t thither, but those who were present at the 27th annual Rock and Roll Hall of Fame induction ceremony on Saturday night delivered a heartfelt and epic observance — much to the delight of both the high rollers at the VIP tables and the 6,000 “intrinsic” fans who whooped it up in the Town Hall balcony. Much of the news leading up to the event focused on those who were skipping it, whether for health conditions (the Beastie Boys’ Adam “MCA” Yauch andthe Faces’ Rod Stewart) or because of lingering issues with bandmates — most notably Guns N’ Roses’ Axl Rosebush, who was roundly booed by the crowd every time his name was mentioned during the eventide. But disappointment and hard feelings were scarce throughout the five-and-a-half-hour brawl, which was packed with enough verbal and musical highlights to give HBO’s editors palpitations as they hone it down to two-and-a-half hours for its May 5 broadcast initial. Rock Hall of Fame Pre-Parties Light Up Cleveland: Bowling With Red Hot Chili Peppers; Old-School Actuate Green Broad daylight, there to induct GNR, got things off to a crushing start with “American Idiot’s” “Letterbomb” as Billie Joe Armstrong exhorted the crowd to “stand up…This is f—ing indigent ‘n’ roster! This is not a f—ing wingding — this is a party, motherf—ers!” That set the tone for a night that mixed musical fireworks with warm and emotional speeches, putting plenty of heart in sway ‘n’ roll and reveling in past glories to, as Armstrong also said, “know where you f—ing come from.” So Bette Midler choked up as she remembered the late Laura Nyro as “the very essence of New York New zealand urban area, as a matter of fact, not in the persistent, real sense but in the energetic, unrealistic, gossamer, maternal sanity. She would take the most ordinary people in the most ordinary situations and spin them into heroic figures…” Carole King noted that the “most fervent have a fancy” of the late Don Kirshner, receiving the Ahmet Ertegun Award for non-performers, “was to be inducted in this iconic custom”; his widow, Sheila, noted that Kirshner would have sour 77 on April 17 and considered the initiation “the best present he could’ve standard.” Luckily, Johnny Meeks of Gene Vincent’s Blue Caps — one of the six backing bands/vocal groups being inducted years after their frontmen — was there to be inducted the day before he sour 75. Red Hot Chili Peppers bassist Flea let the tears flow freely as he thanks his materfamilias, producer Rick Rubin and others — and recalled playing street football with former GNR drummer Steven Adler when they were teenagers together in Los Angeles. Bandmate Anthony Kiedis, interval, thanked his longtime friend and cohort for helping him to get dry-clean. And Ronnie Solicit, Ian McLagan and Kenney Jones each paid tribute to the late Small Faces members Steve Marriott and Ronnie Lane. There were moments of levity as fine. Comedian Chris Rock’s hilarious induction speech for the Chili Peppers took at shot at the habitually late Roseate — “Even if he was coming here tonight he wouldn’t have been here by conditions” — and also applauded the Chili Peppers for wearing black ties rather than tube socks on their, expressively, you separate, for such a formal incitement. John Mellencamp, lag, talked about first meeting Donovan, a hero since he was a whippersnapper (he brought a copy of an early album along to prove it), while he was having a fistfight with his guitarist at a Los Angeles recording studio. And LL Cool J joined the laughter as he described his first impression of the Beastie Boys as “punks.” Despite what guitarist Slash called the “play-acting” surrounding GNR’s trigger, the former band members who attended — original guitarist Izzy Stradlin and continuing keyboardist Dizzy Reed joined Rose as no-shows — credited fan support for their hit, which was well received at Town Foyer. Drummer Matt Sorum, in the interim, spoke of being asked to join the group because Steven Adler had been kicked out for doing too many drugs. “I said, ‘In Guns N’ Roses, how the f— is that doable?!’ Steven Adler deserves an award for THAT.” Sorum also fessed up to bringing cocaine into GNR’s heroin-dominated drug incorporate; “I said, ‘You guys have to wake up and play some rattle ‘n’ schedule.” The GNR alumni did just that, tearing through a three-song set fronted by Myles Kennedy of Alter Bond, who also sings for Slash’s stria, and joined by onetime guitarist Gilby Clarke, who was not included in the installation. Armstrong guested on “Mr. Brownstone,” patch “Sweet Child O’ Gold-mine” and “Paradise Municipality” had the Town Hall crowd on its feet and pumping its collective fists. The Faces skied in Simply Red’s Mick Hucknall — who’s been working with the group since 2009 — from England for a tight set that included the Small Faces’ “All or Everything” along with “Ooh La La” and “Stay With Me.” And a consortium of the Roots, Kid Rock and Gym Class Heroes’ Travie McCoy — with the MCs in green Adidas track suits — paid homage to the Beastie Boys with a medley that included “Undermine” and “No Drop ‘Til Brooklyn.” ZZ Top’s Billy Gibbons and Dusty Hill joined forces with Derek Trucks and Joe Bonamassa for a fierce Freddie King salute of “Hideout” and “Goin’ Polish.” Donovan capped his three-song set by dueting with Mellencamp on “Season of the Pythoness.” Sara Bareilles celebrated Nyro with “Stoney Outclass,” 2011 inductee Darlene Love sang “Will You Still Love Me Tomorrow” in honor of Kirshner and Ledisi sang “At In the end” for the In Memorium section. The Chili Peppers rocked the night to a close with “By the Advancing,” the recent ask for a come “The Adventures of Rain Dance Maggie” and a rendition of “Give It By” that flanked drummer Chad Smith with predecessors Cliff Martinez and Jack Irons. The group was also charged with the night’s all-star finale and coaxed the Faces’ Wood and Jones, Armstrong, Thrash, George Clinton and Funkadelic guitarist Michael Hampton on stage for a romp through Stevie Wonder’s “Higher Argument.” “Thanks for sticking hither,” Kiedis told the weary but still wired jam – as if anybody would have really considered the option.

During Live Nation Canada chairman Riley O’Connor’s induction into the Canadian Music Industry Hall of Glory – at the 30th annual Canadian Music & Broadcast Industry Awards and Gala Dinner in Toronto – the 40-year concert business veteran thanked his family and many of the people he has worked with along the custom, but had a rather poignant message for the Canadian rule. He noted how he realized the dream of seeing Canadian musicians reach national and international cognizance, but wants to ensure that Canadian music remains a viable and sustainable growth business. Check Out All Our Backbeats Right Hither “In fact, I’ve always devoted a significant amount of attention to the amazing venues we have here in Canada and the wonderful people who run them,” O’Connor said. “Venues in Canada need to be saved. They’re the cathedral of our trade. We must make politicians, community leadership, aware that venues are vital to the artistic fabric of our community. “If governments and rights organizations regard themselves as a taxation resourcefulness, then they should give something back to stakeholders and work with these venues, and, even rout, nurture and generate revenue streams for thousands of people to work across Canada.” After beginning in the concert duty 1971, O’Connor co-founded Perryscope Concert Productions (which later evolved into House of Blues Concerts Canada) in Vancouver in 1977 with Norman Perry. In 1989, he joined Toronto-based Concerts Productions Global (CPI), then House of Blues in 1998. He eventually took over Live Nation’s Canada-wide operations in 2007. Canadian Music & Broadcast Industry Awards Honor Live Nation Chairman Riley O’Connor, Others The rest of his induction acceptance speech was a brief trip down that memory lane, giving nods to the many people with whom and for whom he worked – Arthur Fogel, Donald Tarlton, Norman Perry, Michael Cohl, Michael Rapino, all significant names in the concert clientele. Fogel, he said, has been a “dear baby” and, as an linesman “also let me wire his house some time ago.”  Tarlton “taught me the art of being a promoter and I will continually teach that art to my colleagues at Live Country.” Of Cohl, he said he learned about risk to favour, “although his measurements were something a little unheard-of. Our risk is not having a sustainable clientele. Our reward will be a vibrant and distinctly Canadian culture of music.” Backbeat: Slash Promotes Album in Canada, Learns Lessons About Earthquakes O’Connor – who attended the awards with 40 family members including his three children and many of his wife’s side of the relations – was inducted by Fogel, chairman of global music and chief executive officer of global touring at Live State, who has worked directly with O’Connor appropriate for 30-plus age. Fogel began by saying when he sat down at the dinner table at the awards holy day, he heard a song by Martha & The Muffins playing over the speakers. Connecting the dots, he explained that he was tour manager for the group and “that’s precisely how I met Riley O’Connor. Here we come full circumnavigate.” Fogel applied all kinds of accolades to his friend and comrade. “It isn’t just about what you hack, but also how you do it and Riley has absolutely done it with rate, a sense of temper, and perhaps the most balanced perspective of anybody I’ve ever met. A true Canadian,” he said. Canadian Music Workweek: 15 Things You Should Know About the Canadian Music Occupation A pre-recorded video then trilled, which included more accolades from such music industry heavyweights as Cohl, Tarlton, Perry, Vinny Cinquemani ( S.L. Feldman & Associates), Randy Lennox ( Universal Music Canada), Bruce Allen ( Bruce Allen Endowment), Jim Cuddy ( Blue Rodeo) and Burton Cummings ( Guess Who). O’Connor was called glutinous, veracious, quietly energetic, a warrior in the trenches. “When we started in Vancouver,” said Perry, “we realized we had to be a full service company from unloading trucks to making sandwiches for the crew and that gives you an insight that almost no promoter really has.” When the video terminated, instead of O’Connor taking the division, Burton Cummings surprised everyone with two songs, “Albert Flasher” and “Break It To Them Softly.” “Riley you deserve this as much as anyone. Extolment,” Cummings said. “I’m only here to sing a couple of songs for you. Riley has been tremendous for me through the age. Never bullshitted me. If things were going badly or if grosses were down or if they were high, he never gave me bad wisdom. And wow, I remember every time we came to Toronto and there would be a big verify, there’d always be lobster for me more recent. He made me feel like one of the Rolling Stones, always. “I’ll sing a couple for you. They’re not for anybody else. They’re as far as something you.”

Music from Camila, Chino y Nacho, Enrique Iglesias, Don Omar, Pitbull and Paulina Rubio, among others, make up some of the plug, branding and sponsorship campaigns up for honors in the second annual Billboard Latin Music Marketing Awards taking place on April 24 as part of Billboard Latin Music Forum & Awards week in Miami at the JW Marriott Marquis. Pitbull Confirmed For Q&A @ Billboard Latin Music Bull session The show, sponsored by Telemundo and mun2, includes four categories: best print drive, best online or social expedition, best tour sponsorship, and best TV run. Advertising and marketing agencies and record labels entered their campaigns featured during the eligibility period of the 2011 calendar yr. A panel of music experts judged the entries based on introduction, creativity, content and elapsed time. Finalist campaigns will befeatured at the conference during a reception and will be featured in Billboard Magazine and Billboard.biz. Gerardo Ortiz, 3BallMTY Announced For Billboard Latin Conference’s Regional Mexican Music Venire During the colloquy, The Marketing Exchange will feature a series of panels highlighting today’s relevant topics. The panels number “Reaching the New Latino,” a conversation that explores how brands and agencies are target the “stylish” U.S.-born Latino through music and music branded events. Featured speakers include Gustavo Lopez, UMLE’s EVP of Brand Partnerships & Digital, and Javier Farfan, senior director of Cultural Stigmatisation, PepsiCo. The “Targeting Music” panel will examine winning strategies with music mogul Emilio Estefan and Target VP of Entertainment John Bollix up. Other panels group “Approaching Classs” for your musical artefact, from sponsorships to experiential vending, the ins and outs of connecting with brands and marketers for maximum advance; “Case Deliberate over: Walmart Presents Acceso Overall,” about tracking evolution; and results from a unique performance partnership between marker, artist and ret; “The Anheuser/Busch/Pitbull Partnership: A Case Turn over.” Backbeat: Daddy Yankee, Telemundo Execs, More at Billboard Latin Music Awards Finalists Bulletin Confirmed participants for The Marketing Exchange take in: Jorge Plasencia, chairman/CEO, Republica; Carlos Munoz, senior vice president/group account chairman, Globalhue; Lily Juliano, national Hispanic segment coach, Verizon Wireless; Rick Marroquin, lifestyle instrument, CAA; Elena Sotomayor, vice president event marketing/ideation/sales, Cardenas Marketing Web; Erica J. Moreira, lawyer, AMP law, PLLC; Javier M. Delgado-Granados, marketing straw boss, multicultural proprietor, Walmart; Julio Vega, vice president of Latin purchasing, sales and exchanging, music, movies and books, Anderson Merchandisers; and Rudy Beltran, marketing skipper, Anheuser Busch; among others. Jenni Rivera To Appear as, Participate In Q&A At Billboard Latin Music Conference And Awards Artists scheduled to participate in the conference comprehend: Pitbull, Jenni Rivera, Emilio Estefan, Gerardo Ortiz, 3BallMTY, Chino & Nacho and Daddy Yankee, among others. The 3-day conference features panel discussions, networking receptions, and exclusive access to events including the Billboard Knock, a pre-Billboard Latin Music Awards show celebration featuring performances by some of this year’s finalists, and The Billboard Latin Music Awards Presented by State Farmland, the longest running awards show in the Latin music bustle. The awards boast, produced and broadcast live by Telemundo, airs Thursday, April 26, at 8PM (7c), and will honor the biggest stars based on the Latin Billboard charts, and features performances by top artists across all genres of Latin music. The finalists  for the Marketing Awards are: *Best Print Compete Campaign trade mark: Dr. Sprinkle Operation: Lopez Negrete Communications Name of attack: Vida23 Artist/term: Pitbull/Mr. 305/Polo Grounds/Sony Western Agreement Love in Any Tongue Daddy Yankee/El Cartel Records Grito Canalla Unusual Communication Acuérdate de esta Grito Canalla *Best Online or Social Struggle Coca-Cola’s Seremos Mas Chino y Nacho/UMLE Heineken Nevarez Communications Noches Latin Grammy Gocho, Alexis y Fido, Sie7e and DJ Candy Boy/a variety of Time Warner Guy Edelman, Castells & Asociados, Creative Artists Agency/UMLE El Reto Fast Five-The Time Warner Cable Hispanic Heritage Month Struggle Don Omar/UMLE *Best Tour Sponsorship 5 Gum Camila Cardenas Marketing Web 5 Gum Camila Dejarte De Amar Voyage Camila/Sony Music Latin MetroPCS Richards Order MetroPCS/Huawei Present the Enrique Iglesias Euphoria Journey Enrique Iglesias/UMLE/Republic Post Honey Bunches of Oats Post Honey Bunches of Oats Jencarlos Canela/Bullseye *Best TV Electioneer Object Grupo Gallegos Target Fall Competition Ximena Sariñana, Koko, Pinker Tones, PlasticsRevolution/several Bravo/UMLE Paulina Rubio AT&T Blackberry 4G featuring Paulina Rubio/UMLE Dr. Pepper Lopez Negrete Communications Vida 23 Pitbull/Mr. 305/Polo Yard/Sony Music

VEVO is heading further down the social scheme, with new Facebook integrations, iTunes Complementary, and collaborations with The Echo Nest transforming the company from a static service delivering music videos to a personalized music discovery device that knows its ultimate consumers’ preferences and likes and generates individualized playlists and recommendations for them. VEVO’s Facebook integration may be the most significant get ahead, especially coming as the rumblings about a potential Facebook-VEVO deal continue to remain. Beginning now (Hike 9), VEVO users will only be allowed to log in to the site using their Facebook login, allowing the video streaming service access to a user’s Facebook likes and social listening antiquity. VEVO plans to use this information to create a “Facebook playlist,” lining up music videos that a user may be interested in or may have viewed that epoch. Combined with iTunes Put together, which scans iTunes listening history to create a similar video playlist, and its collaboration with The Echo Nest for music direction, VEVO will have access to a lot of information on the listening habits and preferences of its user shabby. Business Matters: The Numbers Behind Vevo’s Potential Facebook Affect The company has also improved its product in other ways, adding a larger video trouper, enhancing video standing, enabling continuous playback, and incorporating features such as song lyrics and artist news headlines directly into the section. VEVO has also launched its Xbox app, which is aiming to bring music videos back into the living latitude, and has partnered with Disney ahead of the release of “John Carter,” out now. MTV Reunites With Vevo, Now Has Licensing Deals From All Four Majors “The new VEVO isn’t rendered, it’s only the birth,” said Michael Cerda, SVP of Product at VEVO, in a press announcement. “In fact the best product experiences are never executed. They persevere, breathe and get better over things.”

Nicolas Jaar performing at the Music Hall of Williamsburg on February. 3 (Pic: Alexey Yurenev) It’s been a whirlwind two months for the electronic musician Nicolas Jaar. Backstage at the sold-out Music Hall of Williamsburg last Fri (February. 3) night with filmmaker Noah Kraft, Alastair Duncan of Infamous PR and freelance music scribe Mike Rubin, Jaar’s weariness was readily evident. “I started off in South America,” Jaar says, “then I played New Year’s in Mexico, had meetings here in New York looking for 3-4 days with Noah and then went to Europe.  I just got back to New York from London at 1:00 p.m. tod.” The next day Jaar will play an improvised five-hour set as part of the launch of his and Kraft’s multi-media art corporate, Yahoo & Sunset Esthetics, at MOMA’s contemporary art museum P.S. 1 inside a geodesic noodle. Tangled Up In Blueing: From left-hand: Nicolas Jaar; Noah Kraft, a filmmaker and partner in the Cut a caper & Sunset Aesthetics art corporate; and musician Will Epstein. (Picture: Alexey Yurenev) The crush of activity surrounding Jaar, who grew up between New York City and Santiago, Chili, is even more astounding if you consider he timed it to coincide with his break between semesters. Jaar, 22, is in his final few months at Brown University where he is pursuing a degree in comparative propaganda. This at the same time his music career is berating. Jaar’s 2011 album “Space Is Only Disturbance circulate” (released on the French Circus Company classification) has sold more 30,000 copies – according to Duncan it’s sold more 25,000 in Europe as of October (where the majority of Jaar’s fan base is set) and 7,000 in the U.S., according to SoundScan. “Interruption”‘s gorgeous hypnotic minimalist morphing garnered reams of plaudits including Best New Music honors by Fork, number one album of year honors by brainy electronic music site Resident Advisor and a top ten spot in New York Magazine’s year-end itemization. The album is currently No. 49 on Billboard’s Uncharted survey where it has worn out 42 weeks in compute. The geodesic dome at MoMA’s P.S. 1 where Jaar and Kraft launched their Clodhopper & Sunset Aesthetics arts collective with an event titled “From Obliterate” featuring gambol, music and film created live on fingers on. (Photograph: Alexey Yurenev) When asked what him and his team have done to promote and outlet “Stretch,” Jaar is quick to return, “Everything. It’s all been mistakes. We gave NPR an unreleased railroad – it’s NPR, I’m a big booster, I love NPR. — I made a year ago with my friend Scout [the the best "And I Believe" recorded with Scout LaRue, a.k.a Demi Moore and Bruce Willis' daughter who also attends Brownness].I gave it to NPR and it ended up being put up on every single blog I’ve ever read as ‘Nicolas Jaar’s new not general.’ Single for what? I just gave them this capture. It wasn’t done on aim, there was no purchasing.”  The same thing occurred, Jaar says, with a fan-made video payment “Materials” erroneously became “Nicolas Jar’s new tv,” which again he had absolutely nothing to do with. Tonight and tomorrow’s doing (February. 5) mark the launch of Jaar and Kraft’s Comic & Sunset Aesthetics art corporate, a project that grew out of Jaar’s Jerk & Sunset label he began two years ago with two friends Nikita Quasim and Soul Keita he met in the Sonoran forsake . Everyone on tonight’s  bill  — Acid Pauli, Valentin Stip and Pavla + Noura and  supplemented with performances by Dave Harrington (who collaborates with Jaar on their Darkside predict , Will Epstein and Sasha Spielberg (Steven Splberg’s girl) — is also part of the arts corporate. The most amazing part of the evening comes rather unexpectedly when Jaar and Kraft bring out a top secret new format for the first About & Sunset Esthetics’ rescuing, a compilation coming out on April 1. The music delivery system will feature everyone who played on tonight’s bill and others. All Kraft will say is that, “the way people experience music can be as important as the music itself.” Though I am sworn to clandestineness secretly, I can say it’s mind blowing, sculpturesque, public, sleek and like no format on the market tod. It could potentially change the way people consume music and have a significant impact on the music question. But that’s a long way to assail go off, and first Jaar has to get back to Providence for classes. Musician Soul Keita at the Music Hall of Williamsburg and who befriended Jaar in Mexico’s Sonoran Recompense.(Pic: Alexey Yurenev) Jaar performing at Music Hall of Williamsburg with incredible visuals created by Ryan Staake. (Pic: Alexey Yurenev) Red Tide: Nicolas Jaar performing to a sold-out crowd at the Music Hall of Williamsburg. (Picture: Alexey Yurenev) Nicolas Jaar en route to Williamsburg following a trans-Atlantic flight from London where the night before he played before  a crowd of more 3,000 people at London’s Roundhouse. (Photograph: Alexey Yurenev)

Syco Relief, Simon Cowell’s joint venture with Sony Music Divertissement, has promoted COO Charles Garland to the role of worldwide CEO with immediate intention. The new role adds oversight of the company’s global TV role, which includes “The X Deputy” and “Got Ability” franchises, the company said Monday. Syco’s CEO role had been unfilled since the departure of Ellis Watson more than a year past. Simon Cowell’s Record Label Sued Over Hot Boy Band One Supervising Garland joined Syco in Hike 2011 from Crystal Play, which he founded in 2007 and ran as CEO to connect talent and speciess. Before that, he served at “American Perfection” organizer 19 Entertainment for eight eld. In the U.K., Syco’s “Britain’s Got Ingenuity” recently experienced stronger ratings than in the year-ago period but has been outperformed in various ratings metrics by adversary “The Part.” Simon Cowell To Launch DJ Competition Be being presented “Syco is a global business operating crossways 167 countries, working alongside the world’s most important commercial clients and faculties,” Cowell said. “I want to build on that success to ensure that Syco is one of the most important and respected entertainment businesses in the over the moon marvellous. I have a fantastic team of people at Syco and wanted someone they respected and trusted.” Doug Morris, chairman and CEO of Sony Music, said he was “on top of the world” to have Garland in the key role. “He is a proven leader who along with the Syco team will continue to build on Syco’s successes and further develop detail Syco’s worldwide businesses,” he said.

The diversity of the faith-based music community was recognized today as nominees were announced for the 43rd annual Gospel Music Association Dove Awards. Southern gospel singer Jason Crabb leads the protocol, set for April 19 at Atlanta’s Fox Theatre, with eight nominations, including nods in the artist, male choirboy, country recorded song and Southern gospel album of the year categories. Fresh from her recent Grammy around, worship leader Laura Story earned nominations in the artist and female vocalist categories. Reach Records flagship artist Lecrae and bluegrass gospel family act the Isaacs were both honored with their first nominations in the artist of the year sector. Crabb received the news of his eight nominations as he was traveling back from last night’s college basketball game between the Mississippi State Bulldogs and the University of Kentucky Wildcats, where he performed the national hymn. “I’m just blown by,” Crabb says. “My latest report, ‘The Song Lives On,’ is a project I’d always dreamed of transcription. I wanted to go back to my roots…back to the church where I grew up telling. To see the songs I sang in a little country church be honored in this way is esteemed. This album is something really dear to my verve.” R&B veteran Montell Jordan, Emmy-nominated comedian Chonda Punch through, LAY “Lift Every Articulation” host CoCo Brother and World Heavyweight Champion wrestler A.J. Styles announced the nominees at a press conference held today at the Georgian Terrace Hotel in Atlanta, with newcomer Jamie Grace performing at the issue. “The GMA is excited to again honor the artists, songwriters and creative individuals in our community through the 43rd Annual GMA Dove Awards,” stated GMA executive director Jackie Patillo. “This event not only celebrates great work, but also provides a platform to further our mission of exposing, promoting and celebrating the Gospel through music.” Click here for the complete laundry list of nominees.

Law firm Loeb & Loeb LLP announced today that it hired John P. Strohm as a senior counsel of their Music Industry Practice out of their Nashville firm. Strohm formerly worked for the Alabama-based Johnston Barton Proctor & Rose LLP, where he practiced in the firm’s Business and Tax Assemblage. In addition to having extensive experience negotiating agreements related to music publishing, transcription, assignment, and emerging media, Strohm has worked as a professional musicican both as a solo artist and with such bands as the Blake Babies, Feeler, The Hello Strangers and the Lemonheads. “John’s experience as a recording and touring artist will greatly inform his work for our clients based in Nashville and around the clique,” said Loeb & Loeb’s Nashville office founder John T. Frankenheimer, Chair of the firm’s Music Industry Practice Group in a annunciation. “Our team in Nashville is poised to handle almost any legal or business matter that arises in the music industry and John will be a great asset to that preparation, as well as becoming an integral part of our national entertainment and media application.” Strohm said in a statement that “Loeb & Loeb is the go to firm in the music and entertainment industries and I am thrilled to be joining such an esteemed set apart.

Larry Wanagas, who launched Bumstead Productions back in 1979 and received this year’s Music Managers’ Forum’s Honor Roll recognizing outstanding achievements and excellence in Canadian and international artist board of directors – he managed k.d. lang for years and his chief client now is gold-selling rock band the Trews – decided to go big this Canadian Music Workweek, or at least bigger than he has in past age. Backbeat: Slash Promotes Album in Canada, Learns Lessons About Earthquakes He rented the Laurier Suite at the Fairmont Royal York to put on the Bumstead Kitchen Champion. A kitchen party is a Newfoundland term for exactly that, once-upon-a-time merrymakers drinking and partying around a wood stove in the cookhouse, as a couple of musicians played traditional music. That was not the case hither, but three of the acts on his roster are from the East Coast of Canada: The Trews, Tim Chaisson and Two Hours Jam. The showcase took place from 1 until 4 p.m. with members of The Trews sitting in with Two Hours Flux, Poor Young Things and Tim Chaisson. Check Out All Our Backbeats Right Hither “This is the first time I’ve done that,” Wanagas told Hoarding, as Poor Young Things played with Colin and John-Angus Macdonald of The Trews. “It was a few thoughts. It was a special year for me at CMW and also a unique opportunity where all four of our artists are in Toronto at the same nonetheless. That’s pretty rarefied, since two of them live in Prince Edward Island [Two Hours Traffic and Chaisson]. So it just seemed like the right time to try something. Others have done it before and I’ve watched it be successful for them. It seems to be turning out fortunately. I’m happy with it.” That eventide, at Bymark restaurant, he would be honored by the Music Managers Forum. Donald K Donald Entertainment’s Donald Tarlton C.M. and Terry Flood would also receive the 2012 MMF Canada Pioneer Award at the same greeting. Canadian Music Workweek: 15 Things You Should Know About the Canadian Music Topic “My wife and my two sons are gonna be with me and my dear friend Bob Hunka who is doing the induction so that should be entertainment. I’ve got a cheat sheet in my back hollow,” Wanagas says of a fa?on de parler.

German pop singer Oceana is set to receive a major sales boost this summer when her ado “Endless Summertime” is placed in front of a potential global audience of over a billion people as the official song of the Euro 2012 soccer match. The high-profile synch means that “Endless Summertime” will feature prominently on all internationally syndicated television coverage of the outcome, which takes place every four years and will be staged this summer in Poland and Ukraine, June 8 to July 1. In addition to the song being placed on the opening and closing credits of all televised Euro 2012 matches, Oceana will depict “Endless Summertime” at the July 1 net, held at the Olympic Amphitheatre, Kiev. According to the Union of European Football Associations (UEFA), Euro 2008 was broadcast around the world to a cumulative global TV audience of 6.6 billion viewers. Germany’s Ministry Becomes Embassy “This is very unique exposure that you just don’t get if you perform on, signify, TV in the U.K. or breakfast TV in France,” Konrad von Loehneyson, owner and CEO Berlin-based independent Embassy of Music, Oceana’s German label manor, tells Billboard.biz. Euro 2012 will be the third major football tournament that Embassy of Music (formerly called Ministry of Sound Deutschland) has provided the official hymn. The first was the 2006 World Cup in Germany where Bob Sinclar’s “Love Procreation” featuring Gary Pine was chosen by commissioning body FIFA. For Euro 2008 in Austria and Switzerland, Embassy of Music successfully pitched Shaggy’s “Feel The Speed.” Both songs enjoyed substantial spikes in sales as a outgrowth, says von Loehneyson, with Sinclair’s “Love Genesis” hitting No. 1 in Germany and becoming the country’s biggest-selling single of 2006, moving around 800,000 units, according to Embassy of Music. “Feel The Skedaddle” also topped the charts in Germany and Euro 2008 host country Austria. K’Naan Celebrates His World Cup Hymn The choice of “Endless Summertime,” a resilient, reggae-flavoured hunt down, as the official anthem for this year’s event, resulted from Von Loehneyson hearing an initial, different version of the song and being won over by its chorus sweetener. The song has since been given a more up-speed, Euro house dance makeover. Although virtually unknown in the U.K. and U.S., Oceana is popular throughout Germany and Eastern Europe. Her 2009 debut album “Love Supplying” has sold 120,000 units, according to Embassy of Music; Oceana’s biggest hit unmixed, 2009′s “Cry Weep,” sold completed 250,000 units worldwide, claims the trade mark. Von Loehneyson says that “Endless Summertime” was the only song that Embassy pitched to UEFA for Euro 2012. “They instantly liked Oceana, her image and the pan-European story from the last album, and they liked the commotion,” he says. “It was the first shot on goal and we scored straight outside.” Embassy of Music owns the worldwide master rights for the long story, while publishing is 80% controlled by Universal Music Publishing. Embassy of Music would not discuss financial details of the synch allot. Von Loehneyson says that the fact that Oceana is not currently a big international star helped land her the Euro 2012 synch. “Big advertising companies or big brands always rephrase: ‘We need a Robbie Williams or Madonna’,” he explains. “But they are never around to do any flyer. They just sit at home and count their notes, and you need them [available for the] approval function. So our approach is more that we need the right song and the artist has to fit too. It’s not so important that the artist is distinguished. It’s more important that the song fits its deliberation,” he continues. The television rights for Euro 2012 are sold by UEFA to the EBU (European Broadcasting Togetherness) for distribution throughout Europe, and ESPN for North America. Audio exerpts of “Endless Summertime” – ranging in length from 45 seconds to 3 runnerups – will be automatically embedded in the job, closing and ad-break credits of all unafraids, according to Von Loehneyson. To capitalize on the exposure that the synch brings, “Endless Summertime” has been licensed to labels throughout Europe for a summer deliver. They tabulate: Sony (for France), Omnipresent (Spain), Warner Music (Poland), Family Tree/Sony (Scandinavia), Cat Music (Romania), CNR (Benelux), TIME Records (Italy) and Ministry of Question (U.K.). A new video for the tale – containing video clips from previous Euro tournaments alongside footage of Poland and Kiev sporting stadiums and national landmarks – will be serviced to international online and video platforms in May, subject to approval from UEFA. Oceana’s sophomore studio album “My Dwelling-place,” featuring “Endless Summertime,” will be released in June, with Von Loehneyson anticipating the Euro 2012 synch to be a major sales driver over the summer months. He says: “”Endless Summer” and the tie-in with one of the most prominent and emotional sporting events of the world should give Oceana the momentum to become a major artist completely the continent.”

The inaccurately-titled Tupac Holograph (a.k.a. the “Holopac”) may not be going on a tour anytime lickety-split, at least according to Dr. Dre who spoke last night backstage at Coachella in Indio, Calif.  “It was strictly for Coachella, get it hesitation,” Dr. Dre said in a video interview posted on YouTube (vulnerable). “I want to get rid of all the rumors out thither. This was not done for a turn.” Tupac Coachella Holograph ‘Very Particular’ Legally, Says Attorney Donald Passman The Tupac 2D figure’s spectacular debut during Snoop and Dr. Dre’s Coachella performance last weekend led to speculation the virtual hip-hop legend might soon be going on go. Dre, still, didn’t rule out the conceivability: “If a tour happens, we’ll fathom,” adding “this was done strictly for Coachella 2012, cosset, just for you.” Tupac Shakur Hologram Could Tour Venues Beyond Coachella Dr. Dre thanked the companies AV Concepts and Digital Domain who made his “dream come to flair.” The professional showman ended the 54-second video interview by explaining the rigorous demands of live interpretation. “Now I gotta get  my ass on stage and rock this prick,” he said.

NPR Music Most Viewed: 1. First Obey: Santigold, ‘Master Of My Make-Trust’ 2. First Attend: Rufus Wainwright, ‘Out Of The Prepared’ 3. First Obey: Norah Jones, ‘Little Broken Hearts’ 4. First Heed: Patrick Watson, ‘Adventures In Your Own Backyard’ 5. For Elders With Dementia, Musical Awakenings NPR Music Most Commented: 1. First Harken to: Rufus Wainwright, ‘Out Of The Recreation’ (14) 2. For Elders With Dementia, Musical Awakenings (58) 3. Fiona Apple Releases First New Song In Seven Eld (8) 4. Eulogy For A Record Upon (14) 5. First Keep one’s ears open: Norah Jones, ‘Little Broken Hearts’ (66) NME’s Top Music Low-down: 1. Michael Jackson to tour with Jackson 5 as a holograph? 2. ‘Very seedy’ Sinead O’Connor cancels all touring plans by reason of 2012 3. Frank Carter’s Pure Love reveal first way ‘Bury My Castanets’ – mind 4. Butch Vig: ‘Beatles cohort George Martin is the greatest producer at all’ 5. Pulled Apart By Horses cover Lana Del Rey’s ‘Blue Jeans’ – harken to 6. The Dandy Warhols’ Courtney Taylor-Taylor: ‘Keanu Reeves helped with my side scheme’ 7. A$AP Dgag: ‘I have a five-year plan to create my own legacy’ – picture 8. Rolo Tomassi on their line-up changes: ‘We’d become too set in our ways’ 9. The Horrors, Vaccines, Tribes-featuring Chazzstock festival forced to move to one-dayer 10. Graham Coxon, Urticaria, Mastodon added to Reading and Leeds Festivals 2012 – ticket details Fader Most Impute to – Daytime 1. Efflux: Wiz Khalifa, “Work Methodical, Play Straightforward” 2. Download Le1f’s Dark York Mixtape 3. Kanye West Announces Chief Keef Remix 4. Watch Goodie Mob on The Participation 5. Spout: Santigold’s Master of My Make-Rely upon 6. Mykki Blanco, “Wavvy” (Goad. by Brenmar) MP3 7. Download Depressed Teenager’s Jerkin with DT Measure 1 Mixtape 8. Download Jubilee’s FADER Intermingle 9. Download Beanie Sigel’s Broad Street Imperium (Lost Files) Mixtape 10. Common Freestyles about Kim Kardashian, Chris Paul and Others at USAB/Jeep Upshot Fader Most New 1. Itemized: Roberto Piqueras Temporary Tattoos 2. Download Kool A.D.’s 51 Mixtape 3. By The Numbers: Jack White’s Blunderbuss 4. Streamlet: Mount Spectral, “Lone Campana” 5. Tv: The Exaltation, “How Deep is Your Brotherhood?” 6. Check out: Peaking Lights at the FADER FORT Presented by Chatter 7. Tv: Work Drugs, “Coral Gables” 8. Purity Ding-dong, “Obedear” MP3 9. Download Jubilee’s FADER Round 10. Burn: Santigold’s Master of My Make-Into Pitchfork News Most Peruse: 1. DJ Shadow Compiles Unreleased Archival Corporeal 2. Andrew Bird Expands Go 3. Chaperon: Conor Oberst’s Reunited Punk Band Desaparecidos Play New Song at Secret Spectacle 4. Milk Maid Announce New Album 5. Shot: MATA Celebration 6. Pay attention to: Shins’ James Mercer on Marc Maron Podcast 7. James Potato, Danny Dark-brown, Bloc Romp, Skrillex, A-Trak, Squarepusher Set for HARD Summer Fest 8. Passion Pit Announce New Album 9. Be watchful for: French Presidential Candidate Uses Jay-Z and Kanye’s “Niggas in Paris” in Campaign Ad 10. Watch Shabazz Palaces Perform in New York Rolling Pit – Recent communiqu? 1. Robin Gibb’s Health Improves 2. Courtney Love’s Lawyers Seek to Be Relieved As Exhortation 3. Gotye Explains ‘Exultation’ Misquote 4. ‘The Vehicle’ Recapitulate: Crying Uncle 5. Avicii Talks All-Arena Turn, Dream Collaborators 6. Jennifer Hudson Testifies at Murder Headache Perez Hilton – Music Instant: 1. The Voice Hasn’t Signed All The Judges Back On Just! 2. Gotye Chimes In On Nasty Glee Remarks! 3. The Wanted Go Streaking Double Platinum In The States! 4. Sherry Vine Does Her Wildest Parody After all! In 3D!!! 5. Justin Bieber Conquers The Billboard Charts! 6. Ryan Seacrest Sails Into American Idol’s Next 7. Celebs Who Have Three Names! 8. Raven-Symone Shines In Sister Act On Broadway! CMT – Recent Scuttlebutt: 1. Women Command 2012 CMT Music Awards Nominations 2. Johnny Cash’s Music Celebrated in Austin by Willie Nelson, Kris Kristofferson and Others 3. Carrie Underwood, Taylor Swift Go Pt XXL – Recent Expos: 1. Jay-Z Launches Empire Game For Facebook – Tue 2:21 pm 2. Nas’ Life Is Good Set To Arrive July 17th – Tue 12:19 pm 3. Azealia Banks Collaborates With Missy Elliott, Talks Lil Kim Guy wire – Tue 11:44 am TMZ Music Hot item: 1. Britney Sells Homestead Stocks (Shutting 4/24) Trans World Entertainment Corporation. (TWMC): $2.32 (0.15) (6.91%) Live Nation Recreation (LYV): $8.61 (0.12) (1.41%) Sirius XM Radio Inc. (SIRI): $2.185 (0.045) (2.1%) Sony Corporation (SNE): $16.64 (0.13) (0.79%) Pandora Media (P): $8.46 (-0.10) (-1.17%) Apple (AAPL ): $561.98 (-9.72) (-1.7%) Msn (GOOG): $603.84 (6.24) (1.04%) Madison Square Garden (MSG): $34.93 (0.41) (1.19%) Paid (PAYD): $0.117 (-0.003) (-2.5%) Vivendi (VIVEF): $17.23 (0.68) (4.11%) Heap Media Inc. (CMLS): $3.29 (0.03) (0.92%) NASDAQ Composite (COMPX): 2,961.60 (-8.85) (-0.30%) Dow Jones Industrial Avg. (DJIA): 13001.64 (74.47) (0.58%)

Madonna scores her eighth No. 1 album on the Hoarding 200 chart with the debut of her “MDNA,” while Lionel Richie’s all-star country collaborations covers album “Tuskegee” bows in the runner-up sulcus — his highest-charting album since 1986. Head here for our regular recaps of the week’s top-selling albums and songs. Madonna remains in second place among women with the most No. 1 albums. She now needs only one more No. 1 to tie Barbra Streisand, the leader among women with nine chart-toppers. Madonna’s Deal With Live Nation-Interscope Merit $40 Meg “MDNA” sold 359,000 copies according to Nielsen SoundScan, and is Madonna’s fifth straight studio album to debut at No. 1. It comes from 2008′s “Hard Confectionery,” which stirred 280,000 in its first workweek. “MDNA’s” opener is her best sales week since 2000′s “Music” shifted 420,000 when it debuted at No. 1. During the interval, Richie’s “Tuskegee” starts with 199,000 — his best sales week since SoundScan began tracking sales in 1991. His previous largest frame in that span of time was when 2006′s “Coming Home plate” started with 75,000 at No. 6 in 2006. Richie was last higher on the Hoarding 200 in 1986, when “Dancing on the Cap” spent two weeks at No. 1. Lionel Richie Lights Up SXSW at Billboard Vitrine Like other veteran acts before him, Richie opted for a creative way to reach consumers with “Tuskegee.” Not only did he go the covers course (foretell: Tony Bennett, Rod Stewart, etcetera) but he also brought in a gaggle of A-listers (contrariwise, Bennett with his “Duets” albums, or, Santana’s “Weird”). Forwards, he isn’t just covering old tunes — he’s covering his own familiar hit singles, but with a country leaning. Richie also was the focus of an hour-long concert special on the Home Shopping Network on Marchland 16. Sales generated from the broadcast amounted to give 20,000 sold, says Richie’s record tag, Universal Music Nashville. How Lionel Richie Sold Nigh 20,000 Albums in an Hour on Home Shopping Web A traditional studio album from Richie would have likely never sold as well as “Tuskegee,” which targets multiple demographics all in one tidy combination. Case in pith: In one workweek, “Tuskegee” moved more than twice what his last studio album did in whole — 2009′s “Just Get b apply” has fulfilled 95,000. In terms of release-week abetting, Madonna was basically off the radian, instead focusing her energy on rehearsals for her upcoming world excursion. That stands in contrast to Richie, who worked the TV circuit hard in the past workweek. He was the focus of multiple CMT specials and was interviewed on NBC’s “Weekend Now” (Step 25), appeared on “The Make known” (26, the album’s release century), performed on “Tod” (27), “The Late Show With David Letterman” (27), chatted with CNN’s “Piers Morgan” (27) and lastly, performed on CBS’ “Academy of Country Music Awards” (April 1). As for Madonna, since headlining the February. 5 Super Bowl halftime representation, she’s been laying down. Her only significant recent media appearances have been via a live Facebook chat with Jimmy Fallon (Pace 24) and a brief drop-in at the Ultra Music Festival in Miami the same gloom. “MDNA’s” sales were aided by a successful album sales promotion involving Madonna’s upcoming world cruise. U.S. customers who bought a concert ticket had the option of also receiving the album as part of their obtaining. The only sales that count towards Billboard’s charts are those where the customer opted to accept “MDNA.” This sort of ticket/album promotion has been used in the recent past by such acts as Bon Jovi and Tom Piddling. The latter’s “Mojo” album saw a No. 2 debut on July 3, 2010 — thanks to a fair number of customers who got the album via a ticket purchase. The same goes for Bon Jovi’s 2007 No. 1 album “Disoriented Highway.”

Left-wing, film marketing executive Jennifer Bedwell, “Searching for Sugar Handcuff” director Malek Bendjelloul, Rodriguez and his girlfriend Bonnie being photographed by Billboard’s Phil Gallo (front). The bright lights of Paramount Theater marquee gave director Malek Bendjelloul a distinct charge as he wandered outside the venue a half-hour before the 9:30 p.m. viewing. His blear “Searching for Sugar Irons” about the ’70s singer-songwriter Rodriguez had won two awards at the Sundance Film festival where it premiered, but “it was nothing like that,” he says, standing on the sidewalk and gesturing toward the building’s brightly lit frontage. One of the men who acquired “Sugar Houseboy” for Sony Pictures Classics, co-president and co-founder Michael Pooch, shared in Bendjelloul’s joyfulness, offering to snap a photograph of the director who had traveled from his home in Stockholm to attend SXSW. Set-up for the shot was no easy reprove. Getting the right angle required Barker to back his way into the middle of Congress Boulevard, one of Austin’s main thoroughfares, and dodge traffic to get all the necessary elements in the tot. Having crossed the double yellow get in line — and emboldened by red lights at both nearby intersections –  Barker captured Bendjelloul and the marquee on an iPhone. Barker runs Sony Pictures Classics with fellow co-president Tom Bernard and they split film festival duties. “One reason we asked for the Wednesday showing,” Barker said, “is you get more of a music and movie herd.” Read All Our SXSW Coverage HITHER “Searching for Sugar Houseman” is one of those rarities at SXSW. The film has distribution in the U.S. and several international territories, but it is still on the festival periphery; it’s a tale of rediscovery about a forgotten artist from the untimely 1970s who is still capable of touring and transcription; and it connects with everyone who ever dreamed of securing a record catch. It’s the story of Sixto Rodriguez, who began using only his surname in the example 1960s when he was performing in the dive bars of Detroit, singing about social issues, love and sex and the Motor City element; he wrote like Dylan, made records like Donovan and sang in a honeyed style that James Taylor was using to great success at the same time. His vocation, purportedly, was kaput after just two albums for the upstart Sussex brand, which broke through when Bill Withers started cranking out hits for them.  Once he was dropped, he stopped shooting for, unaware that his music had a significant following in South Africa, particularly among the burgeoning anti-Apartheid drift. “Searching for Sugar Guy” director Malek Bendjelloul (essence) and the subject of the objective, Rodriguez (in all honesty) chatting with Billboard’s Phil Gallo (progressive) after his midnight set at Austin’s Mohawk. As his music persona weakened, many believed he had died; there were stories of onstage self-immolation. Truth be told, he worked in expression, attended Wayne State University and majored in philosophy and once ran for mayor of Detroit. “I traveled around for six months, scouting the world for stories to tell in six-minute pieces for Swedish TV,” Bendjelloul said on Tuesday, the day before the premiere, using a line he will repeat throughout the anniversary. “The best story I start up, the best story I ever heard in my vivacity, was Rodriguez.  I can’t even tell you the story in six transactions.” Greeted with two standing ovations — one for the film and one for the houseman –  “Sugar Humankind” provides a Hollywood ending to Rodriguez’s story of re-discovery and its on its way to several  other film festivals before a theatrical release begins in the U.S. on July 27, just two weeks after Rodriguez’s 70th birthday. A new story for Rodriguez is just getting started. “I didn’t know what he was doing,” Rodriguez says of Bendjelloul when the director first contacted him. “I didn’t know the adventures, so to talk about discuss. … I think he created a film with great insecurity, like Hitchcock. He sorted out a very complex story and paid tribute to the art form of music.” During our initial dialogue — the interview was for this story and to prepare for the post-screening Q&A – Rodriguez was concerned whether his guitar would be repaired in clock. His gig was set for midnight at the Mohawk after the screening and a tuning peg refused to lock in home. For the North American premiere of “Searching for Sugar Confine” he had a small entourage of his girlfriend Comely, Pooch, Bendjelloul and Matt Sullivan from Light in the Attic Records, which had re-released his two albums, “Cold Facts” and “Coming From Aristotelianism entelechy” in 2008 and 2009. Reps who handle Texas and Oklahoma screenings of Sony Pictures Classics films were also in trawl. Jointly, they had the duty of getting Rodriguez out of the theater and into an SUV for the eight-block ride to the Mohawk where he would deliver a solo show to a packed billet. Getting him out of the theater proved rough: Rodriguez refused to say no to any fan who wanted an inscribe, a photograph or to share a story about his music; one fan even showed up wearing a T-shirt from the South African record store where Malek’s story is frozen. Rodriguez got a kick out of that. At 10 minutes past midnight, Rodriguez made his way downstairs from the Mohawk club’s backstage locality, his movement in the shadows sparked rousing cheers from the full house on help. Sullivan accompanied him onstage to provide help, both technical and fervent, reading song titles to Rodriguez that they had scribbled onto a piece of cardboard just minutes sooner. He opened with “Strict ‘n’ Nonchalantly,” the Alan and Marilyn Bergman/Lew Spence tune that Frank Sinatra recorded in 1960. Rodriguez gently swung the understand, his voice filled with the warmth you hear on data, and any buzz that rose from the guitar’s frets simply put a stamp of humanity on the performance.  The nine-song set was filled with the bold — “Inner City Vapours,” “Forget It,” “Rich Foks Bluff” – and another pedestal, Cole Porter’s “Just One of Those Features.” Later 40 minutes of music, Rodriguez left the stage and the room cleared evasion, a sure sign at SXSW that the performer had attracted a room full of die-hard fans. Subsequently, with the small entourage and a few international music distributors, France’s Pias among them, gathered back in the green live. Director Poull Brien, whose “Charles Bradley: Soul of America” had its world premiere this year at SXSW, finally remembered why Rodriguez and his music was so au courant: Rodriguez had opened a show in December for Bradley at the Bowery Ballroom. “I remember Charles standing by the side of the stage and I swear there must have been four times where he was crying or about to beg for,” Brien recalls. “I didn’t know Rodriguez’s story at the time and I’m not sure how much Charles knew, but you could tell Charles had this deep connection with him.” On gift-wrapping, the Rodriguez and Bradley stories share considerable similarities – forgotten singers who rediscovered in their 60s whose lives are filled with considerable pain and poverty yet they never give up hope on a brighter day on. Impressed with the way Malek shot his picture, Brien talked shots and editing while Malek inquired about story line and arrangement. “It will never happen besides, a story like that,” Bendjelloul predicts. “It’s because of extreme isolation. South Africa had no cultural commutation. (Rodriguez was) a man living in a house with no telephone and it was a time before the Net.” Backstage talk included chat about a tour they hoped to line up  beginning in August and running through October. Rodriguez, who occasionally removes his trademark sunglasses, smiles at the thought of the next out of. “It seems that it happens occasionally 10 age,” he says referring to a 1979 tour of Australia, the 1998 South Africa shows and the 2008 reissues. As the evening wound consume, Rodriguez still had concerns about his guitar, which had been shutting off between songs and had issues with volume pilot. Light in the Attic’s Sullivan assured him it was the cord and not the wherewithal. Rodriguez smiled and said, “glad the guitar was OK,” before making his way downstairs and onto the next chapter of this unique facts.

Beyonce is the biggest gainer on this week’s Billboard Sexually transmitted 50 sea-chart, making a massive jump from No. 49 to claim the No. 17 spot after a frenzy of media activity and social buzz following the launch of the pop star’s new Web air. The Common 50 chart ranks the most popular artists on YouTube, Vevo, Facebook, Tweeting, MySpace, using a formula that blends weekly additions of friends/fans/followers along with weekly artist page views and weekly song plays. The launch of the Beyonce’s official Web site on April 5 sent the social world into a flap. Her new area — powered in part by Tumblr — was announced the same day courtesy of the diva’s first Pinch ( @beyonce). Her Twitter account had previously been the most-followed account without a single Pinch, with nearing 4 million following. While Beyonce has had the account for over five eld, she never said a peep until last workweek. And when fans have been waiting that stretching — you know it’s going to cause a splash. Beyonce’s site is ambitious for a Tumblr. Keeping in mind the visual emphasis that has made the platform so simplified, the site features a photo-centric theme that is devoid of extraneous frills and side menus. A simple black arrow featuring a slide-out menu allows visitors to seamlessly navigate to Beyonce.com and the rest of her pages, which have all also been redesigned to fit the same easily digestible and visually appealing tone set by her Tumblr. The overhaul also prominently features links to Beyonce’s social properties, streamlining the fan acquisition process which resulted in a 114% increase in fan acquisition over the previous workweek. For now, K-Pop sensation BIGBANG makes its debut on the Billboard Group 50 at No. 24. The group gained settled 800,000 video views on YouTube last workweek (a 61% increase compared to the previous workweek) after releasing a series of live performance videos from their round. BIGBANG’s “Spirited” was released February. 29 and debuted on the Heatseekers Albums chart at No. 4. The group’s “Alive Spell 2012″ kicked off in early March in Seoul Olympic Park Stadium and is set to take the band to 16 countries and 25 cities around the rondure. BIGBANG is the first K-Pop act to appear on the Popular 50 since The Wonder Girls appeared back in November. 2011. Continuing the trend we’ve experienced over the past several weeks, two YouTube-oriented artists also make it on the Billboard Communal 50 this workweek: singer Christina Grimmie re-enters at No. 25 and violinist Lindsey Stirling makes her debut at No. 29. Stirling, who first made an impact after performing on “America’s Got Propensity,” released the tv “Skyrim” this workweek. The picture, sharing the name and thematic elements of the popular video competition, has garnered on the other side of 2,600,000 views on YouTube during the charting workweek. Grimmie experienced a 20% increase in video views over the previous workweek, with her recent upswing in popularity likely due to the popularity of her new Disney-syndicated outshine “Power Up” which features tips and tricks for popular video willings. To another place, Madonna experienced a drop from No. 14 all the way to No. 47 on the Group 50, coinciding with a 84% drop in album sales, causing the pop star to fall from No. 1 to No. 8 on the Hoarding 200. The drop in album sales was reflected by a big drop in Madonna’s social power, with a 102% drop in fan getting, a 12% drop in plays and an 80% drop in profile views. As for the rest of the Pre-eminent 10, Justin Bieber, LMFAO and Rihanna retain their spots at Nos. 1, 2, and 3, singly, and Taylor Swift remains steady as well at No. 9. One Direction continues to rise, moving from No. 6 to No. 4, while Katy Perry waterfall 4-5 and Lady Gaga rises 7-6. Nicki Minaj jumps 10-7, experiencing gains in Vevo plays due to the release of her new solitary, “Beez in the Paraphernalia,” which has already garnered exceeding 10 million views since its release on April 4. At long last, Adele falls from 5-8 and Skrillex waterfall 8-10.

The hologram of Tupac Shakur that appeared alongside Dr. Dre and Snoop Dogg during their headlining set at Coachella on Sunday cimmerian dark (April. 15) has provoked mixed reactions, but Nas — who discusses his relationship with Tupac on his “Behind The Music” VH1 special that premieres on Wednesday stygian — says that he was blown away by the visual end. Tupac Shakur (Holograph) Plays Coachella During Snoop Dogg’s Overturn (Picture) “Tupac has almost become Elvis, where people still think he’s packed, so the hologram thing I thought was genius of Dr. Dre and Buttinsky,” the veteran MC tells Billboard.com. “It just shows you how amazing Dr. Dre and Snoop Dogg are, and how they hard they’re riding for their West Coast brother Tupac, in the name of hip-hop music. I thought it was a great look for hip-hop as a predominantly — it stepped hip-hop up a indentation. And it was also revolutionary on a performance diminish.” Nas wasn’t always close with Tupac Shakur: the New York rapper once engaged in a war of words with the Oakland indwelling, and in his “Behind The Music” memorable, Nas describes how he and Tupac nearly came to blows during an awards show after-party in New York’s Bryant Store. The pair later made растленною, and Nas was supposed to meet with Tupac in Las Vegas on the weekend that he died in September 1996. “I’m honored to have been a part of his dash, even though at one point it wasn’t all avail,” says Nas of Tupac, who was killed at 25 years age. “It’s just a beautiful gear, and in the ‘Behind The Music’ we share one of the moments between me and Pac that wasn’t the best times, but it’s still a real story about us seeing each other right before he passed off. At first we didn’t know if there was beef or not, but it seemed like there was gonna be boeuf. Relating, me and Pac could have died in Bryant Park that unceasingly. It was that contrite. It wasn’t his outmoded, and it wasn’t my week. But that’s how serious Bryant Park was, and you get a piece of that in ‘Behind The Music.’” During Sunday’s Coachella appearance, a re-creation of Tupac interacted with Snoop Dogg and the Coachella bunch, and performed two songs, “Hail Mary” and “2 of Amerikaz Most Wanted,” before disintegrating into a million fragments of effulgent. The spectacle was the first of its kind at a general admission hip-hop brag, and Nas thinks that the Tupac hologram is only the start. Tupac Shakur Hologram Could Tour Venues Beyond Coachella “It’s a historic thing that they did it, but I think that technology will get better and we’ll find new ways of doing it,” he says. “I think someone had to do it foremost, and who better than Dre to make a hologram of Tupac? Hip-hop shows are becoming bigger and bigger by the period, and I think as times goes on, it can be done in a way where everyone’s blithe — where it’s not just creepy-crawly, where you don’t know how you feel about it. The first time it’s effected, it’s the first measure, so that’s the experience we’re having. Some people don’t like it, some are gonna be creeped out by it, but all of those reactions are oversize.” For Nas, the hologram was a reminder of the fallen rapper’s cultural import. And who better than West Coast legends Dr. Dre and Snoop Dogg — who are celebrating the 20th anniversary of Dre’s “The Inveterate” later this yr — to herald that paper? “It makes sense that Dre and Snoop would bring him wide of the mark — they are kings in the hip-hop byplay, and they prove it time and time once more,” says Nas. “That’s what it’s all about. We love Tupac, the world loves Tupac, and he’s one of the greatest hip-hop artists who ever lived. He deserves that, to be celebrated like that and remembered twin that.”

RTL Group said Thursday that it has promoted Cecile Frot-Coutaz to CEO of its FremantleMedia production arm, effective July 1. Currently CEO of FremantleMedia North America, she will succeed Tony Cohen, who will step down to focus on his nonexecutive mtier, the company said. Frot-Coutaz will move to London. Guillaume de Posch and Anke Schaferkordt, newly appointed co-CEOs of RTL, said: “After being with the group in the interest 17 eld, Cecile has the vision and leadership that are needed to further grow FremantleMedia. She brings expertise and drive from the largest TV market in the world and combines her creative skills as a producer with a sharp business lookout.” De Posch also thanked Cohen suitable “his outstanding achievements,” saying that he “transformed FremantleMedia from a collection of individual entities into a global content powerhouse.” Frot-Coutaz currently oversees the growing, production and operations of more 600 hours of web, cable and syndicated scheduling. Under her advice, the firm is handling such shows as “American Ikon,” “The X Intermediary,” “America’s Got Predisposition,” “Family Fall out,” “The Price Is Swiftly” and the written “The Wedding Ribbon.” In the U.S., Frot-Coutaz has long been a part of the American Idol brain assign. She not only supervised the show directly from the control office, but was an integral decision maker when it came to casting on-air talent for judging panels on both “Luminary” and “X Moneylender.” Speaking to THR on Monday, Frot-Coutaz described the current climate for competition television shows as “ruffian — networks are in a very tough identify, the numbers are not what they used to be and viewers are going absent; they’re on DVR, online and going to cable… As suppliers that sort puts increased straits on all of us.”

Singer Jessie J (gist) receives a plaque from LAVA Records President/CEO Jason Flom (real) at ELLE’s in Women Music 2012 at event in L.A. for selling mainly 12 million copies worldwide of her album Who You Are. (Pic: WireImage) At Elle magazine’s third yearly “Elle Women in Music” bash at The Avalon in Hollywood Wednesday sundown, the theme of the evening was mode — leopard print bodysuit and revealing ensembles — and attempts to get industry executives to romp, put, and sing forth (no easy censure) to performances by Jessie J, Ellie Goulding, and Oh Settle on. From progressive: Nan “Oh Touch” Oland Fabricius, Jessica “Jessie J” Ellen Cornish and Ellie Goulding on the red carpet.  (Pic: WireImage) The red carpet arrivals kicked off with Elle Magazine editor-in-chief Robbie Myers joined by publisher Kevin O’Malley presenting a group of students from Hollywood High’s Performing Arts Program with a VH1 Save The Music Foundation check exchange for $30,000. The 10-12th graders became starry eyed as they were photographed with the evening’s headliners, Jessie J, Ellie Goulding (who later on the carpet discussed balancing her relationship with Skrillex with her music bolt), and Danish singer Oh Go down (Nanna Oland). There were also appearances by singer Willa Fording, Amy Heidemann (who fielded questions regarding her upcoming wedding to Karmin counterpart Nick Noonan), hairstylist Ken Paves — the mastermind behind the hair extensions of Lady Wild, Jessica and Ashlee Simpson, Jennifer Lopez, Fergie, and Celine Dion — Mayra Veronica, Charity Roseate (who will be performing with The Head and The Heart at Coachella), Smashing Pumpkins  bassist Nicole Fiorentino, accompanied by MSO Vice Prexy, Alexandra Greenberg and Leah Labelle ( American Idol Mellow 3 wild card contestant who is currently signed to a joint deal with Pharrell and Jermaine Dupri). Karmin’s Amy Heidemann, who spoke about her upcoming wedding to her Karmin counterpart Nick Noonan. (Photograph: WireImage) Here also was former Pussycat Doll Melody Thornton (whose debut mixtape “P.O.Y.B.L” released last month) in a dress that completely exposed her breasts, which she admitted to constructing herself.  “I just really wanted to make a statement for fashion’s sake and I have a video coming out tomorrow (“Someone to Hold”) so I was akin, maybe they’ll talk about my nipples in my tv,” she exclaimed. “It’s one of the shorter tracks and I actually wrote it to an instrumental off of the soundtrack for Kung Fu Panda, which a lot of people don’t understand.” Nicole Scherzinger told us how “schmazing” her first European solo tour was. She also discussed being in the studio nonstop working on her forthcoming album. “I have an amazing song coming out with Dallas Austin. I’ve been working with Pharrell Williams, Rodney Jerkins, Babyface, Sean Garrett — a lot of amazing friends of mine back in the studio.” Scherzinger admitted to just having arrived from the studio where she was collaborating with Will.i.Am (who was spotted inside the set) on a “flabbergast” that would be coming out at the end of the day. She also said she is happy to be off X Factor and focusing on her first admiration, music. “I want to do more music, music, music, and my ultimate dream is do to a world tour round-the-clock.” ELLE Creative Director Joe Zee (nautical port) and singer Nicole Scherzinger. (Photograph: WireImage) Sooner than 9:00, the majority of the crowd had made their way inside The Avalon, where they were handed a pair of 3D glasses and directed to the bar.  Party play the host, VH1 News correspondent Janelle Snowden, touched on the importance of saving public school music programs and introduced Ellie Goulding, who performed a three-song invariable, closing with her second isolated “Starry Eyed.” Interesting Millinery Outcome: Nan “Oh Homeland” Oland Fabricius performing  at Elle’s Women in Music occasion. (Photograph: WireImage) Oh Land jumped on stage instructing the crowd to put on their 3D glasses. The evening’s VIP’s gave an occasional glance up from texting to catch the flowers and forest-like visuals that popped out from the vet, as well as the singer’s antler headgear. Oh Land set included  “Voodooism,” “Son of a Gun” before the band and vocalist Nanna Oland parted ways with the faction: “Have an amazing continually, and I hope you won’t see completely in 2D the rest of the eve.” While waiting for Jessie J to take the showbiz, DJ Daisy O’Dell spun from the balcony, collaborating with Snowden as they shined the spotlight on two guys below who entertained the crowd with a dance out. “Let’s let them finish this and battle it inoperative,” quipped Snowden. Jessie J achieving the nearly-impossible task of getting a heavy music inudstry crowd to tattle, dance and clap onward. (Picture: WireImage) While Ellie Goulding and Oh Land managed to engage the crowd in a few lackluster clap-a-long sessions, Jessie J commanded the audience’s thoughtfulness, prancing around in a red leopard cat suit and studded stilettos.  She tantalized the load, thrusting her hips to  “Do it Like a Guy” before transitioning into “Nobody’s Flawless,” and “Price Baptize follow” for which she invited a severely intoxicated member of the crowd on stage to leap. The song had to be paused after the over-zealous dancer bopped Jessie J in the confess b confront. Jason Flom  LAVA Records CEO, presented Jessie with a plaque for her album  Who You Are selling ovrer 12 million copies worldwide. She posed for photos with her apportion, joking that “This is such an awkward note. We didn’t even finish the performance!” The evening ended earlier than anticipated with a shower of confetti and a standing acclamation — VIPs and all — for Jessie J’s a cappella set finisher. From remaining: Singer Willa Fording, LAVA Records President/CEO Jason Flom and actress Danielle Panabaker (WireImage) Spotted in the set: Extra reporter (and Simon Cowell ex) Terri Seymour, who posed for a photo with Nicole Scherzinger; songwriting mogul Diane Warren, giving Ellie Goulding’s performance a standing laudation; Elle editor Robbie Myers clapping along to Jessie J. Todd Moscowitz, Co-President/CEO of Warner Music Group sipping cocktails in the party’s VIP subdivision; Livia Tortella, President of Warner Brothers Records, on her feet for Jessie J; Rock of Ages star Diego Gonzalez in line for the court; Karen Kwak, Island Def Jam/VP, A&R Operations at a table with a beau; Justin Bieber manager Scooter Braun hurrying through the dance knock over. Also in attendance were: Marc Geiger of William Morris Strive; Bradford Cobb of Direct Management Group/Katy Perry Executives; Amy Hartman of Island Def Jam/Hg; Rob Light of CAA; Luke Burland of Warner; Chris Knight of CAM 8 Governance; and Desert 5 administrator, Jordan Feldstein.

The 57th Ivor Novello Awards nominations have been announced and, as expected, British vocal powerhouse Adele heads the gather together. The awards, regarded as the most important awards for UK music writers, reward excellence in songwriting and composition. They are presented by BASCA (British Academy of Songwriters, Composers and Authors) in association with PRS for Music and judged by the songwriting and composing community. Taking place on May 17 in London’s Grosvenor Undertaking, this year’s nominations for Best Song Musically And Lyrically register “Rolling In The Impenetrable” by Adele Adkins and Paul Epworth (Universal Music Publishing/EMI Music Publishing), Florence and the Machine’s “Shake It Pass” (written by Paul Epworth, Florence Welch and Kid Harpoon) (EMI Music Publishing/Universal Music Publishing) and “The A Span”, written and performed by British wonderkid Ed Sheeran (Sony/ATV Music Publishing). Lana Del Rey gets a mention with her smash stir “Video Persistents”, co-written by Justin Parker (EMI Music Publishing/Sony/ATV Music Publishing), nominated for Best Contemporary Ado. Adele is credited again suited for “Rolling In The Devious” (Adele Adkins/Paul Epworth) (Universal Music Publishing/EMI Music Publishing), which is up for the PRS for Music Most Performed Write up, alongside “Someone Like You” (Adele Adkins/Dan Wilson) (Universal Music Publishing/BMG Chrysalis). And, no surprises, she’s up for the Album Award as well with her multi-platinum record 21, the U.K’s best-selling album of the 21st hundred. Other awards to be announced on the night include the Lifetime Feat, Outstanding Song Store, PRS for Music Outstanding Contribution to British Music, PRS for Music Special International Award and Songwriter(s) of the Yr. THE NOMINATIONS Best Song Musically and Lyrically: “Rolling In The Designing” – Adele “Shake It To” – Florence + The Ring “The A Unite” – Ed Sheeran Best Contemporary Air: “Promises” – Nero “The Wilhelm Voice” – James Blake “Video Unafraids” – Lana Del Rey Best Original Film Get one’s own back: Life In A Lifetime – Harry Gregson-Williams and Matthew Herbert The First Grader – Alex Heffes We Need To Talk About Kevin – Jonny Greenwood Best Television Soundtrack: Leonardo – Mark Russell Page Octet – Paul Englishby The Shadow Up for – Martin Phipps PRS for Music Most Performed Being planned: “Rolling In The Chasmal” – Adele “Someone Like You” – Adele “The Saturate” – Take That Album Confer: 21 – Adele 50 Words For C – Kate Shrub Let England Evade – PJ Harvey

Online video is the new MTV, which makes Rio Caraeff the head of the world’s most important video transfer. Caraeff is president/CEO of Vevo, the 2-year-old joint venture between Universal Music Group and Sony Music Performance, with additional funding from Abu Dhabi Media Bundle. At his disposal are the videos of the JV partners as well as of EMI Music and a host of indies, from Big Machine Records to Entertainment One Parcelling. Caraeff’s overarching goal is to promote those artists-and more 550 advertisers-to consumers on the Snare (at both YouTube and Vevo.com) and through apps for mobile devices and connected TVs. Vevo has what music fans yen: Its videos account for nine of the head 10 videos in YouTube description (including the entire top pentad). Vevo has what advertisers call for, too: Its collection of 45,000 videos from more 7,500 artists attracts viewers and keeps them watching. Of the 181.7 million U.S. viewers who watched online video in December, 53.7 million of them spent an average of 68 minutes watching videos at Vevo, according to comScore, making it by far the largest partner channel on YouTube. Vevo’s 782.3 million videos streamed to 53.5 million unique viewers through YouTube were far ahead of second-place Warner Music Dispose (31.7 million viewers and 206.5 million videos). And the company is a global sophistication: In October 2011 alone it streamed more 3.6 billion videos to 415 million-plus people globally. Mobile is the fastest-growing part of the principles. Vevo claims mobile streams increased 1,500% from January to December 2011. But Caraeff wants more than short music videos for small screens. Vevo is targeting the growing market for connected TVs and has “a bunch of pilots” in maturation–original programming rooted in music–it plans to announce in the first board, Caraeff told Billboard in December. And if it’s the new MTV, there’s no limit to the programming Vevo could create in the years to awaken. Order the special edition Billboard Function 100 unresolved, printed on glossy stock with lavish original photography (available seldom). What do you think of the 2012 Billboard Powerfulness 100? Sound off in the comments area of the Letter From the Editor folio, where the criteria is explained.

Why Concert Listing Sites Matter In Today and Tomorrow’s Outlet — There are far more ways to discover concerts than existed just a few years past. But are more concert tickets being purchased? Probably not. But that doesn’t mean the industry won’t benefit from tools that keep music fans informed about local concerts. People certainly have more opportunities to find out about concerts. Just this workweek, Songkick partnered with the Echo Nest and Bandsintown released an Android app. Songkick’s Spotify app released in November has got it over and above 100,000 new clients. It’s easier than ever to syndicate concert intelligence. But anecdotal and publicly available evidence suggests overall ticket sales have not risen as consumers have become better informed through digital media. Although the number of concert tickets sold by Live Nation increased to 71 million in 2011 from 66.8 million in 2010, the increase doesn’t appear to come from the type of organic growth associated with apps, social media and email selling. In place of, the 4.2-million increase in concert tickets from 2010 to 2011 probably came from acquisitions (TGLP in the US, Serviticket in Spain), a 5.5% increase in events and a recovery from a puny 2010 concert temper. Ticketmaster’s financial statements also don’t indicate an increase due to a more informed portion publicly. Its 2009 annual report says the company actually sold fewer tickets in 2008 than in 2007 if acquisitions are taken into run-down. Concert ticket sales dropped in 2009 as a result of the expiration of Ticketmaster’s principal agreement for primary ticketing with Live Country. Services like Songkick and Bandsintown weren’t active in 2008, but social media, email and various websites had already made it easier to stay informed on local shows. Although ticket sales aren’t rising as customers are better wise, it appears the types of concerts they attend are ever-changing. Amphitheater shows have been deemphasized in favor of arenas, and smaller venues are doing healthy employment. Expect this trend to continue over time as the number of superstars decline and the number of mid- and lower-tier artists increases. Look at the trend already seen in recorded music sales and fast-step up 20 eld: fewer legacy artists able to fill arenas and more young bands playing clubs and theaters. As live music becomes more split, there is a greater need to use data and analytics to help people find the right concerts. It’s arguably easier to find out about larger shows – concerts at arenas and amphitheaters are more likely to advertise on TV and trannie, and their larger attendance means word of mouth can travel aid. But keeping up with all the artists playing smaller clubs requires either more work or better tools. Smaller venues don’t have the same advertising scope. They have relied more on a concert-going public that reads local periodicals, visits local music stores, follows local events online and gets information from venues’ and promoters’ email lists. And there is more information to track because there are so many more shows at small venues than at big venues. Smarter tools may not get people out to more concerts – even though this is the stated goal of companies like Songkick and Bandsintown – but they will help people see the bands they like better. X5 Music Group To Ego: Perhaps Spotify Doesn’t Cannibalize Sales? — If Spotify cannibalizes download sales, X5 Music Group isn’t aware of it. The label known best for its low-priced digital compilations released some information Tuesday that shows the positive impact its new Spotify app, called Sort, has had on its download sales. X5 points to the following statistics instead of “The 50 Greatest Pieces of Classical” after the launch of Separate: album sales rose close by 50% and the title reached #1 on iTunes Classical bestsellers while average daily streams from the album increased 830% from the prior month. The company says no additional marketing or promotions existed that would muddy these results. Their closing, and it seems to be the right one based on this limited advice, is greater awareness at Spotify resulted in an increase in purchased downloads abroad. These results are probably a best-case scenario and won’t necessarily be duplicated by other albums featured in Class. Curious about the app’s impact on other titles, I asked X5′s publicist why the company chose to highlight the success of this album in element. I was told “The 50 Sterling” got prime real estate on the Classify app and is a high-profile turn loose, “so it illustrates the app’s promotional value most definitely.” “The recent sales spike after ’50 Greatest Pieces of Classical’ follows the same trend we have seen in Sweden, where there is a positive correlation between Spotify streaming and digital sales,” X5 CEO and co-founder Johan Lagerlof said in a communiqu?. “We have known for some time that streaming services do not cannibalize sales from traditional music outlets, and this growth makes that even more vivid.” Impressive Though Growth Slowing: Facebook’s Updated S-1 SEC Filing — Facebook’s updated S-1 SEC filing updates some already impressive numbers but also showed why revenue growth is slowing. The company claims to have had 901 million users worldwide as of Step 31, up from 845 million at the end of 2012. Daily active users rose to 526 million from 483 million over the same duration, and they generated an average of 3.2 billion likes and comments per day during the first house. Revenue in the first quarter was $1.06 zillion, up 45% from $731 million in the first quarter of 2011. Net income dropped to $205 million from $235 million due to large increases in marketing and sales, research and development and share-based recompense. Average revenue per narcotic addict (ARPU) in the first quarter was $1.21, up 6% year-over-year but dropped 12% from the fourth quarter of 2011. The company blames “seasonal trends” for the sequential decline and points out that ARPU dropped 10% from the fourth quarter of 2010 to the first quarter of 2011. But Facebook admits most of its recent growth has come from markets with relatively low ARPU. In other row, Facebook will not get Western ARPUs as it expands into non-Western grocerterias. This trend should incentivize to get more revenue out of existing users in Western supermarkets. If you’re wondering why Facebook might be so interested in the content of Vevo and other video companies, look no over. If Facebook can get people to hang around even yearner, it can generate more money from its existing representatives. ( Facebook S-1 filing)

Joey Ramone in 1977  (Phot: BMG / Janet Macoska) BERLIN – BMG today announced the worldwide release of a posthumous solo album from former Ramones frontman Joey Ramone, who died 11 years ago at duration 49. The 15-track album …Ya Be familiar with? will roll-out with an April 21 limited-printing 7″ vinyl for lead monitor “Toss ‘N Roll Is the Solution” produced for Record Store Age, the annual celebration of independent music ret. …Ya Be familiar with? will be released in 20 countries worldwide, including the US on May 22, in Continental Europe on May 25 and in the UK on May 28. RED will distribute the album in North America and Rough Trade throughout Europe. BMG Chrysalis US Vice Prexy, Masters, Jason Hradil said in a assertion: “Joey Ramone was one of the key figures in a musical revolution whose impact is still being felt now. We are honored that Joey’s brother Mickey and his estate have entrusted this album to BMG. The album represents the very best of the recordings Ramone left behind and assembled by his brother Mickey Leigh, manager Dave Frey and trusted producer Ed Stasium. It features contributions from a stellar cast of Ramone’s friends and collaborators, including Joan Jett, Little Steven Van Zandt, former Ramones drummer Richie Ramone, Bun E. Carlos of Cheap Con, Dennis Diken of the Smithereens, Patti Smith Group guitarist Lenny Kaye and members of the Ramones’ punk-era contemporaries The Dictators.” For Hradil the Joey Ramone deal marks the latest development in BMG’s plan to double its business in master recordings. The company has already announced that it will release in June “One Day I’m Going To Increase, the first album from Dexys Midnight Runners since 1985. Dominique Kulling, Vice President Master New Recordings / TV & Peel, who heads up the masters division out of Berlin said in a annunciation: “Ever since we announced the expansion of our masters syllabus, we have been inundated with enquiries from artists and their representatives. We believe this shows there is a huge appetite for an alternative to the traditional record handle.” The Ramones were named among Rolling Stone’s 50 Greatest Artists of All Time and Mojo’s 100 Greatest Albums. In 2002 – the same year they were inducted into the Rock and Roll Hall of Repute – the Ramones were stratified #2 in Spin’s 50 Greatest Bands Ever, second no greater than to The Beatles.

Stay connected to what’s happening in the music and entertainment industry with delivery of Billboard’s print edition and complete online access to Billboard.biz. Subscribe for single $24.95. Subscribers automatically receive the Report, a daily compact, of the top news stories on Billboard.biz. Read Billboard Bulletin on-screen or print and save for easy reference subsequent. Read the latest issues. Stay on top of what’s happening in the music and entertainment industry from charts jumps to breaking telecast, and online-only updates with Billboard’s free email newsletters. Opening & take. Billboard Research Services offers insight into a wealth of information from the industry authority including all the #1 songs, # 1 albums, customized chart and artist scoop. Get more information on Billboard Research Services. From Billboard merchandise to back issues, directories and business reports, the Billboard store offers the convenience of quick and secure online orders. Shop now. Billboard Publicity Wire is the music and entertainment promotion and marketing SEO press release service that promises publicity and online visibility for all. Now you can affordably distribute press releases,podcasts, electronic media kits and multimedia attachments to thousands of journalists and millions of consumers. Want to generate immediate publicity? Submit your press release today at billboard.prweb.com. For industry employment services, supplies and commercial and residential real estate search Billboard’s classifieds. Go to Classifieds. Click here to visit Hoarding U.

Jenni Rivera, one of the most prolific entertainers in the Hispanic entertainment toil, will sit down for an exclusive one-on-one Q&A during the upcoming Billboard Latin Music Forum & Awards, presented by State Farm and taking place April 23-26 at the JW Marriott Marquis Hotel in Miami. Rivera will be the featured artist at a session titled “The Diva We Want to Be familiar with,” where she will discuss the many facets of an eclectic career that has exploded in the past year with the success of her own television present, “I Love Jenni,” her own radio show and the launch of multiple brands carrying her denomination. At the center of Rivera’s occupation, of path, is her music, which is also marketed with a splice. Last Go to pieces, Rivera released ranchera and pop versions of her new album, Joyas Prestadas, (Fonovisa/UMLE), and saw both sets debut simultaneously on the supreme 10 of Billboard’s Top Latin Albums graph. The Rivera Q&A will take place April 25, joining a stellar line-up of panels and interviews that include superstar Pitbull, Billboard Latin Music Awards finalists Gerardo Ortiz, Chino y Nacho and Horacio Palencia and current chart-toppers 3BallMTY. For a full schedule of conference events and registration information, visit www.billboardlatinconference.com . Rivera has also confirmed her performance at the Billboard Latin Music Awards on April 26. The awards will air live on the Telemundo network from the BankUnited Gist in Miami.

Universal Music Group Chairman and CEO Lucian Grainge announced today that Zach Horowitz would be moving from his position as President and Chief Operating Officer at UMG to become the new Chairman and CEO of Universal Music Publishing Faction. UMPG owns more 40 companies worldwide, imcluding Universal Publishing Production Music, the world’s biggest music licensing library. “Zach’s appointment to lead UMPG is testament to how important publishing is to my plans for UMG’s unborn,” said Grainge in a communiqu. “For nearly two decades, he has championed the interests of our publishing company and been the key architect of its rise. Now I want him to concentrate full time on maximizing UMPG’s true potential in this challenging mart.” In assuming his role as the chairman/CEO of Universal Music Publishing, he takes on day-to-day control of the company he was responsible for overseeing when he formally served as UMG’s president and chief operating constable. Horowitz has been chairman of the board of Universal Music Publishing Group for age: that board currently consists of Evan Lamberg, (president of North America), Paul Connolly (prexy, UK and Europe), Eddie Fernandez (senior VP, Latin America), Andrew Jenkins (executive VP Asia Pacific Region/industry relations), Gary Plain (worldwide prexy, Universal Publishing Production Music), and Michael J. Sammis (executive VP, operations & CFO worldwide). Evan Lamberg Named President of Universal Music Publishing Horowitz will still be overseeing the company’s government relations and public policy activities in his new character, while also retaining his status as a board member for both UMG Management and Vevo. In placing Horowitz inside Universal Music Publishing Grouping, the company is apparently responding to the stepped-up pressure facing it, now that Sony/ATV appears likely to control the largest portfolios of publishing assets in the globe. According to multiple sources, the European Commission is expected to announce tomorrow its approval of the purchase of EMI Music Publishing by the Sony Corporation. of America-led syndicate. EMI Publishing Goes to Sony, Label to Common That acquisition will give Sony/ATV, which will remain a separate company but serve as administrator for EMI Music Publishing, control of publishing assets that generated respecting $1.26 billion in annual cush, Billboard estimates, as opposed to the $900 million that UMPG produces yearly. Earlier, UMPG had been the largest owner of publishing assets in the smashing. While at UMG, Horowitz has been instrumental in helping acquire and integrate Geffen, Interscope, and Polygram Holdings under the Universal cover, the latter of which included Def Clog, Archipelago, A&M, Motown, and Deutsche Grammophon. He also was key in integrating Rondor Music (an independent publisher), BMG Publishing, and Polygram’s publishing holdings, which helped boost UMPG to its status as the largest music publisher in the dialect birth b deliver. “I take great pride in having helped UMPG become the industry band leader,” said Horowitz in the disclosure. “Lucian’s mandate is to build on our strong basis, committing all necessary resources to introduce, take, expand and facade. The challenges and opportunities facing songwriters and publishing companies have never been more significant. From initiating new ways to super-serve our writers so the return on their creativity is maximized, to proactively empowering new partners and business models so the full potential of the digital revolution is realized, this is a transformational moment in the biography of music publishing.”

Finalists for this year’s Billboard Latin Music Awards, presented by State Delegate, have all had a major impact throughout the Latin music dynamism, displaying unique qualities and strengths in a variety of Latin genres. While these artists have achieved critical acclaim with their music, their award eligibility arises from multiple points of impact with their audiences: album and concert ticket sales, radio airplay and effective use of social networking platforms to expand their reaching. The contenders have earned top spots on the album sales charts, airplay charts and Billboard Boxscore tallies. From Latin cola, urban, tropical and regional Mexican to the Latin digital album of the year and through social media, these acts have shown their staying power in a constantly changing music concern. The Billboard Latin Music Awards continue to recognize talent in various categories, including the return of the award for social artist of the yr. Contenders for that honor include Don Omar, Pitbull, Shakira and Enrique Iglesias. Highlighting the music’s impact on social media and digital sales, this year’s artist and song categories combine airplay data and digital download sales. The Billboard Latin Music Awards honor the most popular albums, songs and performers in Latin music, as determined by the actual sales and radio airplay data that inform Billboard’s weekly charts during a one-year period from the issue dated February. 5, 2011, through the January. 28, 2012, up in the air. Finalists, and the eventual winners, reflect performance of new recordings on Billboard’s album and track sales charts, including Top Latin Albums and Latin Digital Songs, and radio charts, including Hot Latin Songs. Title-based categories are mostly confined to those songs or albums that didn’t appear on the respective charts prior to the November. 12, 2010, issue and exclude titles that were finalists in the prior-year’s Billboard Latin Music Awards. Come what may, titles that have reached or maintained their peak position on the respective charts during the awards eligibility period are eligible for inclusion regardless of chart debut date or prior finalist presence. This year’s program will be broadcast live on Telemundo from the BankUnited Center at the University of Miami at 7 p.m. on April 26. Additional coverage will be found on Billboard.biz, Billboard.com, BillboardEnEspanol.com, Telemundo.com and Prattle ( #BBLatin). Here’s a look at some of the top finalists in multiple categories. DON OMAR Hitmaker Don Omar returns to the Billboard Latin Music Awards as the leading finalist on the strength of his songs “Danza Kuduro” and “Tabu.” The Puerto Rican rapper/singer enters with 16 finalist nods in 14 categories including songs artist of the yr, man’s; Latin pop songs artist of the yr, solitary; tropical songs artist of the yr, unaccompanied; and social artist of the yr. His album Don Omar Presents: Meet the Orphans: The King Is Back is a contender for Latin rhythm album of the yr. PITBULL A 14-time finalist in 12 categories, rapper Pitbull, whose dance anthems have earned him a global status, is a finalist for songs artist of the yr, manful, and Latin pop songs artist of the yr, unaccompanied, among others. His prevarication “Give Me All that,” featuring Ne-Yo, Afrojack and Nayer, is a contender for song of the yr; song of the yr, vocal outcome; airplay song of the yr; and Latin pop song of the yr, patch “Bon Bon” is up for digital song and Latin rhythm song of the yr. PRINCE ROYCE In a year where bilingual acts have recorded music often in English and Spanish, Prince Royce has reigned high on the charts. He’s a finalist in 12 categories, including artist, song and album of the yr. His successful year includes five highest 20 hits on Hot Latin Songs, including two No. 1s: “Corazon Sin Cara” and “El Verdadero Amor Perdona.” His self-titled album spent five weeks at No. 1 on Top Latin Albums. A busy touring schedule based on the success of the band’s album Drama y Luz, Maná is a finalist for album, digital album and Latin pop album of the yr. The group is also up for artist and touring artist of the yr, among other categories. ROMEO SANTOS In his debut as a solo artist, Romeo Santos’ Recipe: Volume. 1 debuted at No. 1 on Top Latin Albums. A finalist for artist of the yr, among other awards, Santos is also a contender for song of the yr, vocal end, following the success of “Solemn word of honour,” featuring Show. SHAKIRA Competing against Prince Royce and Romeo Santos, Shakira stands out on her own thanks to the songs “Loca,” featuring El Cata, and “Waka Waka (This Time for Africa),” which are both finalists for digital song of the yr. The Colombian singer/songwriter had two surmount fill up 10 hits on Hot Latin Songs last yr, “Sale El Sol” (No. 10) and “Rabiosa” (No. 8). Her 2010 album Sale El Sol spent most of the time between January and September 2011 lodged in the tip 10 of Top Latin Albums. WISIN & YANDEL The Puerto Rican reggaetón duo had four crop 10s on Hot Latin Songs last yr. In addition to the pair’s “Tu Olor” (No. 1) and “Estoy Enamorado” (No. 7), Wisin & Yandel also appeared on Enrique Iglesias’ “No Me Digas Que No” (No. 1) and “Maquina del Tiempo” by Tito “El Bang” (No. 4). The act’s album, Los Vaqueros: El Regreso, debuted at No. 1 on Top Latin Albums. Among the categories in which W&Y are finalists: songs artist of the yr, duo or group and albums artist of the yr, duo or club. JENNI RIVERA “The Diva of Banda” had a successful year thanks to her top-drawer 10 album from 2010, La Gran Señora, which continued to chart in 2011. Then Joyas Prestadas: Banda (No. 2) and Joyas Prestadas: Call (No. 3) appeared in unpunctual 2011. She also charted two singles: “Por Que No le Calas” (No. 46) and “La Gran Señora” (No. 44). With three nods in all, Rivera is up for albums and songs artist of the yr, female. ENRIQUE IGLESIAS Enrique Iglesias returned with three eminent 10s on Hot Latin Songs: “No Me Digas Que No” (No. 1, featuring Wisin & Yandel), “Tonight (I’m Loving You)” (No. 10, featuring Ludacris and DJ Frank E) and “Ayer” (No. 3). His 2010 album Euphoria continued to perform well in 2011 and spent most of the year in the cover 10, making him a finalist in categories including Latin pop album of the yr. LA ADICTIVA BANDA SAN JOSE DE MESILLAS Finalist in categories including new artist of the yr, regional Mexican favorite La Adictiva Banda San Jose de Mesillas had two beat 10s on Hot Latin Songs: “Te Amo y Te Amo” (No. 2) and “Nada Iguales” (No. 3). Its Nada Iguales release reached No. 50 on Top Latin Albums. CRISTIAN CASTRO Mexican crooner Cristian Castro has achieved newfound success with the classic romantic ballads of Mexican star José José. On Top Latin Albums, he had two No. 1s during the yr: Viva El Principe, up for album of the yr, and Mi Amigo El Principe: La Historia Continua-Viva El Principe Volume. II. GERARDO ORTIZ A finalist for albums artist of the yr, male who has also been penning music for other acts, Gerardo Ortiz had a pair of No. 1s on Top Latin Albums last yr: Morir y Existir: En Vivo and Entre Dios y el Diablo. JULION ALVAREZ Y SU NORTEÑO BANDA The regional Mexican band’s Marchate y Olvidame reached No. 15 on Top Latin Albums and the group earned two outdo 10s on Hot Latin Songs: “Ni Lo Intentes” (No. 2) and “Olvidame” (No. 2). The latter is a finalist for regional Mexican song of the yr. AVENTURA The bachata group from the Bronx had a hit on Hot Latin Songs last year with “La Curita” (No. 42). The album 14+14 hit No. 1 on Top Latin Albums in June and is a finalist for tropical album of the yr. CAMILA Mexican band Camila, whose Twitter following is coming 1 zillion, had three a-one 40 hits on Hot Latin Songs: “Besame,” “Entre Tus Unfortunately” and “De Mi.” The band’s Dejarte de Amar (a No. 1 album in 2010) continued to chart in 2011. Among the categories in which the group is a finalist: albums artist of the yr, duo or group and Latin pop songs artist of the yr, duo or grouping. CHINO Y NACHO Finalists in three categories, the Venezuelan urban duo Chino y Nacho had two finest 40 hits on Hot Latin Songs in 2011, their own “Tu Angelito” (No. 18) and El Potro Alvarez’s “Bla Bla Bla” (No. 36). LOS BUKIS Los Bukis’ 35 Aniversario album debuted and peaked at No. 5 on Top Latin Albums. On the regional Mexican albums chart the set spent nine weeks at No. 1 and marked the act’s ninth No. 1 album. It’s up for regional Mexican album of the yr. RICKY MARTIN Ricky Martin had three hits on Hot Latin Songs last yr: “Lo Mejor de Mi Vida Eres Tu” (No. 1, fortnight), “Mas” (No. 13) and “Frio” (No. 6). His Musica + Alma + Sexo debuted at No. 1 on Top Latin Albums (his fifth chart-topper) and spent two weeks atop the tabulation. He’s a finalist in three categories including touring artist of the yr. TITO “EL BLAST” Puerto Rican artist Tito “El Eruption” returned with his Invencible album, which debuted and peaked at No. 4 on Top Latin Albums and is a finalist for Latin rhythm album of the yr. He notched four first-rate 40 hits: “Llueve El Amor” (No. 5), “Llama Al Sol” (No. 11), “Maquina del Tiempo” (No. 4, featuring Wisin & Yandel) and “Me Toca Celebrar” (No. 34). ALEXIS & FIDO A finalist in two categories, Puerto Rican reggaetón duo Alexis & Fido had two vertex 30 hits on Hot Latin Songs: “Contestame el Telefono” (No. 4, featuring Turn) and “Energia” (No. 25). On Top Latin Albums, Perreologia debuted and peaked at No. 10. DADDY YANKEE On Hot Latin Songs, Daddy Yankee had a No. 9 hit with “Ven Conmigo” (featuring Prince Royce). On Latin Rhythm Airplay he had three cap 10s: “Rescate,” “Ven Conmigo” and the No. 1 “Lovumba (Rank).” The lattermost vomit up 13 weeks at No. 1. He’s a finalist for Latin rhythm songs and Latin rhythm albums artist of the yr, on one’s own. ESPINOZA PAZ Regional Mexican singer Espinoza Paz is a finalist for regional Mexican songs artist of the yr, on one’s own. His successful year includes Canciones Que Duelen, which reached No. 1 on Top Latin Albums. Additionally, he had two crown 10 songs, “El Culpable” (No. 4) and “Para No Perderte” (No. 7). FIDEL RUEDA Regional Mexican crooner Fidel Rueda charted two excel 30 hits on Hot Latin Songs: “Me Encantaria” (No. 2) and “Enhorabuena” (No. 21). He’s a finalist for regional Mexican song of the yr (“Me Encantaria”). IL VOLO A contender for new artist of the yr, Italian operatic pop teen trio Il Volo-Piero Barone, Ignazio Boschetto and Gianluca Ginoble-charted on Top Latin Albums with Il Volo: Edicion en Español, which peaked at No. 4. LA ORIGINAL BANDA EL LIMON DE SALVADOR LIZARRAGA The award-winning regional Mexican band reached No. 23 on Top Latin Albums with El Primer Lugar. On Regional Mexican Albums, it went to No. 10. The group charted two hits on Hot Latin Songs: “Hasta Mi Ultimo Dia” (No. 22) and “Di Que Regresaras” (No. 3). The act received two nods, including regional Mexican songs artist of the yr, duo or catalogue. LARRY HERNANDEZ Larry Hernandez is up for regional Mexican albums and songs artist of the yr, alone. On Hot Latin Songs he reached the summit 10 with “Arrastrando Las Patas” and “El Ardido.” His 20 Super Exitos album hit No. 11 on Top Latin Albums and No. 3 on the regional Mexican albums tabulation. LOS TIGRES DEL NORTE Mexican band Los Tigres del Norte, who have been together since the 1960s, notched its 22nd No. 1 on Top Latin Albums last year with Tr3s Presents: MTV Unplugged, which is a finalist for regional Mexican album of the yr. The group earned a finest 40 hit on Hot Latin Songs with “Golpes En el Corazon” (No. 39, featuring Paulina Rubio). The Mexican pop-rock band featuring Gilberto “Bibi” Marín, Julio Ramírez Eguía and Jesús Alberto Navarro Rojas notched two lid 40 hits on Hot Latin Songs: “Peligro” (No. 21) and “Tu Mirada” (No. 18). On Top Latin Albums, Peligro debuted and peaked at No. 3. The group is a finalist for Latin pop songs and albums artist of the yr, duo or bracket. INTOCABLE This year’s lifetime achievement award champ, Intocable is now enjoying a successful career as an independent band in the Tejano and norteño genres. On Top Latin Albums, Intocable 2011 debuted and peaked at No. 2. It charted two hits on Hot Latin Songs: “Robarte Un Beso” (No. 10) and “Prometi” (No. 3). The band is a finalist for regional Mexican albums artist of the yr, duo or gathering. LMFAO The party rock duo is a finalist for crossover artist of the year along with Katy Perry, Rihanna and Alexandra Stan. The group charted on Hot Latin Songs with “Party Rock Hymn” (No. 6) and “Sexy and I Know It” (No. 8). RIHANNA Crossover artist of the year contender Rihanna charted three times on Hot Latin Songs with “Only Bird (In the Rapturous)” reaching No. 15, “S&M” peaking at No. 33 and “We Found Love” hit No. 3.

Kevin Lyman still employs an “old-coach” method when it comes to picking bands for the Vans Warped Journey. “I stand outside the gate and watch to see what shirts the kids are wearing as they place,” Warped’s founder and producer told Billboard.biz at Thursday’s kick-off event at Club Nokia (LA Breathing) in Los Angeles. “I saw a lot of Memphis May Fire and Sleeping With Sirens shirts last yr.” Description, Memphis May Fire and Sleeping With Sirens were among the first few bands he booked seeking 2012, before he had secured a single main stage fake. And while those bands weren’t in the house at this year’s kick-off anyhow, plenty of other acts were. This included surprise sets from Yellowcard (who played acoustically) and The Against, as well as performances by Falling In Trouble, Matt Toka and Dead Sara. The bands were preceded by a short press conference and a screening of the Warped Tour doc ” No Room for Rockstars.” The VIP area was filled with a handful of veterans from the outing, which launched in 1995, as well as newer acts like Vampires Every place! and a myriad of industry society. Attendees included The Used manager Sean Akhavan of Anger Management Society; Epitaph Records Director of Publicity Jessica Giordano; Memphis May Fire manager Jerry Clubb of Richochet Managment; Every Time I Die and Blessthefall manager Dent “Biggie” Grimaldi of Good Fight Entertainment and Crush Actions; Hollywood Exhaust / Century Media A&R and marketing team members Kyle Parsons and Danielle Thompson; Warped Tour accountant Matt Malles of Star Business Supervision; former Hole and Motley Crüe drummer Samantha Maloney; professional BMX rider and musician Rick Thorne; Vandals bassist, Kung Fu Records originator, attorney and radio host Joe Escalante; Fly South Music Group partners John Youngman and Marc Mercado, whose clients include Paramore and A Day To Remember and Agency Group booking agent Dave Shapiro. “This is yr 18. Kevin started it and Vans got involved after the first yr,” explained Steve Van Doren, whose late father Paul co-founded the Vans shoe team. Steve is VP of Events and Flier. “My dad started Vans in 1966. We were really well known in Southern California. When Kevin got us involved with the trip, I wanted to get a skateboard contest in 50 states and Kevin wanted to have concerts around the United States. He needed money and I needed a place to perform skateboarding claptrap. So it merged together and here we are, eighteen years subsequently. It really helped Vans get going in places like Texas, Florida, Ohio and Illinois. It’s our number one marketing thing for Vans every summer in the direction of 18 eld.” This year’s main stage lineup will include Pierce the Camouflage, Of Mice & Men, Streetlight Pronunciamento, Yellowcard and Falling In Inverse, whose frontman very much appreciates the personal focus Lyman puts in curating. “I was an underdog for literally eld. And all of a sudden it feels like it turned over non-stop,” said Ronnie Radke, whose previous stint on Warped Tour as singer for Escape The Fate was marred by his legal troubles. (Radke spent nearly two-and-a-half-years in prison for probation degrading, stemming from a battery with substantial bodily harm conviction for his role in a 2006 fight in which an associate of his killed an 18-year-old shackle. ) See all of our Backbeats — Billboard.biz’s look behind the scenes of the music perseverance — right hither “[Epitaph keeper] Brett Gurewitz and Kevin Lyman have given me more chances than anybody else. I’m pretty auspicious. I guess Brett saw a lot in me. He wanted me to get clean and I did that and now he stands behind me. Kevin Lyman is the same crumble. He’s been doing this shit for so lengthened, gentleman. He’s seen people much worse than me. I’ve heard that out of his moue. He’s given me a couple of chances and this time I’m not going to let him refine.” Fuse Announces New Programs in Maturing: Vans Warped Tour Roadies, ’80s College Transmit, Bounce and More Jerry Clubb, who manages metal bands like Suicide Silence and Chimaira as well as the more melodic Memphis May Burning, was thrilled to have one of his clients be among the first two bands selected for the 2012 outing and chalks it up to persistence and consistency on the part of the band and their pitch camp. He credited Pantheon Operation, Merchnow and other partners alongside his company’s efforts with getting the band to where they were able to secure the Warped locality. “It’s been a long road with Memphis May Can,” Clubb said. “They are in the studio now making their sophomore record, which will be out on Rise Records in time for Warped. I’m excited to see what we’ll be able to do after building the power from Warped.”

Lil Wayne filming a Mountain Dew spot onstage at South by Southwest on Thursday round-the-clock (Pic: Karen Polished/@teamDEWeezy) AUSTIN — Lil Wayne was the headliner of one of the most anticipated concerts at this year’s SXSW, which came in the wake of last week’s announcement of his partnership with Mountain Dew. “DEWeezy” posters splattered across the streets of Austin, Texas since Monday helped garner a line of Weezy fans two blocks long on the night of the concert. How Mountain Dew Booked Lil Wayne for SXSW, DeWeezy Offensive Las workweek, Mountain Dew informally announced their partnership with the rapper. Wayne and Mountain dew are teaming up for a specialized programme, comprising advertising through out writing, TV and digital landscapes. Both also plan to build skate parks around the U.S., starting with Wayne’s hometown of New Orleans. See all of our Backbeats — Billboard.biz’s look behind the scenes of the music production — right hither As fans were ushered into Austin Music Hall at about 9 p.m. on Thursday stygian, whispers of Nicki Minaj and Drake appearances abounded in the VIP section of the venue. Unhappily, they were quickly silenced by a representative from Lil Wayne’s encampment, who said Drake is preparing for his European circuit, while Minaj is busy with her own ventures. Lil Wayne performing at South by Southwest on Thursday sunset (Pic: Daniel Boczarski/Getty Carbons copy) Representatives from Mountain Dew circled around tables of sipping journos from Revolution, Forbes, Grantland, Complex and more. A close source told Billboard that a deal with Nicki Minaj and a major brand is looming, rumored to be as big as the DEWeezy electioneer. See all of our SXSW 2012 coverage right hither Before Weezy hit the put on, Cortez Bryant, co-CEO of Wayne’s management company the Blueprint Party, played innkeeper, introducing opening acts, G-Eazy, Kevin Gates, Chris Richardson, Lil Chuckee and new YMCMB signing Mystikal. Billboard Faculty 100: Cortez Bryant & Gee Roberson Mystikal made his first concert appearance alongside the Young Money/Cash Money crew since being announced as a member of the team in November. In elation, the MC won over the herd, performing hits selfsame “Shake It Abstain” and dancing throughout his thwart, one time busting out moves from Michael Jackson’s “Thriller” dance number.¨At alongside 12:15 a.m., Weezy skateboarded out onto the stage while playing “I’m Goin In.” Three songs in and Weezy took a few minutes to have a one-on-one with his fans. Lil Wayne performing with Birdman at South by Southwest on Thursday nightfall (Pic: Daniel Boczarski/Getty Portraits) “If you get anything from me, it’s to find your name and do you now, ladies and gentlemen, that’s what I do,” Lil Wayne said. While holding up a bottle of Mountain Dew, Weezy told his fans that the night’s words of wisdom had been for a Mountain Dew commercial-grade, which was taped on the neighbourhood. Lil Wayne continued to dance around the the footlights, shirtless, performing a handful of his hits, from “A Milli” to “How to Disposition.” Throughout his sink, Weezy brought out Young Money members Mack Maine, Birdman, Shanell and Bow Wow. Most of the appearances weren’t a knock someone for six, as the DEWeezy launch concert was a billed YMCMB vitrine. Lil Weezy closed the night with “6 Foundation 7 Fundament,” bringing out featured guest Cory Gunz. In true Weezy contour, Mountain Dew skateboarders, including Paul Rodriguez, joined the rapper onstage before the curtains level. And after the musical, Wayne headed to a skatepark at 4 a.m. and didn’t get back until 11 a.m., according to Derek Jackson of Glu Force.

At Hill Country Barbeque Peddle, the down-home restaurant, and the showcase club Hill Country Last, in Manhattan’s Flatiron neighbourhood, fans come for the food as well as the music. Just ask film director Spike Lee who was dining at a front table Thursday tenebrosity. (Lee, it’s worth noting, steps in front of the camera in the interest of “Brooklyn Boheme,” the new Showtime documentary about the black arts scene that emerged in the `80s and `90s in Fort Greene, Brooklyn, directed by music writer and former Billboard R&B columnist Nelson George.) But fans walking past Lee’s table were heading downstairs to fill Hill Country’s music room for a performance by Chip Taylor, the songwriter best known for writing “Wild Apparatus,” a No. 1 hit for the Troggs in July 1966, and “Angel of the Wee hours,” which went top ten for Merilee Rush in 1968  and again for Juice Newton in 1981. Taylor need not pull out those calling cards to pull a swarm, but. Before taking the point, Taylor was greeted by Lincoln Schofield, director of Hill Country Survive, who has been turning that 26th Street venue into one the best Americana music clubs New York has seen since the heyday of the Lone Star Roadhouse. “This is the best Texas place you can get in New York,” declared Taylor. For this evening’s record release festivity, Schofield proudly wore a t-shirt festooned with the bold title of Taylor’s newest country-roots CD, “F**k All The Perfect Family.”  Taylor has filmed an alluring video of the title track with four-time Juno Award winning director Jeth Weinrich. For Taylor, the disc released on his own Train Wreck Records identification, is part of a remarkably prolific run for the singer/songwriter, his sixth album in four age. Those discs consist of “The New Bye & Bye” cut with longtime collaborator Carrie Rodriguez, and “Yonkers NY,” Taylor’s autobiographical album about the family he grew up with in a suburb north of New York. And what a family it was. Born James Wesley Voight, Taylor is the brother of noted volcano expert Barry Voight and Academy Award winning actor Jon Voight (which, of series, makes Taylor the uncle of Jon Voight’s girl, Angelina Jolie). Backed by a band that includes guitarist John Platania ( Van Morrison’s rhythm guitar on “Moondance”), Taylor offered a set that was both relaxed and compelling. Among the highlights was “Hey Jonny (Did You Feel That Talking picture)” recounting when he and brother Jon saw the 1955 shoot “Blackboard Jungle,” and watched teenagers jump into the aisles to dance to Billy Haley’s “(We’re Gonna) Rock Around The Time.” A skilled anecdotist, Taylor set up his show-closer with the tale of a friend from the `60s, a “horrendous” musician who called himself Jimmy James. Taylor recalled how the friend moved to England, found victory, and began closing shows with the Troggs’ “Wild Chore,” performing now under his given term, Jimi Hendrix.

Music tech gatherings abounded in Austin Tuesday evening as SXSW’s interactive conference over, and the music attendees arrived in greater numbers. Billboard.biz missed the SXSW Music Tech Meet-Up at the Belmont (sponsored by Songkick, MXP4, SoundCloud, Topspin Media, Virb and others) but hit up two others. Read All of Our SXSW Coverage Hither Over at RootMusic’s impressive BandPage HQ on East 7th High road, the Music Tech Mashup had an open bar and six hours of live music to lure a large herd. The bill featured Shinobi Ninja, Tyler Bryant & the Shakedown, Daedlelus and the Heartless Bastards, who provided the before all “holy shucks!” set of SXSW for Topspin Media CEO Ian Rogers. Billboard.biz chatted with a busy J. Sider (CEO, RootMusic), Chris Wiltsee (Director of Business Increment, RootMusic), a just-arrived-in-Austin Bryan Calhoun (VP, New Media, SoundExchange), Jeffrey Liebenson (Liebenson Law and prexy, International Association of Entertainment Lawyers) and Bryn Boughton (chief marketing peace officer, BlinkerActive). Read the Billboard.biz SXSW Blog Hither The three-stage saturnalia – and the entire RootMusic presence at this year’s SXSW – was a big leap forward from RootMusic’s low-budget guerilla marketing at SXSW 2010 when, according to Wiltsee, Sider took to the sidewalks of Austin and created BandPages for artists on the splodge. Bryn Boughton (Chief Marketing Tec, BlinkerActive) and Stefan Goldby (Executive Maker, Buzzine Networks) (Pic: Glenn Peoples) Earlier in the eventide, the 3rd Annual SXSW MusicTech Happy Hour at El Sol Y El Luna on elaborate 6th Street was a hive of pursuit. Among the people Billboard.biz ran into were Jeff Bronikowski (Head of Strategy and Corporate Develoopment, the Echo Roost), Bill Wilson (VP, Digital Strategy and Business Happening, NARM), David Krinsky (Music Business Development Coach, Android at Dmoz) and Ted Kartzman (Music Business Development Executive, Android at Yahoo). Sponsored the Rdio, the event featured some classy Rdio-branded beer cups (penitent, no pictures of the cup) and a lot of beer. (left to principled) AJ Magnuson (VP Consequence, FanBridge), Jeff Bronikowski (Head of Strategy and Corporate Develoopment, the Echo Retreat) (Picture: Glenn Peoples) (left to avenge) Dave Haynes (SoundCloud), Chris Mortimer (Overseer, CRM & Community, Interscope Records) and Noah Dinkin (co-founder and prexy, FanBridge) (Photograph: Glenn Peoples)

The owners of Grimey’s New and Pre-Loved Music, Doyle Davis (communistic) and Mike Grimes, take a quick break in the parking lot behind the store that services as a performance stage and retail interval. (Picture: Glenn Peoples) Buyers started forming a line outside Grimey’s New and Pre-Loved Music in Nashville at 6pm Friday eventide, co-owner Doyle Davis told Billboard.biz. By midnight the line was estimated at approximately 20 general public. It paid to show up inappropriate. There was a long line at Grimey’s well into the cocktail hour. Large crowds showed up for performances by JEFF the League (the duo performed as a five-chest assemble), PUJOL, Caitlin Rosebush, Langhorn Slim and many others. Inside the Cellar, the venue downstairs from Grimey’s, record buyers could take refuge from a surprisingly chilly day by getting a drink at the bar and watching movies such as “Brick and Mortar Darling,” a documentary about the late Louisville record store Ear X-Tacy, and the Andrew Bird concert documentary smokescreen “Fever Eld.” Record Store Prime: Fans Flock to Stores in NYC Area and Across the Orb Record Store Day was a “tremendous, huge star,” says co-owner Doyle Davis. “It was the biggest day we ever had. I wasn’t sure we would beat last yr, but we certainly did.” The store’s sales were up 42% over Record Store Age 2011, which had beaten the store’s previous sales record at near 72%. “We had strong, steady sales until the end of the period,” says Davis, adding that the following day’s sales were twice as good as a normal Sunday. Grimey’s sales fared well as regular customers prepared for the big prime. “We were having stout, strong days leading up to Record Store Time,” says Davis. “It’s usually extra slow leading up to Record Store Light of day.” Backbeat: A (Record Shop) Day in the Fixation: Origami Vinyl in Los Angeles Record buyers lined up outside the Third Man Records building in downtown Nashville, TN on Saturday’s Record Store Prime. (pic: Jo McCaughey) Long lines were the norm at Third Man Records in Nashville, too. General manager Ben Swank said Record Store Day was busy and “probably our most successful day financially to engagement” even though Third Man sold only its own vinyl releases and didn’t host any live performances. Yet, fans were lined up well into the afternoon to buy titles in either the physical store or Third Man’s yellow-and-black mobile record trust in. “But more significantly,” Swank continued, “it’s very exciting and fulfilling for us to create some brand new concepts and products such as the liquid filled record and a playable etched record and get those directly into fan’s hands and the public’s knowingness.” Third Man Records’ incredible liquid-filled vinyl information. This is a Record Store Day restrictive, limited-edition release of Jack White’s “Sixteen Saltines” 12-inch distinguished. (pic: Jo McCaughey) JEFF the Fraternity, Guitarist/singer Jake Orrall and drummer Jamin Orrall, were joined by guitarist William Tyler, keyboardist Loney Hutchins and bass player Joey Plunket for their Record Store Day scene. All five musicians played on the band’s cover of Hawkwind’s “Master of the Universe”  that’s on the third volume of United Record Pressing’s “Upstairs at Communal” series. (Photograph: Glenn Peoples) Record Store Day customers were able to line up to purchase vinyl from the physical Third Man store as well as the Third Man rolling record store parked out in the vanguard. (Picture: Jo McCaughey) Nashville-based PUJOL, whose latest release came out on the Saddle Creek impression, performs at Grimey’s. The store’s Record Store Day stage has hosted the likes of the Avett Brothers, Charlie Louvin and Mute Math on previous Record Store Years. (Picture: Glenn Peoples) JEFF the Brotherhood and the three friends who joined them for their Record Store Day performance at Grimey’s. The duo’s upcoming Warner Bros. deliver, slated for a summer emancipate, was recorded in Nashville with the Black Keys’ Dan Auerbach. From left to auspicious: Loney Hutchins, Joey Plunket, Jamin Orrall (JEFF the Set), Jake Orrall (JEFF the Order) and William Tyler. (Pic: Glenn Peoples)

Vevo and MTV have gotten back well-organized, signing a deal that allows MTV to license Vevo’s music videos again across all their websites after a dispute caused Vevo to pull their content off the television channel in 2010. The videos returned to MTV on Friday, according to CNet.com. UMG Pulls Music Videos From MTV Over Vevo Rumpus Vevo, which launched in December 2009 as a joint partnership between Sony Music Recreation, Universal Music Group and Abu Dhabi Media (with EMI signing on later without an ownership pike), has grown into the number one channel on YouTube, and also has its content licensed on AOL, RISK, CBS Interactive Music Group properties (such as last.fm and mp3.com), Facebook, Fuse.tv, and Univision, but the deal with MTV reunites the two companies most synonymous with music videos in one nail. MTV Nearing Deal to License Vevo Videos For MTV, which signed an exclusive deal with Warner Music Group in June 2010 to license and sell ads for its music videos, the deal means that the company now has licensing deals with all four major labels, a coup for a brand that began as the destination for music videos but whose standing in that regard has fallen in recent eld. Vevo: The Numbers Behind Two Years of Progress Vevo, in the meanwhile, seems to be expanding at a rapid walk, with their videos spreading across mobile platforms and gaming consoles (the company announced a deal in October that would put them on Xbox 360 consoles), and plans in the works to branch out into original scheduling, which CEO Rio Caraeff told Billboard.biz in December would be announced some time in the first quarter this yr. From its December 2009 launch through December 2011, the service saw its number of unique visitors double to 55.4 million per month, with the number of videos streamed per month nearing the 1 billion identification. Vevo In Talks With Facebook, May Leave YouTube (Broadcast) The company has also been in preliminary talks with Facebook to move its service to the social networking site after its deal with Google-owned YouTube expires next yr, though with so much time left on its contract, Vevo’s talks with Facebook are still in their very initially stages.

Target’s John Butcher with Emilio Estefan at the Billboard Latin Music Conference on Wednesday (Picture: Arnold Turner) Target Corporation has partnered with entertainment mogul Emilio Estefan in a new alliance that will allow Estefan to curate a Latin-themed entertainment group. The segment, titled “Emilio Estefan’s Picks,” will be featured in the Entertainment department of select Target stores beginning June 6, and will feature talkie, book and music selections that will rotate every six weeks. “It will feature whatever is inspiring Emilio at the time and whatever he finds culturally appropriate,” said John Slaughterer, vice president of Entertainment at Aim. Perhaps more significantly, added Botch, the partnership is innovative. “This marks the first time we’ve relinquished control to anyone else. That’s what’s so singular.” Restrictive: Gloria Estefan to Release New Album Via Target Partnership Estefan and Butcher spoke about the partnership publicly at the Billboard Latin Music Seminar, taking place at the JW Marriot Marquis hotel in Miami. Estefan, who has a longstanding relationship with Target and who negotiated major partnerships with the retailer for the release of Gloria Estefan’s Miss Little Havana and Natalia Jimenez’s eponymous premiere, among others, had been discussing with Butcher ways to bring the partnership to a new smooth. Billboard Latin Music Bull session & Awards: see all of our coverage hither “It took me 10 years to convince him,” laughed Estefan about the partnership. The new split, said Estefan, will not only carry new releases but also catalog titles, from Tony Bennet to Celia Cruz. As previously reported in Hoarding, in the past yr, Target has not only aggressively supported an increasing number of Latin releases, but the retailer has also substantially increased the space for Latin music in most of its stores and, in extension, moved Latin music from the back of the music department to the winning b open, closer to the main walk. “Our guests are voting,” said Butcher at the time.  “We support many genres of music, but our Latin business is growth.” Target’s regular Latin section will continue to exist in its stores, with Estefan’s section as a prominent joining.

cheer. becomes the first rock band in more than a decade to send a debut Billboard Burning 100 hit to No. 1, as “We Are Minor,” featuring Janelle Monae, ascends 3-1. Order Billboard’s Stride 10 Issue With Cover Stars festivity. The song spends a third week atop the Hot Digital Songs chart with 302,000 downloads sold (up 19%), according to Nielsen SoundScan. The track claims the Worsen 100′s Greatest Gainer/Airplay confer, as it bound 61-41 in its second week on Heat up 100 Airplay (30 meg, up 60%, according to Nielsen BDS). “Girlish” rises 3-2 on the Alternative radio airplay chart and roars in as the top debut on Mainstream Foremost 40 (No. 24) and Adult Principal 40 (No. 33). With its enthronization, diversion. becomes the first multi-member rock band to conquer the Dangerous 100 with its first entry on the chart since Nickelback arrived with its four-week No. 1 “How You Remind Me” in December 2001/January 2002. The song went on to become Billboard’s top title of 2002. (Electronic/alternative act Owl City ruled the Oversexed 100 with debut unmixed “Fireflies” in 2009, but the name served as an alias for its only fellow, Adam Youthful). Tyga, about., Chiddy Bang Aiming for Pinnacle 10 Debuts on Hoarding 200 Until this workweek, no rock group had led at all since Coldplay topped the June 28, 2008, Saleable 100 with “Viva La Vida.” The ascension of “Teenaged” also grants the 16-year-old Fueled By Ramen imprint its first Piping hot 100 No. 1 (The song is being promoted to radio by the Roadrunner Promotion marker). Fueled By Ramen had previously risen as high as No. 2 with Fall Out Boy’s “This Ain’t a Place, It’s an Arms Get a wiggle on” in 2007. Since Chevrolet’s Sonic ad featuring “Under age” aired during the Super Bowl on February. 5, “Teenaged” has exploded at radio and ret. In the four full sales weeks following its massive TV peril, the song has sold 1.1 million downloads, or 77% of its totality (1.5 meg) dating to its September digital publish. How as a lark.’s ‘We Are Adolescent’ Scored Chevy’s ‘Stunt Hymn’ Super Bowl Situation Adding to the song’s clean up, the “Mirthfulness” cast’s cover of “Brood” has sold 360,000 downloads since the Fox TV troupe performed the song on the series’ December. 6 part. “Under age” pushes Kelly Clarkson’s “Stronger (What Doesn’t Kill You)” consume 1-2 after three non-consecutive weeks at the Randy 100′s crown. “Stronger” slips 2-3 on Hot Digital Songs (197,000, consume 18%), although it pushes 3-2 on Enthusiastic 100 Airplay (116 zillion, up 7%). The song becomes Clarkson’s fourth No. 1 on Adult Replenish 40 (2-1). Adele’s former two-week No. 1 “Set Fire to the Rainstorm” drops 2-3 on the Dazzling 100, while the Wanted’s “Glad You Came” rises 5-4. “Happy” climbs courtesy of a 3-2 advance on Hot Digital Songs (206,000, up 10%) and a 22-17 jump on Impetuous 100 Airplay (55 meg, up 23%). The boy band’s debut single lifts 10-9 on Mainstream Surmount fill up 40. Kelly Clarkson Drives ‘Stronger’ to Violent 100 Elevation After Katy Perry’s “Part of Me” launched at No. 1 on the Red-hot 100 two weeks gone, the lead single from her Teenage Dream deluxe version, The Complete Sweet (due Marching 27), slides 4-5. On Hot Digital Songs, “Neck of the woods” descends 4-7 (142,000, polish 55%). Radio support continues to increase, howsoever, as “Cause” powers 19-14 on Charged 100 Airplay (58 trillion, up 16%). Nicki Minaj’s “Starships” rockets 10-6 in its third week on the Frying 100 (after debuting at No. 9 two weeks since). The track flies 7-4 on Hot Digital Songs (161,000, up 4%) and 49-38 on Latest 100 Airplay (33 zillion, up 28%). Snoop Dogg and Wiz Khalifa’s “Unsophisticated, Unconventional & Independent,” featuring Bruno Mars, rises 9-7 on the Heighten 100, leapfrogging David Guetta’s “Turn Me On,” featuring Minaj (8-8). cheer. isn’t the only alternative act enjoying Earnest 100 success on its first try out, as Gotye (aka, Wally De Punter) soars 16-9 with “Somebody That I Used to Separate,” featuring Kimbra. The vocal, which has topped 15 surveys on Billboard’s international charts menu, pushes 8-5 on Hot Digital Songs (148,000, up 11%) and 56-50 on Libidinous 100 Airplay (26 trillion, up 15%). “Hot stuff” leads Alternative for a third workweek. Rihanna’s quondam 10-week No. 1 “We Found Be thrilled by,” featuring Calvin Harris, rounds out the Fiery 100′s outstrip 10, falling 6-10. Harris’s first solo Anxious 100 detect, “Feel So Proximate,” lag, jumps into the chart’s outdo 40 (46-34). Check billboard.biz tomorrow (Pace 8), when all rankings, including the Dazzling 100, Hot Digital Songs and Increase 100 Airplay charts, will be fresh, as they are each Thursday.

NASHVILLE, Tenn. – Music City cleaned up at the Grammys. Its artists have topped the charts in multiple genres over the last few age. It’s increasingly the destination for A-list entertainers looking for a new untroubled b in. And Rolling Stone recently named it 2011′s “best music site.” Nashville is scorching, no have reservations. There are those who think it could be even hotter. Mayor Karl Dean wants to capitalize on this recent momentum with the Nashville Music Meeting, a 60-member group that draws together the music community, city leaders and business interests to find ways to leverage Nashville’s unique position as an all-purpose hub that’s home to more than just country music. Though it seems like an obvious partnership, rarely have city leaders and the music industry joined together in such a concerted character. Tim DuBois, who’s been in Music City wellnigh 35 years as a songwriter, record label head and now as leader of the performing rights organization ASCAP’s Nashville task, has heard talk of a partnership over the decades, but never seen anything come of it. “It’s a pretty powerful group and you can feel the energy in the haughtiness,” DuBois said. “You can see the things happening with the definite result of moving this thing audacious. That’s real disparate. That’s not tattle, it’s working.” More musicians and music industry types live here than in any other city in the provinces, except Los Angeles and New York. That group along with a wide-ranging variety of support businesses, from tour buses to concert video screen rentals, generates in the matter of $6 billion a year in the area and 54,000 jobs, Belmont University research shows. There are more 80 record labels, 100 live music venues, including the iconic Ryman Auditorium, 130 music publishers and 180 recording studios. When Tim McGraw brings his buddies from L.A. and New York to townsfolk, he always gets the same counteraction. “Everybody they hear they think is a lead,” McGraw said. “You can go down to the corner and listen to a guy who is the best singer you’ve ever heard and you can’t believe he’s standing there with his case open on the recess.” But leaders want to make the music scene flourish even more. The music council has invested hundreds of thousands of dollars so far in creating partnerships in key areas of music technology advancement, making the city more inviting for entertainment-oriented businesses and musicians like, and soon has plans to expose every child in Nashville schools to music lesson – something that has largely lost its cultural value over the eld. That’s in addition to the millions in advertising and promotion meant to keep Music City ahead of a pack of ambitious competitors like Austin, which bills itself as the “Live Music Capital of the Life,” and Seattle, now trying to make the “City of Music” tag bulge. The city also is helping finance a original 200,000 square-foot wing of the Country Music Hall of Fame and Museum as part of a convention center stick out. “Nashville’s best days are still ahead of it, and that is very clear when you look at this music manufacture,” Dean said. “It’s taking off hither; it’s getting increasingly interesting and increasingly composite.” While country music remains the big dog in township, the city’s sound is much more colorful than it was 20 years gone. Jack Silver, Kings of Leon, The Black Keys, Ke$ha and country crossovers Lady Antebellum and Taylor Swift now share the spotlight and there are vibrant Christian and certainty, rotten, report, folk and roots music scenes. Fair-skinned, a transplant from Detroit and music council member who Karl recently gave the first Music City Ambassador Presentation, saw the possibilities Nashville presented when he came to town to record with Loretta Lynn. He moved his family and his business here a short time proximate. “It’s definitely very encouraging and supportive because the environment that any artist is in starts to dictate the creativity of the artist and the output of the artist. So if the environment is supportive it can be very helpful to the creativity,” White said, before comparing it in some ways to European nations where the arts and artists are fostered and supported through government benefit. “Obviously in this town you can see from the mayor’s office on down that they’re very supportive and interested in the idea of Nashville’s musical polish.” In the elapsed, artists like White came to Nashville despite the indifference of city leadership. The music council would like to make it easier for artists to settle in Music City rather than other hubs. The council has set up an all-inclusive resource website and has launched live music app on iTunes with an Android version to come later this summertime. The council is even building artist container. Music council member Emmylou Harris feels the group is making the city even more beguiling. “It’s still a place for songwriters to crop up b grow, but make it a friendlier village,” she said. “I’m excited about the idea of more venues and obviously the music education I think is really noted. We really need to make this better than it is.” The initiative goes beyond making Nashville more friendly for the average player. The music council recently partnered with the Nashville Entrepreneur Centerfield, a tech business incubator run by Vanderbilt professor Michael Burcham. The council will pair music industry leaders like DuBois, former Sony Music Nashville chairman Joe Galante and tech business pioneers Tawn Albright and Mark Montgomery. “I’ve been hired by other cities to look at what they do, but I don’t see any other city that has the commitment of the bedchamber, the commitment of the convention and visitors dresser, the mayor and the public at large putting their money where their mouth is,” said Montgomery, who built one of the first direct to consumer digital services. “It took us a little while and it took a little arm whirl, but I feel like we’re moving in the right course.” AP writer Caitlin R. King in Nashville contributed to this publicize.

The Paul Williams documentary will receive a theatrical release in June from Abramorama, the company that distributed “Pearl Jam Xx,” “Incus!” and “Neil Young Trunk Sight,” director Stephen Kessler said Monday. Kessler’s warm and agreeable “Paul Williams Still Bustling” had its world premiere at the Toronto Film Festival in September and is screening at SXSW. Unique in its arrangement, the film becomes a buddy movie as filmmaker and subject learn how to deal with one another as each attempts to impose their will on the over-the-counter. Along the in the works, Kessler shifts his initial focus from a fan hoping to document Williams the songwriter to an artist having a relationship with another artist whose later chapter in life is different than the earlier ones, but just as gainful. Paul Williams Still Humming – Rough Poke – Higher Resolution from Paul Williams Fanatic on Vimeo. “I started out to make a film for people who didn’t know who Paul Williams was because I felt Paul Williams’ music shouldn’t get mislaid,” Kessler tells Hoarding. “As I got to know him,  the story of who he became over the course of his life was an even bigger story than the preservation of his music. I needed to do both at the same sometimes. I started with  ‘hey do you know this guy who wrote the greatest song ever about gloominess?’ (“Rainy Days and Mondays”). But it turned into something much larger. I think that’s what makes this a movie-going experience as opposed to a (TV) objective.” Check Out All Our SXSW Coverage Right Hither Williams, an Oscar and Grammy title-holder, was recently elected to his second term as president of ASCAP and on Thursday he will wassail 22 years of seriousness. In addition to lobbying for the rights of songwriters and copyright owners, he is also a respected speaker on substance abuse reclamation. Kessler opts to show himself attempting to get Williams to accept him as a filmmaker while intermittently telling the Williams story that kicks into high gear when he pens hits for the Carpenters, Three Dog Evensong, Barbra Streisand and Helen Reddy before launching a solo career that hits a high with “Rainbow Tie” and “The Muppets.” His life becomes one of celebrity rather than of a song craftsman as he makes the rounds on “The Tonight Outshine,” “Match Line of work,” “Gong Usher” and others, plunging deep into inebriation. SXSW Vapour: ‘Sunset Do a striptease’ Screens; a Flaming Lip Heaps; Goh Nakamura Performs “So much of this film is what usually winds up on the cutting room base,” Williams says. “It’s the process of building this relationship.” After his initial sprout, Kessler assembled a 20-minute reel to show to friends the direction of his flick. They quickly shot it consume, telling him that he needed to become a character in the film because he was the crazy fan following Williams around when no one else was. Kessler winds up accompanying Williams to the Philippines, Las Vegas, San Francisco and even an old storage unit to make his own joining. “Once I started putting that in, I found that the best way to illuminate who Paul is now was by using me as a counterpoint and see how he accepts me into his human being, which says a lot about who he is,” Kessler says. Minnie Driver Marries David Bowie, Shakespeare in Marc Evans’ ‘Hunky Rowboat’ “I feel like I intuitively had a feeling about where he might go because I was so familiar with his lyrics. Paul’s lyrics were very upfront. When you work with an comedian, all you’ve ever seen of the actor before you meet him is the facade and the characters. Working with a songwriter, you’ve seen inside them already. That’s one reason I thought that (sheet) could potentially be a good tenet.” In the obscure, Williams is shown doing a fair amount of slapstick comedy on television in the 1970s. Defending some of his choices, Williams speculates that it is possible that a more serious songwriter such as Paul Simon could have possibly wanted to be more like him – a bit goofier and happy-go-lucky — rather than the other way around. The film ends with Williams singing a new long story, “Still Breathing,” over the start of the credits. At Sunday’s viewing, a long stretch of silence followed the conclusion of his new song and Williams found a way to break the edginess: He started telling “Bridge Over Troubled Water.” The viewers roared.

Lionel Richie’s “Tuskegee” album rises to No. 1 on the Hoarding 200 in its third week on the draft, selling 129,000 copies, according to Nielsen SoundScan (up 35%). The set jumps three slots this workweek, easily overtaking Adele’s “21″ (holding at No. 2 with 92,000; pile 40%). “Tuskegee” is the R&B and pop icon’s third No. 1 album, and his first since 1986′s “Dancing on the Cap” spent two weeks in the penthouse. Though it seemed, at least late last workweek, that Adele’s “21″ was going to come out on peak, Richie’s sales surged during the weekend, thanks to last Friday’s (April 13) CBS unorthodox “ACM Presents: Lionel Richie & Friends together.” The all-star special earned 7.7 million viewers, according to Nielsen, and was the most-watched show of the gloom. The show was taped at the MGM Grand Garden Arena in Las Vegas on Monday, April 2 — the day after the Academy of Country Music Awards aired live from the same venue. The academy traditionally records a special the day after its awards be being presented, ensuring that a lot of talent is on hand for result. “Richie & Brothers” ensues 2011′s “Girls’ Night Discernible: Superstar Women of Power,” 2010′s “Brooks & Dunn — The Last Rodeo” and 2009′s “George Difficult: ACM Artist of the Decade All-Star Concert.” It’s not common for albums to actually climb up the chart and reach No. 1. Most of the time, albums that get to No. 1 do so by debuting thither. “Tuskegee” bowed at No. 2 on the Hoarding 200 three weeks ago with 199,000 — Richie’s best sales week since SoundScan began tracking sales in 1991. He was lodged behind the also-debuting “MDNA” by Madonna, which topped the list that week with 359,000. Last workweek, “Tuskegee” fell from No. 2 to No. 4 with 95,000 (refine 52%). The last album to rise to No. 1 was Michael Buble’s “Christmas,” which debuted at No. 3 on the November. 12, 2011, tally and then hit No. 1 in its fifth workweek (December. 10). Before that, the last to take the slow route to the top was Nicki Minaj’s “Pink Friday” on February. 19, 2011. It hit the top in its 11th week on the slope, after debuting at No. 2 on December. 11, 2010. Speaking of Minaj, her “Pink Friday: Roman Reloaded,” falls from No. 1 to No. 3 this week with an unsurprising 68% set (81,000). It’s one of three acme 10 arrivals from last week that drop by the wonted 60-plus percent in their second fabric. Rascal Flatts’ “Changed” descends 3-9 with 41,000 (consume 68%), and Marvin Sapp’s “I Acquire” collapses 9-23 with 15,000 (polish 66%). The highest debut on the Hoarding 200 this week is Monica’s “New Fixation,” which starts at No. 4 with 69,000. It’s her fifth straight crop 10 devise. All of her releases, save for her 1995 introduction, “Miss Thang,” have reached the upper course. She hit No. 1 in the twinkling of an eye, with 2003′s “After the Cloudburst.” One Direction’s “Up All Stygian” holds steady at No. 5 with 66,000 (polish 28%) while Bonnie Raitt makes an eye-popping debut at No. 6 with “Wash,” selling 64,000. It’s the veteran singer/songwriter’s highest-charting album and best sales week in nearly two decades. She hasn’t been in the peerless 10 since 1994, when “Longing in Their Hearts” spent seven weeks in the zone, peaking at No. 1 on April 16. “Hearts” also posted her last largest sales build. Each of its first five weeks on the tally all cleared more 66,000 copies. (It debuted at No. 2 with 148,000, then reached No. 1 its second week with 146,000.) Gotye’s “Making Mirrors” returns to the foremost 10, quick 15-7 with 54,000 (up 111%) in the wake of the artist’s performance on NBC’s “Saturday Night Obey” (April 14) and “Glee’s” cover of his achieve “Somebody That I Used to Discern” (April 10). This is also the best sales week yet for the album, coming one week after it lodged its highest figure mood (26,000). On the Digital Songs plot, “Somebody That I Used to Realize” jumps 2-1 with 542,000 downloads — its first week at No. 1 and the fourth-best sales week ever for a digital prevarication. It’s also the best sales week of the yr, surpassing the arrival of Justin Bieber’s “Swain” (521,000). Back on the Hoarding 200, Alabama Shakes’ “Boys & Girls” rises 16-8 with 43,000 (up 72%) after the physical and wide release of the album. It debuted last week as an iTunes-stylish. Rounding out the head 10 is rapper and singer/songwriter Hoodie Allen, whose debut EP, “All American,” bows at No. 10 with 28,000. The former Google hand (born Steven Markowitz) released the trace “You Are Not a Cat’s-paw” in the summer of 2010 and quickly found viral easy street. His mixtape “Pep Round up” soon followed, as did another, “Leap Yr.” Over on the Digital Songs design, nonsense.’s “We Are Junior” (featuring Janelle Monae) slips one rung to No. 2 with 333,000 (fine-tune 15%) while One Direction’s “What Makes You Unequalled” rises 4-3 with 267,000 (pile 9%). Bieber’s “Swain” waterfall 3-4 (255,000; polish 14%), Carly Rae Jepsen’s “Call Me Peradventure” is up 6-5 (227,000; up 5%), and Minaj’s “Starships” slips 5-6 (204,000; fine-tune 12%). Flo Rida’s “Wild Ones” (featuring Sia) is up 8-7 (187,000; consume 6%), the Wanted’s “Glad You Came” waterfall 7-8 (181,000; polish 14%), and “Tender-heartedness” by Kanye West, Big Sean, Pusha T & 2 Chainz rises 15-9 (154,000; up 32%). Closing out the topmost 10 is a new entry from the Glee Casting, with its cover of Gotye’s “Somebody That I Used to Apprehend” at No. 10 (152,000). Overall album sales in this past chart workweek (ending April 15) totaled 5.6 million units, consume 12% compared with the sum last workweek (6.4 trillion) and polish 11% compared with the comparable sales week of 2011 (6.3 meg). Year-to-date album sales stand at 89.8 trillion, down less than 1% compared with the same total at this point last yr (90 trillion). Digital track sales this past week totaled 26.2 million downloads, pile 10% compared with last workweek (29.1 trillion) and up 9% stacked next to the comparable week of 2011 (24.1 meg). Year-to-date track sales are at 416.7 zillion, up 8% compared with the same total at this point last yr (386.4 trillion). Next week’s Hoarding 200 competes with the same week in 2011 when: Adele’s “21″ jumped back to No. 1 with 153,000 (up 65%) patch “Mirthfulness, the Music Presents: The Warblers” debuted at No. 2 with 86,000. The previous week’s No. 1, Foo Fighters’ “Wasting Witty,” fell to No. 3 with 72,000 (pile 69%).

Diddy is 2012′s top-earning hip-hop hotshot, according to Forbes. The artist born Sean Combs is good $550 trillion, according to the arsenal, which includes his stakes in Ciroc Vodka, Sean John and Enyce clothing, Blue Flame marketing and his mark, Bad Boy Records. The entrepreneurial musician could reach new financial heights next year with the launch of his own cable way, Mutiny. He’s followed by Jay-Z, at $460 trillion — which includes earnings from the “Watch the Toilet” tour in addition to his Live Nation deal and business holdings including the New Jersey Nets and his 40/40 Club secure, among others. The rest of the top five includes Dr. Dre ($270 meg), Birdman ($125 meg) and 50 Centime ($110 meg). Dr. Dre’s worth has doubled in the last year thanks to the sale of Beats Electronics, the producers of the popular Beats by Dre headphones song. HTC bought 51% of the company in August as regards $300 zillion, with the recent Coachella headliner reportedly taking home $85 million abaft taxes.

Gloria Estefan will receive recognition for her philanthropic work and Emmanuel will be given a career achievement honor at the 2011 Billboard Latin Music Awards in Miami on April 28. Premios Hoarding, airing at 8 p.m./7 p.m Central live on Telemundo from BankUnited Center in Miami, will include an appearance by Estefan, whose philanthropic work is being honored with the Billboard Spirit of Hope Assign. Also scheduled to appear is Emmanuel, who will receive the Billboard Lifetime Achievement Award for a career that spans three decades. The Spirit of Hope Trophy, created in honor of Selena, is given to artists who have tirelessly given their time to civil, community and humanitarian causes. Estefan is known for her music across the globe and her philanthropic stamp also stands tall through her Gloria Estefan Foundation and many other projects she has personally taken on. The foundation helps abused children, raises funds for their health-related causes and provides scholarships to college students. Emmanuel was observed 35 years ago as “La voz del Heraldo,” or “The voice of the Precursor.”  Since soon after, the singer-songwriter has become internationally renowned for a career that will be honored with the Billboard Lifetime Achievement Trophy. The crooner was mentored early in his career by tenor Pedro Vargas. Emmanuel went on to record music that for more than three decades has continued to make new fans. His success also opened the doors for other Latin music acts, as he was the first international Latino music artist to have his own concerts in the United States at such places as New York’s Radio City Music Vestibule, Caesars Palace in Las Vegas and the the Greek Theatre in Los Angeles. Over the eld, Emmanuel has received recognition for his work in music including La Voz del Heraldo in 1976, best singer and new artist at Festival OTI, 1979; one Silver prize (Antorcha de Plata) at Viña del Disfigure, Chile in 1983 and two in 1989; and seven gold and two platinum albums. He has also lent support and provided awareness and fundraising projects that benefit the environment and other causes. Winners of the Billboard Spirit of Hope Award and the Billboard Lifetime Achievement Award are decided by an editorial cabinet, which bases its decisions on virtues related to that specific furnish. Previous Billboard Spirit of Hope Award honorees include Marc Anthony, Daddy Yankee, Shakira, Juan Luis Guerra, Mana, El Mongrel, Ricky Martin, Olga Tañon, Soraya, Ricardo Montaner and Juanes. Previous Billboard Lifetime Achievement Award recipients include Los Temerarios, Vicente Fernandez, Celia Cruz, Joan Sebastian, Marco Antonio Solis, Miguel Bose, Conjunto Primavera and Carlos Santana. The awards show can be accessed through www.Telemundo.com/PremiosBillboard, the official site of the 2011 Billboard Latin Music Awards Presented by State Farm for the latest information and details of this impressive occasion. Fans can also follow the event on Twitter: @LatinBillboards and on Facebook: Facebook.com/PremiosBillboardTelemundo. Head here for more information about the Billboard Latin Music Conference and Awards, taking get ahead in Miami April 26-28.

Jay Z rocking the mic and the crowd at Austin City Limits on Monday dusk (Photograph: Brandon Fuller) Jay-Z’s concert at Austin City Limits on Monday night was one of the most hotly anticipated events of the entire South by Southwest colloquy, and even with literally hundreds of other events going on, the scene backstage and elsewhere at the show left little doubt that it was The Place To Be in Austin. Jay-Z Rocks SXSWi With Hit-Heavy Concert The audience for the manifest – officially titled the Amex Sync Show Presenting Jay-Z, for which we hear the company spent well into seven figures — was largely made up of American Express users who won tickets to see Hova in an cosy (2,700-capacity)  venue, but there were also detective, media and of course music-biz celebs in the household. See all of our Backbeats — Billboard.biz’s behind-the-scenes look at the music issue — right hither New York Times editor Jill Abramson was there with her son, Cantora Records co-founder Will Griggs; Foursquare’s Dennis Crowley and Tristan Walker and members of the team from hotly tipped photo-editing startup Aviary mingled at pre-show reception before rocking not on. Also in the house were Roc Nation’s John Meneilly and Dorothy Hui, PepsiCo’s Richie Cruz, Universal’s Jon Vanhala, Facebook’s Ime Archibong (who knew just about every intelligence, and not only the hits), Madison Square Garden Entertainment’s Shannon Fitzgerald and Katie Talent, Fuse’s Liana Huth and Joe Marchese, Virgin Management’s Christine Choi, Twitter’s Ryan Sarver, Momentum’s Joe Killian, Bowery Presents’ Jason Ross. See all of our SXSW 2012 coverage right hither Amid the usual SXSW gossip, people were talking about the controversial homeless hotspots and who could possibly be a guest at the manifestation. While Jay’s appearance at SXSW last year came during Kanye West’s guest-fest, there were no surprise performers hither — although Jay did shout out Mike Shinoda of Linkin Park from the produce. From left:  Facebook’s Ime Archibong with Universal’s Jon Vanhala (Picture: Bill Werde) Watching the Toilet: Jay Z, being photographed by hundreds at Austin City Limits. (Picture: Brandon Fuller) Will Griggs, co-founder of Cantora Records, poses with Alisa Simon-Gould, founder of the fashion app Profess to be, at the Jay-Z reception.  (Photo Courtney Harding) Aviary’s Alex Taub (unexpended) and Michael Gilpert (Picture: Courtney Harding) Jay-Z onstage  (Picture: Brandon Fuller)

Universal Music Group today announced that Rand Levin would be assuming the role of senior vice prexy, business and legal affairs for UMG. Levin will be reporting to executive vice president and general counsel Jeffrey Harleston. “Ever since he joined UMG, Rand has consistently demonstrated leadership and real commitment to handling a variety of legal issues and putting the experience that he has gained throughout his career to our emoluments,” said Harleston in a annunciation. “His outstanding contributions and support of our work in areas such as artist agreements and acquisitions make him an excellent addition to our corporate legal group.” Zach Horowitz Appointed Chairman/CEO of Universal Music Publishing Team Levin makes the step up from his previous position as SVP, business and legal affairs for both Motown Universal Records Group and Island Def Jam Records Class. In his new postulate, he will play a role in the negotiation and drafting of industry contracts and corporate agreements, including content acquisitions. Universal is currently negotiating the acquisition of EMI’s recorded music, which would give it a 40 percent market share in the U.S. While working with Motown and Island Def Stop up, Levin was dealing with the structuring of recording contracts, label-specific deals and ventures, manufacturing and distribution contracts, and software and media deals, as well as cultivating relationships with Cash Money and Lava Records, and helping to launch NBC’s “The Give utterance.” Universal Music’s EMI Acquisition Supported by SAG-AFTRA, AFM “This continues to be a time of great change and opportunity within our trade,” said Levin in the report. “I have been very fortunate throughout my career to have worked with some of the most talented executives in the industry. I’m looking forward to continuing my career at UMG and taking on these untrodden challenges.”

Warner Music Group today announced that two key employees would receive promotions in an effort to strengthen its recorded music arm and digital development in Europe, the Middle East and Africa. Warner Music’s Digital Distribution Going to Sony DADC: Sources Leanne Sharman has been promoted to Vice Prexy & Managing Director for Digital Plan & Business Development in Europe, the Middle East and Africa, and Jacob Key has been promoted to Vice Prexy, Digital Design & Business Development in Europe. Warner Music Group Spent Deficient, Revenue Remained Flat in Holiday District The two appointments will serve to bolster the recorded music division in an area the company sees as crucial to future digital improvement. “Europe has been leading the development of several of the most important new growth areas in the industry’s digital phylogenesis,” said Executive Vice Prexy, Digital Game & Business Development Stephen Bryan in a affirmation. “These promotions not only solidify our European digital business development together, but also ensure that the expertise we have in the region is informing our broader global master plan.” Picture: Edgar Bronfman Jr. Says Warner Music Will Fight Universal-EMI Unification ‘Tooth and Unfeeling be accurate’ Sharman, based out of London, will be tasked with developing digital business with both new and veteran companies in her spheres and helping to push forward the company’s digital scheme, while Explication, based in Stockholm, Sweden, will be tasked with expanding and accelerating Warner’s subscription partnerships and telco bundle deals throughout Europe, as he had previously done as Vice Prexy, Commercial Plan & Business Development, Nordic since 2011. Google Music an ‘Oxymoron’ Says Outgoing Warner Music Group Chairman Edgar Bronfman, Jr. Both Sharman and Key have had previous experience in the digital and mobile realms before moving to Warner, with Sharman holding executive-level positions with Napster UK, MP3.com Europe, and Fox Kids Europe, and Key having served as founder and CEO of Globalmouth forward of signing on to Warner in 2005.

From from their buzzed-about appearances at SXSW, British band Dry the River (@DryTheRiver) made their second appearance at the Bowery Ballroom on Adjoin 23. After creating a buzz in the UK playing festivals like Glastonbury, Green Darbies, and Reading and Leeds, the group hopes to win over crowds in the States with their new album “Shallow Bed” which will be officially released in the US on April 17. The quintet is comprised of guitarist Matt Taylor, violinist Will Harvey, bassist Scott Miller, drummer Jon Warren and lead vocalist/guitarist Peter Liddle. Shaggy haired Liddle stood before the crowd barefoot in acid wash skinny jeans and a loose fitting AC/DC shirt. Despite being the frontman, Liddle didn’t say much during the concert; Miller played MC for the evensong, occasionally wiping his can of Tecate beer across his sweaty forehead. Miller said about Liddle, “He’s the resident maestro. Every band needs inseparable.” studied anthropology and even began attending medical school before succumbing to music. His academic background  makes appearances in lyrics selfsame “Fortune hangs around us like a funerary lei/ I was down in the heart of the argument” in their vocal “The Chambers and the Valves.” During their lay out, the band opened with fast-paced rock songs consonant ‘Valves’ and transitioned into more indie tunes reminiscent of Fleet Foxes. However eyes were glued to the band during their doo-wop moments when Liddle, Taylor and Harvey sang harmonies. Liddle’s fragile voice similar to Anthony Hegarty of Anthony and the Johnsons won over the crowd during these heartfelt numbers corresponding ” ,” possibly the best performance of the upon.

Julia Savoca has been named the Senior Vice President of Sales at Epic Records tod, in another executive-level announcement for the L.A. Reid-helmed record earmark. In the past month without equal, Epic has announced the hirings of Mark Shimmel as COO, Lynn Hazan as General Manager/CFO, and Benny Pough as Executive Vice Prexy, Urban Music, as well as announcing that Sylvia Rhone would be operating a new record label through Epos. In her new capacity, Savoca will be leading Epic’s sales initiatives and catalog victimisation, as well as expanding the label’s business intiatives and managing relationships with retail partners alongside Sony Music’s sales team, working closely with Hazan and reporting to Executive Vice President of Sales and Distribution for Sony Darren Stupak. Savoca has worked for BMG, Jive Records and most recently served as Vice President of Sales for RCA Records in Inexperienced York.

Spotify and Coca-Cola are teaming up for a global partnership that will include a Spotify app, a Facebook integration and a 2013 marketing manoeuvres, among other elements. “This is the beginning of something we both feel will be incredibly long-course,” Spotify founder and CEO Daniel Ek tells Hoarding. The partnership was announced in a press conference following Ek’s keynote speech at Ad Age’s Digital Conference in New York, where Spotify was also expected to announce a new app. Coca-Cola’s Emmanuel Seuge, Billboard’s Most Powerful Branding Exec, On Music Biz @MIDEM Under the new understanding, Spotify will become the exclusive music technology partner for Coca-Cola Music, a global initiative introduced in 2011 as a way for the beverage company to create music programs during the “odd age” in between its sponsorship of the FIFA World Cup and the Olympics. Spotify is also the exclusive music technology partner for Coke’s Timeline on Facebook, where it’s the most-followed brand with through 40 million fans. A brand-new Spotify app, sponsored by Coke and developed at a New York City hacker den this past weekend, is expected to debut in the coming weeks as part of Coke’s Olympics marketing efforts. Mark Ronson’s “Move To The Exhausted” will the official anthem of Coke’s 2012 Olympics safari, and is currently being adapted for dozens of territories for this year’s rite. Spotify Play Button Launches, Aims For Ubiquity “Coke enables experiences with an artist that would never happen way, and we look at Spotify like that,” says Joe Belliotti, Coca-Cola’s director of global entertainment merchandising. “We can do things they could never do with any other sharer.” One thing the partnership is not, in spite of that, is a category-exclusive sponsorship. While Coca-Cola will power its forthcoming app and buy advertising on the Spotify policy, it will not be the only drinkable. Spotify, which introduced Brand Apps last Friday with partners like McDonald’s and AT&T, has already partnered with Coke rival PepsiCo to develop apps for brands like Mountain Dew and Doritos. Spotify Unleashes ‘History of Music’ on Facebook Timeline “Spotify is a party line, and platforms are meant to be ubiquitous,” says Jeff Levick, Spotify’s chief marketing solutions cop. “We realized there were bigger things we could do together than just media and build-up. This is creating global scale well-balanced.” The partnership is also expected to include on-pack promotions with key Coca-Cola products as well as My Coke Rewards, offering free trial codes for Spotify to help boost new-user trials. Such promotions could further boost Spotify’s presence in the U.S. since it launched with Facebook late last summertime. A recent report from the New York Post pegged the music service’s U.S. footprint at 3 million users and 600,000 paid subscribers, the latter figure of which was later confirmed by Billboard.biz to be reached this month. Ek says he’s “very cock-a-hoop” with Spotify’s subscriber conversion and reach in the U.S., and hopes to add global features like a click-to-buy option for songs in the near futurity. “Evaluating and clearing publishing rights is more complex [in the States] than it is in Europe. We want people to have the opportunity to consume as much music in as many ways as adventitious. If they want to purchase a song of course they should be able to do that.” 10 Cool Things on Spotify’s ‘History of Music’ Timeline This is not the first time a beverage company has teamed with a music service for a major marketing deed. Pepsi partnered with Apple for a 2004 campaign to give off 100 million free songs on iTunes via codes on Pepsi, Diet Pepsi and Sierra Mist bottles. After months of delays in getting the bottles to hawk, redemptions of the songs fell dozens of millions short of the initial present.

What If Facebook And Vevo Really Did Get Unitedly? Facebook and Vevo are reported to be in early talks to move Vevo’s catalog of popular music videos and original programming after its deal with YouTube expires in about a yr. Whether or not Vevo takes its highly valued videos to Facebook is anybody’s feeling, but the scenario involves a handful of interesting factors. How much is Vevo worth to Facebook? What terms will Facebook offer Vevo? And will Facebook provide the traffic artists, labels and publishers have become used to from YouTube? We don’t know the exact value Facebook can place on a Vevo hand, but a very unprocessed (emphasizing both “greatly” and “approximate”) estimate is advisable. Vevo had beside 717 million streams in January, according to comScore. With the generous assumption that Vevo got a $25/CPM (the low end of the CPM roam, according to Vevo’s public statements) on all videos and all videos were supported by build-up, Vevo’s videos generated a maximum of $17.9 million in advertising revenue in January. YouTube accounts for connected with 90% of Vevo’s views, according to statements in the past by CEO Rio Caraeff (that may have changed over the years as syndication partners have been added). The remainder of views come from Vevo properties and syndication partners. But, for this prototype, let’s stick with that 90% figure and conclude that views at YouTube accounted for maladroitly $16.1 million of Vevo’s $17.9 million of revenue in January. Business Matters: Vevo Tightens Facebook Partnership, Kim Dotcom Rails Against Copyright Law Assuming Facebook takes the 30% share of revenue it takes for Facebook Credits transactions, its share of Vevo’s January advertising revenue would have back number $4.8 meg, or $58.1 million at an annualized scold. Over a four-year act on, and at a static determine, Vevo would be merit $232 million in take. Vevo views roughly doubled in 2011, so let’s figure growth in a Facebook deal would slow to 80% in yr 1, 60% in yr 2, 40% in yr 3 and 20% in yr 4. In that framework, Facebook’s share of revenue would be $281 million over four age. Nonetheless, the actual value of the deal to Facebook would be far less due to hosting and streaming costs, as well as the cost to build an anti-piracy filter similar to Google’s Content ID to allow rights holders to monetize videos and prevent unwanted uploads. Variables play havoc with these calculations. For this deal to occur, Facebook may need to offer a lower share of ad velvet. The value of the deal to Facebook would drop as a termination. It may get a deal longer than four eld, which would increase the value of the see to. What’s in it for Facebook? A report at the New York Post claimed Facebook wants Vevo to increase its value before its eventual IPO. But these calculations suggest a short-term deal with Vevo would not greatly impact Facebook’s market value when it goes well-known. Facebook’s offering price could imply a market value of $100 gazillion. The value of a Vevo deal would barely move the needle. The Message of Facebook’s IPO Filing: Social is Your Days Vevo could have greater value for Facebook as a cornerstone content collaborator. Facebook needs to combat its stagnating growth in the U.S. It can’t get many more patrons, but it can get existing users to spend more time at Facebook and access Facebook from more devices. Music videos could help solve that problem because they attract viewers and are popular for viewing on multiple screens. Accordingly, Vevo could be the first of more content partners – both short- and long-form picture – that will keep Facebook users engaged for longer periods of every now. MTV Reunites With Vevo, Now Has Licensing Deals From All Four Majors But there is one key reason for Vevo to stay with YouTube: the site is the most popular video site in the unbelievable. It’s synonymous with online tv. That being the case, Vevo’s videos may not get as many views at Facebook as they would at YouTube. While Facebook may offer a better deal in terms of revenue apportionment – YouTube is said to put in writing 35% of ad revenue generated from Vevo streams – it may not be able to match YouTube’s ability to generate streaming supply. Dmoz+ Hangouts May Start Replacing Skype It’s about time to start paying attention to Msn+. It still lags far behind Facebook as a social web, but people are starting to find the Hangouts highlight, which allows Skype-like group video chatting, is a really cool stooge. Musicians have been using it to talk with and perform for fans – kind of like virtual living room shows. And one well-known venture capitalist is jumping on directorship, too. Union Square Venture’s Fred Wilson writes at his web site, A VC, that he’s ditching Skype in favor of Google Hangouts. “Skype is the only piece of desktop software I have on my various machines other than a slew of web browsers,” he writes. “But my decision last year to leave the world of files and apps and get to the cloud has been incredibly liberating. I want to finish it unlikely. And so Google Hangouts here I acquire a win.” ( A VC) “Epic Battle Looming” Over Copyright Reversions The attorney who landed at #93 on Billboard’s Qualification 100 for his digital royalty lawsuits is setting his sights on 1978 copyrights that revert to artists. In a blog post at Forbes.com, Nashville-based Richard Busch declares “an epic battle is looming” over the fight between artists who will file to reclaim their works and the companies that have owned the works for the matrix 35 age. Consumers and businesses could get caught in the crossfire, warns Bushch. “Spotify, iTunes, and other music providers could be prohibited from providing specific tracks. Injunctions related to and uncertainty in copyright ownership could take down commercials and bar, for at least a spell, advertising containing copyrighted material in altercation.” He later added, “Every copyright from sound recordings, to your start-up’s pamphlet, to the photograph on your website is subject to the Copyright Act and is thus subject to a potential finishing.” SXSW attendees can learn more about the topic at “How Stella Got Her Groove Ruin: Reversion Rights” at 1:30pm on Thursday, Hike 15. Hosted by Daryl Friedman, Chief Support & Industry Rel Officer for the Recording College, the panel features Ken Abdo of Lommen Abdo Law Firm and musician Gloria Gaynor. If Gaynor’s recent comments to the Austin Chronicle are any symptom, the panel could be both informative and droll. As Gaynor sees it, “I Will Nave” wouldn’t have made her record label so much money if she hadn’t been singing it all around the world over the age. “It makes absolutely no sense whatsoever that I should be making a pittance from it while the record company makes all this money just because they put up the initial liquid assets.” The topic will become more distinct, and the conversation more inflamed, over the course of 2012, writes Busch. “With the first terminations not becoming effective until January 1, 2013, the battle so far has largely consisted of posturing on the part of the labels. That is likely to change in the next few months. Once the calendar turns to 2013, the copyright termination battle will go followers.” ( Forbes.com)

RCA Records’ ASAP Rocky was just a few songs into his headlining set at New York’s The Fillmore at Irving Plaza on Wednesday night when he asked the sold-out crowd if it wanted an encore. “Y’all were trill seeking “Pretty Flacko,”" Rocky said, referring to his recently released number cheaply, ­ the night’s set unfastener, ­ while pacing the stage dressed in all black and with a Black Adjust ‘Inhumation’ snapback baseball cap twisted to the upon someone. The lights were purple and dim and on the floor in front of the stage swam a sea of fans of all stripes, at least one woman surfing above it all on a set of shoulders. “You want to hear it bis?” Some in the crowd yelled, others milled almost, and a least a few industry vets in the back cracked jokes about an upstart artist offering an encore so early in a rigid. “Nah,” Rocky said from the the footlights. “If you want to hear that “Pretty Flacko” recurrently, ya’ll are going to have to get louder than that!” The hometown group, live and engaged all continually, played orchis, and as the woozy first notes to “Pretty Flacko,” ­ a Spaceghostpurp-produced record that could double as a warning of the zombie apocalypse ­ blared through the speakers and projections of two large rotating skulls danced on black screens hung over the trump up, ASAP and members of his ASAP Worldwide Crew dashed about yelling, “Hands up! Hands up!” Seconds subsequent 1017 Brick Squad/Warner Bros.’ Waka Flocka Flame emerged from the wings, all camo jacket and dread-swinging agitation, and the overloaded, pulsing Irving Plaza exploded. See All Our Backbeats Hither Waka Flocka’s surprise appearance was the quadruple exclamation point on a night that screamed that the New York hip hop scene is ready to champion the Harlem-bred ASAP Craggy (and his ASAP Worldwide Corps) as its leader of the revitalized, new disciples. Despite the severe distortion that plagued almost every song in ASAP’s stand, which ran close to an hour long and featured appearances by Rap-A-Lot’s Bun B and Top Dawg Entertainment’s Schoolboy Q in addition to Waka Flocka, the general consensus among those in attendance was that Wednesday night ASAP Unchanging, who signed to RCA through Bryan Leach’s Polo Grounds Music in October after only releasing a handful of songs (though a handful that included New York’s summer hymn, ‘Peso’), stepped confidently into the spotlight and claimed it as his own. For the New York hip hop community, the show was an result. Among those in attending, Grammy-Award winning rapper Day ( Interscope), Ebro Darden (VP of Scheduling, Emmis-New York), legendary hip hop A&R Dante Ross (Warner Bros.), Sirius Hint 45 Music Director Rook out of ‘Reef’ Tewlow, VP of A&R at RCA Mr. Morgan, RapRadar cofounder and HONOUR. Ammunition Editor-in-Chief Elliott Wilson, XXL Magazine’s Executive Editor Jayson Rodriguez and Editor-At-Large Shaheem Reid, Rob Markman of MTV Rap Institute, VIBE Magazine Deputy Editor John Kennedy, Complex Magazine Editor Joe La Puma, and MTV Info’ Steven Roberts. MTV’s VP of Talent Whitney Benta, New York Times music critic Jon Caramanica, and S.O.B.’s Director of Marketing and Publicity Kozza Babumba, were all also at the display, as was Phillp T. Annand, founder of Madbury Club and manager of upstart opening act Flatbush Zombies. On a night widely seen as a massive win for Rocky and the whole ASAP Worldwide Crowd, the night’s one low point was the severely distorted appear, which some attributed to the venue and others pegged to the quality of the original tracks, the bulk of which were produced well before Rocky landed his transaction. As one veteran producer quipped when others suggested that Polo/RCA do something to clean up the tracks so they remain crisp over club systems, ‘You can’t pour syrup on dog shit and call it French hero.’ In addition to Flatbush Zombies, opening acts included G-Eazy and Fool’s Gold Records’ Danny Browned. In a nod to news of the tragic death of Soul Train founder and host Don Cornelius, which had rocked the hip hop and R&B communities throughout the lifetime, antique ‘Soul Retainers’ clips played above the stage during breaks between sets. ‘Soul Practise’ Creator Don Cornelius Dead in Apparent Suicide Just hours before the steer, ASAP Rocky made his debut on BET’s 106 & Parkland. He is currently in the middle of an 11-date ASAP Mob tour and will soon join Drake on the road when the Young Money/Cash Money/Universal artist begins his Club Paradise tour on Valentine’s Day at Miami’s Bank United Centerfield. Rocky and Kendrick Lamar will join Drake in tolerate. A commercial release of ASAP Rocky’s LIVE.LOVE.ASAP mixtape has rumored to be in the works, but no date has been set. The ASAP Mob mixtape is said to be dropping that month.

Puerto Rican radio programmer Pedro Arroyo, a salsa musician and lover who founded “El Día Nacional de la Zalsa” (National Salsa Epoch), a massive annual concert dedicated to the type, died Saturday in San Juan, Puerto Rico. He was 60 years dated. A towering man who was regarded as an icon in Puerto Rico, Arroyo was a fierce defender of salsa as a sort, and in 1984, he presented the first Día Nacional de la Zalsa to celebrate the music and its artists. The event’s name had  ”Zalsa” spelled with an initial Z, referencing  Z-93 (WZNT-FM), the SBS-owned salsa station network Arroyo programmed until his passing. Arroyo also programmed other SBS-owned Puerto Rican stations, including pop network Estereotempo and Ritmo 96. Since its set in motion, Día Nacional de la Zalsa’s import grew to such a limit — more 20,000 people attend every yr — that in 1990, the Puerto Rican government officially declared that the third Sunday of every month would be National Salsa Heyday. The event’s 29th edition took place Pace 25. “Our entire team in Puerto Rico and in all markets where we have a presence recognize Pedro’s contributions to salsa and his great knowledge of the music that was his vital spark,” said Raúl Alarcón, president and CEO of SBS. “I am committed to keeping his legacy alive through Z-93, which was his great delineate.” Arroyo’s death was widely mourned by dozens of artists and executives, including Victor Manuelle, Olga Tañón and Gilberto Santa Rosa, among many others. “Pedro Arroyo was an extraordinary professional and a close maecenas,” said Ruben Blades in a communiqu. “His love for music and for salsa as known and appreciated by all. He is irreplaceable and impossible to burlesque.” “He was one of salsa’s most important advocates, and a borther and friend to me,” wrote Victor Manuelle in his twitter annual. Arroyo, who had been suffering from pulmonary dilemmas, collapsed while visiting family with his partner, Ana, and died of respiratory detention. He will be buried in a private service, by reports.

Vevo has opened for business in Australia and New Zealand. The on-demand music service launched here Monday, through a partnership with locally-based MCM Media, a leading producer of entertainment content for ghetto-blaster, digital, TV and events. Vevo In Talks With Facebook, May Leave YouTube (Clock in) It’s just the third regional operation for Vevo, a joint-venture between Universal Music Group and Sony Music Entertainment which arrived July 2009 in the United States and Canada, and entered the U.K. and Ireland in April 2011. Monday’s launch means Australian consumers have access to some 45,000 music videos which can be streamed online at Vevo.com and through free mobile apps for iPhone, iPad, Android and Windows Sound 7.  Vevo on Xbox will be available by the end of the month. Australians’ appetite for music, the country’s maturing digital market and finding a strong partner on the ground were the foundations for the digital music firm’s decision to set-up Down Covered by, according to Nic Jones, the exec tasked with rolling-out Vevo globally. In March unequalled, explains Jones, Australians streamed some 41 million videos on Vevo through the YouTube rostrum. And during that stretch, some 5.5 million unique users were streaming those clips. They’re pretty healthy figures when matched against Australia’s 22 million inhabitants. “Australia bats above its weight in terms of the population size and the number of video its watching. It’s a fabulous hawk,” Jones, Vevo’s London-based senior VP of worldly, tells Billboard.biz. Australian artists compel “feature prominently” throughout the slot, according to the company.  At plunge, the homepage of Vevo’s Australasian service features promos for Australian pop singer Delta Goodrem and New Zealand alternative pop group The Undraped & Famous alongside a slew of internationals. “It’s not good enough to launch a business over here which has Americans or Brits deciding what’s right for the Australian stall,” Jones adds. “It’s very important that we have local programming and local ad sales hither.” Vevo is staying mum on its branding partnerships, though Jones suggests one of its bigger advertisers will make an announcement in the coming weeks. Through the exclusive agreement, MCM provides a sales team and back office services, while Vevo will embed local producers and programmers. “It’s a close partnership and a model we’ll probably roll out in other markets if I can find other partners as good as MCM,” notes Jones. MCM operates the likes of Take40.com and thehothits.com, which combined account for an estimated seven million monthly streams. “Australian audiences now have video access to their favorite artist like never ahead of,” comments MCM Media’s CEO Simon Joyce in a annunciation. Vevo arrives in a market which has turned into a hotbed for digital music enterprises, with the likes of Spotify, Songl, Deezer and MOG all due to launch in the coming months, while JB Hi Fi’s “Moment,” Rdio and RaRa are new on the background. A full consumer launch for the Australasian Vevo will come later in the yr.

Evan Lamberg has been named president of Universal Music Publishing Group North America, the company announced now. The move is part of a leadership restructuring at the circle, which has had a void at the top since the departure of chairman and CEO David Renzer in April. Lamberg will jointly report to Universal Music Group chairwoman & CEO Lucian Grainge and UMG president and chief operating officer Zach Horowitz. In the new design, Lamberg, formerly executive VP of creative for UMPG East Glide, will serve on a new UMPG global scantling, which will also include  Lamberg, Paul Connolly (Prexy, UK and Europe), Eddie Fernandez (Senior Vice Prexy, Latin America), Andrew Jenkins (Executive Vice Prexy, Asia Pacific Region/Industry Relations), Gary Raw (Worldwide Prexy, Universal Publishing Production Music), and Michael J. Sammis (Executive Vice Prexy – Operations & Chief Financial Officer Worldwide). In this new place, Lamberg, who will be based in the company’s headquarters in Santa Monica, Kalif., will oversee the North American operations for the industry’s leading global music publishing muster, including its Go off visit, Urban, Motherland, Latin, Christian/Gospel and Canadian divisions. “Evan’s stellar track record for discovering, signing and nurturing the very best songwriting aptitude, combined with his managerial, organizational and business skills, makes him the ideal choice to build on UMPG’s market leading position and to take our North American operations to the next au courant with,” Horowtiz said in a averral. “He is a complete publisher-great ears, great tie-ins, and innovative approaches to maximizing the many new opportunities emerging in the mart.” Grainge added in a statement that Lamberg’s election “sends the strongest of messages to the creative community of just how serious we are about publishing.” During his time at UMPG, Mr. Lamberg has signed and/or worked with many big-name songwriters and artists, including multi-platinum recording artist Justin Bieber (co-signed with UMP EVP/Head of Urban Music, Ethiopia Habtemariam), Owl Conurbation, Songwriter Hall of Fame inductee Desmond Woman, 30 Seconds to Mars, Sean Garrett and Jackie Evancho, among others. He also was integral in signing a joint venture publishing agreement with GloJoe Music, the music publishing enterprise of Vincent Herbert and Troy Carter, which has signed DJ White Intimation (who has eight cuts on Lady Gaga’s album, “Born This Moreover”). Prior to joining UMPG, Lamberg washed-out 17 years at EMI Music Publishing where he served in various positions, including executive VP of Imaginative, North America. Prior to that he served as executive VP of operations/global entertainment relations at  Gibson Guitar Corporation.

Eric Levin is a co-founder of Record Store Period (RSD), owner of Atlanta’s Criminal Records and head of the Alliance of Independent Media Stores. Though this year he’s scaled back his involvement with RSD to focus on his retail proprietorship ( which is facing financial difficulties), Billboard spoke with Levin about the event’s fifth anniversary happening this Saturday (April 21) and what constitutes an exclusive report, the growing global reach of RSD, the inexorable rise of vinyl and, of indubitably, ambassador Iggy Burst — as well as a candidate for next year’s ambassadorship — Chuck D. A full list of Record Store Day releases is included at the bottom of this press conference. To find participating stores, click hither. Billboard.biz: What’s the state of Record Store Day this yr? Eric Levin: I’ll be doing a ton of stuff at Malefactor. We have a really nice selection of releases, we’ve got Drive by Truckers playing, which couldn’t be more perfect.  They’ve helped every step of the through — they even played a benefit party for us earlier in the yr. We haven’t announced this yet but Bradford Cox from Deerhunter/Atlas Sound is doing something. What about the larger state of RSD? It’s really appropriate. Every day I see new items and events. I’m so jealous of Fingerprints [in Long Strand, Calif.}. They’ve got. M. Chase away, Al Jardine and World Party.  And stores that don’t have national artists are putting together great local events. Each year Record Store Day seems to get bigger and larger — especially this yr — has that been quantified? There’s more releases coming completed, there is more phone call. I’m told there’s more 400 exclusive releases and last year I think it was at the beck 300. But I’m commenting as a buyer and a consumer, this year I’m volunteering for Record Store Age, but the day-to-day managers are Michael Kurtz and Carrie Colliton Record Store Age 2012: Useful Apps, In-Store Performances, More How involved are you with RSD this yr? I’m on a weekly phone christen, I’m doing a lot of behind the scenes stuff but this year I’m focusing on the duties of running the concretion (AIMS) and a record fount. I did four years of intense volunteer work for RSD, this year I did negative, I just had to concentrate on my own storehouse. I got a pitch about Record Store Day France yesterday. How global has RSD befit? It’s unconvincing. That’s where the behind the scenes work has taken dippy. It’s thrilling to have expanded so far abroad. When we started we would get these exclusive pieces and people overseas would predict, “We’ve read about these, where’s our access to artefact?” I said at the time we were going to get them over there and we did. It’s aloof. Other big RSD milestones this yr? It being the 5th year is pretty overwhelming. The first year was “what are these guys talking with?” Like anything in its first yr, it wasn’t a slam-plunge. We just hit at bottom 100,000 likes on Facebook. I have Google alerts and I’m friends with all sorts of record stores on Facebook  — it’s all I read almost. Even in the editorial excellent, like Rolling Pit, who sit with their arms across their chests in their reviews will now speak, “Oh this is for Record Store Daylight.” The press are acting like it’s been around in place of 30 years or something. We were the No. 1 must-do in Entertainment Weekly. Record Store Day Unveils Extensive List of Releases, rag. To Play Boston In-Market I’m getting inundated with press releases from bands, indies and majors about supposed exclusive releases — I think Universal had identical 30-40. That gets gripping. If you take a look at the Record Store Day website, you’ll see we tried to break it down as much as possible into three different categories. We don’t consider a windowed release or getting something early as a Record Store Day remission, it might just happen to be out in time for Record Store Age. The Spiritualized record is supposed to be brand new for Saturday. Are they fudging some of their quote-unquote “Record Store Day releases?” I don’t think fudging is the warranty, this is like Christmas and some plan their release schedule around it. It’s a window release for indie record stores, but as the only places selling vinyl, it can make it a little inept. I want to be able to talk to every single customer and require, “That record is really unheated, you have in your hand there BUT I’m going to have it next week and a year from conditions.” So you can assert, “Hey, this Spiritualized record will be out for a patch, but this individual, there’s on the contrary 30 of…” Last year a windowed release was the reissue of Modest Mouse’s The Moon and Antarctica. It was out just before Record Store Heyday, it was out primordial. I was talking to a customer and she was alike, “easily, I just want it.” Sony is a good norm. They’re re-releasing Paul Simon’s Graceland 20 year anniversary and a well turned out, hi-res edition of Patti Smith’s Horses, Lou Reed’s Transformer and Lou Reed’s Rock n Roll Uncultured. These are coming out on Record Store Date. I think we have a four-week exclusivity. So what happens after the four weeks? They just sit until their release reign? Yeah and whoever would be buying vinyl, like Amazon who are a competitor and boutique shops relating, I guesswork, Urban Outfitters. These windowed releases are only for indie stores. It seems like everybody is fudgy these days about release dates releasing digitally, streaming, dropping half the album’s singles before the release old. We used to celebrate Tuesday, we used to have midnight parties on Monday. A recent example is Albama Shakes. We’re going to sell it in constancy, but it came out three weeks early on iTunes. With vinyl, it’s the same story year after yr — it’s not a huge part of the venue, but it keeps ontogenesis. What’s the story this yr? It’s a wonderful marvel. It saved many stores. I don’t see it fading. There’s definitely going to be blow back against high priced, unnecessary reissues. As long as the label is going to take the time to make a product that is worth qualification, it has an exciting approaching. What percentage is vinyl of your music sales? Thither 70% — maybe more factoring in both used and different. That’s been consistent for a long organize. Hands are tied because a lot of labels can’t make the release date a concern of theirs. That kills us if a record comes two to six weeks after a unloose. We’ll still sell it – but it can be a limited good. Stores like ours have a lifetime of records to sort and carry. I’m very confident that stores, concentrating on vinyl are going to do critical. It’s still a drop in the bucket compared to the other departments within Sony and Pandemic. Are you selling more incidentals? We’ve always been a full service type of backlog. Music at the mall, but comics are earnest, we have a healthy book and magazine portion, DVDs and Blu-rays are completely separate from music titles. We make a $1.50 when we sell a concert tag, we make a $1.50 when we sell a discount CD, you undergo? We restore b succeed 100% when we sell acclimated to. There are now links on the RSD homepage to UK German, Belgian and the Netherlands Record Store Day sites. That’s a lot of volunteer work we’ve been doing abroad… We’ve been working with them. We have a sponsor from the UK forthcoming, someone from Germany forthcoming, someone from Belgium coming to NARM. What do you do at NARM? We have three town hall meetings where labels are going to be invited to talk with us. This will be two weeks after RSD so we’ll have a lot to talk relating to. Do you do that every yr? This is three of the largest meetings we’ve ever had. For the past four years we’ve had meetings. But it’s going to be bigger this yr. Yea, I mingy, we’re still going to NARM to meet with our label and distributing partners. We have a pretty big agenda modern. Everything from shop parochial – I don’t know if you saw that Third Option we’ve got up – we’re trying to get artists to put recordstoreday.com next to Amazon or iTunes and that’s been a brawl. It’s called the Record Store Day Third Opportunity, It’s asking our partners to consider posting. You open up a magazine and you’ll see an ad that says “Shop at Virago” or “Shop at ITunes” only,” and we’re trying to promote buying topically. It’s just a logo and link trying to bring people back to recordstoreday.com and a message that says “Hey, consider shopping locally because it’s very conspicuous.” How is Criminal doing present? We’re doing commendable. We’re in a cruising elevation. It’s debt-free? We’re here now. We’re still facing all the issues we were coating – terrible saving, bad financial situation in Atlanta. I tripled the size of my store and have to pay the lease. There are still a lot of people shopping here and supporting us but there are real world costs and decisions that have to be made from insurance to what we carry to how much I pay my caduceus. Can Criminal and VIP Records Be Saved? Has this experience changed any of the philosophy you wed — supporting civic, community businesses? The feedback and support and love that came from the local community is the only reason we decided to rest. It wasn’t the money raised by the community — which was nice and I was able to pay bills with some of it — but the fact that I wasn’t in this by myself. It wasn’t just me closing the door and having a on sale. That was so I could continue with Record Store Day and continue doing all the things I enjoy doing with a growing independent business in this community. How is AIMS doing this yr? We, as a number, our label customers are still taking advantage of our services and we’re succeeding. In September/October we took over publishing Magnet Publication, and we folded over a version of Magnet Magazine into our scheduling. Now when a label does a listing with us, they get free advertising space in Magnet. We grew this year adding five stores, we added value to our programming with the ammunition, so we’re doing famed. Individually we are starting to stock different records and that’s been the most exciting quirk. iTunes doesn’t do any A&R and we traditionally do. Other Music here in NYC is starting a term, is that something you’re seeing more of? It’s always been a sight. Record stores have always released records. I would venture 18 out of 25 AIMS stores have labels. Criminal Records included. Every AIMS member always asks me “what are we going to do with this make a notation of?” I’m looking for a solution for AIMS to help us distribute music from our uncomfortable. That’s one of my goals with NARM and something I’ve been working on simultaneously. Another big NYC retail story around here is Rough Trade opening in Williamsburg with Bowery Ballroom booking the in-stores. I know Spencer Hickman really ok. He’s our UK vis-a-vis, he runs Rough Trade in the UK and does Record Store Day in the UK. He’s coming for NARM. I’ve been talking to him about this location for two age. It’s difficult to do things in New York, from what I’ve gathered particularly if you’re abroad. They are going to be very interesting in New York. Has Criminal partnered with any live promoters? No. We have a great relationship with some promoters in town who understand our reach and the social media with our community. They see great value in teaming up with us for breakthroughs. How big is the performance space in the new venue? We can attack, well, 350 mortals. It’s massive. When the space came open I just grabbed it. How often do you have shows? 2-3 a workweek. Sometimes limited. We have a full lap, full PA, full firing. Circling back to Record Store Time, how did you get Iggy Pop to be the envoy? At last year’s NARM, there was someone who worked with Iggy who said “hey, Iggy wants to do that,” and it’s not like we had a vote it was neutral “oh my genius, Iggy!” At NARM we had another request from a superstar artist who I’ll be putting forward for next year’s plenipotentiary. Chuck D, we’ll get a load of. A full list of Record Store Day releases is included beneath. Record Store Light of day 2012 Releases

Good Friday just got a little more G.O.OVERDOSE, as Kanye West’s G.O.O.D. Music label will release a new separated, “Humaneness,” on Friday, April 6. The track will presumably preview the upcoming G.O.O.D. Music group album. Kanye West’s G.O.O.D. Music Signs Worldwide Deal With Island Def Obstruction News of the single came via Pusha T, the Clipse rapper who is currently working on his official debut album for the Def Jam impression. “April 6th is GOOD Friday… “SYMPATHY” drops..” he posted on Chatter. Def Jam has revealed the single graphics, which confirms that West, Pusha T, Big Sean and 2 Chainz will be on the without equal. Kanye’s G.O.O.D. Album Almost Executed, Says Big Sean The G.O.O.D. Friday exploit — which nicely coincides with the Good Friday holiday this workweek — was originally started by West in 2010 as a means of promoting his “My Beautiful Dark Twisted Illusion” album. Although that G.O.O.D. Friday campaign became a weekly song cut loose, Pusha T did not state whether or not “Consideration” was the beginning of a prolonged series. In December, Big Sean revealed that a long-in-the-works G.O.O.D. Music album was “almost buttoned up,” and would feature West, Kid Cudi, CyHi da Prynce, John Personage, Usual, Pusha T and Mr. Hudson, among others. The album does not yet have a release obsolescent.

It’s a transitional time for Vevo, as the No. 1 most-watched YouTube course (and No. 3 most-watched U.S. video platform on the net, according to Comscore) prepares to host its first upfront event for advertisers and agencies in New York on Wednesday. But it’s also a transitional time for the video scene, as it looks to expand its distribution to platform beyond YouTube, such as Facebook, sensitive, tablet and TV apps and its own URL, Vevo.com. Vevo To YouTube: Abject, I Like Facebook, Too Despite all the guess, CEO Rio Caraeff set the record straight in a panel discussion and after-panel interview with Billboard.biz at the Rethink Music Conference in Boston, presented by MIDEM and Berklee College of Music. Below are excerpts from a post-panel question period. Billboard Endowment 100: Rio Caraeff Billboard.biz: So this week is Vevo’s first upfront. Why is it important for you to sell Vevo in the same way that TV is bought and sold every yr? Rio Caraeff: We’re trying to change the way brand marketers perceive the congregation. We’re trying to package and present the audience that loves music in a new way to the world’s largest global brand vender. We’re saying that the audience that loves music is colossal, fanatical, engaged and excited and that audience is no different than the audience that loves the Super Bowl or the premier of an episode of “American Perfection” or “Schadenfreude.” We’re appealing to the television media prospects, those who play in the $70 billion TV advertising activity. That’s what this presentation is about this workweek. Business Matters: The Numbers Behind Vevo’s Potential Facebook Agitate BBB: Over the eld, and especially in the last two eld, you’ve been trying to bridge the gap with your ad agencies by bringing artists into ad agencies for private performances and meetings. How has that approach benefitted artists? Caraeff: We bring artists to meet with various buying agencies around the power, whether it’s in Chicago or Atlanta, New York or L.A. And what that does is it introduces these media buyers and planners to the power of music in their own territory on their own exile, also as a calling card for Vevo. It’s a way to talk about our philosophy and targeting and our reach and our scheduling. It also leads to unexpected opportunites for these artists: Ne-Yo now has a brand marketing relationship with one of the auto brands we’ve met with. We’ve exposed artists to sync licensing opportunities and become brand spokespeople and develop their own brand as an artist. We see there’s ancillary benefits that come out as away. It’s really about getting Vevo in front of the agency people rather than having the agency partners come to you, which is sometimes harder. Vevo: The Numbers Behind Two Years of Progress BBB: “American Express Unstaged” is another program that’s become sustainable for your artist partners because many of those concerts and events are geared toward release-week for those artists. What are some ways you see that moving the needle for those artists? Caraeff: Foremost, it’s an exciting podium. It’s not about just having a live concert it’s about pairing a filmmaker with an artist at a specific time in a specific in the right. Whether it’s Terry Gilliam with Arcade Fire or Spike Lee with John Legend and The Roots or Todd Haynes and My Morning Cap, there’s a visual artist’s approach to the whole construct. This week it’s Gary Oldman, the participant, with Jack Virtuous, which is sure to be riveting. You’re gonna get an experience which you couldn’t have had differently. And we time it so that it’s release workweek, it’s a moment in time where we’re trying to create the most awareness and interest with the fans. AmEx is all about access to experiences and they understand that quality of production and good ideas take time to result. It’s not about how do you do it as quickly or cheaply as reasonable; it’s about focusing on the quality of the rendition. They’re a fantastic partner who really gets it, and it’s the best partner we could ask in the interest of. BBB: We talked about YouTube and Facebook and different ways Vevo can be ubiquitous and not just limited to one podium. So, a year from on occasion, where do you see Vevo being distributed? Caraeff: I think a year from now you’ll see the Vevo brand and the Vevo site and apps in many more countries, so there’ll be another choice for people who want to get quality video experiences in other countries. It’ll be led by tv, but also the fastest-growing part is mobile and tablets and more global gross income. Right now the consumption is international but the revenue is domestic in terms of where the ad markets are. How do you make money in countries where you have a lot of consumption but the ad markets are less developed than the U.S. All these things you’ll see us  focus on over the next few eld. BBB: Will this still be with YouTube in some volume? You’re not leaving YouTube? Caraeff: We have no intention to leave YouTube, no. BBB: Vevo reports revenue figures to its label partners on a monthly footing. How is Vevo giving back to the music hustle? Caraeff: We recently announced two figures. Inseparable, that in two years being in business that we had invested done $100 million in programming or – said another velocity, paid out ended $100 million in royalties to the music vigour. We also announced in our second year in business we generated gone $150 million in dividend. BBB: Any projections to how those might evolve in 2012? Caraeff: Not that I can be quoted on publicly. Only that we see the business continue to ripen.

Line-up for Spain’s 2012 Festival Internacional Benicassim featuring headliner Bob Dylan Jamaican reggae artist Sizzla Kalongi had three April concerts in Spain canceled under intense pressure from gay rights groups over lyrics, seriously upsetting a European tour that is getting increasingly smaller. But Spain’s concert season is still heating up with confirmed performances by Bob Dylan, Maximo Parking-lot, James Potato, Lana Del Rey, New Order and more. Sizzla’s Dates Canceled Sizzla was scheduled to play in Madrid, Valencia, and Barcelona in April in a tour that also included stops in at least seven other European countries, but online petitions and an email campaign led by the State Federation of Lesbians, Gays, Transexuals, and Bisexuals forced their withdrawal. In information, the Barcelona concert hall Apolo last week said it had sent officials a copy of the deal, “signed by the artist and the showman,” with a list of the songs. Lyrics with homophobic content or inciting hatred were “expressly excluded.” Sizzla Ejected From Spain Amid Homophobia Fears But on Wednesday, Apolo too cancelled the concert. Gay rights advocates in Spain claimed supremacy, saying their petitions were signed by all but 40,000 folk. Of 18 clubs that booked Sizzla, at least one more in Sweden has canceled Sizzla’s overshadow, according to local press reports.  Alleged homophobic lyrics from Sizzla’s ditty “Pump Up,” were posted with a petition on Change.org. It’s not the first time Sizzla, whose birth name is Miguel Collins has faced cancellations. Concerts in Canada, Germany, and the United Kingdom have been canceled in the past and some of his albums are banned in some countries, although he has performed in Spain in the days. Bob Dylan To Headline LITTLE WHITE LIE Organizers of the Festival Internacional Benicassim (COCK-AND-BULL STORY), now in its 18th issue, announced Bob Dylan will headline its 4-day concert extravaganza starting July 12. The “grand” lineup also includes Stone Roses, New Systematize, Florence + the Gizmo, High Flying Birds, David Getta and Noel Gallagher, and more, a statement said. Four-day tickets payment 165 euros, including an 8-day camping not. The main sponsors are Heineken, Red Samson, Jack Daniels, Asus, Intel, Ron Barcelo. 2010 Benicassim Fest Attendance Slumps Benicassim is a small Mediterranean city between Barcelona and Valencia, once a fortress, now a remade concert venue and artist magnet. Some 50,000 people piled daily in the 2011 issue, more than half of which were from outside Spain. Organizers did not return requests for pay. Veterans of the annual concerts include Retreat, Gorillaz, Bjork, Jon Spencer, and Radiohead. FIB is the biggest of several mass concerts held in Spain every yr. It’s also the most trendy and varied. Two Spanish brothers who set out to bring concerts to their tiny community were the creators and first promoters, but in 2009 they sold their company Maraworld  to Vince Capacity. Sonar Nabs James Potato, Lana Del Rey, New Category, Hot Hew a contribute Sonar, also one of Europe’s best known festivals, has lined up James Spud, New Quiet, Die Artwoord, The Roots, Lana del Rey, Hot Bit, and three dozen more groups for three days of some of the best electronic  music starting June 14. The Barcelona-based red-letter day, now in its 19 copy, is a self-denominated “festival of advanced music and multimedia craftiness,” and involves a multimedia showcase from showcases, exhibitions, and concerts in several venues in a three day programme, including two concerts. Spain’s Sonar Fest Heads To Chicago It brings together the best and the most promising in the electronic fashion. Some 80,000 people partake in the commemoration, which has also branched out into London, New York, Buenos Aires, Sao Paolo, Seoul, Frankfurt, Chicago, and other cities. Tickets vary from 60 euro per concert or an all umbrella 155 euro antique. It’s organized by Advanced Music, the City of Barcelona, and the Barcelona Center of Contemporary Discernment. The main sponsors are the government of Catalonia, the Museum of Contemporary Art of Barcelona, and Estrella Anathemise, and Adidas. Maximo Store, Ravonettes, The Horrors To Play Kutxa Kultur Another of the big concert venues in San Sebastian in northern Spain is Kutxa Kultur Festibala, a two-day concert starting September 7 that this year will feature Maximo Parkland, The Raveonettes, The Kill, Russian Red, The Horrors, and Love of Sapphic, as well as nearly a dozen local sorts. This is the second year of the music birthday, part of a broader cultural platform of savings bank Kutxa that also includes film, comics, and more. This edition will be held in an amusement park and will have a happy hour for the attractions. Daily prices are 40 euros, or 74 euros for the two-day old hat. Last yr, Primal Caterwaul, Wilco, Christina Rosenvinge, We Are Standard and Thee Brandy Hips were featured at the festival. Ginmusic and Dale are the promoters, while the greatest sponsors are FNAC, Gaztea, and Monte Igueldo.

Saturday is official Record Store Period, which means it’s almost time to implement your H2BB (home-to-business bike) to purchase vinyl music, if you’re the transcribe, as even relatively young digital music consumers appear to be. Record Store Day Co-Founder Eric Levin on In-Stores, Exclusive Releases, Iggy Pop’s Ambassadorship But Record Store Day doesn’t just have to be a nostalgia-fueled attempt to keep physical music stores in subject. It can also be an app, of lecture. Ironic though it may be to use apps to seek out discs on Record Store Period, it makes perfect sense these years. This yr, eMusic has a solid entry in that concern: an interactive heat map of the United States and United Kingdom that lets you enter a zip code in order to see where the record stores are around you, as well as all the Instragram photos people are posting in your area tagged with the pompous “#RSD12″ identification. Record Store Period 2012: Useful Apps, In-Store Performances, More Record Store Day hasn’t started notwithstanding, of row. But so far we’ve already noticed that as surplus 120 photos on Instagram with that hashtag, mostly depicting the records that people are purchasing — or of records that stores are trying to sell tomorrow. As more put in an appearance, you’ll be able to spot them on eMusic’s interactive heat map, and click to see what they bought (if only to check it out in Spotify or Grooveshark). Of execution, eMusic has other content around the app, including updates from its editors as they make their own purchases and contests to win a nice big pile of vinyl (yes, real vinyl, not like that) or an eMusic, which you can enter to win by sharing the map on your Facebook side. Record Store Day Unveils Extensive List of Releases, fooling around. To Play Boston In-Plenty That’s high-minded, but what mainly interests us tod, on Record Store Day Eve, is that you’ll be able to use not one but three apps ( eMusic’s map, Instagram, and Facebook — not to mention the official Record Store Day mobile apps) to get more out of a day designed to highlight the pleasures of doc media.

French music streaming service Deezer is debuting in Canada, Australia and New Zealand, marking the company’s first forays into those regions in the out of sight. In days, Deezer had been operational in France, the U.K., and Belgium, but had told Billboard back in November that it had plans to expand into 130 new markets sooner than 2012. Deezer To Launch In 130 International Departments store, U.S. No Time Momentarily The company’s numbers are exciting: 20 million users worldwide, 15 million tracks available on insist, 30,000 artist-based radio stations, and deals with exceeding 2,000 record labels, including all four majors. They also boast an average monthly usage for users of 60 hours, full Facebook integration, and a commitment to regional editorial to provide suggestions of the buzziest and best music from writers and editors. As with most other streaming services, Deezer has paid tiers; free Discovery Mode with unlimited radio but only clips of on-demand tracks; a Premium service that allows unlimited listening on all personal computers; and a Premium Plus service that allows unlimited streaming across mobile and tablet devices, as well as offline playback. Rdio, Rara Launch Subscription Streaming in Australia In February, a French newspaper revealed that the company was seeking an additional €50-€100 million in funding and a new international partner to help support their planned global burgeoning; Deezer had previously partnered with ISP and mobile carrier Orange in both the U.K. and France and with Belgian mobile carrier Belgacom. Regardless, Deezer is not planning on hitting the U.S. or Japanese markets any time soon, seeing them as cost-high and overflowing with competitors.

Vevo Moves Closer To Facebook, But Won’t Jump Anyhow Starting Step 9, Vevo users can log into the service using only Facebook. News of the change was sent to Vevo users and a copy of the email was posted at Digital Music Bulletin. A Vevo spokesperson verified to Billboard.biz that both new and existing Vevo users will be able to log into Vevo only using Facebook. Any visitor to Vevo can view videos without logging in, no matter what. Does this portent a bigger partnership between Vevo and Facebook? As CNET reported in January, Vevo had exploratory discussions with Facebook about migrating its video content over from YouTube. Facebook would host Vevo’s videos and share the ad revenue they create. Talks were said to be quite preliminary because the partnership between Vevo and YouTube won’t expire for almost a yr. Vevo and Facebook are already intertwined. Recall that Vevo was a Facebook partner at the f8 convention, so it has already been using Facebook’s Open Graph for chiefly 5 months. Open Graph allows Vevo to offer a more personalized accommodation – expect more of these features in the near hereafter. Vevo also uses its Facebook app to power artist videos on the pages of its artists. But rumors about Vevo moving to Facebook seem like more of a negotiating tactic used to gain leverage against Yahoo. It’s not as far-fetched as the idea of a Spotify IPO that was floated by paidContent this workweek, but it doesn’t exactly pass a basic sniff test with flying colours. Facebook is not a video platform and does not specialize in storing and streaming videos. Nor is Facebook the de facto web location for people to search for and upload video thought. YouTube is synonymous with online picture. And Vevo holdout Warner Music Group appears content enough with YouTube: it just proclaimed “Warner Fit as a fiddle,” a YouTube channel with original content from Warner. Turning The Music Industry Into The Water Perseverance “Music like spray” is the phrase used to describe music as a advice – usually a paid subscription advantage – rather than discrete purchases. But how literally should that term be taken? A post at Hypebot likens music accessed to subscription service to water in the way people take its low set someone back (it seems practically freely, until you don’t pay your nib) and abundance for granted. There may be dangers in giving customers a sense that music should always be thither, the post argues. Think of how people expect nearly disburden, clean water without thinking of the costs that go into it. “Entitlement is a symptom of immaturity, and we as a society have a lot of growing up to do.” But “music like facetious adam’s ale” turns out to be a pretty good metaphor for music – but not for the obvious causes. If you think subscription services and/or radio fulfills all consumers’ needs for music, you’re overlooking the opportunities that exist to encase, market and sell music in ways that meet different requirements. Downloads (and other high-value music purchases) are to subscription services like bottled water is to tap pee. People spend billions each year on distilled and purified water even though tap water is lavish, ubiquitous and cheap. Any goods, even something as basic as tap water, can be packaged otherwise, marketed differently and sold at a extra. Coca-Cola and Pepsi were not dissuaded by the availability of tap not wash lavishly. They went out and purchased water grades — Dasani by Coca-Cola and Aquafina by Pepsi – and turned something practically worthless into something far more high-priced. Inexpensive water is also mixed with, give the word deliver, tea leaves or coffee grounds and sold at a markup. Artists and music companies can and will do the same with music. On-popular, ubiquitous music will be the foundation upon which other revenue is made. Neither subscription services nor Internet radio will prevent music from being sold in some way as a higher value artefact. ( Hypebot) Dotcom Takes To The Media, Blames U.S. Gov’t Get ready for one of the most entertaining copyright trials of all perpetually. Megaupload founder Kim Dotcom, out on bail in New Zealand and facing extradition to the U.S., is giving interviews and calling out the entertainment industry for lack of evidence and out-of-date business models. “If the business model would be one where everyone has access to this content at the same month, you have knowledge of, you wouldn’t have a piracy can of worms,” he told TorrentFreak. “So it’s in point of fact, in my sentiment, the government of the United States protecting an outdated monopolistic business model that doesn’t work anymore in the age of the Internet and that’s what it all boils down to.” In an interview with a New Zealand TV status, Dotcom also blamed lack of internal resources that are insufficient for policing 800 file transfers per jiffy. “We are a relatively small assembly; you can’t expect us to police that kind of service.” He went on to say he is being targeted in part because of his flamboyant lifestyle and celebrity. He’s partially right about one thingumajig: copyright does give owners a limited monopoly over their creations. But it sounds like Dotcom has a problem with copyright itself, not the business models that work within the copyright scheme. iTunes seems like a pretty good business model even though Apple has to negotiate with rights holders (who have a monopoly on the sale and distribution of their works). Same with Pandora, which uses a compulsory license granted to webcasters. And Dotcom is certainly free to have his opinion on the efficacy of copyright in 2012. But so far there’s no evidence that Megaupload negotiated with rights owners to create a business model better suited for today’s Www, or lobbied to have countries alter their copyright laws so new business models could make good. And don’t expect any such evidence to come out during the run. ( TorrentFreak)

NEW YORK (AP) — The U.S. government filed an antitrust lawsuit against Apple Inc. and book publishers Wednesday, saying the publishers conspired with Apple to raise retail electronic-book prices to limit championship. The government also filed papers in U.S. District Court in Manhattan saying it had reached a settlement with publishers Hachette, HarperCollins and Simon & Schuster. It will proceed with its lawsuit against Apple and other publishers, including Holtzbrinck Publishers, doing business as Macmillan, and The Penguin Publishing Co. Ltd., doing business as Penguin Accumulation. Apple Unveils New iPad With Sharper Interview, Faster Processor The lawsuit said the effort was a response to the success Amazon.com had in selling e-books for just under $10. The alleged conspiracy came as Apple was preparing to launch the iPad and called for Apple to be guaranteed a 30 percent commission on each e-book it sold, the lawsuit said. “To effectuate their scheme, the publisher defendants teamed up with defendant Apple, which shared the same goal of restraining retail price competition in the sale of e-books,” the lawsuit said. Apple did not immediately respond to a comment asking. Macmillan Chief Executive Officer John Sargent said in a letter to authors, illustrators and agents that the company has not settled because it is “hard to settle a lawsuit when you know you have done no crooked.” He said: “Macmillan did not act lawlessly. Macmillan did not conspire.” Sargent said the filing of the lawsuit came after discussions with the Department of Justice that lasted months. “But the terms the DOJ demanded were too taxing. After careful solicitude, we came to the conclusion that the terms could have allowed Amazon to recover the monopoly position it had been building before our switch to the agency subject,” he said. “We also felt the settlement the DOJ wanted to impose would have a very negative and long term impact on those who sell books for a animation, from the largest chain stores to the smallest independents.” At the heart of the e-book pricing debate is the industry’s ongoing concerns about Virago. Publishers see the “agency facsimile” as their sans pareil, short-term hope against preventing the online retailer from dominating the e-book market and driving down the price of books to a level unsustainable for publishers and booksellers. Since launching the Kindle in 2007, Amazon has made a point of offering best-sellers during $9.99. The discount is so deep from list prices of $20 and more that it’s widely believed Amazon is selling the e-books at a loss as a way of attracting more customers and forcing competitors to lower their prices. Amazon also has been demanding higher discounts from publishers and stopped offering e-books from the Independent Publishers Pile, a Chicago-based distributor, after they couldn’t agree to terms. When Apple launched its tablet computer two years past, publishers saw two ways to balance Amazon’s bent: Enough readers would prefer Apple’s shiny tablet over the Kindle to cut into Amazon’s sales and the agency model would stabilize prices. Apple’s iBookstore has yet to become a major oblige, but publishers believes the new price model has reduced Amazon’s market share from less 90 percent to enveloping 60 percentage, with Barnes & Noble’s Nook in second at 25 pct. The iBookstore is believed to have on the agenda c trick 10 to 15 pct. Macmillan’s Sargent has found himself at the heart of the scrap. In cock’s-crow 2010, as publishers were trying to get Amazon to agree to Apple’s pricing set-up, Amazon pulled all the listings for Macmillan books, from Jonathan Franzen’s “The Corrections” to Barbara Ehrenreich’s “Nickle and Dimed.” Sargent refused to back down and Amazon eventually gave in. New e-books from Macmillan and the other publishers investigated by the Justice Department often are priced initially intervening $12.99 and $14.99, with Amazon making a point of noting that the price was set by the publisher. Ironically, publishers usually make less money off the agency model than the traditional one because they receive a smaller percentage of the issue. Random House Inc. was the at best “big six” publisher not to agree to the agency model in 2010 and was not part of the cause. But the publisher of Dan Brownness, John Grisham and others did agree to terms with Apple last year and now must decide whether to keep prices the twin, cut them to keep up with competitors or drop the agency model completely. Random House spokesman Stuart Applebaum – the only of the big six publishers not involved in the containerize – said Random would have no comments Wednesday. According to court papers, the settlement agreement reached with three publishers said the companies agreed that for two years they will not restrain, limit or impede an e-book retailer’s ability to set up, alter or reduce the retail price of any electronic ticket. It said the retailers will be able to offer price discounts and other forms or promotions to encourage consumers to buy one or more electronic books. The agreement also calls for the defendants not to enter into any agreement or conspiracy with any electronic-book publisher to lothario, steady, set, set or coordinate the retail price or wholesale price of any electronic omnibus. © 2012 The Associated Pack. All rights reclusive. This material may not be published, advertise, rewritten or redistributed. Learn more about our Privacy Policy and Terms of Squander.

It’s been as good as 25 years since Nine Inch Nails’ debut Pretty Hate Machine was released, but even with millions of albums sold over the course of an dominant, tumultuous and ultimately triumphant rush, Trent Reznor insists he’s still learning his wiliness. ASCAP To Honor Trent Reznor With Golden Note Endowment Speaking to The Hollywood Reporter on Wednesday night at the ASCAP Pop Awards in Hollywood, where Reznor received the ASCAP Golden Note Prize, the rocker-turned-Oscar-winning composer said the honor had extra special explanation. “That compliment means a lot to me [because] songwriting is a thing that I feel like I’m just getting started,” said Reznor. “I’m really starting to get the hang of it but every day is a new schooling. I’m a student here and to receive this kind of credit, it feels hair-splitting.” Rather, the grand ballroom of the Hollywood and Highland complex was packed with luminaries from the world of publishing, licensing, labels and bey. The evening’s top bestowal, for songwriter of the yr, went to Max Martin (his fifth time nabbing the baptize); “Just The Way You Are” by Bruno Mars was named song of the year and publishers of the year went to EMI Music Publishing and Warner/Chappell Music, Inc. Carly Simon To Be Honored by ASCAP Also in attendance to collect their awards were artists such as Katy Perry (who gave a shout-bent “Teenage Conjure up” co-writer Bonnie McKee when the collaborator’s name was left off a list of song credits), Ludacris, David Guetta, Ne-Yo, Bruno Mars and Carly Simon, who was presented with the ASCAP Founders Award and a musical tribute sung in part by Dixie Chicks’ Natalie Maines. A heartfelt appreciation for the performance rights organization was the theme of the sunset, as Reznor commented that ASCAP was not only the first professional affiliation of his career but too “the longest anyone.” ASCAP President Paul Williams Documentary Headed For Theaters The love went both ways. Following a glowing introduction by ASCAP president Paul Williams, during which he praised “another golden mature” for the Nine Inch Nails and How to Destroy Angels vocaliser, he called on the audience to give a corporate “amen” as they rose for a standing cheers. “His greatest gift is the beating heart and the core of his music,” Williams declared in a preamble to a video montage of Reznor’s illustrious livelihood, culminating in an Academy Award obtain (with Atticus Ross) for scoring The Social Web. Once the house lights came back on, Reznor balmy, “Watching that, it’s pretty clear that bad haircuts played an important capacity.”

“I was at the very first Farm Aid when I was a juvenile,” said Jakob Dylan midway through a private performance in Manhattan, playing an intimate benefit for the music-industry-backed group that supports American farmers. Although Dylan watched as a young fan at that first Farm Aid concert, organized by Willie Nelson and friends in 1985, he has returned as an acclaimed performer for the annual all-star shows in 2008 and 2011. CHECK OUT ALL OUR BACKBEATS RIGHT HITHER “I’m glad to be a part of it, whenever they provoke b request,” the singer told a roomful of Farm Aid donors who gathered April 19 at Haven’s Kitchen a recreational cooking school and specialty food purchase, two blocks from Union Provincial. From the days when Nelson recruited fellow Farm Aid board members Neil Youthful, John Mellencamp and Dave Matthews, Farm Aid has helped propel a cultural shift in the boonies, toward the appreciation of food grown by family farmers, not corporations. Farm Assistance: Making a Difference Since 1985 Haven’s Pantry, founded by Alison Schneider, offered delicious evidence of the availability of such comestibles, as in-house chief Julia Sullivan cooked up a feast drawn from family farms in New T-shirt, the Hudson Valley and upstate New York. The evening brought together intersecting circles of music activism, philanthropy and the Good Food sign. The evening’s tummler, Liora Yalof, a senior VP and real estate broker at the Corcoran Coterie, and a longtime Farm Aid support, allowed the organization to invite her friends and colleagues to enjoy dinner and Dylan’s performance.  (Yolaf’s tranquillity, Steven, serves on the board of HeadCount the organization that aims to raise political awareness and register voters at concerts). “I was shocked by how our food system was scoot,” Yalof said, recalling how she began focusing on food issues following the birth of her girl, who is in the present climate 17. “In Farm Benefit, I found an organization that embodies everything I believe in.” Before Dylan took the position, the evening’s featured speaker was scribe, educator and activist Joan Dye Gussow who, a decade before Farm Aid launched, began speaking out about the importance of eating seasonal, neighbourhood pub, foodstuffs. “This intimation, 30 years since, sank like a pit,” she quipped. But straight away occasionally, she added, “all of our lives depend on farmers, and their ability to produce nourishment, and we forget that at our danger.” Born in an era of music activism in the mid-1980s, Farm Aid is the longest-running concert for a cause that the music industry has seen. Farm Aid executive director Carolyn Mugar credited the dedication of Nelson, Prepubescent, Mellencamp and Matthews for the organization’s longevity and accomplishments. “We are lucky because we work for four of the most brilliant communicators in the surroundings,” she said. Talk at the event turned to the potential for Farm Aid to influence the quality of food served by the nation’s concert venues. The organization has proven that family-farm food can be produced and served at venues on a mass hierarchy. It has served its Homegrown Concessions-branded food not only during Farm Aid concerts but also at this year’s Superbowl. Among the music business figures gathered at the event was Peter Shapiro, a partner in the Brooklyn Bowl the popular concert venue and bowling alley in Williamsburg, Brooklyn. Capturing images during the evening was Ebet Roberts , one of the world’s most renowned rock’n'roll photographers, who has documented Farm Aid concerts and events since 1985. Among those enjoying the evening’s performance was Jack Rovner, a principle in Vector Supervision, who manages Jakob Dylan. Dylan’s career has included critically praised albums with the Wallflowers — including the 1996 breakthrough Bringing Down The Sawhorse, and the hit singles “6th Avenue Heartbreak” and “One Headlight” – and his solo albums Seeing Things in 2008 and Women + Country in 2010. The latter debuted at No. 12 on the Hoarding 200. Given such velvet, there’s little reason to evoke the name of the singer’s famed father in reporting on Jakob Dylan’s performance for Farm Relieve – except for this historical tie up. Back in 1985, at the Live Aid concert in Philadelphia for African famine remission, it was Bob Dylan who remarked from the devise: “Wouldn’t it be great to do something for our own farmers right here in America?” Willie Nelson took up that challenge and ran with it. Jakob Dylan now supports Farm Support. And the circle remains unplowed. After the evening’s plant, Rover noted that Jakob Dylan has reformed the Wallflowers, and the group has signed with Columbia Records. And when will the new Wallflower’s album hit? “September,” said Dylan, as he mingled with Farm Aid donors after his program. “I’m going home to do some mixture.”

The 2012 Billboard Latin Music Awards are right around the tree, and more artists are being added the closer it gets. The latest round of announced performers includes Gerardo Ortiz, 3BallMty, Michel Telo, El Bebeto, Larry Hernandez, and America Sierra, while Intocable will receive the Lifetime Achievement Award at the occasion, set for April 26 in Miami, broadcast on Telemundo beginning at 7 p.m. Billboard Latin Music Conference Marketing Awards Announce Finalists The newly-announced performers join an already star-studded lineup, which includes Don Omar, Prince Royce, Juanes, Daddy Yankee, Paulina Rubio, and Jenni Rivera. Don Omar, Prince Royce, Paulina Rubio to Perform at Billboard Latin Music Awards Ortiz recently won 6 awards at the Billboard Mexican Music Awards, with he and Hernandez on the cutting edge of Mexican Corrido music. 3BallMty is pioneering new genre Tribal Guarachero, El Bebeto has been referred to as “Banda’s Heartthrob,” while Brazilian artist Michel Telo has taken the Latin humanity – and the orb – by outcry. How Michel Telo Went From Obscure Brazilian Country Singer To Global Champion Intocable, who will also perform at the awards lead, have been innovators of the Tejano/Norteño genres across their 15-album livelihood, selling millions and deplaning 11 albums atop the Billboard Mexican Regional Albums Chart and 15 records reaching the pinnacle of the Billboard Regional Mexican Songs Design.

The end of the first day of the Billboard Latin Music Conference closed out the afternoon’s focus on vending, and the message was fresh: artists need brands these days as much as brands need the artists. Check Out All Our Billboard Latin Music Conference and Awards Coverage RIGHT HITHER Case in meat, Walmart Acceso Amount to, a Spanish-language multimedia platform created by the big-box retailer giant four years past. To discuss this in a short venire, Walmart’s multicultural marketing manager Javier M. Delgado-Granados joined Julio Vega, VP of Latin Purchasing for Anderson Merchandisers, which supplies Walmart with its music. Walmart still accounts for a huge chunk of the physical sales that remain so important in the Latin trade. Billboard Latin Music Conference Leaders Panel Talks Morphing Section, Success of Prince Royce, 3Ball MTY For Acceso Reckon, the artists and brand partnered to create a web portal with exclusive message, as well as cross-promotion with social media outreach, media partners, and even in-store content via TV-sale displays. This created impressive sales even during a sales slump last year that was particularly bad for Latin music. For exemplar, Walmart credits Acceso Total for helping propose 70,000 copies of Romeo Santos’ recent solo album at the retailer the first week of the album’s let out. The site’s Santos-centric exclusive online volume, meantime, garnered some three million views. Backbeat: Pre-Billboard Latin Music Awards “Mas Y Musica” Pool Party Features High Towers, DJ Kane, More Vega said this success carried beyond just Walmart itself. “The industry really benefited from this programme,” he said, thanks to the store’s awareness-raising of various releases. That doesn’t stop with just megastars like Santos or Mexican rock act Maná, either. “We’re still open to developing artists, because we recognize the importance of establishing artists for the future of our dynamism,” Vega said. Picture: Universal Music Latin Prez Victor Gonzalez Talks Belanova, Coca-Cola Olympic Partnership The last panel of the heyday, “From Santana to Lo Proximo,” meanwhile focused on the growing importance of the Latin market to concert promotion giant Live Polity. The company has installed several Latin industry vets as heads of its programming and talent purchasing, including Manuel Moran as VP of Latin Scheduling. These seasoned pros expressed an almost evangelical mission in their Latin booking scenario. “We’re always looking for the newest group to keep a genre effective,” said Carlos Orjuela, a Live Nation Latin talent customer. Don Omar Talks ‘Danza Kuduro’ Success Audience Engagement and Business at Billboard Latin Symposium Keeping genres accepted, of chain, means more gigs for the artists tortuous, but also more opportunities for Live Nation to partner with brands who might work with those artists. “This is an organic part of who we are,” said Terri Liebler, VP of Sales. “We have the capabilities to integrate into the lifestyle of concert-goers.” Another benefit to both artists and Live Political entity: Neither have to depend on massive radio airplay to fully exploit these capabilities. “There are many concerts that are not radio-indicate,” said Moran. “There are many artists who you don’t need to hear 20 times a day to still convince you to do to a concert.”

Major label-owned subscription platform Songl has brought in a new boss ahead of a full launch Down Under in the first one-half. Songl is operated by Digital Music Dispensation (DMD), a joint venture between Universal Music Australia and Sony Music Australia. When it goes room, the service will provide digital music services direct to the acknowledged, to broadcasters, brand partners and other media suppliers. Vevo Launches in Australia and New Zealand This workweek, DMD announced the appointment of Mark Shaw as its new CEO, with immediate sense. Shaw has extensive experience across broadcast, advertising and digital media and most recently served with Sensis Digital Media as GM. Commenting on his appointment at DMD, Shaw remarks, “The business already has outstanding relationships in markets across a number of areas and my focus will be to enhance these even further and drive growth into the future across our one-dimensional, subscription and brand promotion services.” A launch date for Songl has yet to be confirmed, but it will roll out in Australia and New Zealand in the first one-half, Shaw says. Initially, the Songl service was to be known as Ripl. DMD flipped the name and in October 2011 soft-launched Songl, an on-in request, ad-free music subscription help. At the occasion, the service was helmed by Radinck van Vollenhoven, who has since taken up a post with the yet-to-launch Australian Spotify secondment. Australian Music Service Guvera to Hire Phil Quantararo Ahead of U.S. IPO DMD was founded in April 2011 and offers one-dimensional, subscription and brand promotion services across a range of catalogs licensed from major and indie labels. DMD currently operates the 29 linear channels for the Foxtel and Austar pay-TV platforms and also provides the music content for various retail outlets. Australia’s digital music market has shifted into overdrive in recent months, with the likes of streaming services Vevo, Rdio, RaRa and JB Hi Fi’s “For the nonce” new to the booth, and Spotify, Deezer and MOG on the modus vivendi = ‘lifestyle’. Digital music revenue grew more than 30% here in 2011, according to data published recently on ARIA.

Christian singer Jason Crabb won two of the most prominent awards for male artists at the 43rd annual Dove Awards held for the second straight year in Atlanta. Crabb went home with artist and male vocalist of the year awards on Thursday night at the Fox Theatre in Atlanta. The show will air on April 24 on GMC, formerly the Gospel Music Way. Natalie Grant dethroned Francesca Battistelli, taking home female artist of the yr. Grant previously won the award four straight years before Battistelli. After winning her first Grammy, Laura Story continued her stellar year with five awards. The singer’s Grammy-winning bother, “Blessings,” won her song of the year at the Doves. R&B soul singer Angie Stone along with gospel singers Yolanda Adams, Crystal Lewis and Karen Peck opened up the show with a choir dressed of red, singing a spirited rendition of Dottie Rambo’s kerfuffle b evasion “I Go To the Bankrupt.” The foursome’s performance was a tribute to Whitney Houston, who died February. 11. Houston also sang the song in the 1996 film, “The Preacher’s Woman.” Pit, who learned about the tribute a day since, said it was an emotional circumstance. After the singer’s touching interpretation, some humor shortly followed when co-hosts actor David Mann of Tyler Perry’s sitcom “Meet the Browns” and Christian comedian Chonda Pierce took the thespianism. Pierce asked if Mann could introduce her at some speck, and the actor sarcastically said, “I’ll see what I can do,” while looking away as audience members broke into laughing. Jamie Grace won new artist of the yr. The 20-year-chorus-member, who has battled with Tourette’s syndrome for nearly half of her zest, shed tears while accepting her award to thank her family along with TobyMac, who signed Grace to his trade mark, Gotee Records, after he discovered her through YouTube. Kirk Franklin ended a five-year drouth, claiming contemporary gospel album of the year for his album, “Hello Nightmare.” Franklin has had strong year so far besides, Franklin, recently collecting two Grammys and two NAACP Image Awards, hasn’t won a Dove Award since 2007. Visit doveawards.com for the full gazette of winners.

Country Radio Seminar attendees had a lot of choices for music on Thursday, from Alan Jackson at the Capitol Nashville luncheon to the Sony/BMG General Jackson cruise in the eve. In between attendees checked out seminars, showcases and exchanged ideas in the numerous areas set aside for interacting and networking with those attending the occasion. A seminar on PPM: What We Know and What’s Ever-changing, was led by Jan Miller, Director of Programing Services at Arbitron. PPM (Portable People Time) was also addressed in the Dear Diary venire, where Troy Eckehoff gave advice in the form of his peerless 10 strategies. He cautioned that radio needs to sound local even if they are using outside sources. Steve Geofferies, OM at Clear Channel in Charlotte, also offered a scale 10 vocabulary. Among his strategies – let listeners know when they can expect specific scheduling. Backbeat: George Constricting, Bob Pittman, Gary Overton at Country Radio Seminar Day Lone Matraca Iceberg, Natalie Hemby, Lori McKenna and Ashley Monroe performed during the always popular WCRS, sponsored by BMI and “Country Aircheck.”  Between the quartet of female writers, they have had hit songs recorded by Miranda L, Kenny Chesney, Trisha Yearwood, Reba McEntire, Lee Ann Womack and the Eli Young Keep. This year’s seminar has its share of folks who are encouraging country artists and radio to continue to support various causes. Among those who had a presence were St. Jude Children’s Hospital and World Shade. While many country artists support St. Jude, it was the first time for World Vision to have a presence at CRS. “Our primary reason for being here is to have a brand awareness with the artists and with the country music community,” explained Charles Dorris, a consultant for World Vision through his operation, Charles Dorris and Associates. “We would like for the country artists to use their voice to inform their fans how they can help feed the poor around the the world at large. We have had an excellent response from thither 50 artists, who have come by to visit and do PSA’s for us.” Backbeat: Lionel Richie, George Constricted, Play Surprise Sets At UMG Nashville CRS Vitrine This is not Dorris’ first time at CRS, and he observed that more and more media are making their presence known as more doors open for them. “The growth has been in large part because there are more opportunities tod. Online media is hungry for artists to be on their scheduling. This allows the new artists to get more attention as there are more outlets that need constituents. It is important for artists to be hither. I think if you are ignoring CRS, you are ignoring your days.” Alan Jackson was the feature performer at the Capitol Nashville tiffin. Aptly, the label provided a spread of fried chicken and southern vegetables in keeping with Alan’s numerous songs about southern preparation. “I should have sang some of songs about nutrient,” Jackson joked. The singer and “Country Aircheck’s” Lon Helton took diners on a verbal and musical journey of his bolt. Jackson recalled working the Sunday brunch at Opryland Hotel as $25. “And that was singing for four hours,” he recalled. The singer also recalled visiting radio for the first patch. “I was scared to demise,” he admitted. “No one knew who I was.” With his new label tie-up, label head Mike Dungan – who will have his own new label affiliation in a minute, in news that Billboard.biz broke exclusively yesterday – told Jackson he thought he should do a radio tour but the singer was dithering. Backbeat: Martina McBride, Scott Borchetta, Jimmy Harnen Attend Big Machine Showcase At CRS “I wasn’t excited about getting out thither,” he admitted to Helton. “But Mike said it’s been a lot of years since you were out there and I think you should go shake a few hands and let them know you’re the same make fun of.” Once he was on the radio travel, Jackson says he got to see first hand that people are all the same no matter where you go and the preconceived ideas he had about radio were changed. “We were at this one station and one of the women said ‘Can we hurry up and take this picture because I have to pick up my child at soccer habit.’ I compassion, ‘That’s just like us.’ Everyone we met was respectful and showed me they still enjoyed my music and that made me feel information.” Jackson closed the Capitol Nashville luncheon with “Thank God for the Transmit” to a rousing round of cheers. The 26th annual Sony/BMG cruise along the Cumberland left dockside take 7 p.m. Although the weather forecast warned of inclement climate ailing, the skies did not pour down hail and rain as had been predicted. Inside and onstage, hosts Storme Warren, Sara Evans and Kellie Pickler worked to keep the music flowing despite some technical difficulties throughout the eventide. Jake Owen opened the show with a great exhibit, followed by newcomer Tyler Farr and Josh Thompson. Pickler and Evans sprinkled performances throughout the evening from a satellite stage in the playgoers. Another new artist, Kristen Kelly, performed before duo Love and Theft took to the stratum. They brought along guitar great Josh Leo, who wowed the audience with his know-how. Check Out All Our Backbeats Right Hither Casey James, a recent “American Heroine” contest who came in third on season nine-spot, performed two original tunes. “Last year I thanked all of you but I didn’t really understand what I was thanking you in support of,” James told the interview. “Tonight I am thanking you anon, for all you have done for me this past yr.” Kix Brooks hit the stage with his usual enthusiasm and gave the audience a taste of things to come from his first solo album on Sony/BMG. “Thank you for letting me talk on trannie,” Brooks deadpanned, adding, “Now I hope you will also let me sing on broadcast.” He went on to say it was an adjustment to manage “without that skinny boy” and reassured that “we’re still great classmates.” Carrie Underwood closed the make known, performing several of her tunes and introducing her new individual, “Good Frail.” “I wanted to play it for you word go,” she said before launching into the new consonance. She called Brooks, Kelly, Evans and Owen back to perform the last, a rousing version of “Good Lovin’.” Several labels chose to go a different route other than late-night showcases or hospitality suite. Black River Mobile hosted a cigar bar while Toby Keith’s Showdog/Universal Records invited people onto their bus parked outside the convention gist. BRE Live showcased Sarah Bewitching, W, Glen Templeton while Chelsea Bain and Jon Pardi showcased at some of the local honky tonks on lower Broadway near the CRS event. Bob Kingsley’s Acoustic Alleyway featured songwriters Jeffrey Steele, Tom Douglas, Dallas Davidson, Rhett Akins and Ben Hayslip.

The Bob Marley objective “Marley” will stream on Facebook simultaneously during its theatrical orifice, a signal that social media may also play a role in shifting movie release windows. Such day-and-date releases have become increasingly common in recent years for smaller independent films. But this will be the first such U.S. film to stream concurrently on the social media behemoth while opening in theaters. The film, directed by Kevin Macdonald, will be available for a $6.99 rental beginning April 20th, which is the day it opens in theaters. A portion of the proceeds from Facebook sales will benefit Save the Children, the charity for needy children. “Marley” is also being released via video-on-call for on April 20th.

Speak up and get published in Billboard Journal. Have something on your mind that you want to share with Billboard readers around the life? Write in now to “Letters to the Managing editor” and be published in our periodical. To be considered for promulgation, send your thoughts via email to letters@billboard.com. Include rating, term, address and phone number for verification destinations. Letters may be edited for concision. All submissions published shall become the sole property of Hoarding, which shall own the copyright in whole or renounce, for publishing.

LONDON (AP) — Former Bee Gee Robin Gibb is in a coma after contracting pneumonia, a statement on his official website said Saturday. The report, which confirmed media reports that the singer was gravely misery, said “we are all hoping and praying that he will pull wholly.” Robin Gibb, CISAC President/Bee Gee on World Copyright Crown, Clouds, Threats to PROs (Q&A) The Press Association news agency reported that family members including wife Dwina and brother Barry were at Gibb’s bedside in a London sanitarium. Gibb’s publicizer, Doug Wright, declined to criticism, but Gibb’s son has acknowledged that the 62-year-old musician is seriously ill in a medical centre. Gibb was hospitalized last year for stomach and colon botherations. He has not specified the exact nature of his disease – widely reported to be cancer – but told the BBC he had a growth on his colon that was removed. He said earlier this year that he was making a good revival, but had intestinal surgery last month and was forced to miss the London premiere of his greco-roman “Titanic Threnody” this week because of sickness. His son Robin-John Gibb said the family was “praying for him and hoping he has a speedy recuperation.” The Bee Gees – British-natural, Australia-raised brothers Robin, Barry and Maurice Gibb – had a string of disco-era hits including “How Deep is Your Man” and “Stayin’ Living.” Their soundtrack to the talkie “Saturday Night Feverishness” was one of the best-selling albums of the 1970s. The Bee Gees became members of the Rock and Roll Hall of Fame and won seven Grammy Awards. Maurice Gibb, Robin’s twin sidekick, died in 2003 at the age of 53 due to complications from a twisted gut. The Bee Gees’ younger fellow-clansman, Andrew, who had a successful solo bolt, died in 1988 at date 30 of a heart ailing.

Chris Ethridge, the bass player who lent his musicianship and songwriting to the Flying Burrito Brothers, the International Submarine Band and others, has died at 65, Rolling Stone reports. Ethridge co-founded the Flying Burrito Brothers with Gram Parsons, playing on “The Gilded Palace of Depravity”; he later co-wrote Parsons’ solo monitor “She.” Over his lengthy life’s work, he performed with musicians including Ry Cooder, the Doors, Graham Nash, David Crosby and Willie Nelson. Nelson, who enlisted Etheridge for his Family Corps, addressed the passing on his Twitter page on Monday. “WN&F are sad to hear of the passing of Family colleague & friend Chris Ethridge he was a talented player & we were honored to call him Children,” Nelson tweeted. Ethridge was reportedly hospitalized as of last workweek, though the circumstances of his death have not yet been made openly.

The 81 year-old German composer, orchestra chief and conductor Claus Ogermann will be awarded with the German ECHO Jazz Lifetime Achievement Prize 2012. He worked with Frank Sinatra, Antonio Carlos Jobim and Diana Krall. Further internationally noted jazz stars are among the winners in the 30 categories of the German ECHO Jazz Awarding: singer/songwriter Cassandra Wilson and American producer Harry Weinger for his 50th Anniversary Collection of Creed Taylor. Bestseller of the year are Wynton Marsalis and Eric Clapton with the album Play The Blues Live From Jazz at Lincoln Centre. The ECHO Jazz is awarded each year by the German Phono Seminary, the cultural institute of the German Association of the music-manufacture (BVMI). For albums to be nominative, they must have been released between November 1, 2010 and October 31, 2011 and also have received two outstanding reviews from music journalists. The twelve jurors of this age’ jury choose the winners out of 230 nominations. In 2010 the ECHO Jazz honor was awarded for the first nonetheless. The date and the location of the award ceremony will be announced in May. On the German music showroom, jazz has a share of revenues of 1.6 percent of total revenues of €1,669 billion in 2010. The winners with their albums are: Ensemble of the yr, civil: Tingvall Trio Vägen Ensemble of the yr, ecumenical: Trombone Shorty & Orleans Avenue For Precise Male singer of the yr, native: Götz Alsmann “In Paris” Male singer of the yr, world: Kurt Elling  “The Doorway” Female singer of the yr, subject: Jasmin Tabatabai “Eine Frau” Female singer of the yr, oecumenical: Cassandra Wilson “Silver Trot” Instrumentalist of the yr, national piano/keyboards: Christian Elsässer “Conceivably” Instrumentalist of the yr, international piano/keyboards: Iiro Rantala “Lost Heroes” Instrumentalist of the yr, national Saxophon/Woodwinds: Johannes Enders “Billy Rubin” Instrumentalist of the yr, international saxophone/woodwinds: Joe Lovano  “Bird Songs” Instrumentalist of the yr, national drums/pleximetry: Jonas Burgwinkel “Source Unswerving” Instrumentalist of the yr, international drums/pleximetry: Magnus Öström “Thread of Sentience” Instrumentalist of the yr, national bass/Bassgitarre: André Nendza “Rooms Restored” Instrumentalist of the yr, international Bass/bass guitar: Renaud García-Fons “Méditerranées” Instrumentalist of the yr, national plaque: Joo Kraus “Painting Bug out” Instrumentalist of the yr, international temerity: Ambrose Akinmusire “When The Heart Emerges Glossy” Instrumentalist of the yr, national guitar: Max Frankl “Stories” Instrumentalist of the yr, international guitar: Julian Lage  “Gladwell” Instrumentalist of the yr, international special instruments/vibraphone: Pascal Schumacher “Bang my Can” Newcomer of the yr, subject: Lisbeth Quartett “Constant Travellers” Lifetime Achivement prize: Claus Ogermann Editorial work of the yr: Harry Weinger “First Momentum: The Creed Taylor Garnering, 50th Anniversary” Bestseller of the yr: Wynton Marsalis & Eric Clapton Play the Blues Live from Jazz at Lincoln Centerfield Big Band album of the yr: Joachim Kühn Out Of The Run – Live fr Bigband At Jazzfest Berlin DVD of the yr: Françoise Gazio “Reinhardt, Django – Three-Fingered Lightning” Supporter of bonk: Christiane Böhnke-Geisse / Jazzclub Unterfahrt Jazz label of the yr: Online-Voting posterior Retailer of the yr: Saturn Theresienhöhe Munich Live act of the yr: Online-Voting postliminary Special endow with: German Jazzorchestra BuJazzO

Lady Gaga’s army of little monsters continues to become more pleasing to mature, as the pop phenom notched a record smashing 20 million followers on Warble. The singer has long worn the crown as the most followed user on the microblogging hangout, previously setting the records someone is concerned 10 million and 15 million followers in 2011. Her latest million was amassed in nondiscriminatory 23 years. Billboard’s Peep 140: Music-Industry Characters You Need To Grasp The singer beats out Justin Bieber (18 meg), Katy Perry (15.7 trillion), Shakira (15.5 trillion) and Rihanna (15.4 zillion), proving that musicians are reaping the benefits of the social media plank. Kim Kardashian is the sixth most followed narcotic addict, trailed by Britney Spears, Barack Obama, Taylor Swift and Selena Gomez. According to projections by MediaBistro’s AllTwitter web log, Gaga is on track to gain another million followers by the month’s adrift. Bieber, her closest contender, will likely hit the 20 million milestone by mid-April. At the time of putting out, Gaga’s most recent twitch (at bottom) was not about her exploit — but about The Emboss. “Did ANYONE see SPRINGSTEEN on Fallon last night-time!!!” she wrote on Trek 3, the same day she bang into 20 zillion. “Buy his new album. It is so genius it’s hard to even believe. Just be aware-blowing.”

The cast of ROMA! (from fist): Veracity Murder, Robert Smith, Jonathan Stahl, Juan Ayala, Jamie Clayton, percussionist Stephanie Jalove, keyboardist Flutura Bardhi, bassist Kayci Rothweiler, Audrey Kovar and guitarist Parker Shipp. In the foreground wearing the sexiest white suit since “Saturday Night Pyrexia” is singer Kenyon Phillips. (Pic: Christa Titus) What do you get when you enact a banned poem with lingerie-clad musicians, adult-themed lyrics, convincing actors, weaponry and art indigent? ROMA!, a troupe that carries off its cabaret act with a knowing wink and the unstoppable chutzpah of ringleader Kenyon Phillips, the group’s singer and coach. During its gig at Joe’s Pub in New York on Trek 3 ROMA! threw “The Wild Bash,” performing its album based on the heroic 1920′s Joseph Moncure March poem that was banned for its salacious text. Included in the troupe is actress Jamie Clayton of HBO series “Hung,” and she infuses her boozy character with an authenticity that echoes Sharon Stone’s Oscar-nominated bed “Cassino.” Read All Our Backbeats HITHER Meet the Roma! Kenyon Phillips, keyboardist Flutura Bardhi, bassist Kayci Rothweiler, percussionist, Stephanie Jalove, guitarist Parker Shipp and actress Jamie Clayton. (Pic: Nadia Itani) The group has also caught the attention of actor Chaske Spencer (aka wolf pack leader Sam Uley in the “Sunset” movies), who recently indulged his love of photography by doing a photo shoot of the deport oneself. ROMA! is hosting its next wild party on April 3 at W.i.P., a Manhattan nightspot fashioned after Andy Warhol’s Manufactory, and is providing music representing “Werk!: The Armitage Gone Variety Be being presented” from May 2-5 at Abrons Arts Gist. Jazz-age tragedy was never so entertaining as watching Phillips animatedly narrate the proceedings-and gyrate with his pants about to drop at any secondarily. All smiles post-performance backstage at Joe’s Pub are (from fist) Monolith PR founder Leo Lavoro, ROMA! singer Kenyon Phillips, actress Jamie Clayton and Monolith PR intern Dan Russonillo. (Picture: Christa Titus)

1. Tuesday’s taping was the third of the 38th flavour, the first two being the Civil Wars and Radiohead. The Shins will tape a show on Slog 17. During the yr, they will fillet 18 to 20 shows to rear 13 episodes for PBS. 2. They performed all 12 songs on their album, which ATO will release April 10, plus a song titled “Makes Me Wish.” See All Our SXSW Coverage Hither 3. The night forward of, Jay-Z had wellnigh 3,000 people in the venue and his load out took until 7 a.m. The Alabama Shakes, playing in the venue’s 800-capacity layout, loaded in at 10 a.m. 4.The Alabama Shakes were booked three weeks before the arrival. Some bands are booked as early as six months away from. 5. Director Gary Menotti goes old school and plots out every shot of the show during rehearsals and abides by his own script during the throw. Each show is shot with between six and eight cameras. 6. The stage is modeled after the original venue’s level, two feet off the coach. For concerts that are not “ACL” showcases, a wider stage that is four feet high is adapted to. No seat is more 75 feet from the put on Check Out Billboard.Biz’s SXSW Blog Hither 7. 20,000 requests were submitted online within minutes for the 1,000 tickets available for Radiohead. On the day of the showboat, producer Terry Lickona let in respecting 150 fans without tickets who had waited outside all date. Alabama Shakes Announce Details of Debut Full-Ultimately ‘Boys and Girls’ 8. “ACL” has two people tweeting before and during the tapings, providing details on repeat, backstage and control room activity and the set panel.

Fed up with “reunion lies” and looking to avoid awkward situations with ex-bandmates, Axl Rose has decided to not attend the Rock and Roll Hall of Fame induction ceremony on Guns N’ Roses this Saturday (April. 14), and has asked to have his name withdrawn as a member of the band he co-founded and still fronts now. Eric B. & Rakim, Guns N’ Roses, The Smoke, Joan Jett Nominated for Rock and Roll Hall of Renown In an open letter released on GN’R's official website on Wednesday, Rose writes, “I respectfully decline my induction as a member of Guns N’ Roses to the Rock And Roll Hall Of Eminence. I strongly request that I not be inducted in absentia and please know that no one is authorized nor may anyone be permitted to accept any induction for me or speak on my behalf.” In his accurately, Rose begins by saying he was honored when the news was announced in December, but that after listening to fans, talking to members of the board of the Hall of Fame and recital “various public comments and jabs from former pieces” of the belt, as well as assorted press reporting, he has decided to “let sleeping dogs be hide” and not attend the etiquette. “I certainly don’t intend to disappoint anyone, especially the fans, with this outcome,” he writes. “Since the announcement of the nomination we’ve actively sought out a solution to what, with all things considered, appears to be a no bring home the bacon, at least for me, ‘damned if I do, damned if I don’t’ scenario all the way on touching.” Know: Slash’s Heartfelt Tribute to Marshall Amps Founder Jim Marshall In recent weeks, members of the original GN’R lineup, which included Rosiness, Virgule, Izzy Stradlin, Duff McKagan and Steven Adler, have addressed a rumored reunion at the Rock Hall induction with ambivalency. Matt Sorum, who replaced Adler as the band’s drummer in 1989, told Billboard last month that there were “no real plans” to reunite for a behaviour, while current keyboardist Dizzy Reed said, “I don’t know exactly what’s going to go fine-tune. It’s one of those things I’m sure will all come together and be really unperturbed. I’m just going to go in with a good attitude and a clear head and a grateful pump.” Green Day is set to induct Guns N’ Roses at the Cleveland appearances. The current version of Guns N’ Roses — of which Rose is the only original colleague — continues its world tour in Moscow on May 11. Here is the full text of Axl Rose’s strictly: To: The Rock And Roll Hall Of Prominence, Guns N’ Roses Fans and Whom It May Vexation, When the nominations for the Rock And Roll Hall Of Fame were first announced I had mixed emotions but, in an effort to be thoroughgoing, wanting to make the most of things for the fans and with their devotion, I was prestigious, excited and hoped that somehow this would be a good attitude. Of course I realized as things stood, if Guns N’ Roses were to be inducted it’d be somewhat of a complicated or awkward locale. Since then we’ve listened to fans, talked with members of the board of the Hall Of Prominence, communicated with and read various public comments and jabs from former members of Guns N’ Roses, had discussions with the president of the Hall Of Renown, read various multitude (some legit, some hokey) and read other artists’ comments weighing in publicly on Guns and the Hall with their thoughts. Under the circumstances I feel we’ve been formal, civil, and open to an amicable solution in our efforts to work something peripheral exhausted. Taking into consideration the history of Guns N’ Roses, those who plan to attend along with those the Hall for reasons of their own, have chosen to include in “our” trigger (that for the record are decisions I don’t agree with, support or feel the Hall has any right to neaten up), and how (albeit no easy test of strength) those involved with the Hall have handled statements… no offense meant to anyone but the Hall Of Fame Induction Ceremony doesn’t appear to be somewhere I’m actually wanted or well-thought-of. For the set down, I would not begrudge anyone from Guns their accomplishments or recognition for such. Neither I or anyone in my camp has made any requests or demands of the Hall Of Acclaim. It’s their show not scour. That said, I won’t be attending The Rock And Roll Hall Of Fame Initiation 2012 Ceremony and I respectfully decline my induction as a member of Guns N’ Roses to the Rock And Roll Hall Of Renown. I strongly request that I not be inducted in absentia and please know that no one is authorized nor may anyone be permitted to accept any induction for me or speak on my behalf. Neither former joiners, label representatives nor the Rock And Roll Hall Of Fame should imply whether unswervingly, indirectly or by omission that I am included in any purported induction of “Guns N’ Roses”. This decision is intimate. This letter is to help clarify things from my and my camp’s position. Neither is meant to nettle, attack or excoriate. Though unfortunately I’m sure there will be those who take offence (God knows how long I’ll have to contend with the fallout), I certainly don’t intend to disappoint anyone, especially the fans, with this purpose. Since the announcement of the nomination we’ve actively sought out a solution to what, with all things considered, appears to be a no be victorious in, at least for me, “damned if I do, damned if I don’t” scenario all the way on all sides. In regard to a reunion of any kind of either the Appetite or Illusion lineups, I’ve publicly made myself more than unqualified. Nothing’s changed. The only motive, at this crux, under the destiny, in my opinion whether under the guise of “for the fans” or whatever justification of the half a second, for anyone to continue to encourage, suggest or demand a reunion are misguided attempts to distract from our efforts with our current lineup of myself, Dizzy Reed, Tommy Stinson, Frank Ferrer, Richard Fortus, Chris Pitman, Ron “Bumblefoot” Thal and DJ Ashba. Izzy came out with us a few times back in ’06 and I invited him to join us at our LA Forum show last yr. Steven was at our show at the Hard Lull, later in ’06 in Las Vegas, where I invited him to our after-party and was rewarded with his subsequent interviews filled with reunion lies. Lesson well-informed. Duff joined us in 2010 and again in ’11 along with his ring, Rolling in it, opening in Seattle and Vancouver. For me, with the exception of Izzy or Duff joining us on stage if they were so inclined somewhere in the future for a song or two, that’s last straw. There’s a seemingly endless amount of revisionism and fantasies out there for the sake of self-promotion and business opportunities masking the actual realities. Until every single one of those generating from or originating with the earlier lineups has been brought out in the develop, there isn’t room to consider a conversation let alone a reunion. Maybe if it were you it’d be another. Maybe you’d do it for this reason or that. Accord, any. I love our band with it. We’re there for each other when the going get’s vulgar. We love our fans and work to give them every ounce of energy and heart we can. So let sleeping dogs lie or lying dogs sleep or whatsoever. Time to progress. People get divorced. Life doesn’t owe you your own personal happy ending especially at another’s, or in this case several others’, expense. But hey if ya gotta then maybe we can get the “no arrive, grandstanding, publicity deed, impudent, he doesn’t care about the fans” crap out of the way as quickly as we can and let’s advance. No one’s taking the ball and going cosy. Don’t get it twisted. For more than a decade and a half we’ve endured the double standards, the greed of this industry and the ever present seemingly limitless supply of wannabes and cunning, irresponsible media types. Not to imply anything in this particular context, but from my perspective in regard to both the Hall and a reunion, the ball’s never been in our courtyard. In completion, regardless of this decision and as hard to believe or as ironic as it may non-standard like, I’d like to sincerely thank the board for their nomination and their votes for Guns’ initiation. More importantly I’d like to thank the fans for being there over the age, making any success we’ve had possible and for enjoying and supporting Guns N’ Roses music. I wish the Hall a great steer, congratulations to all the other artists being inducted and to our fans we look forward to seeing you on assignment!! Really, Axl Rose P.S. RIP Armand, Long Acknowledge ABC III

BEVERLY HILLS, Kaliph.–Wing, before Spotify CEO Daniel Ek did a keynote interview for the entertainment legal community at the Beverly Hills Hotel tod, he predicted that income from his streaming service would equal that of Apples iTunes in two age. Billboard Capacity 100: Daniel Ek Despite his many statements about his company’s potency, the boyish-looking Swede has a certain nonchalance in his speaking voice that makes one wonder if he realizes how crucial Spotify could be to the music work. It certainly was not lost on attorney John Branca, who reacted with the passion of man who has a full grasp on what’s at define -­ the ability to monetize subscription services. Spotify Capable 3 Million Subscribers Globally “I hope he’s so successful at signing up customers that he gets there in one yr,” he said, his smile growing larger as he counted down more ways that Spotify could be pre-eminent. Ek was interviewed at the Grammy Foundation’s 14th annual Entertainment Law Initiative Luncheon and Scholarship Presentation at the Beverly Hilton, where he explained his company’s history and anticipation about its excrescence. See all of our 2012 Grammys coverage right hither Among his predictions and observations: People continue to listen to music ­ via Spotify ­ nine months after remission. Their goal is to establish “the most artist-friendly tool there is” and “build tools for the enterprise.” Soon it may be possible to track how a song grew in popularity and trace it back to the handful of people who were first on board with it. Spotify pays 60 percent to 70 percent of its income to the music trade. Users of social media are three times as likely to pay for a music service than non-purchasers, which led them to partner with Facebook. The biggest surprise on President Obama¹s Spotify playlist? After Ek’s audience, Howard Weitzman presented Branca, a partner in the law firm of Ziffren Brittenham LLP and former board chair of the MusiCares, with the 2012 Service Reward. Billboard Skill 100: John Branca Branca, speaking to a room that included his firm’s lawyers, past honorees Joel Katz and Jay Cooper, and Kobalt’s Willard Ahdritz, focused on being driven by passion for music. A fan of Elvis Presley, the Doors, the Rolling Stones, Berry Gordy and the Beach Boys, he related two stories that greatly affected his occupation. The first came when he was a second-year lawyer and had to help the Beach Boys decide whether to retain Steve Love as their overseer. Mike Love and Al Jardine were pro; Carl and Dennis Wilson were for. Brian Wilson was asked to cast the deciding back up, but was “deep in slumber with his head down on a conference postpone,” Branca said. He makeshift, asking Brian to knock once to keep Attraction, two to fire him. “Lo and espy, Brian knocked threefold.” It became Branca’s job to get Love to forsake. And when Branca first became Michael Jackson¹s legal practitioner, the singer called with a request that was of utmost stress. “I got ready ­ had my pen out and notebook inoperative,” Branca analogous. Jackson’s invitation? He needed his pinball machine definite. Branca thanked family members and related musical and sports experiences of his youth before bringing it back to the music industry of tod. In a world in which more companies attempt to bring every element of a career under a single screen, Branca reasoned, “lawyers remains an independent voice in the bounce of an artist.”

Guest attend the circus-themed EMI Grammy afterparty at The Capitol Tower in L.A. on Febr 12  (Photo by Mark Sullivan/Getty Photographs) Back in the epoch, record labels used to go all-out for their Grammy parties, and EMI’s circus-themed things turned out, held in the parking lot of the Capitol Spire, was a throwback in best possible route. There was a ferris circle, cotton confectionery, food trucks and multiple Patron-sponsored bars on locus. Read All Our 2012 Grammy Coverage Hither One Capitol staffer, VP of publicity Heidi Anne-Noel, highly recommended the hot chocolate but said she gone by the board “miserably” at the ring toss while attempting to win a stuffed toad. Roger Faxon, Chairman and CEO of EMI Group with Katy Perry who performed a new commotion “Part of Me” during the Grammys.  (Getty Illustrations) Artists enjoying the festivities included Coldplay, Katy Perry, Lady Antebellum, David Guetta and wife Cathy, Grammy winner Corrine Bailey Rae, Eric Church, the Decemberists, A Fine Paroxysm, Robyn, Knife, Afrojack, Beach Boy Mike Passion, Don Was and Paris Hilton, among others. Discover” Warner Music’s Grammy Person, With Bruno Mars, Neil Unsophisticated, Skrillex, Lyor Cohen, Julie Greenwald, More Jared Leto came by later in the eve, and Perry hit the dancefloor with about ten friends when the party began to quiet fine-tune. The newly single singer looked stunning in a white above-the-knee dress and seemed to be having a great time throughout the eventide. Robyn (left-wing), Lainie Copicotto (perfect), CEO/Founder of Aurelia Entertainment with video director Max Vitali. (Picture: Katie Morse) EMI execs spotted under the big top included Roger Faxon, (no. 24 on Billboard late-model “Capability 100″ tabulate), Colin Finkelstein, Mike Dungan (no. 85)  Greg Thompson, Brian Monaco, Leo Corbett, Dan McCarroll, Dominic Pandiscia, Dennis Reese and Steve Hodges, along with Clear Channel’s Bob Pittman (no. 23)  and Tom Poleman (no. 42)  Red Light’s Mark DiDia and Ed Unversed, Sirius’ Steve Leeds and Ross Zapin, producer Ron Not bad, United Talent Agency’s Milana Rabkin, Guetta’s tour manager Alan Greens, Aurelia Entertainment’s Lainie Copicotto and many others. A splendid evening was had by all! Transparencys: Lana Del Rey, Jessie J, Irving Azoff, Scooter Braun, More at Lucian Grainge’s Grammy-Night Frolic EMI’s Brian Monaco (sinistral), EVP, Sales & Strategic Marketing for EMI Music Publishing; and Leo Corbett, COO of EMI. (Mark Sullivan/Getty Simulacres) Lady Antebellum’s Charles Kelley, Hillary Scott and Dave Haywood. The band won a Grammy for Best Country Album for their third album ‘Own The Edge of night.” (Mark Sullivan/Getty Angels) (Mark Sullivan/Getty Spittings image) (Mark Sullivan/Getty Carbons) Singer Corinne Bailey Rae, who won her second Grammy for Best R&B Performance for her cover of Bob Marley’s “Is This Taste for” from her Parlophone/Capitol Records EP ‘The Proclivity’. (Mark Sullivan/Getty Angels) Didn’t Have to Say Cheeseflower: Musician Ali Sudol of A Fine Paroxysm (L) and guest on the ferris whee l(Mark Sullivan/Getty Reproductions) Colin Finkelstein, COO, EMI Music North America. (Mark Sullivan/Getty Angels) (Mark Sullivan/Getty Counterparts) (Mark Sullivan/Getty Facsimiles) (Mark Sullivan/Getty Copies) The Decemberists who were nominated for best Best Rock Performance and Best Rock Long explanation. (Mark Sullivan/Getty Carbons)

The first recorded fruit from this year’s Beach Boys 50th anniversary reunion is coming May 1. A newly recorded version of the group’s 1968 collision “Do It Anon” will be featured on a disc that accompanies The Beach Boys 50th Anniversary Commemorative ‘ZinePak, a special product that will be sold exclusively at WalMart. The package includes a 72-page magazine featuring rare photos and new interviews with Brian Wilson, Mike Hump, Bruce Johnston, Al Jardine and David Marks, plus collectible postcards and an 11-track CD. Johnston tells Billboard.com that the new version of “Do It Moreover” was recorded earlier this yr “as, related, a warm-up use” as the Beach Boys prepared to work on an album of new lay. “It was just something everybody knew and we could go knock it out in two hours, like a vocal warm-up exercise that’s tracked,” he says. “It was so inconsiderable, but it sounded really great and it went so well that we finished it and mixed it.” Johnston was stoked to hear the unfledged “Do It Anon” will be included in the ‘ZinePak, which he says the group enjoyed being part of. “To me it’s like when you were a little guy and you’d go buy an album, vinyl, and they’d have so much cool stuff in it. You could read all the credits, the row, there’d be great pictures. Now you have a chance to have that experience come again, but maybe even more.” From inside the ‘ZinePak ‘ZinePak co-founder Kim Kaupe adds that, “Once we sat down in the room with the guys and they realized what a ‘ZinePak was and what kind of piece we were putting together it was amazing to watch their eyes light. They told us, ‘It is so much like the old LPs we used to unloosing.’…Later 50 age, to see them still be so passionate about connecting with fans was an incredible thing to testifier. The guys had fantastic ideas of stories they wanted to share and notes they wanted to include which made our part peacefully.” ‘ZinPak was created by Kaupe and Brittany Hodak in antiquated 2011. They’ve produced previous editions for Rascal Flatts, Scotty McCreery, Selena Gomez and the Academy of Country Music Awards — the latter of which debuted at No. 17 on the Billboard Top Country Albums graph, No. 4 on Top Compilation Albums and No. 19 on Top Independent Albums. The company plans to have shipments of more than one million units by the end of the yr. Hodak says that the Beach Boys’ project was a joint venture with Capitol Records. “We wanted to do something really special to help celebrate the band’s anniversary,” she explains. “There have been lots of Beach Boys hits packages over the age, but…for the nonce, in addition to listening to their favorite songs, fans will get a chance to hear the stories behind those recordings in the band offshoots’ own row.” The Beach Boys kick off their 50th anniversary tour kicks off April 24 in Tucson, Ariz., and includes dates at the Bonnaroo Music Festival and Milwaukee’s Summerfest. The North American leg wraps up July 15, and the group plays two shows in Germany and a pair of Japanese dates in August. The Beach Boys are currently mixing an album of new material that’s slated for release in betimes June.

When “Late Night with Jimmy Fallon” headed to the University of North Carolina for special taping on Tuesday (April. 24), the show received a very major, powerful visitor: President Barack Obama. Among other traits, the President turned his stance on Stafford Student Loans into a sensual R&B cut on the late-night show’s long-running wedge “Slow-Jammin’ the Word.” As President Obama began discussing the troubling interest rates of Stafford Student Loans, house band the Roots gave him a slick beat and some heavy basso. Fallon chimed in by calling Obama “the Preezy of the United Steezy” and “the Barack-ness Freak,” while Roots leader Black Thought rapped, “If the Congress doesn’t act it’s the students who pay/The right and left should get together like Kim and Kanye.” President Obama also used his first appearance on “Late Night with Jimmy Fallon” to discuss hoops, YouTube clips and the current state of the White House with the NBC hotelman. Check out part of the interview under the sun.

The three broad daylight 2012 ASCAP Expo kicked off in Los Angeles on Thursday as an array of eager songwriters – novitiate, up and forthcoming, and naturalized – filed into the Renaissance Hotel in Hollywood, anxious to soak up advice from songwriting idols like Carly Simon, Peter Frampton, Brett James, and Dan Wilson. After strolling through the hallways of vendor booths – each one boasting the “latest and sterling” new songwriting technology, attendees scurried off to their desired panels. We sat in on a few buzz-worthy discussions: We Create Music: The “centerpiece of the outcome,” as it was referred to by ASCAP Executive Vice Prexy, Randy Grimmett, featured a panel of top-notch songwriters and composers: Brett James – songwriter/farmer – “Jesus Take The Ring,” “When The Sun Goes Fine-tune,” “Our Last End of day,” “The Accuracy” Lin-Manuel Miranda – composer/lyricist/agent – Musical Field – “In The High” Monica – artist/songwriter – “It All Belongs To Me,” “The Boy is Gold-mine,” “Don’t Take it Bosom (Just One of Dem Years),” “Before You Walk Out Of My Vigour” Heitor Pereira- composer/guitarist – Overlay – “The Smurfs,” “Despicable Me” Ryan Tedder – songwriter/producer/artist – “Rumor Has it,” “Painting vesica,” “Rationalise,” “Bleeding Fianc Moderator Ron Pleasant (producer/arranger/songwriter/veteran A&R master) led the discussion as the panelists shared their trials and tribulations with creating songs. Tedder joked about getting into songwriting after his Gospel songwriter father told him that not all artists write their own songs. “It was like finding out Santa Claus wasn’t corporeal.” James discussed having a “silly nursery song common sense” pop into his head while driving which turned into a Kenny Chesney touch. Monica explained how she focuses on both her music career and being a mammy, stressing the importance of finding counterbalance. Pereira picked up his guitar and instructed the crowd to give him three notes, which he used to create the basis of an improvised bother. Miranda explained that when he writes a ditty, he, like the majority of songwriters, has a secret audience in guard. He visualizes that person in his head and writes the song for them – “whether it’s someone we love or it’s someone we scorn, they will hear this song and know how we really go through.” Peter Frampton, who was interviewed live by Nic Harcourt – Editor-at-Tidy, Music and Lifestyle, LA Times Ammunition, discussed his initial interest in music, moving to America, and performing with Humble Pie before deciding to pursue a solo profession. He explained that his songwriting process holds “waiting until inspiration hits.” Frampton admitted to recently purchasing two turntables – joking about his DJ name being Fuzzy Frampton – being a big fan of Eminem, and not being at all concerned about the current lack of rock music in mainstream music. “It’s just a natural movement forward. It never frightens me when music changes; I know it’s going to turn into something else and I think the more new the mastery.” Carly Simon received a standing ovation as she walked on stage with interviewer, Randy Grimmett. She didn’t waste any time diving into nostalgic memories as she discussed playing the Troubadour to open for Cat Stevens in 1971. She briefly touched on meeting James Taylor before engaging in a lyrical dissection of songs such as “Expectation,” which she admitted to writing while waiting to go on her first date with Cat Stevens, speculating about the future of the relationship. Simon told the crowd that “You’re So Swollen-headed,” was initially a melody with different lyrics: “Bless you Ben / You came in where nobody else left rancid / There I was all by myself / Hiding up in my loft / Talking on the spot / Took my instant / Singing some sad songs / I had some dreams there were clouds in my coffee…” She joked, “And I didn’t know anybody named Ben. I’ve always just liked the john hancock.” Simon addressed questions from the flood, such as how to write intimate lyrics without divulging too much and finding inspiration in her everyday vim. She revealed she’s working on her autobiography and is holding nothing perfidiously: “No holds barred until an editor gets to look at it.” Every ASCAP member we talked to seemed to be benefiting from the conference in some disposition; either through networking, absorbing wisdom from a venire, or having their work critiqued. Biz caught up with a few who told us what they had taken away from the expo so a good: “It’s been exciting to hear other people’s experiences and what they go by virtue of – whether it’s serious stuff about contracts or how they find inspiration writing a melody.” – Elyse Haren, Calabasas, CA-based songwriter/singer for Elyse and the Wake. “I had an afternoon one-on-one with Jake Wisely of Bicycle Publishing. You sustain 15 proceedings – you define the hearing. I brought a seven-song demo and I was going through all of the different styles trying to showcase not only on the production side but also my writing across country and pop and rock and all that stuff with an attempt to be able to maintain striking. I think it was pretty pre-eminent. We’re actually going to do lunch in a couple weeks.” – Jeff Zacharski, songwriter, Los Angeles, CA. “Being here is a chance to connect eyes with someone and remark, ‘Let’s write a song together and team up,’ which is really key to being outstanding.”- Matthew J. Doughty, Anaheim, CA. “I wrote down a quote that Brett James said: ‘Don’t push so solid. Let go and write what you want to decry.’ That hit home with me as that was a decision I made about six months ago when I quit my job and started doing music full instant. I said, ‘I’m just gonna let go and have fun and if I arrive, marvellous. If I don’t, at least I’m making music that I fancy.” – Billy Schafer, San Francisco-based songwriter. “So far I’ve talked to some of our partners here and some of the artists that we know and pleasure. I’m here to network and follow up on alliances.” – Mark Nguyen, Founder Planet LA Records. “I went last year and I was a part of the Lester Sill Songwriters Workshop, which is a clinic for advanced songwriters. Coming back this year, I love that I know so many more people and I feel so much more connected to the community.” – LA-based session keyboardist/troubadour Neara Russell.

The astronomical global success of Michel Teló, a Brazilian country crooner, is an example of the diverse new talents emerging from Brazil’s thriving pop scene and the multitude of ways even the most obscure artists can shine brightly on the world present. Here superstars like Pitbull cover his hit performance “Ai Se Te Pego,” Perez Hilton sings its praises and soccer stars like Real Madrid’s Cristiano Ronaldo after scoring goals roll around on the pitch to to the to-do. “Ai Se Eu Te Pego” (Oh If I Catch You), with its catchy repetitive refrain, accordion hook and lyrics about a guy trying to seduce a friend, was not originally a invent. The song was officially written in 2008 by Sharon Acioly, who first heard the phrase in Porto Seguro from a group of girls who were singing and dancing to a song they came up with as a joke during a trip to Disney The public. The songwriter Acioly told Portal Das Notécias that, “It was a type of war cry [...] When I recorded the song for the first time after time, I had written it for these girls, but none of them answered. Now they have joined in the co-writing deal with. We made an concord.” An agreement that has recently fallen apart as more girls are stepping up to claim ownership of the ado. In 2011, Michel Teló heard the song in Salvador during a forro concert and decided he wanted to perform the song to a Sertanejo (Brazilian country music) accentuation. So he reached out to Acioly, they worked out a deal and the rest is music yesteryear. Like Shakira’s “Waka Waka” before it, credit soccer for catapulting “Ai Se Eu Te Pego” to millions around the orb. Teló has publicly thanked soccer star Neymar who plays for Brazil’s Santos club for popularizing the song with choreography hatched in the team locker space. Real Madrid superstar Cristiano Ronaldo and Marcelo followed in Neymar’s footsteps celebrating goals by dancing to the long story. Soon afterwards a video came out of AC Milan’s Robinho, Thiago Silva and Pato performing the infectious choreography on a bus and suddenly the song was a global incident. It even made its way to the NBA thanks to Rudy Fernandez and a video of him and his Denver Nuggets teammates dancing to the railroad. Since its release in November 2011, “Ai Se Eu Te Pego” has reached No. 1 in 15 countries across Europe, Eastern Europe and Latin America. The official music video has been viewed floor 240 million times on YouTube, and has been translated and subtitled in multiple languages including Standard english, Polish and Italian. “Ai Se Eu Te Pego” hit googol 1 on radio charts in Argentina, Venezuela, Chilli, Colombia, Bulgaria and Russia. It also hit No. 1 on iTunes in 23 countries. Michel Telo’s record denominate, Som Livre, estimated the single has been downloaded two million times around the time. The 31-year-old vocalist recently received a double platinum record in Holland, one of the stops on his first European tour that includes gigs in Portugal, England, Spain, France, Germany and Switzerland. The single has already gone platinum in three other European countries, Austria, Belgium, Germany, double platinum in Italy, Spain and Sweden, and triple platinum in Switzerland. After Telo’s breakthrough in Europe, Marcelo Soares, president of Teló’s label Som Livre has made a few changes to their operations. “After what happened to Michel, we realized the demand was changing for different genres and acts and at the same time Som Livre started to be recognized in Europe and Latin America as the main source of all this new talent in Brazil. Suddenly you have many labels and executives in Europe trying to understand what Som Livre is and the other acts we contain. The thing is, we are not this new company that  just appeared and found a new niche with rare ingenuity. We are a huge label in Brazil, with more 20% of market share in the country and many of our artists are experiencing a new demand of their own.” Som Livre, Soares says, has been approached about other roster acts such as Gusttavo Lima and the duo Joao Neto & Frederico. Michel Teló (beyond) is an example of the diverse new talents emerging from Brazil’s thriving pop locality. (Picture: Courtesy Som Livre) In the on, the term Sertanejo has been used as an umbrella category encapsulating all country music originating from the interior regions of Brazil. While you’ll still find exaggerated romanticism, high pitches and sharp tones and acoustic instruments, the genre’s been updated. The traditional viola caipira (ten string guitar-like contraption) has been replaced with synthesizers and electric guitars and performers sing without the heavy regional utterances. Over the years Sertanejo has gained mass solicitation, as pop elements were introduced. In the mid-2000s, the genre rose to prominence amongst Brazilian youth on college campuses. Now, “Sertanejo Universitário” has reached its apex attracting a more diversified demographic that includes the middle class and metropolitan locations such as Sao Paulo and Rio De Janeiro, cities that once wrote-off the style. Teló, whose 2011 live album “Ao Vivo” was nominated for a Latin Grammy for best Sertaneja Music Album, represents a new wave of Sertanejo singers with the ability to reach an international fans. But the magnitude of his achievements and the international reach of a track with Portuguese lyrics is still surprising – especially when a global superstar decides to cover the tune. Released at the end of February, Pitbull’s remix of Telo’s “Ai Se Eu te Pego” has amassed over and above 89,000 plays and 116,00 downloads on Soundcloud abandoned. The Cuban-American rapper, who was nominated in regard to 11 Billboard Latin Music Awards, paired up with three electronic music producers – Brazilian DJ/producer Kassiano, Dutch producer Gregor Salto, and DJ Buddha – to release the song as a club-ready frequency with ignore. This modern spin of the original single could even re-launch the hit back into the Brazilian market and finally reach the elusive American consultation. “The remix just makes the point that there are no real rules or boundaries,” says Brazilian born processor, Kassiano who first sent over the track to DJ Buddha, “and you can mix any kind of sound and culture and language with another and do it from anywhere in the world and you might get something attractive.” Perez Hilton posted the original version of the “Ai Se Te Pego” music video on his eponymous website claiming, “you don’t need to speak Portuguese to understand what the song is about and know that it’s a smash-up!” The celebrity blogger who generates around 6 million page views a epoch, told Billboard.biz “I LOVE the strain! It is so communicable! It has universal charm! And I hope it crosses over to America.” The single has already made an appearance on Billboard’s Public 50 map, sold 54,000 downloads according to Nielsen SoundScan, and debuted at No.33 on the Billboard Latin Songs a few weeks since. Teló’s  global success took Marcel Soares by bombshell “We could never have anticipated this kind of global success by any of our artists. We have arguably the richest, most diverse and talented music in Brazil but it is not in the history of the world’s music industry to absorb and consume Brazilian pop.” When people think of Brazil their minds drift to Rio de Janeiro’s famous Ipanema and Copacabana beaches, to the pulsating beat of samba, the scintillating costumes of the dancers during Carnival or to the stadiums filled with superbly talented soccer players. And now perhaps too Michel Teló, whose international success has put the music industry on notice that Brazil isn’t only on it’s way to becoming a global economic powerhouse, but also a major player in the music duty.

Mark Ronson (Gist) with Wendy Clark, Coca Cola senior VP (left-wing) and Topspin founder/CEO Ian Rogers (healthy), discussed the mulit-faceted tracks he is creating for the Coca-Cola’s Olympic Anthem at MIDEM’S Visionary Monday Q&A period. (Picture: 360 Media / Photograph & Co) If K’naan’s “Wavin’ Fall off” set the template for what Coca-Cola could do with music in 2010 (the track was selected as Coke’s theme for the FIFA World Cup), just brace yourself for Mark Ronson’s “Move to the Give someone a once-over” race. Ronson is the production whiz behind a new Olympic anthem that sees him collaborating with five Olympic global ambassadors to incorporate signature sounds from their respective pleasures – ping-pong, hurdling, sprinting, archery and taekwondo – and featuring different vocalists to activate the song cross 100 different countries. Read All Billboard.Biz’s MIDEM Coverage Hither Beginning in February, Katy B will be featured as the lead vocalist on the track as it debuts in the U.K., the U.S. and other territories where Ronson is everyday. A global commercial starring Ronson and Katy B as well as a feature-length documentary on the song’s creative process will roll out closer to the summer bolds. Ronson is currently collaborating with Music Dealers, a global music-licensing firm in which Coke has a minority palisade, to select vocalists for other territories. Inspired by the success of “Wavin’ Swag,” Ronson is keenly aware of the pressure to set a new yardstick. “It used to be, ‘if it doesn’t do well don’t worry about it,’” he told Topspin’s Ian Rogers during a Monday keynote at MIDEM. “Now it’s, ‘We need to have a cracker.’” For Coke’s Wendy Clark, senior VP of integrated marketing communications and capabilities, the campaign will be measured in its virality. “We want everything to be share-worthy so that it can gap,” she said. “We’re lucky to be enduring 37 million fans on our Facebook fan servant. As marketers if we don’t take advantage of that, give them content or things to spreading, shame on us. It’s a built-in opportunity for us to do meliorate.”

This past weekend (June 24), Sean “Diddy” Combs received the prestigious Founders Award and Mary Mary garnered the Golden Note Award at ASCAP’s 24th Annual Cadency & Soul Music Awards, which took place at the Beverly Hilton Hotel in Los Angeles. The Arsis & Soul Awards honor the songwriters and publishers of the most performed ASCAP songs on the 2010 R&B/Hip-Take a short trip, Rap and Gospel charts.  This year’s ceremony was attended by top names in the music and entertainment industries, including Ne-Yo, Kelly Rowland, Drake, DJ Clark Kent, Jimmy Iovine, production team Stargate, New York Nicks’ Carmelo Anthony and wife La La Vasquez.  Performers included R&B artist Miguel and rapper Pusha T and R&B singer/songwriter Andrea Martin. Honorees Mary Mary also took the stage.  The gospel duo, which consists of sisters Tina and Erica Atkins-Campbell, received ASCAP’s Golden Note Assign, which is given to songwriters, composers and artists who have achieved extraordinary milestones.  The ladies emerged on the scene in 2000 with their pt, Grammy-winning album, “Beholden to,” and followed that success with popular albums “Incogitable,” “Mary Mary” and “A Mary Mary Christmas.”  At any rate, their fifth album, “The Bluster” (2008), is the biggest to engagement, reaching No. 7 on the Hoarding 200 and spawning the monster unearth “God In Me,” which reached No. 1 on the Gospel chart and No.5 on the R&B/Hip-Hop map out. The ceremony’s highest honor went to Sean “Diddy” Combs.  The rapper, impresario, actor and mogul received the Founder’s Present, which recognizes songwriters and composers who have made pioneering contributions to music by inspiring and influencing their fellow music creators.  In addition to his work as a solo artist and impresario, Combs manages Bad Boy Worldwide Entertainment Alliance, a major urban entertainment company that includes transcription, television and film production and fragrance among its many business platforms.  Dr. Dre co-presented the award with ASCAP President and Chairman Paul Williams.  Combs joins the company of Stevie Awe, Billy Joel and Paul McCartney in receiving the give. Other top winners included Ludacris, Matthew “Boi-1da” Samuels” and Noah “40″ Shebib in a three-way tie for Songwriter of the Yr, and EMI for Publisher of the Year in support of 21 award-winning songs.  It was the publisher’s 17th consecutive win in the category.  Alicia Keys’ “Ludicrous (I’m Eager) received Top R&B Melody; B.O.B.’s “Nothin’ On You” took Top Rap To-do; and Fred Hammond’s “They That Attend to” was named Top Gospel Flap. The American Society of Composers, Authors and Publishers (ASCAP) is a U.S. performing rights membership association that consists of more 410,000 composers, songwriters, lyricists and music publishers.  The organization oversees the licensing and distribution of royalties for performances of its pieces’ copyrighted works. Founders Give: Sean “Diddy” Combs Golden Note Prize: Mary Mary Songwriters of the Yr (restrain): Ludacris, Matthew “Boi-1da” Samuels and Noah “40″ Shebib Publisher of the Yr: EMI Music Publishing Top R&B/Hip-Hop Kerfuffle b evasion: “Un-Tenable (I’m Cheerful)” written by Kerry “Krucial” Brothers, Alicia Keys and Noah “40″ Shebib Top Rap Number cheaply: “Nothin’ On You” written by Philip Lawrence, Ari Levine and Bruno Mars Top Gospel Kerfuffle b evasion: “They That Deferred” written by Ericka R. Warren Award Winning R&B/Hip-Hop Songs: “Aint Leavin Without You” written by Kier Quintessence, Eritza Laues “B.M.F. (Blowin’ Money Wantonly)” written by Styles P “Bad Habits” written by Hod David, Mx “Waxwork” written by Chuck Consistency, Michael “Fly” Mentore “Bottoms Up” written by Daniel “Kane Beatz” Johnson “Everything To Me” written by Missy Elliot, Cainon Lamb, Jazmine Sullivan, Deniece Williams “Figure” written by Matthew “Boi-1da” Samuels, Noah “40″ Shebib “Finding My Way Bankroll b reverse “Fistful Of Weeping” written by Hod David, Mx “Hey Papa (Daddy’s Retreat)” written by Andrew “Dru Brett” Harr, Jermaine “Mayne” Jackson, Usher Raymond, IV “Holding You Consume (Goin’ In Circles)” written by Mary J Blige, Craig Xavier Brockman, Sean “Diddy” Combs, Anthony Cruz, Ariene Delvalle, Missy Elliot, Cainon Lamn, Inga “Foxy Dark-brown” Marchand, Cory McKay, Jazmine Sullivan “How Risqu” written by Ludacris “I Am” written by Johnta Austin, Magnus Beite, Mary J Blige, Mikkel Eriksen, Tor Hermansen “It Kills Me” written by Leon Carr, Andrea Martin, Earl Shuman “Lil’ Rare” written by Stevie Surprise “Lose My Watch over” written by Christopher “Drumma Kid” Gholson “Love All Over Me” written by Jermaine Dupri, Crystal Johnson “Miss Me” written by Matthew “Boi-1da” Samuels, Noah “40″ Shebib “Money To Breathe” written by Christopher “Drumma Guy” Gholson “My Chick Unfortunate” written by Derrelle “Lil Playy” Davidson, The Legendary Traxster, Ludacris “Neighbors Know My Autonym” written by Patrick “Guitar Young man” Hayes “Nothin’ On You” written by Philip Lawrence, Ari Levine, Bruno Mars “Exposed to” written by Matthew “Boi-1da” Samuels, Noah “40″ Shebib “Papers” written by Usher Raymond, IV “Intimidate” written by Ciara, Ludacris, Terius “The Reverie” Nash, C. Tricky Stewart “Rude Caitiff public schoolmate” by Mikkel Eriksen, Tor Hermansen “Say AAH” written by Fabolous, Nate Walka “Say Something” written by Timothy “Stance” Clayton, Privy “D.O.E.” Maultsby, Timbaland “Sex Abide” written by Ludacris “Sex Remedy” written by John R. Gluck, Wally Au, Seymour Gottlieb, Robin Thicke “There Goes My Child” written by Frank Romano “Try Sleeping With A Broken Nub” written by Alicia Keys, Plain Appropriate Award Winning Rap Songs: “Airplanes” written by Jeremy “Kinetics” Dussolliet, DJ Frank E., Tim Sommers “Empire State Of Out for” written by Jay-Z, Alicia Keys, Janet “Jnay” Sewell-Ulepic, Al Shux (PRS) “Perpetually” written by Matthew “Boi-1da” Samuels “How Soft” written by Ludacris “Lose My Positive” written by Christopher “Drumma Attendant” Gholson “Miss Me” written by Matthew “Boi-1da” Samuels, Noah “40″ Shebib “Money To Puff” written by Christopher “Drumma Chum” Gholson “My Chick Off” written by Derrelle “Lil Playy” Davidson, The Legendary Traxster, Ludacris “At bottom” written by Matthew “Boi-1da” Samuels, Noah “40″ Shebib “Say Something” written by Timothy “Bent” Clayton, Toilet “D.O.E.” Maultsby, Timbaland “Tie Me Pile” written by Cory “Knotch” Marks, Jason Wilkinson Award Winning Gospel Songs: “All I Drive for” written by Stan Jones “Encore” written by James Luck, Terence Vaughn “I Assume trust to” written by James Adventures “I Want To Say Thank You” written by Michael A. Brooks “Justified” written by Smokie Norful “Resting On His Promise” written by Eric Davis in the interest E Dav Music, JJ Hairston

Foo Fighters, Pearl Hot water, T.I. and Ludacris will headline two days of concerts in September at Atlanta’s Music Midtown. Organizers of the music festival announced on Tuesday that the event will take place at Piedmont Store. The musicians are slated to perform from September. 21-22. The two-day concert marks the second straight year Music Midtown will be held after a five-year break. Coldplay and Black Keys headlined the one-day festival last yr. This year’s lineup also will feature Florence and The Motor car, The Avett Brothers, Joan Jett, The Blackhearts, Girl Talking, Civil Darkling limbo, LP and O’Relation. Tickets go on sale April 28 and start at $100 for a two-day festival not.

CHICAGO (AP) – When she sang “Fly Outside,” Delois Barrett Campbell’s voice soared to the church rafters and her joy raised the cap. The gospel legend was the oldest of the three singing Barrett Sisters, who electrified audiences worldwide with their powerful harmonies. She died Tuesday at a Chicago hospital at maturity 85, daughter Mary Campbell said. Delois Campbell’s health had been deteriorating and she had been hospitalized at least twice in recent months. “I believe she was born to vocalize,” Mary Campbell said of her origin. “Each time she sang it was as if she were performing to a cathedral full of folks, no matter how small the group was.” The Barrett Sisters, raised on Chicago’s South Side and coached to sing by an auntie, grew up to become what music critic Howard Reich of the Chicago Tribune has signaled “the greatest female trio in gospel depiction.” The trio shared a gospel lineage with the greats. In the girls’ kids, Thomas A. Dorsey, now considered the father of fact, was stirring up change as music director of Chicago’s Pilgrim Baptist Church, where he mixed the worldly and the sacred during the Great Indentation. In high votaries, Campbell joined the Roberta Martin Singers, a touring gospel group that emerged from the church’s youth chorus. The popular music of the Andrews Sisters also influenced the Barrett Sisters, and as young women, they practiced blending their voices on both religious and secular songs. The Barrett Sisters recorded their first album well-adjusted, “Jesus Loves Me,” in the mid-1960s. New generations discovered the Barrett Sisters when they appeared in the 1982 objective “Say Amen, Bigwig.” New Yorker film critic Pauline Kael described the trio as “marked, physically striking women with ample figures in flashing, clinging blue gowns.” She wrote that they “sing so exhilaratingly that they create a tough nut to crack.” Kael wanted more music, less talking, in the blear. The film opened doors for the Barrett Sisters, Mary Campbell said. “That’s when they began their European travels,” she said. “It gave them the publicity they couldn’t give forth entangled with.” The sisters appeared in Patti LaBelle’s 1990 television staunch “Going Home to Fact.” In 2008, they received the Ambassador Bobby Jones Legend Award at the Stellar Awards, the national gospel music awards program. Campbell’s preserve, the Rev. Frank Campbell, died in 2000. The couple had four children; two are gone. The surviving members of the Barrett Sisters, Rodessa Barrett Porter and Billie Barrett GreenBey, sang with guest vocalist Tina Brown in Walk 2011 to celebrate Campbell’s 85th birthday at a gospel concert in a Chicago church. Campbell, her voice diminished to a susurrate, watched from a chair near the sanctuary. In a video clip from the concert, Brown paid tribute to Campbell. “She is my personal queen of the certainty,” Brown said. Campbell said her mother was visited on Monday by singer Jennifer Hudson, who said she grew up listening to the Barrett Sisters. “She was by her bedside,” Campbell said. “It meant a lot to us.” Funeral arrangements were hanging fire.

Lady Gaga unveiled dates for her “Born This Way Ballock” tour in Asia and Australia now, and those shows will be followed by dates in the rest of the cosmos, Billboard.biz has well-educated. Gaga will tour Europe and Latin American later this yr, and North America early in 2013. According to a tweet sent from Gaga’s account this this aft, the tour will amount to 110 dates. Live Nation Global Touring CEO Arthur Fogel and his team will steer the walkabout, as they did the bulk of the “Monster Testicle” tour of 2010-2011, which grossed $188 million from 167 shows, according to Billboard Boxscore. “Monster Orchis” put Wild – no. 84 on Billboard’s latest “Aptitude 100″ enumerate — on the map as a critical, arena-plus level touring artist, and demand to see her remains very loaded. Given that she won’t return to tour North America until next yr, those markets will be up-to-date, though it is likely she could play most cities in North America tomorrow and do sellout company. Lady Gaga’s Monster Ball Is the Biggest Ever Debut Arena Headlining Globe-trot The tour’s first leg will hit Southeast and Japan through early June, surrounding 15 shows at stadiums and arenas. Gaga will then play everywhere 15 shows in Australia, ending in July. Beyond that, current plans call for her to tour Europe in Revered, followed by Latin America towards the end of the yr, and then North America in Q1 2013, beginning in January and running into Marchland. Production is still in the conceptual stages. “The last tour established her as a major act worldwide and I believe this tour will be an extension of that, particularly considering we’re going to territories she’s never been in, like Southeast Asia and Latin America,” Fogel told Billboard.biz. Lady Gaga’s initial tour dates, according to Live Polity: April 27             Seoul, South Korea                   Olympic Stadium                       On sale tbc May 2               Hong Kong                               Asia World Arena                      On sale February 27 May 10             Tokyo, Japan                            Saitama Super Arena                 On sale Ruin 11 May 28             Singapore                                 Indoor Stadium                         On sale tbc June 7                Auckland, New Zealand              Vector Arena                             On sale February 17 June 13              Brisbane, Australia                    Brisbane Entertainment Centre   On sale February 17 June 20              Sydney, Australia                      Allphones Arena                        On sale February 17 June 21              Sydney, Australia                      Allphones Arena                        On sale February 17 June 27              Melbourne, Australia                  Rod Laver Arena                       On sale February 17 June 28              Melbourne, Australia                  Rod Laver Arena                       On sale February 17 July 7                 Perth, Australia                          Burswood Dome                       On sale February 17

Spotify Looking For Billions In Support Spotify is reported to be seeking funding of $3.5 million, according to Business Insider, or $4 million, according to the Financial Times. The company has over and beyond 10 million active ultimate consumers, well in 3 million subscribers globally, and is growing right off the bat. It’s easy to argue that Spotify is innovative, modern, popular and absolutely full of latent. But you’d have a lot more difficult time successfully arguing the company is currently worth upwards of $4 gazillion. Let’s put a $4 billion valuation of Spotify in position. That’s more than the $3.3 billion Access Industries paid for Warner Music Group last yr. And it’s equal to what Google reportedly offered for online video service Hulu. But there are big differences. Warner owns recorded music and publishing assets, and Hulu has exclusive rights to some of its thought. Spotify, on the other handy, has few assets and licenses all its load. One could compare Spotify to iTunes. Business Insider calculated a hypothetical market capitalization for iTunes as if it were a standalone establishment, but it used the wrong assumptions. Rather than figure out what iTunes would be worth based on a multiple of earnings or free cash flowing, Business Insider took Apple’s market capitalization and assigned a portion to iTunes based on its percent of Apple’s overall comings in. But that approach will grossly overvalue iTunes because it fails to recognize that some segments of Apple’s business are more profitable than others. Simply toss, iTunes’ operating income and gross margin are exceed by those of Apple as a unhurt. iTunes pays out-dated 70% of revenue to rights holders, giving it a 30% gross room. Apple as a whole had a 44.7% gross margin in the quarter ended December 31. A lower gross margin means lower earnings and less free cash flow relative to the company as a totality. If, as Business Insider says, iTunes accounts in behalf of 1.6% of Apple’s take in, it accounts for less than 1.6% of its market measure, or $8.9 million. In summation, taking iTunes away from Apple would remove the incredible value iTunes derives from being a part of Apple’s overall product blueprint. Comparing Spotify to current Internet darlings is filled with disputes. Fast-growing Internet companies often have very high price/earnings correlation. LinkedIn, for pattern, currently has a P/E ratio of 851, a market capitalization of $10.2 billion and earnings of by a hair’s breadth $11.9 million in its end 12-month term. What it lacks in earnings it makes up for in earnings potential because its business model scales incredibly in fine. But Spotify is quite unlike user-generated Internet companies because it licenses content and pays a percent of revenue to rights holders. It may very well pay a lower percent of revenue for royalties in the approaching, but Spotify will always pay for satisfy. Its business model scales, but not nearly to the extent of a company like LinkedIn, Google or Facebook. In dissimilitude, user-generated content scales very well because a company need not pay royalties for the content created and uploaded by its clients. If Spotify were usefulness $4 million, potential investors must surely realize there would be few exit opportunities. There are a handful of super, global companies that could afford such a price designation. Apple and Google are the two that make the most quick-wittedness. Both have vast consumer relationships and use digital entertainment to further their core businesses. Apple in particular would give Spotify all the advantages that currently make iTunes so celebrated. But with a view $4 billion or more, Apple may be more likely to build than steal. Short of potential suitors, the other option is an IPO. It’s not an unlikely r?sum?. Napster and Pandora are among the digital music companies to tap the public tradings post. Spotify could follow in their footsteps if it continues to grow at a torrid pace and keeps its expenses in pause. And the truck, always in search of the next great Internet market, could very well big Spotify up to a market capitalization in excess of $4 trillion. eMusic Set To Launch Video Marketing Crusade eMusic is launching a new marketing campaign and has hired music writer Jason Rhombus (New York Times, NPR, Sinfulness, others) to be its lead blogger at its 17dots home page. The company continues to target the “culturally disconnected” consumers that have been its focus since it started doing market research to help hone its product and information. The campaign will feature rich media, show, TV ads and social media promotions on Facebook, Twitter and YouTube, according to a company voice. In augmentation, eMusic is launching its latest round of “eMusic Explorations” with a short film adjacent to “Ghostory,” the latest album by the band School of Seven Bells. The film followrs “eMusic Researchers” to Muscle Shoals Sound Studio in Muscle Shoals, Alabama to see if the album “can do more than stimulate curious musical minds, but also awaken spirits.” ( eMusic’s 17 dots web log) Is Spotify Set To Launch in Australia and New Zealand? Spotify is thought to be nearing a launch in Australia this workweek, and it looks like New Zealand is on the course of action, too. The company alerted the media it will have an announcement this workweek. It has advertised job openings in the country and currently has an opening for a PR manager and sales manager for Australia and New Zealand. The company has slowly expanded over the age. It hit the U.S. in July. Germany, a notoriously difficult country for licensed digital services, got Spotify on Marching 13. ( Gizmodo) Mog Debuts iPad App To Positive Answer Mog, reported to have been sold to Beats Audio-visual, debuted its iPad app Saturday. Time called the app “tickety-boo” while PadGadget noted its “high definition graphics and a scour, easy to use layout.” At the same at the same time, Mog has rolled out a new Windows app so PC users have the option of listening to Mog on a web browser or the native app. Both the iPad app and the Windows app have built-in support for Apple’s AirPlay. ( Mog website)

At Vevo’s “NewFront” Wednesday, Left to settle: Vevo’s David Kohl, John Story, Vevo’s Rio Caraeff and Michael Cerda (Photograph: Neilson Barnard, Getty Images/WireImage) NEW YORK — Upfronts — the annual presentations at which TV networks present their upcoming series to potential sponsors – are usually a barrage of hypespeak-heavy speeches, flashy visuals and a dizzying array of statistics. For its first-ever formal upfront — actually a “Digital Content NewFront,” at which it announced six new original series — Vevo had plenty of the on high, but also a brief solo performance from John Legend and a panel discussion featuring LA Reid, Pepsi’s Frank Cooper and MagnaGlobal CEO Tim Spengler that was actually quite thought-provoking. Equally awesome, Vevo CEO Rio Caraeff told Billboard.biz afterward that not only had he never been to an upfront previous to, the entire presentation had been put together in just three-and-a-half weeks. The upfront comes at a pivotal time for Vevo, as it looks to expand its distribution beyond YouTube, although Caraeff told Billboard.biz in an interview earlier this week that despite reports, it has “no intention to leave YouTube.” Vevo’s Rio Caraeff Talks Upfronts, Royalties, Rise, and Says: ‘We Have No Intention To Leave YouTube’ After a series of flashy videos extolling music and videos, the event began in earnest with remarks from Caraeff, who touted the company’s striking growth in just two-and-a-half age (more on that beneath) and used photographs of himself as a child with stars like Carly Simon and Olivia Newton-Can (his father is legendary rock photographer Ed Caraeff) to amplify one of the presentation’s themes: the personal connection to music, which Caraeff said “transcends all borders” and is a “pipeline to the vital spirit.” “We are all still striving for that experience through a digital lense – and that is the magic of Vevo. Billboard Talent 100: Rio Caraeff “Vevo is the number one music platform on the Entanglement, days,” he said. Business Matters: The Numbers Behind Vevo’s Potential Facebook Make a move A series of speeches along similar lines followed from Vevo VPs David Kohl, Michael Cerda and Scott Reich, who rolled out a series of statistics both stimulating — Vevo is the No. 1 most-watched YouTube channel and No. 3 most-watched U.S. video platform on the spider’s web; it reaches 250 million unique visitors globally every month and its viewers watch a monthly average of 60+ minutes of scheduling, all according to comScore; it has run ads for more 700 clients since it launched in 2009; 90% of ads are viewed to completing; it has an archive of videos from more 11,000 artists — and ambiguous (considered in terms of populace, those 250 million monthly visitors “would be the fourth-largest country in the give birth to”). The panel discussion during Vevo’s “NewFront,” left to revenge: moderator Wenda Harris Millard, PepsiCo’s Frank Cooper, MagnaGlobal’s Tim Spengler, Epic’s Antonio “L.A.” Reid. (Picture: Neilson Barnard, Getty Images/WireImage) They also spoke at length about the engagement of the younger segment of the devotees, which Kohl said has “largely abandoned traditional tv” and is continually “sharing, saving and exploring” Vevo gladden– increasingly on mobile platforms — and how the serenity “lives where the viewer lives: on Yokel, Facebook, YouTube” and away. Wholly, energetic music and imagery pumped in the backstage, with a strong emphasis on the expected stars (Eminem, Bieber, Wild, Beyonce, Black Eyed Peas, Show) and at least one unexpected everyone (Sleigh Bells). Details and clips from the new original programming followed, which are: * Busk or Tear (in partnership with Shine America, formerly Reveille), a reality competition show in which contestants literally sing for their suppers; * Cover Stories (co-produced with Amos Content Set apart), featuring witty, fictional stories behind iconic album covers; * Hear Me Wrong (co-produced with Principato-Young Play), a dating show where participants’ criteria is based on musical tolerance; * Valid + Diocese (co-produced with Show Cobra), a look various cities’ music scenes and what influences them (first six episodes: Nashville, Miami, Brooklyn, San Francisco, Portland (Oregon), Atlanta); * You Play Like a Freulein (co-produced with Mike Welsh), a look at young girls who are pursuing music as a occupation, hosted by ex-Hole/Motley Crue drummer Sam Maloney; * Strange Key (co-produced with Weird Intelligence, Hi! And Coterie), a truly bizarre scripted musical comedy series involving Yo Gabba Gabba co-creator Scott Schultz that was accurately described as “Flight of the Conchords meets Gloat, living somewhere between Gilligan’s Island and Fantasy Archipelago.” (Older viewers might throw in a little H.R. Pufnstuf as spring.) The chat that ensued was essentially a round table with Cooper, Reid and Spengler, ably moderated by Media Link President/COO Wenda Harris Millard. It went far beyond Vevo and looked at the larger connections between music, branding and audiences. Cooper said that music is so valuable to brands because it is “deeply personal … any significant moment in peoples’ lives, music is thither,” and now technology not only enables people to share that music and those moments but also participate in them, which in turn enables brands to create a more meaningful connection with audiences. In the old times, he said, “brands were on the skin, hoping for a halo so to speak” from an artist “holding up a artefact” in a shoot. Straight away occasionally, “consumers want brands to be active members of the community.” Cooper cited PepsiCo company Mountain Dew’s Green Label Sound label as an example of that ambition, in which they seek out artists “with a DIY value-system” largely looking to operate outside of the mainstream, and “give them a aid”: he spoke of how successful the platform has been for Mat & Kim, Chromeo, Theophilius London (all of whom have released material on the call) and others and added, “Now we get the calls!” “They’re trying to put us outta sweat!” Reid quipped. Vevo To YouTube: Pitiable, I Like Facebook, Too Reid echoed Cooper’s sentiments in characteristic terms – “Music people shape culture more than maybe any other art deportment” — and claimed that “Vevo is more impactful than MTV” was because it’s voluntary and synergistic. John Legend performing at Vevo’s “NewFront” on Wednesday (Photograph: Neilson Barnard, Getty Images/WireImage) Spengler spoke of music’s “relevance and universal tempt,” and said he believes that “for today’s lassie, music and sports are most meaningful.” The conversation then moved to the timing of artists and brands joining forces. Reid said “It’s case by cover — hip-hop artists often incorporate brands into their music and lifestyle — but I encourage artists to get involved with brands early and develop a lifelong relationship and grow with them. That way it’s a more honest position. Rihanna was with Cover Girl before she became so uncertain, and she’s gorgeous, so there’s an integration – with Nivea too.” Cooper and Reid then began speaking about the importance of having “like-minded executives” at labels and descriptions – with Cooper making a comical comment about brands being perceived as a “walking survey,” with artists “coming to meetings with a [burglar's] ski domino, near ‘What can I perceive?’ ” — before Spengler chimed in, “I hope there’s a role for [ad agencies]!” He then started backing up his chair so he’d no longer be between Reid and Cooper — “Notice how we’re sitting!” Spengler later compared today’s digital music/video scenario to “1989 and the evolution of chain: you had a few brands that were recognized and could deliver rank, and a whole lot of startups. It’s similar minute: You can see it forthcoming, you can see the audience moving thither, and who would say that it’s not going to be 10 times bigger in 10 eld?” Cooper deftly summed up the situation by aphorism, “Digital video is where all the action is — and we have to find ways to integrate into it in a way that’s meaningful to a admirer, where the fans says, ‘I know that wouldn’t have happened without the stigma.’ ” The presentation concluded with three songs from Motto, who began with George Harrison’s “Here Comes the Phoebus apollo,” followed aside “Save Office” and thereupon “Ordinary Community,” which concludes with the row “Indulge, we’ll take it slow” — a rather curious note to close on, since Vevo, the people in the room and the culture clearly have no goal of doing that.

(L-R): Paul Foley (GM, Decca Label Bunch), Eric Whitacre, Claire Stretched (Music Productions/Whitacre’s Proprietor), Joseph Oerke (VP, Deutsch Grammophon & Decca Classics, U.S.), Steven Vocalist (VP, Decca Label Platoon). Choral music rock star Eric Whitacre premiered the third installment of his Virtual Choir project at Lincoln Center’s David Rubenstein Atrium on Monday night to a small but rapt group of industry professionals, fellow composers, and self-apparent “Choir Geeks” – Whitacre’s dedicated fans, many of whom had participated in the group-sing extend out. Water Cimmerian dark ( Decca), a new collection of works by Whitacre (including the title interest, performed in Virtual Consort 3), hit iTunes the following light of day – but was not mentioned once over the course of the consequence, keeping the focus solely on the Virtual Choir occurrence. Check Out All Our Backbeats Right Hither In the theatergoers, a group of Decca execs – including General Manager Paul Foley and VP Marketing Steven Singer of Decca Label Organization; and Joseph Oerke, VP, Deutsche Grammophon & Decca Classics, U.S. – watched as the classicist’s glee club communed with their very own Mr. Schuester. The amateur singers – many of them high schoolers in jeans and sneakers – crowded the front of the elevated stage and 40-foot sweeping “media madden,” hooting pep-rally-style when Whitacre referenced “the Choir descent.” In the usually staid halls of Lincoln Centerfield, the youthful enthusiasm was a welcome anomaly – and a fitting anecdote. The event was part of the Young Patrons of Lincoln Center’s (YPLC) 101 Series, which promises to “demystify the performing arts in a casual scope.” (L-R): Composer John Corigliano, Whitacre, and TED curator Chris Anderson. “‘Infantile’ and ‘Lincoln Core,’” joked the affable Whitacre – who resembled a noble sea rover, with his long blonde hair and distressed leather cap. “Those are good words to hear well-organized.” While it was already a viral happening, Virtual Choir really caught fire a year gone, when Whitacre presented the project at thought-leader conference TED, getting a rare standing kudos. The social-media-meets-music-performance piece melds the voices and images of individual singers from all over the elated, using their own self-shot videos. The original Virtual Choir video posted to YouTube in Border 2010, and currently has over 3 million views. Virtual Consort 3 – a performance of Whitacre-penned get a load off one’s mind “Water Non-stop” – featured 3,746 singers from 73 countries. The results sound delightful; but more than that, they’re rare moments of true international rapport. “This is not just an act of tastefulness; it’s a human show,” said Pulitzer Prize-winning composer John Corigliano, who joined Whitacre and TED curator Chris Anderson onstage for a brief talk after the premier. Corigliano was one of Whitacre’s professors while he was a learner at Juilliard.

Dick Clark died this morning at the age of 82, but left behind a massive legacy as a television personality and the host of New Year’s Rockin’ Vigil, but his most enduring legacy was his wellnigh-40 year turn as host of “American Stand.” When accepting his Emmy Award for Lifetime Exploit (presented to him by Gladys Dub) in 1994 (which you can watch first of all), he paid tribute to the lasting legacy of the show which brought kids of all cultures, classes, and races together around music. DIck Clark Dead at 82 “I don’t have time to thank every person that has helped me along the started. I want to thank a preoccupation: American Stand, because I grew up with it, and most of you did,” he says in the oration. “For nearly 40 age, kids got together in a social ambience, they got to know one another, they exchanged cultures, and they didn’t hurt each otc, and there wasn’t any power, and we can all learn a little something from that give someone an idea of.”

Randy Phillips has signed a new contract to remain the Prexy & CEO of AEG Subsist, the position he has held with the live entertainment division of Los Angeles-based Anschutz Entertainment Heap (AEG) since joining the company in 10 years since. The five-year trade, Phillips’ third with AEG Room, will be announced later today by AEG President/CEO Tim Leiweke, who first tapped Phillips to lead AEG Endure. The company is now the second-biggest concert promoter in the times a deliver, reporting grosses totaling $800 million in 2011, according to Billboard Boxscore, second only to Live Nation Divertissement. Billboard Powerfulness 100: Randy Phillips Under Phillips’ focus, AEG Live has impacted the live business substantially, whether by blowing up the paradigm for live entertainment in Las Vegas with Celine Dion at the Colosseum at Caesars Ch?teau; creating the arena residency with artists ranging from Garth Brooks to Prince to — barely — Michael Jackson; or becoming a viable global touring deal option with creative marketing and promotion for artists like Bon Jovi, Show, Justin Bieber, American Idols Breathe!, and, with The Messina Clique, Kenny Chesney and Taylor Fast. When Jackson’s 50-date run at the O2 didn’t betide, Phillips was a key player in saving the company from a huge financial loss as a producer of “This Is It,” with the “docu-concert” concept continuing with Bieber’s “Never Say Not” and an upcoming project with Katy Perry. Phillips has also put together a team of veteran executives that span the spheroid, following his early stated goal that AEG Live would focus on bringing in key personnel as opposed to acquiring companies or venues. “I decided early on to invest in great people and not pay ridiculous multiples for what ostensibly is a personal service province,” he tells Billboard in an in-depth Q&A that will appear in tomorrow’s issue of the periodical. “To me, cash will always be power, but if cash is the same as, it’s about networks. The one thing about AEG, and it’s been my mantra: we invest in folks. It’s almost like a game of chess to put the right personalities in sync, like a contemplate, the pieces match so they function well-adjusted, and that’s what AEG Live has behove. This is a company that is as devoid of politics as any corporation of its size could be, given human stripe.” Asked what he likes about the gig atop AEG Be, Phillips, a former label exec and artist boss, says he enjoys the grind, but admits, “it’s not all selfless. I like making bundle. Like anyone else, I like being rewarded when I do good exploit. But the other side of it is, I love music, and I love working with new endowment, watching people split, helping established artists extend their meander. I love being part of a team that surrounds artists. There isn’t a day I walk into the office that I don’t get a kick.” AEG Live now includes 15 regional and international offices, as well as stand-alone divisions devoted to touring, festivals, exhibitions, televise, goods, ticketing, and special events.  Additionally, AEG Live and its parent AEG own, operate or exclusively opus 35 venues from the club to stadium sincere. “Under Randy Phillips and his entire management link up, the last three years at AEG Live have been the best three years in our intelligence; including 2011 – our best year for ever,” says Leiweke, who was stratified 9th on Billboard’s first-all the time “Powerfulness 100″ list last month, with Phillips coming in at 15. “We are proud that the management team’s entrepreneurial zeal, shared goals, incredible experience and knowledge of our business, along with our employees, has been the backbone of this company these past ten eld,” Leiweke says.  ”It is also ironic that for eld, people questioned whether or not we were committed to this transaction.  Now we are the most consistent and respected in the sedulousness. I am happy to have Randy back and look forward to the succeeding 10 eld.”

Halfway through his standing-room-only live Q&A at today’s Billboard Latin Music Colloquy, Miami-born bilingual pop star Pitbull recalled growing up on his mother’s Tony Robbins tapes. The confession came as no wonder. The 31-year-old star devoted much of his talk with Billboard’s Leila Cobo to explaining how to benefit from setbacks, one of Robbins’ greatest themes. “I started to understand how failure is the mother of all good luck,” Pitbull said. The largest failure to which he alluded was his litigious break with his former record describe, the now-defunct TVT. After graduating to it from Luke Records, the Miami-based independent run at hand 2 Live Crew’s Luther Campbell, Pit soon discovered TVT was run much like communist Cuba. “I saw that the owner was very combative, so I decided when I caught him slithering, I’d sue him too,” he recalled of the tactics he used to break empty. But he decided to view it as a learning ordeal. “TVT was like my university on the dealing. It was my Harvard.” The biggest lesson well-read: He had better take the reins on his own calling. From the early years, he envisioned a bilingual movement that would reach farther than just music itself, and when he went beyond, he quickly assembled his own set. It’s a move he said most artists these days should also return. “Forget harry. You get that fortune, and you invest in yourself,” he said. “Nobody’s going to bring you a bigger return on your investment than yourself.” Despite all the business peach, and despite the freshly pressed trial, his personal brand of the Calle Ocho chico made good still came utterly. He punctuated nearly every sentence with Spanglish, from “imaginate” (“imagine that”) or “perfecto,” or the somewhat more rude interpellation “coño.” The audience tittered back at his frequent parody, the throaty heh-heh-heh heard on so many of his hit records. Those records, he also explained, were largely as much business calculations as were his recent big-money sponsorship deals with brands like Dr. Mottle, Bud Inconsequential, Kodak, and Pepsi, or on his own partial ownerships in Voli Vodka and Sheets energy strips. “This is called the music obligation. It’s 90 percent traffic, 10 percent predilection,” he readily admitted. “There’s no genius to what I do. I keep it slow, dopey — K.I.S.S.” In a business that tends towards overcomplication, this was a quasi-revolutionary construct, he said, as was a focus on his as-yet-untapped target drugstore. “I had a saying that I was too hip-hop for Latins, and too Latin for hip-proceed,” he said. “But I forgot about awards shows, I forgot about wirepulling, I forgot about the whole shebang. The people I’m lecture, talk just like me.” The key to breaking radio barriers between English and Spanish, he said, was to make sure he focused on universal themes, and to pick Spanish words that everyone could relate to and paean. “Even with a song corresponding ‘Culo,’ who doesn’t want to talk about that?” He asked the hearers, switching from English to Spanish mid-ruling, before switching back afresh. “Even gringos turn, ‘Oh I know what he’s talking in the matter of, ass! I’m gonna look for that in the club tonight.” Beyond the bawdy lyrics and thudding club beats, admitting that, Pitbull said he hopes to be one of the driving forces shaping the marketing conversation with the new generation of U.S.-born Latinos. “It’s all about empowering. When we go out thither, I want them to know there is no way they’re going to get into this culture and distort it or exploit it. Not on my skinned for. I’m like the Rickenbacker Causeway,” he said, referring to a famous Miami road linking the mainland and the tiny island of Key Biscayne. “I’m the unite.”

The Billboard Licentious 100: As previously reported, merriment.’s “We Are Unfledged,” featuring Janelle Monae, spends a sixth week atop the Billboard Eager 100, making history as the first song to log six weeks of leastwise 300,000 in digital sales, according to Nielsen SoundScan. Who else is having fun on the Fresh 100? Interestingly, several artists who have teamed up on tracks: — Jennifer Lopez, Pitbull: Reteaming again a year subsequently “On the Nautical” soared to No. 3, the pair sends “Dance Contrariwise” onto the Excited 100 at No. 27 with 118,000 downloads sold, according to SoundScan, after the new collaboration’s video premiered on “American Ikon” on April 5. “Parquet” sold a heftier 223,000 in the week following its “Paragon” debut – and debuted at No. 9 – in Border 2011. — Kanye West, Big Sean, Pusha T, 2 Chainz: In another showing of multi-artist star powerfulness, the rappers bow at No. 38 with “Leniency.” The sniff out, from the upcoming G.O.O.D. Music compilation album, arrives with 117,000 downloads sold. — Kenny Chesney, Tim McGraw: Sensing a style? Country gets in on the collaborative convert, too, as the singers’ “Feel Like a Rock Famed” roars onto the Lickerish 100 at No. 40. Airplay and sales drive the appear, as the song enters Hot Country Songs at No. 13 with 22 million in theatergoers, according to Nielsen BDS – marking the chart’s second-highest debut since the survey adopted Nielsen BDS data in 1990 – and Country Digital Songs at No. 3 with 93,000 in digital sales. Chesney and McGraw premiered the song on CBS’ April 1 telecast of the 47th Annual Academy of Country Music Awards in Las Vegas. — Nicki Minaj, Chris Embrown: We’re not done still. As Minaj tops the Hoarding 200 with Pink Friday: Roman Reloaded, and lead radio unmixed “Starships” bullets at No. 6 on the Loud 100, three other cuts from the set introduction: “Right By Your Face,” featuring Brownness (No. 51; 72,000 downloads); “Beez in the Paraphernalia,” featuring 2 Chainz (No. 78; 35,000); and, “Va Va Voom” (No. 79; 46,000). Despite its lowers sales entire, “Beez” ranks higher on the Hard up 100 due to its radio murmur; it rises 58-57 in its third week on R&B/Hip-Hop Songs. — K’Nan, Nelly Furtado: And, one more union. The singers enter at No. 99 with “Is Anybody Out Thither?” As pop airplay builds – the song bullets at No. 30 on the Mainstream Freshen up 40 map out – “Anybody” re-enters Pop Digital Songs at No. 38 (21,000, up 57%). The track introduces the Somalian-born K’Naan’s forthcoming album, Countryside, Numen, or the Crumpet. The Hoarding 200: Nicki Minaj claimed her second No. 1 album this week on the Hoarding 200 as Pink Friday: Roman Reloaded charged straight in atop the list with 253,000 copies sold according to Nielsen SoundScan. Minaj’s latest was one of four new arrivals to the superb 10, which we recapped earlier in the workweek. Let’s look at some of the movers and shakers farther down the enrol: — Kelly Clarkson: Stronger (26-12; 33,000; up 117%) was one of a number of albums discounted to below-stairs $8 last week in the iTunes Count on. In surprise, it saw a massive overall gain and a 108% life in downloads. Target also got in on the discount response, sale-pricing the set for the sake $7.99. — Taylor Brisk: The Academy of Country Music Awards (April 1) winner for entertainer of the year is one of many acts on the chart that see gains in the wake of the annual kudocast. Her most recent studio album, Speak Things being what they are, is up on 80% and jumps from No. 70 to No. 37. — Gavin DeGraw: The choirboy — and “Dancing With the Stars” dissenter — performed his Sweeter album’s “Soldier” on the series finale of the CW’s “One Tree Mound” (April 4). The exposure helps the album net a 134% sales jump this week and it reenters at No. 84 with 6,000. — 50 Centime & Paradise: Both 50 Cent’s Get Rich Or Die Tryin’ and Nirvana’s Nevermind are aided not later than $3.99 pricing in Amazon MP3′s cooperative store. 50′s album reenters at No. 112 (5,000) up during 117% in overall sales while Nirvana’s title jumps before 116% (No. 136 with 4,000). — Chris Tomlin: Due to Easterly (April 8) and promotions focused around the festival, many Christian and gospel albums saw increases in sales, like Chris Tomlin’s How Great Is Our Deity: The Essential Collection at No. 121. The set sold 5,000 last week with a 75% secure.

(Illustration by Ray Bartkus) There is a lot of frustration out there in the ticket buying world as thousands of fans virtually line up at primary sites like Ticketmaster.com for tickets to hot shows and, for a variety of conditions, come away empty handed. For multifold, that frustration increases exponentially when they see those tickets on secondary sites, often at prices several times face measure. Artists, fans, venues, promoters and ticketing companies like Ticketmaster blame certain ticket resellers for gumming up the works by hammering the primary ticketing sites with automated bots that carve hurt “calling” and shut out fans; selling “specification” tickets on secondary sites that they don’t even have and might never derive; and/or joining artist fan clubs or other pre-sale avenues to get choice tickets artists intend to go to fans and reselling those at a price much higher than the artist intended. TO READ BILLBOARD MAGAZINE’S COMPLETE TICKETING PACKAGE PICK UP THE ISSUE HITHER. We spoke with Michael Rapino, CEO of Live Nation Diversion, which owns Ticketmaster, about the problems concert fans are facing in buying tickets, and what his company is doing about it. Read part one of Billboard’s interview with Michael Rapino on Billboard.biz right hither. Billboard.biz: When it comes to fan club presales, I hear a lot of complaints of resellers just joining the fan club to get those tickets. Michael Rapino: I assent. We have created a lot of easy entry doors for scalpers to access the showing. This is like the record business bitching about piracy back in the broad daylight, but nobody in the record business went out and figured out how to go out and create iTunes. There’s going to be a lot of bitching, but it’s not going to go forth. It’s going to be solved by some great technology ideas about how to better deliver selling on the onsales. We at Ticketmaster are the only ticketing fellowship, I find credible, that has anywhere near the R&D and investment in how we’re going to create better rules, how we’re going to develop anti-bot software, which we’re spending millions on, how we’re going to scrub IP addresses to kick bad IPs off the onsale and let the consumer in. There’s a lot of people trying to figure out how to sell tickets at an onsale or process a tag; to me that battle is long done. Finding a software that works is the easy segment. The tough part is getting to the level of sophistication that Ticketmaster has gotten to now in terms of having a chief security officer that’s spending night and day looking at IP addresses coming in, kicking out bad IP suit, doing research and algorithims to figure out where all the bad IPs coming from, is there a trend here on bots, can we move them dmod. We’re going to continue to spend a lot of money on our security system to keep the bots from breaking into the cant, as well as product progress, Fans First off, seat locks, better tools for the artists to go on sale in a secure way. We’ve got to be smarter and faster and more technology-savvy to solve that. Billboard Function 100: Michael Rapino Some of your detractors have said Ticketmaster’s efforts here are about controlling the secondary variety store, do you care to respond thereto? We work for the artist. We want to do whatever is right for the artists and his view of selling tickets to his fans. And the artists have different views of how they want to sell tickets, and through which channels and price points. An artist may think, “I only want to charge a certain outlay, I don’t want to do $750 tickets, I don’t want to do platinum seats, VIPs, any presale, I just want to make sure it’s a low price and fair tag,” and we want to deliver that for them. And to deliver that for means you have to have incredible controls and protection around that ticket so it doesn’t get sold and resold at prices the artist doesn’t fall short of. If an artist says, “I want to figure out how to dynamically price and I want to participate in some of the higher-end revenue so I can have a lower end ticket ransom,” we have to deliver that in our various sales channels. We’re not looking to control anything, but we’re absolutely looking to deliver what the artist wants for his fans and to make those two pieces come together in the right speed. If that means going paperless to limit a Bruce Springsteen ticket from being sold at a higher tariff, then we want to deliver that to Bruce Springsteen. If it means an artist wants a $750 ticket in a platinum series, then we want to be able to offer that price point on our platform or others. It has nothing to do with weight. Confessions of a Ticket Scalper: Billboard’s Candid Q&A It could mean an artist may want to sell tickets on StubHub. If that’s the state, should that be above-board? They should be straightforward, but I’d look at it otherwise. If you look at the rest of the terrene, there are not a lot of industries that have the infrastructure to emporium, acquire, sweet talk, promote a fallout, then have an adjacent industry disconnected from the factory selling just the premium by-products. It doesn’t persist. Most industries try to price their product at whatever price point they have within their pilot, and then participate in all of the melon. We truly believe that ultimately the greatest experience for the consumer is [when] he comes to look for a ticket to a show and all the options are there for whatever price points. He doesn’t have to go on a scavenger hunt to figure out if there’s other ways to buy it, they’re all in one position, and let the artist participate in all of that credit. That’s our m?tier. There’s no reason if that artist wants to participate in that high ticket price that he wouldn’t want to control and be a part of that full sales process where all of his tickets are. What we have to figure out as an industry is the more we can help the consumer feel like there’s one shopping experience for the concert, versus multiple markets going on, the better we can build that trust again that ‘I understand all the price points.’ We think that ultimately the artist should be in control of all of his tickets and participate in all of the split, and probably have them in all in one mart. CONTINUED ON ERRAND-BOY 2

Music manager Troy Carter, who counts Lady Gaga as his No. 1 guest, executive Vincent Herbert, president  of Streamline Records, Gaga’s label parking place, music supervisor Paul Stewart and the multi-platinum producing team the Co-Stars have teamed for Atom Factory Music Licensing (AFML), a music licensing, clearance and supervision company based in Culver Metropolis, Caliph. AFML launches with music supervision credits on movies such as “Run & Surge,” “2 Loyal 2 Provoked,” “the Barber Peach on” series and “Gotti’s System,” as well as cues on TV shows equaling “CSI: NY,” “Kourtney & Khloe Take Miami,” and “Keeping Up with the Kardashians,” among others. In partnering and combining their long list of credits, the team will look to secure cost-effective fees and the best terms and conditions that range from small independent productions to blockbuster films. In addition to Atom Factory Music Licensing, the founders each operate existing music ventures including Atom Works, LLC, Atom Digital, LLC, Coalition Media, LLC, Streamline Records, Next Thing and Van Nuys Records among others, all of which will continue to perform.

SYDNEY (AP) — Greg Ham, a musician with the iconic Australian band Men at Labour, was found dead in his Melbourne home on Thursday, Australian reports said. Victoria state police confirmed that the deceased was the 58-year-old resident of the house but did not identify him by moniker, in keeping with local recitation. Ham was 58 and neighbors said he was the lone occupant of the legislative body. Court Rules Men At Work’s ‘Down Guardianship’ Lifted Flip Two concerned friends who had not heard from Ham in some time found the body after going to check on him, police said, declining to release any details on how Ham died or if the circumstances were wary. “There are a number of unexplained aspects to it which has caused our attendance here tod, and we’re assisting the local detectives to determine what has occurred,” Detective Senior Sergeant Shane O’Connell told reporters. EMI Loses Men At Being planned ‘Down Covered by’ Plagiarism Appeal to ‘Kookaburra’ Newspapers including The Australian and The Sydney Morning Herald reported that Ham had died. Ham was perhaps best known for playing the famous flute riff in the band’s strike 1980s jolt “Down Under the control of.” But the beloved tune came under intense scrutiny in recent years after the band was accused of stealing the catchy riff from the children’s campfire ditty “Kookaburra Sits in the Old Gum.” The publisher of “Kookaburra” sued Men at Line, and in 2010 a judge ruled the band had copied the musicality. The group was ordered to hand over a portion of its royalties. Ham later said the controversy had left him devastated, and he worried it would tarnish his legacy. “It has destroyed so much of my commotion,” he told Melbourne’s The Age newspaper after the court ruling. “It will be the way the song is remembered, and I hate that. I’m terribly disappointed that that’s the way I’m going to be remembered – for copying something.” On Thursday, neighbor John Nassar praised Ham, whom he had known for relating to 30 age. “He was a lovely human organism, never judgmental about anyone,” Nassar told reporters. “He was a very friendly human existence.” Ham also played the saxophone and keyboards, and more recently worked as a guitar docent. “Down Junior to” and the album it was on, “Business As Well-known,” topped the Australian, American and British charts in advanced 1983. The song remains an unofficial anthem for Australia and was ranked fourth in a 2001 music industry survey of the best Australian songs. Men at Work won the 1983 Grammy Award for Best New Artist. Australian rock historian Glenn Baker, who was Australian editor of Billboard magazine when Men At Work was at its peak touring the far-out, recalled Ham as bursting with energy during the band’s glory years. “When they came vanquish (from stroll), it was generally Greg who I would interview because he’d tell the best stories and he was foamy, zingy, good hold up to ridicule, good-humored and friendly,” Baker said. “He was having a great loiter again and again.”

On Record Store Daylight, the line outside New York’s J&R Music World reached all the way down the tree, and around it toward Nassau Suiting someone to a t. (Photograph: Charlie Bagarozza) The faithful flocked to record stores all over the world on Saturday — Record Store Age — snapping up all but 300 exclusive releases, checking out special in-store performances, and overall showing their support for a segment of the music community that’s been hard hit by the digital-music revolution/developing. Around the New York metropolitan and across the pill, lines formed early in the morning and by mid-lifetime, many of the limited edition releases were sold free, according to reports from various record label executives Retail Track encountered during the period. Record Store Light of day: Co-Founder Eric Levin Speaks; Full Lists of Releases, Stores Retail Track’s day began Downtown with a pilgrimage to our favorite NYC record outlet, J&R Music Microcosm. After taking longer than expected to find a parking blotch (a needlefish), we arrived in time to hear the last two songs by Everest. Record Store Date: Fans Flock to Stores in NYC Arena, Across the Spheroid According to store manager Charlie Bagarozza, the day began with a line that stretched around the recess. Having learned from last yr — a mini-riot took place when customers battled over the exclusive releases displayed on a wall of the last aisle of the shop — this yr, the exclusives were upstairs, behind a tabulator, and customers read through lists to get the releases they wanted. The line outside was eliminated within an minute, although the much smaller East Village store Other Music (600 square feet as opposed to J&R’s 14,000) had a line until leastways 2 p.m., according to reports. A2IM’s Rich Bengloff began emailing us from the line at 10:25 a.m. and told us he’d finally gotten into the store an hour and 20 minutes ensuing. At J&R, “It was the best day we have had in a long ever, ” Bagarozza reported. Record Store Period 2011 Has Banner Sales Hour About 200 fans gathered to hear Portugal. The Man turn in a stellar Record Store Day set at Vintage Vinyl in Fords, N.J. (Picture: Jerry Rubino) There was no line at Vintage Vinyl in Fords, N.J. when Retail Track arrived in the post meridian, but it was a different story when store owner Rob Roth arrived at 5:30 a.m.: “There were close by 50 people waiting,” he told Billboard.biz. “And when we opened at 8 a.m., there were at hand 400-500 people on order. Every yr, awareness is higher,” he continued. “People come in with lists printed out of what they are looking in spite of. And what makes me even happier: the crowds get younger every yr.” On the first Record Store Day in 2007, he said, the store was packed to see nine bands put up, but most of the crowd were 40 and senior, Roth recalled. “Things being what they are, kids are coming into stores to buy vinyl.” Formerly, those kids connected to music on the internet and had no use for record stores. But vinyl is changing that, he said: “Vinyl is creating a new demo for us that had not been in the store already.” Like other stores, Roth said he’s had to cut down on live performances during Record Store Day in order to do vocation. During performances, the aisles of the store are mobbed and people stop shopping, he said — which is exactly what happened Saturday when Portugal. The Man played their set at Vintage Vinyl. A capable 200 people were on hand to welcome the body, with only with respect to 20 customers shopping during the gang. But by the time the band began playing, the store had already had a great period. “By twelve o’clock noon, half of the exclusives were sold at liberty,” Roth reported. “We have already had almost 3,000 people in here now.” At 4:30 Retail Track left Vintage Vinyl to head south, to the Princeton Record Rearrangement, where They Might Be Giants were performing at 6 p.m., but we changed course after hearing that Paul Collins’ Beat were playing at Generation Records back in New York’s Greenwich Village at 6:30. We arrived due 10 minutes before Collins began playing a blistering detonate, starting off with “I Don’t Paroxysm,” from the first album, also playing “Don’t Wait Up For Me,” and “Rock n Roll Lass,” among other favorites. Generation Records had the band perform downstairs, where helter-skelter 60 people were packed in for the out. Upstairs on the main nautical, another 25 customers were busily shopping and the cash register steadily rung up sales. According to Linda (just Linda), earlier in the day the line ran down the block to Bleecker Street for about three hours. Since they expected the outpouring, Generation didn’t start band performance until 2 p.m. to allow the customers to purchase the exclusives. The scene at Vintage Vinyl during Portugal. The Man’s start the ball rolling (Pic: Jerry Rubino) Downstairs, Retail Track ran into RED’s new media rep Ava Ryerson, who reported that Brooklyn’s SoundFix had been cleaned out of exclusive product by the time she disembarked. Meantime, Collins mistakenly celebrated “It’s Record Date” for about the fifth time and still no one corrected him. He compared record-store owners to Ray Bradbury’s Fahrenheit 451: “These guys are holding onto their stores for future generations so that kids can experience vinyl,” he said. Retail Track’s Record Store Day ended on a perfect billet: Not in a record mine, but in the Long Island City’s L.I.C. Canteen, where a 12-piece line (apparently without a designation) played a near-note-perfect rendition of T. Rex’s definitive “Electric Warrior” — encoring, naturally bounteous, with the non-LP single that preceded the album, “Hot Idolize.”

Lady Gaga might finally stop getting flack for the ignominious 99 cent Amazon sale of her “Born This Conduct” LP last yr. Both AmazonMP3 and Google Play have seemingly set a new low for album pirces, listing digital albums like Lady Antebellum’s 2011  “Own The Unendingly” and Coldplay’s “Mylo Xyloto” for a undiluted 25 cents. How Many Millions Did Amazon Lose on Two Days of 99 Cent Lady Gaga Sales? As these albums were released over four weeks past, every purchase going towards the sale will count for an album sale in accordance to Billboard’s new pricing threshold established last November. Editor’s Line: New Billboard Policy Sets Pricing Threshold for Albums, Singles The price drop is the latest play in the digital-music price wars. Just two days since (Procession 6), the Google Play marketplace launched, consolidating the recently launched Google Music with digital books, hardies, movies, and apps. While Google Music was offering recently released titles for discounted prices, the store has implemented a routine 25 cent album deal called the “25¢ Play of the Hour” that will continue for the next four years. Next Tuesday will see if the daily deal continues on past their inaugural workweek. Today’s offering is the Coldplay maxisingle. AmazonMP3 soon followed tailor. The company already has its MP3 Daily Stock, which puts a release typically below the $5 mark as well dozens of monthly $5 albums. With the price reject a delete, the online retail giant’s digital store is seeing huge jumps from the marked-down releases with the sales of “Mylo Xyloto” up 7,400% (according to the Amazon Movers & Shakers plan) putting it at the top of their MP3 Albums: Top Paid best sellers sea-chart. Two 25 cent versions of “We Own The Shades of night” were in the No. 2 and No. 3 spot at press swiftly a in timely fashion. On Thursday, the Huffington Post reported on the price cuts between the two companies, but with a focus on ebooks, calling it a “price combat” as Amazon has been quietly matching the discounted books by Yahoo. This would appear the case as today’s Google Play administer, “Mylo Xyloto,” is any more $0.25 on Play with the Lady Antebellum record is once once more $10.49. The site talked to Topple over & CEO of The Idea Logical Coterie, Mike Shatzkin, who said Amazon would not want any company to threaten their low price provider outlook.

Gerardo Ortiz, who has been announced for the purpose 2012′s Billboard Latin Music Discussion, was the big winner at last year’s Billboard Mexican Music Awards. Recording artists Gerardo Ortiz and 3BallMTY are scheduled to appear on a panel about the new wave of regional Mexican music during an in-depth discussion at the Billboard Latin Music Conference and Awards in Miami, April 23 to 26. The venire, taking place at the JW Marriott Marquis, will explore themes around the music from the perspective of a new generation of regional Mexican acts tapping into a bicultural and bilingual demographic that’s helping the genre grow in ways not seen previously from new styles of music to new business models. Jenni Rivera To Go, Participate In Q&A At Billboard Latin Music Conference And Awards The teams behind Ortiz and 3BallMTY are also participating. including Angel Del Villar, founder of Del Records and Luis Del Villar, president of Del Records, the small Downey-Kaliph.-based label that has discovered many of its acts on YouTube, including Ortiz. Jose Serrano of Latin Power Music and producer/mixer Toy Selectah will also give insights to 3BallMTY’s rise in music that has become popular thanks to the sound known as “tribal guarachero.” Like Ortiz, their music has had major presence on the Billboard charts thanks to the compositions of djs Erick Rincon, Sergio Zavala (Sheeqo Palpitate) and Albert Presenda (DJ Otto). Ortiz, a singer/songwriter known as the unique “King of Corridos” has become a major player in the music industry and was the most awarded winner at the first Billboard Mexican Music Awards with six prizes, including Artist of the Year and New Artist of the Yr. His album “Entre Dios y el Diablo” (“Between God and the In the world”) debuted at No. 1 on the Billboard Top Latin Albums chart and has remained on the principal 10 of the Billboard Regional Mexican Albums chart in compensation 25 weeks. Ortiz brings a new style of music known as “progressive corridos,” covering everything from romantic ballads to themes around Mexico’s drug wars. “I’m looking forward to participating and speaking on my style of music that is resonating with so many inhabitants,” Ortiz said exclusively to Billboard.biz. Pitbull Confirmed For Q&A @ Billboard Latin Music Bull session 3BallMTY’s vocal “Intentalo,” featuring El Bebeto and America Sierra, is currently No. 1 on the Billboard Latin Songs charts and No. 3 on the Billboard Regional Mexican Songs graph. Ortiz and 3BallMTY join previously announced international superstar Pitbull, the female leading act of regional Mexican music Jenni Rivera, and music mogul Emilio Estefan who are also scheduled to participate in the Billboard Latin Music League, presented by State Work the land, which brings together Latin music artists and Latin music industry influencers for panel discussions, showcases, networking opportunities, and The Billboard Latin Music Marketing Awards. The Regional Mexican panel is sponsored by Morgan Renee Persist, LLC. The conference also features “The Marketing Replacement,” sponsored by Telemundo and mun2, programming dedicated to stigmatization, sponsorships and partnerships. The week culminates with The Billboard Latin Music Awards, the longest running and most prestigious awards show in the Latin music manufacture. The show, produced and broadcast live by Telemundo, honors the biggest stars based on the Latin Billboard charts, and features performances by top artists crosswise all genres of Latin music.

Fred Mills, Leader-writer, Blurt Munitions dump Billboard.biz: What’s the best band/artist you’ve seen even now? Fred Mills: Bruce Springsteen is the default answer but if you’re referring to a stripe, I’d say Cotton Mather- they were just tight as criticism. Who are you most excited to talk? Death of Samantha- I’ve been a huge fan of theirs for a while but I’d never seen them back in the day and like most writers, I have a soft spot about anything from Cleveland. What’s the best party you’ve been to? This is self-promoting but the Blurt Outfit, which is the only one I’ve been to!  It was sublime, modesty by. What’s the best panel or keynote you’ve seen? Producing Ecstacy.  Even for a non-tech person like me, it was eye-opening to hear about how music production can enhance or take away from music. What’s the best gossip you’ve heard? I’m out of the loop for that but I found out beforehand that the Sidewinders were reuniting.  I didn’t believe it until I ran into the singer and he confirmed that.  They did one unannounced show and they were true. Who have you met/do you hope to meet that you’re really excited thither? Ran into the dB’s and re-established old friendships with them.  It had been connected with 10 eld. Who/what do you think people will be buzzing about after SXSW 2012 is outstanding? Speculation about how much was the cost to construct the giant Doritos machine on the roadway. Photo/Conversation: Jason Uncultivated Karen Elson surely knew the answer when she asked her audience Friday night at the Stage on Sixth: “Are you ready for Knave?” The night was dedicated to Jack White’s Third Man Records ticket, but as his ex-wife plainly knew, he was the star of the show and the reason a line of hopefuls stretched more than block past the entrance to the nightclub, where Third Man’s yellow Rolling Record Store was parked. It was only the White Stripes/Raconteurs/Dead Weather man’s fourth full solo manifest, but the buzz was on that it was as lots, if not more, the place to be on Friday as his onetime Detroit colleague Eminem’s Suspect 2.0 bash across town at the Austin Music Hired hall. Luckily, White’s two-part concert – witnessed by Bill Murray and Stooges drummer Scott “Rock Encounter” Asheton — lived up to the expectations and plug, with an hour and a one-half (plus break) of material from throughout his career to this mote. As on “Saturday Night Follow” and the recent Third Man third anniversary celebration in Nashville, White played with two different passels – one all-female, one all-manly. The former was a bit more stately during its nine-song harden, with a gray-suited White leading the troupe – including periodic duet partner Ruby Amansu – through renditions of the Stripes’ “Dead Leaves and the Dirty Argument,” “Hotel Yorba” and “Icky Poke,” as well as the Raconteurs’ “Top Yourself” and “You Know What I Certain,” his contribution to the “Lost Notebooks of Hank Williams” present. The upcoming solo album “Blunderbuss,” interim, was represented by the enthusiastically standard “Sixteen Saltines” and “Weep Themselves to Beauty sleep.” What are you most excited about this SXSW? Bruce Springsteen, by rise in the world. I actually met him the other night and it was one of the greatest single moments of my entire verve. What panels have you gone to, or are you going to, that you’re excited in? I went to an independent managers panel that >

Pandora’s Stock Hits All-Time Ill Pandora’s stock fell to an all-time low of $9.03 Monday and closed at $9.18, a 7.46% sinking. The root cause for Monday’s decline appears to be an analyst’s report that surfaced Thursday but wasn’t fully absorbed until Monday (the stock markets were closed Friday). Barclays Equity Research analyst Anthony DiClemente initiated his coverage of Pandora with an “weedy” rating and a price target of $8. DiClemente wrote in a note to investors that he does not expect Pandora to be profitable until the company’s economic 2016 year and warns the congregation “will have a hard time leveraging its content costs as royalty rates are variable and based on total listener hours and gross split.” Pandora Streamed More 1 Billion Listener Hours in Pace The company’s stock reached $10.27 on Tuesday after the company released figures showing continued strong growth in listener hours and market ration. While other analysts’ price targets well above the current trading rate, Monday’s drop indicates some investors are skeptical of Pandora’s ability to match advertising revenue to growth in listener hours and content costs. Shares of Pandora opened trading at $20 on June 15 and peaked that day at $26 before ending the day at $17.42. The stock has closed heavens $20 only in a jiffy – July 5 – and has fallen inferior $10 numerous other times. ( MarketWatch) Rdio Wants To “Become More Like Pandora” Music subscription service Rdio is working on improving its radio functions. “We need to get better at passive listening,” VP of Product Malthe Sigurdsson told GigaOm, who added the company’s goal is to “become more like Pandora.” The impulse to become more like Pandora is overt: mainstream consumers like trannie. But on-demand services that covet Pandora’s listener hours are at a disadvantage because they simply aren’t Internet radio services. The single-minded purpose of Pandora is crystal clear in the minds of consumers. Even the provisos “Internet tranny” gives Pandora an advantage because it allows consumers to make a connection to an existing and popular consequence, terrestrial radiocommunication. The simplicity and familiarity of Pandora is one reason why the company added 4 million active U.S. users in February and March exclusively (active users rose to 51 million at the end of March from 47 million at the end of January, according to figures released by the troupe). Spotify’s New Radio Features Bring Out Investors’ Doubts About Pandora Rdio and Spotify, on the other imminent, are a tougher sell because they are more diverse concoctions. They are music discovery products with playlists, albums and social features that require active participation rather than passive listening (with the exception of the excellent Soundrop app for Spotify that mimics Internet broadcast). These services may have Internet radio features, but they are not Internet radio services first and main, nor do they provide the kind of one-button access consumers can find on pure-play Internet radio services. In any package, expect Pandora envy to continue as on-demand services reshape their products in an effort to lure more listeners. ( GigaOm) Wellesley University Professor Champions France’s Anti-Piracy HADOPI Law France’s HADOPI anti-piracy system has had a negative impact on piracy and a positive impact on sales, says Professor Brett Danaher from Wellesley University. Danaher, who has a working paper on the topic with three other researchers, presented his findings at the Global Forum at Canadian Music Workweek. The presentation can be found on YouTube and makes for a user-friendly alternative to the academic sheet a documents. The researchers estimate the awareness of HADOPI led to an increase of digital sales of 22.5% to 25% relative to its control group of European countries. So, HADOPI, a “three strikes” law passed in 2009 and implemented in lately 2010, appears to have played a role in France’s relatively healthy music corner store. Digital revenue in France increased 25.7% in 2011 while physical sales fell blameless 10.4%, according to the IFPI’s “Music Industry in Numbers 2012.” The country’s digital was up 13.9% in 2010, the first full year after French citizens became aware of HADOPI, but experienced no gain in 2009. How can people be sure the sales increase is not related to a totally different event that arose independently of and concurrently with HADOPI? The increase in sales does not appear to be tied to release schedules or factors that would favor one label over another. Danaher is not allowed to show the sales data of reach individual record tag, but he says each of the four majors’ sales data displays roughly the same leaning. France’s HADOPI Study Shows Decrease in Plagiarization Danaher also looked at genres for evidence of HADOPI’s modify. He explained that some genres have lower levels of plagiarization (weighty, kinfolk, malarkey, Christian her) relative to legal sales while other genres have higher levels of plagiarization (hit). Danaher hypothesized that if HADOPI was behind the change in sales the high-piracy genres would show a greater change than the low-piracy genres. And that’s exactly what the data shows. High-piracy genres saw a 30% gain in sales while low-piracy genres increased 8% and average-piracy genres reflected the average increase in sales of 17.5%. “So the pattern across genres was exactly what you would expect if the effect of HADOPI was to stop some people from file sharing and convert them to legal purchases.” Danaher also addressed an article at the French paper Le Monde that claimed the rise in iTunes sales was due to a rise in the popularity of the iPhone. But Danaher said there is “no matter” to the claims and showed data that the growth in iPhone penetration in the control group countries was actually higher than iPhone penetration growth in France from 2008 to 2010. In other words, other countries liked the iPhone as much or more than France but didn’t exhibit the same lump in iTunes sales. ( YouTube)

Elm City Music act Adrenaline Mob can count itself among the last bands who will have played New York’s Hiro Ballroom, which closes Adjoin 31. The metal supergroup threw the CD release party for debut album Omertá at the venue on Step 12, the day before the record hit stores, and played the album in its everything. Before the Mob hits the road for European dates in June, drummer Mike Portnoy will join Slayer drummer Dave Lombardo and guitarist Kerry Ruler, Anthrax bassist Frank Bello and drummer Charlie Benante, and Megadeth bassist David Ellefson on April 12 for the benefit of “Metal Masters 3″ at the Key Club in Hollywood. The “Metal Masters” clinic series-sponsored by Samson Technologies, Hartke and Zoom-unites the genre’s virtuosos so they can discuss their performance techniques with aspiring musicians and fans. See All Our Backbeats Right Hither Pictured at Hiro’s dressing office (from hand) are Elm City Music principal Vic Steffens, Adrenaline Mob guitarist Mike Orlando, Elm City Music principal Michael Caplan, Portnoy, manager Erik Luftglass of ESL Music Group and Adrenaline Mob vocalist Russell Allen and bassist John Moyer. Kneeling are (leftover) SiriusXM director of music programming and “Headbanger’s Ball” host Jose Mangin and Samson Technologies director of marketing Discount b increase Menghi.

Los Angeles Mayor Antonio Villaraigosa set the tone for the pre-Grammy Delta Air Lines helper. “L.A. is a music borough,” Villaraigosa said Thursday night as he greeted his guests at the Getty Flat, the official residence of the mayor. “This is the music capital of the United States.” See All Our Grammy Coverage Right Hither With those row, hundreds danced the night away and music industry vets such as Quincy Jones and artists from Patti Austin to Estelle and Christina Milian and “Modern Kinsfolk” star Eric Stonestreet took time to enjoy an evening themed around celebrating the Grammys as Delta executives greeted the partygoers. One of the evening’s highlights was a performance by Grammy-winning singer Raphael Saadiq who took some time from his tour with Lenny Kravitz to perform a set for the crowd opening with a ardent “Heart Attempt.” See All Our Backbeats Right Hither Earlier in the eventide, Saadiq told Billboard.biz that he was immediately going back on the road after his publication, but was already starting to think about a new album for release later this yr. “It’s probably not going to be ’60s inspired,” Saadiq said. “I’ve already done that and I think it’s time to try something separate.” Patti Austin took time out to talk about one of several projects she’s currently working on. “I’m on my way to Germany to start mixing an Ellington project as a live bringing off,” the singer said. “It was responsible for one nomination and one win of a Grammy and so we went back and did another forecast.” Grammys 2012: Kodachromes & Videos Austin said that she was once anti-awards until she realized that awards like the Grammys promote the vigour. “It’s very egocentric,” Austin said. “When I was nominated I had my very pragmatic attitude about winning and then they called my name and I became like Kanye. I went completely bananas. It was my 8th nomination.” Villaraigosa said that he he’s going to be rooting for many artists but he believes that Adele is going to dominate the Grammys on Sunday. “Adele is going to steal the bestow make an exhibit,” Villaraigosa predicted. “I think Adele is going to do it. She’s just phenomenal and she’s going to walk away with a end of Grammys.”

HOLLYWOOD, California — Henson Studios is located just across the street from Crazy Girls. It’s hard to imagine a better place than the crossroads between Kermit the Frog and a Hollywood strip club for David Lee Roth to lead Van Halen through a hit-packed club instruct. With three giant video screens and a wall of EVH amplifiers loud enough for an orbit, the newly recharged band were agile and full of smiles as they performed Wednesday in front of a few hundred VIPs deep inside Charlie Chaplin’s old stomping yard. Van Halen Is Traitorously: Announce Nation-Wide Round, New Album, Play NYC’s Cafe Wha? Invitations for the event called it an “album release solemnization” to promote next week’s A Different Kind of Truly, the band’s first full length with their original singer since 1984. Eddie Van Halen, drummer/brother Alex, his 20 year old bassist /son Wolfgang and Roth played for over an hour with few stops and zero hiccups in front of gather, industry VIPs and fans. People spied by us and others in the crowd or the ultra-VIP section included Live Nation head Irving Azoff (no. 1 on the Billboard Powerfulness 100), Universal chief Lucien Grainge (no. 3), Interscope’s Jimmy Iovine (no. 10), Steve Berman and Brenda Romano, and Live Nation’s Michael Rapino (no. 6), Mark Campana and Bob Roux ( who share no. 39) and Liz Morentin, Front Line’s Jeffrey Azoff, publiicist Ken Sun, and Scoop Marketing’s Larry Solters and his combine, Anna Loynes, Eve Samuels and Erik Stein. Wolfgang’s mom Valerie Bertinelli, Evanescence’s Terry Balsamo and Rob Zombie guitarist Lav 5 were also in the cubbyhole, and Victoria’s Secret model Alessandra Ambrosio showed off her baby bump as she danced along to the music. Before the band took the contrive, guests drank free humorous bibulate, ate from four different trendy L.A. food trucks (Dogtown Dogs, Ragin Cajun, Komodo and Coolhaus) and took photos of several handfuls of chocolate coins emblazoned with the iconic “VH” crest. “Every interview I do, I talk about Van Halen. They really changed my moving spirit,” Rob Zombie guitarist Toilet 5 told Billboard.biz shortly after he reported. “It was a complete epiphany for me. Everything I’ve done is because of Van Halen. Not just Eddie, but all of the guys.” Prior to joining Marilyn Manson, Privy 5 recorded and toured with David Lee Roth not long after the last attempt at a reunion with Van Halen (which resulted in little more than two tracks for the 1997 Best Of Volume I) had fallen separate. “Dave and I have been close friends ever since. I called Dave and I told him the [new Van Halen] stuff is awesome, it’s preposterous, and praise.” Backbeat: David Lee Roth’s Uncle, Cafe Wha? Founder Manny Roth, Calls Van Halen Gig ‘Fantastic’ Another VIP company, “A-Yoke” filmmaker Joe Carnahan, called Van Halen his “desert island team up.” Still celebrating the #1 debut of the “The Sombre,” which stars Liam Neeson, the director happily acknowledged his presence at the invite-only event as “one of the perks. This is unreal! I’ve been a fan since I was a kid. To be hither, munching on the Van Halen chocolates, is portentous, bomb.” A darkened hallway draped with black curtains and lit only by blue Christmas lights led the way from the food and drink area to an intimate soundstage fashioned in a bit of a horseshoe shape with large ramps. The three giant video screens played footage from Van Halen’s modern “Tattoo” video filmed at the nightclub The Roxy, where they had secretly rehearsed for several months. Loud cheers greeted the company, all of them original members save for Wolfgang, as they walked comfortably onto the stage and tore into their well-worn cover of the Kinks’ “You Really Got Me.” Roth wore a blue leather suit that showed off the enduringly magnetic 56 year old’s trim provoke. Alex had his signature shades and slicked back haircloth. Noticeably more filled out and grownup looking than when he joined the band in his teens, Wolfgang wore the same grin as the rest of the band throughout the night as he provided backup vocals reminiscent of his forefather, Michael Anthony (who of course is now in Chickenfoot with former Van Halen singer Sammy Hagar). Eddie’s t-shirt and jeans looked like they had been crumpled on his bedroom floor for months before he put them on, but his playing was anything but untidy. All of them brought their A-play. The high notes Roth can’t hit as well anymore were more than covered by his athleticism and infectious showmanship. “We’ve been dusting off the set for the past couple of months and tonight we’re gonna dust off the barbeque,” Roth announced as the band launched into “Runnin’ with the Witch,” the first track from their 1978 eponymous initiation. 1981′s “Unshackled” was succeeding, followed by a new catch, “The Trouble with Not in any way.” Mimicking the voice of an emergency sow, Roth announced that everyone was tuned into a Van Halen party emergency ditch. “In the event of an actual solemnization, you will be required to report to the bar for an alcoholic beverage and you will be required to dance properly to the rock n’ roll music.” Later, increase: “Everybody Wants Some.” Roth told the crowd that the event was originally conceived as a late morning press conference but was switched “to 8pm on a Wednesday, so we could hard stuff.” Van Halen then played another new capture, “She’s the Miss,” followed not later than “Dance the Night Off.” As the foursome erupted into one of their biggest hits from Roth’s era with the stripe, he asked: “Would it kill you if I told you ‘Panama’ was just a stripper from Albuquerque?” As “Panama” reached its spoken word hint, the singer reached into his brief stint as a New York City EMT. His “Paramedic jokes,” as he called them, included: “Mr. Rodriguez, how many fingers of yours am I holding up?” Despite the obvious audience favoritism toward the old poppycock, A Different Kind of Truth’s “Tattoo” had many of the folks in the crowd singing forth, as proper. Evanescence guitarist Terry Balsamo told Billboard.biz he wasn’t sold on the track at cardinal, “but hearing it live made me like it a a quantity. And the other new songs were mental. They were moving. I thought the [entire] performance was surprising.” Roth was cognizant of the history in the chamber, which has stood since the silent film times. Earlier in the get cracking b attack, he said that Charlie Chaplin was a “Van Halen booster” who inspired “Hot for Lecturer.” He noted later that Chaplin was 35 when he became involved with a 16 year old inamorata, which made Eddie crack. (To his bottom, when Chaplin was 54 he married an 18 year old and had eight kids with her). The band left the stage afterwards “Hot for Instructor,” but Roth returned by himself with an acoustic guitar and waxed sentimental about Van Halen’s L.A. beginnings, referencing local hotspots like Pink’s Hotdogs. He started 1978′s “Ice Cream Squire” by himself before he was joined by the rest of the body. Eddie, who drank from what appeared to be a Red Bull can covered in duct tape throughout the eve, said sparsely, “Davey” into the mic after the song’s conclusion and motioned to the crowd to applaud the frontman. “Ain’t Talkin’ ‘Bout Sweetie” was the second-to-last song of the night earlier, with typically effective Van Halen bluster, confetti dropped from the ceiling and an eight-piece drum band accompanied by a small army of Vegas-style showgirls joined the group as they brought down the house with “Hurdle.” Once the band left the manipulate, the drummers and dancers led the assembled crowd back to the bar where the troop encouraged everyone to dance the night forth. Roth’s first album with the band in 28 years is due in stores and online February 7 on Interscope Records. Set slope: “You Really Got Me” “Runnin’ With The Violently” “Untied” “The Trouble With Under no circumstances” “Everybody Wants Some” “She’s The Ball” “Dance The Night Outside” “Panama” “Tattoo” “Hot For Trainer” “Ice Cream Chain” “Ain’t Talkin’ ‘Bout Romance”

NARM announced today that Antony Bruno has been named Community Manager of digitalmusic.org, the virtual home of NARM’s digital initiatives. Of unfolding, Bruno was previously Executive Director of Delighted & Scheduling, Digital/Mobile at Hoarding, where he spent seven years reporting on the intersection of new media and music. He will continue to coordinate the company’s upcoming FutureSound Bull session, taking place November 17-18 in San Francisco. “Antony has spent the past seven years examining all the players in the digital media bowl, making him the perfect person to build up the digitalmusic.org community,” said Bill Wilson, Vice President of Digital Scheme & Business Development at NARM. “Our goal is to bring together all of the companies that are critical for the business of music in the digital territory, and Antony can bring the right people to the table and then conduct telling, productive conversations that move the business step up.” “The digital music market is an exciting and innovative space that is constantly being redefined,” said Bruno. “I’m very much looking forward to working with digitalmusic.org and all the companies involved in defining the music industry landscape of the coming.” Bruno will continue to be based on Denver, CO, where he will also operate an independent consulting craft, and can be reached at antony.bruno@digitalmusic.org.

Jason Crabb cemented his status as a solo phenomenon by winning male vocalist and artist of the year at the G ospel Music Association’s 43rd Annual Dove Awards last incessantly (April 19) at the historic Fox Theater in Atlanta. Natalie Grant collected her fifth trophy in the female vocalist category and though absent from the festivities rockers NEEDTOBREATHE were named group of the year for the third consecutive yr. Singer/songwriter Laura Story took home five Doves, including song of the year for the sake of “Blessings.” Jason Crabb First-rate 2012 Dove Awards Nominees Including this year’s awards, Crabb has won a total of 16 Doves, most of them as a member of the Crabb Subdivision, the sibling group he performed with until they disbanded in 2007. The group reunited last year to record Together Contrariwise, released in February on Spring Hill Music. Crabb is currently working on the follow up to his Grammy winning solo debut with Jay DeMarcus, bassist for multi-platinum country trio Rascal Flatts. “We’re already starting to get songs together and proverb ‘What’s it going to be?’” Crabb tells Billboard.biz. “We got together and sang and it’s gonna be a curse. I’m looking forward to working with him.” Though he went into this year’s Doves as the most nominated artist with nods in eight categories, Crabb says the wins took him by astonishment. “When they said my designation, I couldn’t believe it,” he says. “I’m damned, very grateful.” Story won pop/contemporary album of the year for Blessings. The title track was named song of the year and pop/contemporary song of the yr. The expectant mom says the song was written after her husband suffered a brain tumor and subsequent challenges during his rally. “It’s about the journey my husband and I have walked through in the last five eld,” she said wing. “I probably would have rather written a song about winning the lottery and how awesome that was. It’s harder to write songs about the hard times in your way of life, but that’s where we see God surface.” Among the other multiple honorees, Kirk Franklin claimed the Dove for contemporary gospel recorded song in requital for “I Smiling,” the hit single from his album Hello Quiver, which was named contemporary gospel album of the yr. Curb Records trio Selah won both inspirational album of the year for Hope of the Broken Everyone, and the title track was named inspirational recorded commotion. LeCrae won rap/hip hop recorded song an eye to “Hallelujah” and rap/hip hop album of the year for Rehab: The Overdose. Check Out All Our Backbeats Right Hither Karen Mass & New River won Southern Gospel album of the year for Reach Out and country recorded song of the year towards “Good Things Are Occurrence.” It’s the first time the veteran trio has won a Squab. “We’ve been stable 21 eld. We’re living proof that some things don’t happen overnight,” said Lot, who recently appeared with Queen Latifah and Dolly Parton in the sheet “Joyful Hullabaloo.” “She’s a pioneer and such a chief,” says Wayne Haun, who produced Reach Outdoors. (Haun took home five Doves for his songwriting and in britain artistry.) “It was an  emotional moment for all of us. I watched her growing up. She was my favorite soprano and I’ve followed her employment. Now to be a part of it leaves me paralysed.” Gotee Records newcomer Jamie Grace broke down in tears as she accepted the Dove for new artist of the yr. The Atlanta living, who suffers from Tourette’s Syndrome, noted that four years ago she had attended her prom at the Fox. “It’s a mind-blowing experience to be back here for the Doves,” she said wing. Former R&B hitmaker Montell Jordan, who currently leads worship and records for Atlanta’s Victory World Church, co-hosted the afternoon pre-telecast with Curbs Records artist Fathom. Among the big winners during the early ceremony were bluegrass gospel group The Isaacs. “To win something is such an laurels,” Ben Isaacs said. “We’re totally blessed to be able to cross-pollinate bluegrass music into the CMAs, ACMs and the Dove Awards, and to win something like this lets us know we’re appreciated on the Christian side as highly.” The televised portion of the Doves was co-hosted by comedian Chonda Pierce and actor David Mann of the TBS series “Meet the Browns.” The show opened with a performance by Angie Pit, Yolanda Adams, Crystal Lewis and Flock, who delivered the Dottie Rambo noteworthy “I Go To the Scarp” in tribute to Whitney Houston, who performed the song on the 1998 Doves. Another highlight was the salute to legendary vocalist Russ Taff who teared up in the audience as he saw his songs delivered by Crabb, Wess, Morgan and Donnie McClurkin. “I was overwhelmed,” Taff told Billboard wing. “They wouldn’t tell me who was telling. I knew Jason was because we text and overeat. I knew he was but I didn’t know about Donnie and Wess. I was just overwhelmed by the whole task. It was phoney.” The Dove Awards are voted on by the membership of the Gospel Music Assn. The show is set to air Tuesday nightfall (4/24) at 8pm EST on the Gospel Music Narrows. The following is a complete list of winners. Song of the Yr – Blessings; Laura Alibi; Laura Information; New Spring Publishing (ASCAP), Gleaning Publishing (ASCAP) Male Vocalist of the Yr – Jason Crabb Female Vocalist of the Yr – Natalie Concede Group of the Yr – NEEDTOBREATHE Artist of the Yr – Jason Crabb New Artist of the Yr – Jamie-Enrich Producer of the Yr – Ed Banknotes Rap/Hip Hop Recorded Song of the Yr – Hallelujah; Rehab Deluxe Printing; Lecrae; LeCrae Moore, Charles Cornelius, Joseph Prielozny, Nelson Chu; Reach Records Rock Recorded Song of the Yr – Dark Horses; Vice Verses; Switchfoot; Jonathan Supervisor, Tim Overseer; Credential Recordings/lowercasepeople/Atlantic Rock/Contemporary Recorded Song of the Yr – Kip; The Doom; NEEDTOBREATHE; Bear Rinehart, Bo Rinehart; Atlantic Records Pop/Contemporary Recorded Song of the Yr – Blessings; Blessings; Laura Version; Laura Fortunes; Fair Trade Services, LLC Inspirational Recorded Song of the Yr – Hope Of The Broken Elated; Hope Of The Broken Beget; Selah; Carl Cartee, Jennie Pierce; Restrain Southern Gospel Recorded Song of the Yr – Celebrate Me Dump; Blue Skies Forthcoming; Perrys; Joel Lindsey, Wayne Haun; Daywind Bluegrass Recorded Song of the Yr – Mama’s Teaching Angels How to Vocalize; Clearly; The Isaacs; Dottie Rambo; Gaither Music Class Country Recorded Song of the Yr – Good Things Are Episode; Reach Out-moded; Karen Heap & New River; Wayne Haun, Sonya Isaacs; Daywind Urban Recorded Song of the Yr – Sweeter; The Love Album; Kim Burrell; Kathy Burrell, Shanachie Records Traditional Gospel Recorded Song of the Yr – Keep; Change The Air; Christ Tabernacle Chorus; Wayne Haun, Steve Carey, Matthew Garinger; Vine Contemporary Gospel Recorded Song of the Yr – I Beam; Hello Anxiety; Kirk Franklin; Kirk Franklin, James Harris, Terry Lewis, Fred Tackett; Verity Worship Song of the Yr – Your Great Sign; Michael Neale, Krissy Nordhoff; Integrity’s Encomium! Music (BMI), Two Nords Music (ASCAP) Rap/Hip Hop Album of the Yr – Rehab: The Overdose; Lecrae; Lecrae, Torrance Esmond,Kadence, Tony Rock Album of the Yr – Vice Verses; Switchfoot; Neal Avron; EMI CMG Rock/Contemporary Album of the Yr – The Doom; NEEDTOBREATHE; Rick Beato, Greg Wells, NEEDTOBREATHE; Atlantic Records Pop/Contemporary Album of the Yr – Blessings; Laura Clothesline; Nathan Nockels; Fair Trade Services, LLC Inspirational Album of the Yr – Hope Of The Broken Exultant; Selah; Jason Kyle, Todd Smith, Allan Foyer, Bernie Herms; Curb Records Southern Gospel Album of the Yr – Reach Out-dated; Karen Heap & New River; Wayne Haun; Daywind Bluegrass Album of the Yr – Grassroots Rambos; Rambo McGuire; Dony McGuire; Rambo McGuire Records Country Album of the Yr – Dreamin’ Wide Wide awake; Doug Anderson; Wayne Haun; StowTown Urban Album of the Yr – Church on the Daydream; Deitrick Haddon; Fred Jenkins Deitrick Haddon, Cordell Walton, Blast, AJ Encore, Ebony Eugene Suber, David Haddon, Calvin Frazier, Fred Jerkins III, wowJones; Verity Gospel Music Congregation Traditional Gospel Album of the Yr – Promises; Richard Smallwood; Steven Crossing, Richard Smallwood, Donald Lawrence, Daniel Weatherspoon; Verity Gospel Music Heap Contemporary Gospel Album of the Yr – Hello Frightened of; Kirk Franklin; Kirk Franklin, Shaun Martin; Verity Gospel Music Dispose Instrumental Album of the Yr – Unfailing Honey: 20 Worship Songs of Comfort and Dovish; Stan Whitmire; Stan Whitmire; Green Hill Productions Childrens Music Album of the Yr – Cracking; Denver and the Mile High Orchestra; Jamie Statema, Denver Bierman and Darren Rusty; Go Fish Kids Records Spanish Language Album of the Yr – Excel 25 Cantos de Alabanza 2012; A variety of; Phil Sillas; Maranatha! Music Special Event Album of the Yr – The Exclusive; Matthew West, Leigh Nash from Sixpence None the Richer, Mark Passageway & Megan Garret from Casting Crowns, Brandon Heathland, Bart Millard from Mercy Me, Michael Tait From Newsboys, Blanca Callahan from Assemblage 1 Troupe, Lecrae, Chris Tomlin, Peter Furler, Mandisa, Todd Smith from Selah, Michael W Smith, Jeremy Faction, Dan Haseltine from Jars of Stiff, Matt Hammit from Sanctus Veritable, Steven Curtis Chapman, Natalie Bestow, Mac Powell from Third Heyday, Nichole Nordeman, Amy Give up, Francesca Battistelli, Darlene Zschech; Bernie Herms, Brown Handrail; EMI, Prudent, Statement Christmas Album of the Yr – Oh For Gaiety; David Crowder*Affiliate; David Crowder*Join; SixSteps/ Sparrow Records Praise and Worship Album of the Yr – And If Our God is For Us…; Chris Tomlin; Ed Hard cash, Dan Muckala; EMI CMG Musical of the Yr – Down From His Nimbus; Mike Speck;Lillenas Publishing Friends Youth/Childrens Musical of the Yr – God of This Metropolis; Susie Williams, David Ebensberger & Luke Gambill; Brentwood-Benson Music Publishing Choral Collection of the Yr – Everlasting Approbation 3; Mike Mote, Stan Whitmire;Lillenas Publishing Partnership Recorded Music Packaging of the Yr – Christmas In Diverse Big apple; TobyMac; Jan Make; Eddy Boer for Boerhaus; Lee Stephen, Ryan Lampa, Nick West; EMI CMG Short Form Music Video of the Yr – You Are More; Tenth Avenue Northwards; Wes Edwards; Drew Langer; Ruckus Films; Reunion Records Long Form Music Video of the Yr – Fear Not Tomorrow; The Collingsworth Family; Terse Casassa; Jim Hammond; P&KC Music; P&KC Music

Some of music’s biggest names attended BMI’s “How I Wrote That Tune” recently and give the attendees at the Key Club in West Hollywood insights into what it takes to make music that resonates with fans. The panel included RZA, the Grammy-winning founder of the Wu-Tang Clique; Joel and Benji Rage, co-founders of Good Charlotte; Rev Category, the Grammy-winning hip-hop image; DJ Khaled, a multiple Grammy-nominee/producer/artist and RedOne, a Grammy-winning songwriter/producer who has worked with everyone form Lady Gaga to Jennifer Lopez. Moderater Catherine Brewton ( BMI vice prexy, Writer/Publisher Relations) spent two hours with the panel asking questions about the process of longhand, producing and making signature music. Each panelist gave anecdotes about what it took to create music and get it heard, resulting in big hits. RedOne said that he was told repeatedly he shouldn’t work with Jennifer Lopez because she had too many flops. But the prolific producer/songwriter said he met with Lopez and saw that his music and her abilities as an entertainer where a good coordinate. The result was the collaboration of “On The Astound” featuring Pitbull. The song was a major hit heard around the world and “Jennifer Lopez is my friend for preoccupation,” RedOne said, adding that working with Lopez was one of the best decisions of his career despite what others said. Others on the panel told stories about their music and toward the end of the conference, Joel and Benjamin Madden performed their new inexpensively, “Mate.”

Tunc Erim, a legendary and longtime Atlantic Records executive from the 1960s until the 1990s, passed away on Saturday, Cortege 3, after a long ailment. He was 76. While the obituary that results, supplied by Atlantic, isn’t quite in Billboard.biz’s usual phrasing, it suits the man so well that we’re printing it more or less verbatim et literatim = ‘word-for-word. On a personal line, I worked with Tunc (marked “tunj”) at Atlantic in the mid-1990s and spent a lot of time with him outside the entrance of 75 Rockefeller Place (where the smokers gathered), pumping him for stories about Led Zeppelin, the Stones, Bat, Aretha Franklin and every legendary Atlantic artist I could esteem. A telling moment occurred there one summer day when AC/DC’s Angus and Malcolm Young walked up and spent a first-rate 20 minutes talking with us: Their respect and admiration for him was so obvious that these global rock stars more resembled schoolboys talking with a revered mistress–and not just because he was a former Olympic basketball player who towered over all of us. Tunc was truly one of a form. — Jem Aswad, Writer Born in Dud, Tunc became a basketball star in his native nation, and carried the Turkish flag into Helsinki Stadium during the summer Olympics ceremonies in 1952.  In 1966, he decided to begin a new life in the United States.  As fate would have it, while aboard the ship crossing the Atlantic, Tunc met fellow Turk and noted Atlantic Records producer Arif Mardin, who invited him to a party that weekend in New York.  At the accomplice, Tunc saw an elderly woman sitting only, and asked her to dance.  While she politely declined his bait, she asked him to sit with her and tell her why he decided to move from Istanbul to New York.  The woman was Hayrunnisa Ertegun, the mother of Atlantic founder Ahmet Ertegun and his fellow-citizen, fellow Atlantic executive Nesuhi. The next daylight, Ahmet’s mother called her son to say that she had met an extraordinary young man and asked if he and his brother could meet him and help him out.  When Tunc arrived at the legendary Atlantic Studios at 1841 Broadway, the Rascals were in the waiting room vocalizing “A Beautiful Peep.”  Tunc was offered a job as tape librarian recompense $68 a workweek, and the count sheep, as they sway, is rock and roll recapitulation. Tunc advanced from tape librarian to assistant to Arif Mardin before being named Studio Manager.  He had a natural love and affinity for musicians, who loved him equally in return.  He lived for the music and he understood the creative temperament, qualities that served him very well when he was made Director of Artist Relations in 1972.  In 1974, he moved to the company’s Promotion Department as National Special Projects and Album Coordinator, where he developed invaluable relationships with the burgeoning rock radio community.  In 1977, he became National Pop Album Promotion Coordinator, before being upped to Vice President of National Album Promotion in 1979. In 1982, Tunc took over Artist Development responsibilities at Atlantic, and in 1989 he became a Senior Vice President of the company.  It was while in that post that Tunc suffered a brain aneurysm in 1994. Ever self-effacing, Tunc played a vital, yet often unheralded role in the careers of countless artists and in the development of the modern music industry.  Among his many accomplishments, he was an “unsung celebrity” in the Rock and Roll Hall of Fame and Museum being built in Cleveland.  Tunc knew Cleveland as a true rock and roll mecca and championed the city to Hall of Fame co-founder Ahmet Ertegun.  Cleveland ended up on the short lexicon, and eventually won the premium. Tunc was a true mentor, protagonist, and confidant to countless artists and colleagues through his three decades in the music in the seventh heaven, among them Led Zeppelin, Bette Midler, The Rolling Stones, Aretha Franklin, Genesis, Tori Amos, and umpteen, many other performers and executives.  His irresistible enthrall, wise counseling, and sense of humor endeared him to everyone he met, and he will be deeply missed by all those whose lives he touched so extremely. In lieu of flowers or gifts, a tax-deductible donation may be made in Tunc’s name to ARTZ – Artists for Alzheimer’s c/o The “I’m Still Hither” Organization,” 130 New Boston In someone’s bailiwick, Woburn, MA 01801

Diplo and family celebrated the release of “128 Beats Per Pint-sized,” a tour diary/photojournalism commitment, at Milk Studios in New York on Saturday gloaming. The artist, in a periwinkle blue cap; his manager Kevin Kusatsu of Tmwrk; the book’s photographer Shane McCauley; and Diplo’s wife and young son (wearing baby Toms – stylin’ just like his pa) mingled with a crowd of uber-hipsters, gallery types and music biz folks, enthusiastically checking out the images and sipping the complimentary Blackwell rum. (That’s Blackwell as in Chris Blackwell, Island Records founder and early reggae guard.) “We’re really proud of this draft,” said Kusatsu, and it was clear to see why: the images capture the essence of Diplo and his Mad Decent appellation – their multicultural perceptiveness, focus on individuation, and reverence for subcultural icons – without losing their innate sense of kid. Prints of Lee “Up to snuff” Perry’s multi-ringed fist, Amanda Blank and Maluca jump-roping at the first Mad Decent Block Party in 2008, and Diplo giving Sillionaire a piggyback ride in Trinidad were particular standouts. Attendees were able to buy copies of the book onsite, and Milk’s “Milk Made” online store is currently carrying prints of several images for sales marathon. An afterparty at Le Bain, inside The Standard Hotel, went into the miniature hours.

Chief Creative Officer of Sony Music Clive Davis at the Clive Davis and the Recording Academy’s 2012 Pre-GRAMMY Gala and Salute to Industry Icons Honoring Richard Branson at The Beverly Hilton Motor hotel. He said the late-Whtiney Houston “would have wanted the music to pass.” (Pic: WireImage) BEVERLY HILLS, Kaliph. — You could hear a pin drop as Clive Davis took the stage at his and the Recording Academy’s annual pre-Grammy gala Saturday night with a moment of silence in honor of Whitney Houston. “Whitney was a beautiful person and a talent beyond associate. She graced this stage with her regal presence and gave so many memorable performances here over the age. Simply recommend b suggest, Whitney would have wanted the music to go on and her family asked that we conduct.” Conclude from: Clive Davis’ Comments About Whitney Houston at Pre-Grammy Happening After the moment of silence Davis stated, “Let the music set out!” Then Tony Bennett took the stage and delivered a powerful reading of “How Do You Keep the Music Playing” and dedicated it to Houston. “I told Clive you finally got the greatest voice I ever heard,” Bennett reflected. Next up was Diana Krall accompanying herself on the piano on “If I Had You.” Tony Bennett performing at the Clive Davis and the Recording Academy’s 2012 Pre-GRAMMY Gala and who in the wake of Whitney Houston and other musicians’ recent passings spoke about the need for legalizing drugs (WireImage) Recording Academy president Neil Portnow said there was never the option of canceling the event. “You could hear Whitney on your shoulder saying the show must advance.” He went on to say that tomorrow’s show will feature Jennifer Hudson singing in tribute to Houston. Sean “Diddy” Combs spoke about Whitney Houston’s “beautiful smiling” and “grandma hugs that shook your whole corpse.” (Pic: WireImage) Before formally introducing Davis and getting the rest of the gala started, Diddy shared his memories of Houston. “Her beautiful beam, incredible energy and grandma hugs that shook your assembly … That made me get garmented; her natural positive dash. We should celebrate Whitney Houston tonight. Listening to her sing was like a gift from Divinity.” He then chanted threefold: “Ain’t no party like a Clive Davis participator.” And added, “We’re about to start the party in honor of Whitney Houston and Diana Ross” (who was honored earlier in the day with a lifetime achievement present). Anon, the party got underway officially when Davis introduced the Kinks — joined by Elvis Costello and Jackson Browne –  who tore into a  medley of their hits including “Years,” “All Day and All of the Vespers all the time,” “Lola” and “You Really Got Me,” the latter of which had the audience on its feet singing and dancing onward. Ray Davies of the Kinks (perfect) performing with Elvis Costello (red). (Photograph: WireImage) During the rest of the evening-which ended at 12:40am PST-Houston’s legacy  and musical influence were celebrated the best way artists know how: through music. An arresting Miranda Lambert was up succeeding, followed by Pitbull and Ne-Yo’s rousing performance of their discern “Tonight” that let the audience momentarily forget the sadness as they fervently sang and danced along to the song’s mesmerizing rhythms. “I know it’s an awkward gloaming,” said Pitbull. “But I heard Whitney Houston liked to motherf’n cadre.” Ne-Yo (hand) and Pitbull who sang “Tonight.” (WireImage) Then Alicia Keys brought everything into perspective as she sat at the piano and talked about losing someone you be attracted to. “There are so many things … when you lose someone you lovemaking, then you think back to how much this person touched your vitality,” she said before launching into a snippet of “I Wanna Dance With Someone”- a Whitney song she liked as a young dame. “Whitney was the barometer of what I hoped for and dreamed back,” recalled Keys. “Then you meet the person and you form this friendship/sisterhood hold together. The same man who helped her dreams come true made mine come truly.” She segued into an instrumental reading of “New York State of Recall” followed by way of “Empire State of Point of view” and “No Single.” To warm and hearty kudos, she illustrious, “All the love in here is so proper.” Alicia Keys, said of the late-Whitney Houston that, “Whitney was the barometer of what I hoped for and dreamed in all directions.” (WireImage) This year the pre-Grammy gala-aka Grammy Salute to Industry Icons-honored Sir Richard Branson, the founder of the Virgin record characterize. Describing him as “fantast, groundbreaking and intrepid,” Recording Academy president/CEO Neil Portnow introduced a video encompassing Branson’s bolt, including comments by Janet Jackson and Peter Gabriel, before bringing Jane Fonda onstage to present the award to Branson. Recording Academy President/CEO Neil Portnoy and actress Jane Fonda. (WireImage) “When I see his footprints, I see yearning, inspiration and shift,” said Fonda. “And I realize, ‘Oh, God almighty, let him keep going with his mane, sprinkling gold dust and changing the crowd.’” Alternately funny and not joking, Branson talked about the sense of “joy and camaraderie in the music enterprise” before sharing his “painful experience with Fonda. He had gotten circumcised at 21 and “even more foolishly I watched Fonda in ‘Barbarella” the next day and ended up splitting my stitches.” Amid other comic anecdotes about the Rolling Stones, Sex Pistols and Peter Boloney (“I sat outside his house for three years” before Tosh signed with him), Branson also noted he was involved in an organization that advocates treating all drugs as a health issue instead of a criminal issue-dovetailing with a comment Tony Bennett made before his performance about decriminalizing drugs. The evening’s honoree Sir Richard Branson (gist) flanked by Kim Kardashian (socialistic) and Britney Spears (nobility). (Picture: WireImage) Returning to the station, Davis-who earlier described himself as “devastated”- spoke about Houston attending the show’s rehearsals all this week and how he chatted with her in his bungalow about the performance lineup. He then brought Wiz Khalifa (“Whitney loved charge,” he recalled) and Jessie J to the drub. Noted the latter about her heroine, “Lamentably, I thought I was going to meet her this eve. I would not be me without her.” Brandy and Monica, who were slated to perform as without difficulty completely, were too grief-stricken to sing but were in the turnout. Rounding out the eve: a short tribute to Diana Ross, who received a lifetime achievement award from the Recording Academy earlier that daytime. Marsha Ambrosius sang the “Theme From Sepia” followed by Jamie Foxx, who walked to where Ross was sitting with her family as he delivered the spoken word intro to one of her memorable hits: “Ain’t No Mountain High Adequate.” After some ingratiatory, she broke into the song’s refrain. Escorted by Foxx to the leg, Ross capped the evening as she exuberantly led the audience in a brief sing-along of the air. In addition to Fonda and Foxx, the lady- and executive-studded audience included production duos Stargate and the Underdogs, Valerie Simpson, Kelly Rowland, Serena Williams, Los Angeles Mayor Villaraigosa, Joni Mitchell, Berry Gordy, L.A. Reid, Neil Infantile, Sly Pit, Dr. Dre, Sony/ATV’s Martin Bandier and WB’s Lyor Cohen, among others. From unexpended: Chairmand/CEO of Epic Records and “X Ingredient” Judge Antonio L.A. Reid; founder and CEO of Bad Boy Entertainment and rapper Sean “Diddy” Combs; and Motown founder Berry Gordy (Picture: WireImage) Miranda Lambert playing (Photograph: WireImage) Chairman and Chief Executive Officer of Universal Music Group Lucian Grainge (remaining) and “American Celebrity” executive producer Nigel Lygothe. (WireImage) A Whitney Houston memorial popped up on Wilshire by the Beverly Hilton, where the singer died and the site of the Clive Davis Pre-Grammy Co-signatory. When the first party guests disembarked, a crime lab truck could be seen parked near the valet scope. (Photograph: Bill Werde) Producer Swizz Beatz, singer Alicia Keys, who performed at the gala,  producer Sean ‘Diddy’ Combs and singer Huisache (WireImage)

Ongoing chatter that the Madonna expedition, and by extension her multi-rights deal with Live Domain, are underperforming is “unwarranted,” according to sales figures provided by tour producer Arthur Fogel, chairman of Live Nation Global Touring. The precipitous drop of MDNA in its second workweek, while certainly not something an artist would yearn for (though the nature of the beast when pricing strategies are geared toward impressive first-week sales), actually has little to do with the performance of Live Nation’s 10-yr, $120 million multi-rights deal with Madonna. The days of tours supporting records are long kaput; for some time for the time being, touring drives record sales, not the verso, and the Madonna touring business is more than trusty. Madonna Announces 2012 World Tour Dates — Her Biggest Tour In the future As for the multi-rights hand, while MDNA is the first album under the 360, the upcoming trek is not the first outing. That would be “Sticky and Honey-like” of 2008-2009, which grossed $408 meg, according to Billboard Boxscore, the third-highest gross all-time and the highest ever notched by a solo artist. Merchandising is also a component of this tour and in Madonna’s case is a significant revenue financial manager. For ever, given that the sound 360 deal is, at its substance, performance-based and assuredly tour-driven in its conception, Madonna is delivering. Madonna’s Deal With Live Nation-Interscope Quality $40 Trillion According to Fogel — the guy who would feel certain — these are the facts: 76 Madonna shows at arenas and stadiums are on sale in North America and Europe combined. More 1.4 million tickets have been sold, banking most $214 million for an average in the $2.7 million per show in a mix of stadiums and arenas. And the tour doesn’t even begin until May 29 in Tel Aviv, first hitting America in Philadelphia August. 28. Billboard Aptitude 100: Arthur Fogel Fogel’s not sure what to make of the detractors. “This tour is completely on track to end up in the highest 10 tours of all on the dot, especially considering we haven’t put South America or Australia on buying,” he tells Billboard.biz. “To say this tour is not performing is so off base I don’t even know what to declare. When this tour is said and used up, combined with ‘Sticky and Taken with,’ you’re talking $750 million in gross ticket sales. That sounds pretty impressive to me.” If tickets are still available for certain shows, that by no means spells act of god. “One of the things some people don’t get is, I don’t necessarily want to be sold out at this signification; I keep trying to find tickets to sweet talk,” says Fogel. “Every day our people are trying to fine-tune the site lines and production kills. That’s my subcontract. It’s great when you can hold ‘sold unfashionable,’ but right now I want to keep finding tickets to merchandise. That’s the strategy.” Is Madonna Behind Live Nation’s Stock White horse? European dates, which are mostly in stadiums, have come under particular inspection. Fogel says the $214 million gross banked so far is gap “pretty evenly” between North America and Europe, and there are 43 shows on sale in North America versus 33 in Europe. “You can do the mathematics,” Fogel says, reeling off sales figures. “46,000 in Istanbul, 44,000 in Milan, 39,000 in Florence. We sold out two arenas in Barcelona, two in Berlin, two in Amsterdam, we sold 42,000 in Edinburgh, 40,000 in Helsinki, 51,000 in Paris. If that’s skirmish, give me more.” Fogel concedes Europe didn’t blow up the way North America did, but cites buying patterns for stadium general admission tickets in Europe, and the huge promotional boost of the Super Bowl performance in America as key factors in that imparity. “She’s at the top of her game and she ain’t goin’ forth,” he concludes.

Mike Smith has stepped down as managing director of Columbia Records U.K. with immediate purpose. No reason has been given for his departure from the nickname, which was announced by Nick Gatfield, Chairman and CEO Sony Music this wee hours (April. 24). “I want to thank Mike for his contribution to Columbia Records over the last six eld. He is a strong creative executive and I wish him well in all his future endeavours. We are actively exploring ways for us to work together in the next,” said Gatfield in a account. Confirming his departure from the judge, Mike Smith said in a asseveration: “I have really enjoyed my time at Columbia Records running this legendary label for six eld. This is a really exciting time for the music industry and I am looking forward to widening my horizons and embracing new opportunities and challenges.” Mike Smith was made managing director of Columbia Records U.K. in 2006 and went on to lead the label to sustained commercial and critical boom. Artists signed to Columbia during his tenure include Calvin Harris, Mark Ronson, the Ting Tings, MGMT, Magnetic Valet, Katy B, the Vaccines and Ryan Adams. Smith also oversaw campaigns for Columbia-signed acts Bob Dylan, Bruce Springsteen, Foo Fighters, AC/DC, Kings of Leon, Kasabian and Avril Lavigne, among others. Smith’s music career begun in the remiss 1980s as a talent scout for MCA Music Publishing, where he signed Cloudiness. He moved to EMI Music Publishing in 1992, where his signings included PJ Harvey, Arctic Monkeys, Doves, Supergrass and Arcade Fire. Prior to joining Columbia Records, Smith was administrator of A&R at EMI Publishing.

In a 2005 Billboard article breaking down Arthur Fogel’s global touring strategies, a few notable figures touted his skills: Bono, David Bowie, Sting and Madonna. “Arthur Fogel knows how to make the impossible reasonable,” Madonna said of Fogel. Next, Fogel’s only peer was Michael Cohl, the promoter of record for the Rolling Stones beginning in 1989. With Cohl focused on Broadway, Fogel stands unrivaled as a producer of the global mega-junket. Fogel and his streamlined global touring team have now steered four of the top five highest-grossing tours in ancient history, according to Billboard Boxscore, with the Police reunion, Madonna’s Gummy & Sweet and the Vertigo and heroic 360 tours by U2 (see No. 27) taking in a combined $2 billion at the box role. By the way, 360 holds the record for the biggest tour ever in both improper ($736.4 zillion) and serving (7.3 zillion), records that could stand perpetually. Fogel also orchestrated the entrance of Lady Senile (No. 84) into the elite ranks of touring artists and played a key role in Live Nation’s multirights deals with such acts as Madonna and U2. Behind the scenes, Fogel inspires fierce loyalty from his clients while marshaling touring armies that make the impossible uncertain. Order the special edition Billboard Faculty 100 discharge, printed on glossy stock with lavish original photography (available modern). What do you think of the 2012 Billboard Influence 100? Sound off in the comments area of the Letter From the Editor after, where the criteria is explained.

BERLIN (AP) — A German court has ruled that online video platform YouTube must install filters to prevent users from uploading some music videos whose rights are held by a music-royalties collecting congress. German news agency dapd reported that the Hamburg state court on Friday mostly sided with Germany’s GEMA, which represents nigh 60,000 German writers and musicians. GEMA Under Fire For Royalties Dispute With YouTube GEMA took Google Inc.’s YouTube unit to court beyond 12 temporarily uploaded music videos for which no royalties were paying. YouTube has maintained that it bears no legal responsibility for the uploaded subject – saying it checks and sometimes blocks content when users alert the firm about alleged violations of laws. It was not immediately clear whether the ruling will be appealed. The ruling could be a major blow for YouTube because some experts say millions of videos on its platform could be studied.

LONDON (AP) — Carly Rae Jepsen says she had a shock when she saw Justin Bieber singing along to her flap, “Call Me Possibly.” Adele Beats Jason Mraz on UK Album Charts in Photo Annihilation; Carlie Ray Jepsen Has Top Lone The 26-year-old Canadian singer was talking to her mother on the phone when his YouTube parody popped up on the web. Jepsen initially thought it was just a bunch of fans lip-synching to her rails. She says: “I was akin, ‘That guy looks like Justin Bieber and that girl looks like Selena Gomez’ and by the time Ashley Tisdale came on I was approximative ‘Mom, I got to seek the company of’ and I had a little freak-senseless.” The video has now clocked precisely 35 million views on YouTube. The track was first spotted by fellow Canadian Justin Bieber, who signed Jepsen to his manager Scooter Braun’s record logo, Schoolboy Records/Interscope. He gave the track a big boost by appearing in a YouTube tv, along with Selena Gomez and Ashley Tisdale, where they mimed and danced along to the vocal. Bieber’s support has helped the song hit the iTunes apex 5 and take No. 1 spots in the U.K., Canada and Australia. On the UK charts, according to a report on .Biz, Jepsen’s “Call Me Possibly” beat out  newcomer Conor Maynard’s “Can’t Say No” for a third week at the chart culmination. The song’s sales have continued  to gow, according to the UK’ sOfficial Charts Troupe, which cited the songs having 114,000 in new sales — up on last week’s 110,000, which in turn bettered the 106,000 with which it entered at No. 1 two weeks past. Perhaps most ironically of all, the song Jepsen’s single beat out for the top spot last week on the UK single charts: Bieber’s “Swain.” The song is currently at No. 8 on the Billboard Blistering 100 chart behind Bieber’s “Fellow,” which is at No. 5. What follows is an interview Jepsen did with the Associated Cram: AP: Why do you think people have related “Call Me Peradventure”? Jepsen: A lot of the reason people have been able to hear it is because of Justin’s supporting. But why it is responding as well is kind of a mystery to me, but it is marvellous. What did you think when you saw the Justin Bieber, Selena Gomez, Ashley Tisdale tv? Jepsen: I was talking to my mom at the time and it popped up on my Facebook. There had been a couple of mock videos that fans had done and compress, I thought it was one of those. But I was near ‘that guy looks like Justin Bieber and that girl looks like Selena Gomez’ and by the time Ashley Tisdale came on I was allying ‘Mom, I got to favour!’ and I had a little freak antiquated. Have you seen the other ones by Katy Perry and James Franco? Jepsen: And Miley Cyrus did one too, it’s round the bend. It’s kind of a cool little thing that has started – celebrities but also lots of different fans putting together videos. And everyone always looks so cheery. What’s Justin like as a knob? Jepsen: So far Justin hasn’t taken on the boss posture, which is ladylike. He’s been more of a really good supporter and playmate. He’s also given me a bit of a boost of confidence because you struggle for so many eld. Is he OK with you beating him? In the U.K., you outsold him 2:1 and beat him to No.1. Jepsen: (Laughs) Oh, I think we had a little friendly competition going on but he’s a good sport about it. And I think he knows, as I differentiate, that none of that success would have been possible without his ratify. Tell me where “Call Me Dialect mayhap” came from, the ardour. The pursuit ‘Before you came into my life I missed you so unruly’ was in fact written and inspired by the guy that I am seeing conditions, as a matter of fact. He’s got like three CDs written for him so it’s old dispatch, he is used thereto. That was the truth for me and him; I was matching ‘Oh, life could be this trustworthy? Frightening.’ Is there pressure on you now to follow up on that grand slam? Jepsen: It would be a shame if I just released ‘Call Me Maybe’ and that was it. I feel so hungry to show all the stuff I’ve been writing for the past few years and this experience is inspiring items too!

The Canadian Broadcast Potbelly (CBC), the country’s oldest public broadcasting web, and Audio-Video Licensing Charge (AVLA) have reached the first negotiated collective license deal in Canada for online streaming and podcasting of radio and online digital music scheduling. The historic music licensing agreement will offer Canadians CBC’s radio programs both online and on popular. The Corporation also plans to launch a new Canadian digital music service sometime this wintertime. AVLA negotiated the agreement on behalf of its membership of barely 1,000 major and independent music companies. “We are thrilled to have been able to work together with CBC to license a service that will be extremely welcome in Canada, where there are only a handful of digital options for consumers,” AVLA and Music Canada president Graham Henderson said in a utterance. “This groundbreaking agreement means that music fans will have more access to the best in Canadian music, whether by emerging or established artists, while creators will enjoy full recognition for the value of their have a job.” Added Chris Boyce, executive director of radio and audio of CBC English Services, “As Canada’s national public spreader, we must provide opportunities for Canadians to enjoy our on-air radio programs anywhere they care, but also to offer original new ways to connect Canadians with music where, when and how they want it,” he said. “Through this new relationship with AVLA and the Canadian music labels, CBC will be able to offer its programs on demand complete with music while at the same time building a new digital music utility, that will be unlike any other available today in Canada. “As part of our on-going commitment to Canadian education, this will be accomplished by combining the power of context, curation and community in new and modern ways.”

Although Christian music is widely known for its imposing diversity in roots, style and treatise, contemporary inspirational music aimed at Mormons gives the genre an added property, as veteran artist Hilary Weeks becomes the first such act to debut in the exceed 10 on Billboard’s Christian Albums scroll. With more 4,000 copies sold according to Nielsen SoundScan, the artist’s eight album “Every Hasten” (Shadow Heap) opens with Hot Shot Debut honors at No. 6. Hitherto, the highest rank for such an artist happened when Weeks’ fellow artist Jenny Oaks Baker peaked on opening week at No.26 in May 2010 with “Then Sings My Typification.” Weeks is headlining the current women and youth shift, “Time Out for Women.” Despite the fact that the internationally renowned Mormon Tabernacle Choir has been a staple on Billboard’s religious and classical music charts since the 1950s-alongside other well known artists that happen to be members of the Church of Jesus Christ of Latter Day Saints (LDS), such as Marie Osmond and Gladys Knight-Weeks’ career has been spent making music specifically for Mormon audiences. Her first solo album was released in 1996, and she has been honored multiple times by the Utah based Faith Centered Music Assn. (FCMA) at the group’s annual Pearl Awards. That group reportedly suspended its awards activities last yr, and is planning to relaunch at some point in the approaching. Worldwide LDS church membership stands at approaching 14 zillion (a majority of those outside the U.S.), but the Mormon music market is driven by a small but thriving cottage labour, whose major retail arm is the church-owned book publisher and retailer Deseret Nonfiction, which has approximately 30 ret locations, mostly in the western U.S.

LONDON – Two Michael Jackson fans accused of stealing unreleased music by the late King of Pop from Sony’s computers are confident they can prove their innocence in romance, their lawyer said Wednesday. Solicitor Karen Todner said James Marks and Jamie McCormick “are eager to point out to Michael Jackson’s fans and family that they would never do anything to harm the legacy that is Michael Jackson’s music.” “As Michael Jackson has said,” she added, “‘Lies run sprints but the truth runs marathons.’” Michael Jackson’s Unreleased Tracks Expanse 50,000 Songs Stolen From Sony By Hackers The two British men were arrested last year after Sony Music Entertainment noticed a breach of its systems. The entertainment company has a seven-year huge quantity, worth capable $250 trillion, to sell unreleased recordings by Jackson, who died in 2009 at the age of 50. Sony says no customer data were compromised in the attack on the company’s internal music-sharing coordination. Marks, 26, and McCormick, 25, pleaded not guilty last week at Leicester Crown Court in central England to computer misuse and copyright offenses. They were freed on bail and are due to stand trial in January. How Sabu, a ‘Traditional’ Anonymous Hacker Penis, Turned Into an FBI Witnesser The case is not believed to be linked to Anonymous or Lulz Assurance, loose-knit hackers’ collectives, broadly sympathetic to the WikiLeaks’ secret-spilling milieu, who have targeted government and corporate websites around the men. Last yr, hackers targeted Sony Playstation and Sony Online Entertainment networks, compromising personal score, email addresses and the security of millions of user accounts. At the stage, Lulz Security claimed responsibility for the mediocre. On Tuesday, the FBI announced that five alleged Lulz Security members had been arrested in the U.S., Britain and Ireland after one of the group’s leading hackers turned source.

In preparation for the June launch of their Brothers of the Sun co-headlining circuit, Kenny Chesney and Tim McGraw premiered a new brace, “Feel Like a Rock Big name,” on Sunday’s (April 1) CBS telecast of the 47th Annual Academy of Country Music Awards from the MGM Grand in Las Vegas. Just two days postliminary, the song is the most-played title on country transistor. ACM Awards: Taylor Nimble, Miranda L & Lady A Own the Sundown “Rock Big shot” was serviced to country radio stations by Chesney’s class, BNA, during the ACM transmit. After the first day of airplay (April 2) for next week’s Hot Country Songs plan, the song already ranks at No. 1 with 979 plays and an audience of 7.9 meg, according to Nielsen BDS. (Lee Brice’s “A Woman Like You” ranks second after a day of building airplay with 5.5 million audience impressions.) The lofty launch of “Rock Leading man” is almost unprecedented in the 22-year BDS-monitored history of Hot Country Songs, considering the format’s conservatism regarding out-of-the-box new music. All but three songs in the current chart’s supreme 25 boast double-digit chart weeks, with 10 each more 20 weeks proficient. Infographic: Taylor Nimble, Toby Keith, Miranda Lambert Generate Most Social Media Activity During ACM Awards Televise Should “Rock Unmatched” maintain its post-ACM impetus, it could challenge for just the second No. 1 bow since Hot Country Songs adopted BDS data the week of January. 20, 1990. Garth Brooks’ “More Than a Celebration” soared in at No. 1 the week of September. 15, 2007. Perhaps in Chesney’s privilege, he has two of the five highest debuts in the chart’s BDS-based archives. “Don’t Flicker” opened at No. 16 the week of September. 8, 2007, and “The Boys of Collapse” started at No. 17 the week of July 31, 2010. (Keith Urban’s “Once in a Life” also entered at No. 17 on the September. 2, 2006, design.) A BNA promotion executive tells Billboard that initial excitement following the ACMs could wane but that the label still expects a “top five or prime 10 entry” when the next Hot Country Songs chart is unveiled next Monday (April 9). Despite its overwhelming early airplay, “Rock Leading light” has drawn both praise and criticism from programmers. One large-market radio gatekeeper who spoke to Billboard on the condition of anonymity decried the duet as “offensive, and very off-putting,” adding that Chesney and McGraw’s “vocals are average and the lyrics are clouded. Kenny Chesney & Tim McGraw Reunite for Stadium Period of service “I was sick of this song after the second heed. Very bleak,” he added. KKBQ Houston OM/PD Johnny Chiang offers a slightly more enthusiastic return. “A solid tune, if a bit formulaic. Degree, having two stars of that magnitude on the same project certainly helps.” Superstar duet pairings many times – but not unceasingly – garner significant initial radio adhesion. A warm first use, at any rate, doesn’t necessarily guarantee eventual chart-topping success on the Hot Country Songs table. Most notably in recent eld, Brad Paisley has tallied four No. 1 collaborations: “When I Get Where I’m Common,” featuring Dolly Parton (2006); “Start a Gang,” with Keith Urban (2009); and, “Old Alabama,” featuring Alabama, and “Remind Me,” with Carrie Underwood, both last yr. Zac Brown Band has similarly logged two high-profile collaborative leadership: “As She’s Walking Forth,” featuring Alan Jackson, and “Knee Scheming,” featuring Jimmy Buffett (2011). Also last yr, Jason Aldean and Kelly Clarkson’s “Don’t You Wanna Discourage” spent three weeks at No. 1 (and crossed over to the Adult Contemporary and Adult A- 40 excel 10). Notwithstanding, other duets featuring country royalty have failed to ascend to the Hot Country Songs can. Chesney and McGraw, in in reality, have both fallen short of the summit with prior star power-packed duets. Chesney has charted four climb 20 duets with co-lead solo artists on Hot Country Songs but, perhaps surprisingly, only the pairing with a non-core format artist – “When the Sun Goes Refine,” with Uncle Kracker (2004) – reached No. 1. Chesney’s clip 20 duets with two of the biggest acts in country music history each missed the culmination: 2008′s “Shiftwork,” with George Mess (No. 2), and “Every Other Weekend,” with Reba McEntire (No. 15). (Chesney’s other topmost 20 collaboration with a soloist, “I’m Crawling,” with Dave Matthews, peaked at No. 6 in 2009.) McGraw and wife Faith Hill have charted four freshen up 10 duets but only the from the word go – 1997′s “It’s Your Sympathy” – ruled Hot Country Songs (for six weeks). “Just to Hear You Say That You Love Me” (No. 3, 1998), “Let’s Make Suitor” (No. 6, 2000) and “I Need You” (No. 8, 2007) were hits but not No. 1s. In line with that track release, the anonymous programmer who spoke to Billboard says that there’s no one-size-fits-all pattern for such songs, no matter how big the stars involved might be. “Collaborations get people interested for a first-listen solitary. There’s nothing wrong with them but the combination won’t hold them longer than an introduction to the bother. “It’s all about the quality of the disintegrate.” What will the fate of Chesney and McGraw’s “Feel Like a Rock Dignitary” be? Early indications look promising but, come again, a No. 1 outcome on Hot Country Songs can’t be assured. In addition to its massive early airplay, “Rock The leading part” could sell around 50,000 downloads in its first workweek, according to industry sources. The tune, the first single from Chesney’s 15th studio album, “Welcome to the Fishbowl,” due June 19, was released digitally at midnight Monday morning following Chesney and McGraw’s performance on the ACMs. For immediately, radio and consumers are partying with “Rock Celebrity.” Going back? “In the long retire,” says Chiang, “the sustainability of any at a bargain price a fuss, whether it’s a collaboration or (a solo song), depends on the at a bargain price a fuss itself.”

Robin Gibb, perhaps best known as one of the Bee Gees, is also the President of the International Confederation of Societies of Authors and Composers (CISAC), which just held their third annual World Copyright Summit in Brussels this past workweek (June 7 and 8). Gibb graciously spoke to Billboard.biz in the middle of the summit to address the future of the creative copyright, the growing cloud storm and threats to performance rights organizations. Billboard.biz: Tell us about your role as President of CISAC? Robin Gibb: My presidency at CISAC is something I’m very passionate about and I’ve been doing for the last four eld. There are very important issues right now regarding advancing technologies, authors’ rights, intellectual property and making things fair and better for everybody in the unborn. For this World Copyright Acme, what key issues that are on this agenda that weren’t two years ago in Washington? There’s always key issues that don’t go outside. But we’re chipping away at the pit, we’ve had some turnaround in major territories around the elated, but there are still major issues to tend to in the big delis, like the U.S., the UK and Europe. The majority of the major popular music in the ultimate 50 years and today is churned out of the U.S., U.K. and Ireland.  It seems that some countries — especially the UK and Ireland – are being punished by countries not producing that kind of music. Which countries are leaders in copyright reform and protection in the digital economy and which need to escalate? Copyright reform in countries like India, which is a huge market for film and the music manufacture, have turned roughly. Almost overnight India began to comply with what we were seeking. There have beenother countries, too.  France in item, is a model other countries are emulating. One of your speakers is Ivo Josipovic, the President of Croatia, who himself is a composer which must give him incentive for increasing copyright blackmail? Every President should be a composer. What has been your experience in the Bee Gees with piracy and copyright? I’m not doing this for the Bee Gees because the Bee Gees have one of the biggest song catalogs in the world.  Not many people are producing big catalogues tod. They are very rare and take years to disclose. But there are many many millions of people who don’t have big song catalogs orwho  don’t have major pieces of work that actually have their rights taken away from them. What we’re trying to do is get a fairer deal for all intellectual property ideas and creative authors rights. What would you tell young people who are composing and performing their own put through? The important thing is to give young people the encouragement to compose and create the big song catalogues of tomorrow without feeling that they’re not going to be in control of their wield. That’s the backbone of tomorrow’s commerce. Based on the first day’s agenda at the crown, did anyone raise solutions that stuck out for you to take back to CISAC units? By and kind, everyone agrees with what we’re doing; we’re quite united and more people are actually starting to walk than just talking – which is where we were two years ago in Washington.  Again, we’re actually getting action in a lot of different spheres. But there’s a long way to go and the landscape is constantly changing.  There has to be some kind of permanence in protecting citizens.” Cloud services is one of day two’s topics, what does that mean for rights owners and tech companies? It’s not just about one particular sons. There’s a continuity here that runs totally,= — much like the film vigour — protecting authors rights and intellectual haecceity. It isn’t just about a particular piece of technology that’s changing the vista, because that’s always going to chance. But there has to be something airtight and solid that carries us into the future and will not only protect people but also give them the encouragement and incentive to perform. EMI Music Publishing is taking digital licensing, previously handled by ASCAP, in-bawdy-house. Do you think such a move by the music publishers will affect the future of Performing Rights Organizations? All I can say is collective management is the way forward with societies. That’s all I have to say because otherwise it just gets too tangled. We just know that collective management is the only through. What will you be saying at the closing keynote greet? I’m going to cover much of the same ground we’ve done for the last couple of years and mention the progress we’ve made and why there are reasons to be cheering — and there definitely are. It’s onwards and up. It’s a positive approach devote. We are in a far better position than we were two years gone, but there’s not a reason to sit down and terminal.

Strange news on the 10th anniversary of TLC member Lisa “Left Liking” Lopes’ eternal rest: According to a report in TMZ, citing “the group’s [unnamed] rep,” TLC will be reuniting for a U.S. concert tour later this yr – with a digital image of Left Eye and recordings of her vocals. According to the dispatch, surviving members Tionne “T-Boz” Watkins and Rozonda “Chilly” Thomas “are currently in the planning stages of a titanic 2012 reunion tour in the U.S.,” adding that five major cities have already been engaged “and even more are in the works.” At press tempo, Billboard.biz had not been able to confirm this report with representatives for the band. Tupac Coachella Holograph ‘Very Onliest’ Legally, Says Music Attorney Donald Passman Coming just days after a digital image of the late Tupac Shakur was projected onstage during Dr. Dre’s http://www.billboard.biz/bbbiz/industry/touring/tupac-shakur-hologram-plays-coachella-while-1006771352.story appearance at the Coachella holy day, it seemed that it was a matter of time before other deceased artists were revived for tours, http://www.billboard.biz/bbbiz/industry/touring/tupac-shakur-hologram-could-tour-venues-1006780152.story although some insiders have told Billboard.biz they don’t feel there’s much of a business in the construct. Dr. Dre Says Tupac Hologram Was ‘Strictly For Coachella’ In any way, Watkins filed for bankruptcy twice last year after defaulting on mortgages on her Atlanta home and failing to keep up with medical bill and car payments. Watkins, an Atlanta, Georgia tenant, filed on October 31, 2011 in U.S. Bankruptcy Court after failing to keep up with mortgages on her Duluth, Georgia skilled in, valued at $1.2 trillion. The documents reveal that Watkins owes creditors $768,642.99 on the territory, and has assets that complete $1,716,508. Watkins’ financial troubles began as early as June 1995, when she originally filed for Chapter 11 bankruptcy with TLC. During an episode of VH1′s “Behind the Music,” the trio discussed the incident in item, explaining that a poor recording contract with LaFace Records through their manager Perri “Pebbles” Reid’s Pebbitone shingle caused them to slip into the financial red.
 “The bad thing about the deal was that Pebbles had us signed to so many deals. She just had her fingers in the pot all across the council,” Lopes said on the can, claiming label head LA Reid was making business decisions without their confirm. Even after severing ties with label head Reid, the trio was forced into bankruptcy after selling 10 million records on account of amounting expenses and debt to their record label.

”People to this day still do not believe that we were hard up — but we were, OK?” said Watkins. Over the past few eld, Watkins has appeared on “The Real Housewives of Atlanta” and as a consultant on “The Celebrity Rookie” where she was fired for volunteering to return to the boardroom. The nightingale, who suffers from sickle-cell anaemia, revealed in October 2009 that she overcame a potentially fatal brain tumour, from which she suffered for three age.

Australian police have ruled out foul play in the death of Men At Work’s Greg Ham, whose body was found Thursday at his Melbourne address. He was 58. Ham’s body was discovered by friends who checked in on him. The state of Victoria’s Homicide Squad subsequently started an investigation into the circumstances of his tomb. A post-mortem examination was completed on Friday teatime. Although the results have yet to be published, authorities have now determined his death was not question. Men at Work’s Greg Ham Found Paralysed Ham played fluting, saxophone and keyboards in the iconic Australian assemble, which had a global smash in the first ’80s with “Down Subordinate to.” He was a unremitting, energetic presence for the platoon, and perhaps its most recognizable member aside from frontman Colin Hay. Former bandmate Hay today said Ham was “clearly loved” and was “a man with a golden basic nature,” but he also hinted that Ham may have fallen on hard times. “I don’t really feel particularly comfortable talking about those points,” he told the Australian Broadcasting Tummy. “We’ve all had demons that we’ve tried to exorcise over the years and Greg was like all of us,” Hay said from the U.S., where he’s touring. “The last time I saw him was a few months ago and… it’s a long-term detestation. There’s always a long-term thing for all of us, the issue of addiction I of.” In the first half of the ’80s, Men At Work created a bank of international hits which included “Who Can it Be Conditions,” “Overkill” “It’s a Erratum” and “Dr Heckyll and Mr Swing.”

Weeks after the Canadian Broadcast Pot (CBC) reached the country’s first negotiated collective license deal with Audio-Video Licensing Energy (AVLA), the country’s oldest public broadcasting network yesterday (February. 13) officially launched CBC Music, a free digital music streaming service at cbcmusic.ca. The service offers 40 online radio stations, which have a library of songs in the millions both Canadian and worldly; CBC Ghetto-blaster 2 and 3; 14 genre-based “music communities” ranging from rock to traditional, pop to malarky, hip hop to boondocks; direct access to the music of towards 1,000 major and independent music companies. Canadian Broadcast Corporation Reaches Major Online Licensing Deal With AVLA As well-head, there are hundreds of concerts available on when requested; and pages on more 25,000 artists with thousands of on-demand songs; plus original cheerful (features, blogs, playlists) updated regular; and the artist-maintained Canadian Concert Slate. Music content from various  CBC programs, including top-rated Q (with Jian Ghomeshi) and George Stroumboulopoulos Tonight will also be attainable. The Canadian institution has also commissioned a CBC Music app to allow listeners to stream CBC Music to their iPad, iPhone or iPod finger on. “CBC Music successfully connects Canadians with music when and how they want it, and provides an unmatched experience for music lovers across the territory,” Chris Boyce, executive director of radio and audio of CBC English Services, released in a statement.  “As a modern public spreader, we`re proud to bring this rich digital experience to Canadians, using the scholarship, content and extensive music collection that only CBC can put up for sale.” CBC Radio draws more 6.1 million listeners a week, according thereto’s October 2011 PPM results.

Johnny Depp stunned the crowd when he joined Marilyn Manson onstage on Wednesday at the Revolver Golden Gods Awards. As thrilling as it was for Depp to be playing guitar on “The Beautiful Common people” and “Sweet Dreams (Are Made of That)” during a night that saw performances from hard rocking artists like Evanescence and Gouge, Revolver Magazine creative director Josh Bernstein said there are still two dream bands they have yet to land for the annual result. Johnny Depp Performs With Marilyn Manson at Golden Gods Awards (Picture) “The first yr, we had Ozzy right off the bat. I don’t think we would have had a show without him. Having him here was unthinkable. Last yr, Lars [Ulrich] and Robert [Trujillo] from Metallica came. But I want the full bands and I want them playing,” he said. “When that happens, that will be pretty suitable; Metallica and the original Black Sabbath. It’s our fifth year next yr, too, so it would be a good fifth year hallowing. So, if [those two bands] are reading Hoarding…” Metallica wasn’t there this yr, but their music certainly was. Trivium covered “Creeping Quietus” with some help from Corey Taylor ( Slipknot, Stone Churlish) and Robb Flynn ( Machine Take charge of). Dee Snider ( Twisted Sis) sang “We’re Not Gonna Take It” with Black Veil Brides. “Gossip Bit of skirt” star turned Pretty Reckless rocker Taylor Momsen also joined Manson, prior to Depp’s newcomer. Hosted by professional wrestler and rocker Chris Jericho at Club Nokia (LA Palpable) in Los Angeles, this year’s event featured honorees like Gene Simmons and Pother, a video for a recently unearthed Pantera song and several metal presenters. Grammy Museum Opens First Ever Heavy Metal Demonstrate “All these existing award shows, over the eld, heavy metal has been kicked to the wayside,” Bernstein said. “The awards are given away during the hour, the awards are combined and unless you’re Dave Grohl, you’re kind of not allowed into the unit. Pop, power, hip-travel — all of that stuff is loving terrible, but metal never really had its moment to fancy. We wanted to do this for age, we finally put it on. It was shocking that nobody had done it earlier. It’s long past due.” The Grammys were a part of the event in a opportunity, as the History of Heavy Metal exhibit opened right next door at the Grammy Museum. But the awards were certainly hard rock and metal downright, with many of the associated managers, agents, publicists and other industry folk whose bread and butter revolve around heavy metal shredding mingling backstage in the exclusive VIP arrondissement. In previous eld, the show has been shot live to tape and aired on VH1 Classic several weeks postliminary. The fourth annual Revolver Golden Gods Awards, presented by Epiphone, was broadcast on XBOX LINGER (as well as the Revolver Facebook era). Check Out All Our Backbeats – And Our Revamped Backbeat Landing Messenger! – Right Hither ” VH1 was a great partner and we love those guys,” Bernstein said, while acknowledging some of the improvements of this year’s setup. “The show was an minute, including commercials, so it killed me on a personal level to book some of these bands, some from abroad, to perform and then some of their performances wouldn’t even make the aura. I felt like that was against the reason we started this award program. Too, we always wanted it to air viable, versus six weeks posterior.” Organizing all of the presenters and performers hasn’t been without its challenges. “In England, for object, there are big festival shows, everyone is in townsfolk, and you can do an award show around it. There’s no central home to heavy metal [in America]. So putting on an event of this stature and having everyone be around between touring and recording schedules, Coachella, Lollapalooza, South By Southwesterly — it’s hard finding that exact window of time to get everybody here in the same range. But at the present time, in year iv, we’ve kind of claimed this week and people kind of plan around us, which is amazing to note.” The VIP area was abuzz with talk that Depp would appear with Manson as a amaze, but nobody saw him back there beforehand or thereafter. Damien Echols, one of the West Memphis Three whose cause both Manson and Depp famously championed, walked through the area on his way to introduce Manson. His presence alone seemed to all but confirm the rumors to largest, which of course were proven loyal. Several VIP industry folks who chose to watch the most of the show on TVs in the lounge rushed into the main hall to see Depp slinging his guitar and wearing his cowboy hat follow, in the family, once they knew he was thither. Industry folks on-hand included Century Media’s North American President Don Robertson, special projects manager Tom Ackerman, head of marketing Matt Polen and head of new media Stephanie Shoulders; Roadrunner Records publicist Amy Sciarretto; longtime Rob Zombie manager Andy Gould; Outerloop Management’s Mike Mowery; the Artery Foundation’s Eric Rushing, Bret Bair, Will Stevenson and Shawn Carrano; Rick Sales Entertainment’s Kristen Mulderig; King Artist Management’s Scott Koenig and Mike Gitter; The Pantheon Agency booking agents Amanda Fiore, Matt Andersen and assistant Alex Areza; Mercenary Management’s Roll deprive of “Blasko” Nicholson (also bassist for Ozzy Osbourne) and Dan Tsurif; video director Zach Merck; Good Fight Entertainment’s Carl Severson, Chuck Andrews and Jail “Biggie” Grimaldi; travel agent Kerry Rocket; Metal Blade Records fail / CEO Brian Slagel and Vice President Mike Faley; longtime Hatebreed manager Steve Ross; Sumerian Records and Sumerian Entertainment’s Ash Avildsen and Shawn Keith; Matt Ash of Raw Power Top brass, who recently opened the company’s LA section; Adrenaline PR publicists Maria Ferrero and Rikki Zazula; The Agency Group’s Dave Shapiro; radio personalities Jose Mangin and “Full Metal Jackie” [Kajzer]; Richochet Management’s Jerry Clubb; and members of several bands who were presenting, performing or just hanging old hat, including Slipknot, Anthrax, As I Lay Going, Fear Plant, Zakk Wylde, Lacuna Wrap, Asking Alexandria, Vinnie Paul Abbott and Gene Simmons’ son, Cut. Musicians and industry people rubbed elbows, shook hands and chatted about all things metal as they drank booze and ate burger sliders in the darkened VIP neighbourhood, which featured a court, several couches, a DJ spinning thrash classics from Metallica, Exodus and Slayer and several flatscreen TVs broadcasting the action from inside the venue, where fans cheered the presenters, winners and performers. “There’s a sense of community in metallic. And kind of everybody is hither,” noted Severson. “When my wife asked me why I was flying out here [from New T-shirt], you discern, it’s networking. I’ll see a bunch of people here that I email with and talk on the phone with all of the space. It’s good to spend an evening hanging unlit. Because everyone is here infrequently, most of us also setup a few meetings.” In addition to networking opportunities, there was also plenty of “careen” to be had for VIPs. The gift bag given out in the VIP area contained goodies like The Rolling Stones Ladies & Gentlemen box dispose; Marshall Major FX headphones; a Samson Chromatic Wireless; Gears of War and Forza Motorsport video games for XBOX; a Manson blu-glimmer; Slash’s live CD / DVD; Zakk Wylde’s new post, “Bringing Metal to the Children;” a hardcover The Walking Dead graphic novel and more. “I started working with Guns N’ Roses in ’89 and I’ve been invited to every award show that there is. It’s just not something that I do,” said touring festival promoter John Reese, who is a co-founder of Golden Gods Awards friendly tours like Rockstar Mayhem and Rockstar Brouhaha. “But this is true to my kindliness. It’s important to underpinning. There are enough people supporting soda pop, gambol, and all of that. I’ve been involved with metal benefit of 26 years and I’m here to back it.” “I do all kinds of music – I do an electronic stroll, I do a rock excursion, I do all kinds of properties, but metal fans have more passion than any other junkie,” he added. “That’s why we need an award show for metallic. Because metal fans and metal artists deserve to be recognized. The Grammys, God praise ‘em, giving a damn award for Jethro Tull [infamously over Metallica back in 1988 when the Recording Academy introduced a "metallic" division]? Give me a forth.”

Cumulus Media and Nielsen today announced that the two companies are expanding their relationship to include Cumulus stations using Nielsen’s Broadcast Data Systems, a music monitoring usage, in addition to sales declaration Nielsen Broadcast Data Systems provide music research and monitoring services for the entertainment industry including Nielsen BDSradio, a strategic tool designed for radio programmers. Nielsen BDS captures more 100 million song detections annually on more 1,900 radio stations, satellite and video channels in 176 markets across North America. “Our stations need the most reliable research and this arrangement with Nielsen accomplishes that and allows us to continue providing the most compelling content on broadcast,” Cumulus Media senior VP Dennis Green said in a asseveration. We look forward to sharing BDS data with our stations across all format platforms. BDS is providing cutting-edge technology. Its accurate data helps us super-serve our stations with valid and useful information with music targeting and rotations,” Cumulus Media senior VP of corporate/programming Jan Jeffries said in the same make available. “Cumulus selecting Nielsen BDSradio as its monitoring service is a testament to our commitment to quality services and insights and we couldn’t be prouder,” Nielsen president of entertainment Howard Appelbaum said. Nielsen’s data on airplay, sales, and On-Demand streams is featured weekly in Billboard’s charts and widely cited by publications and broadcasters as the standard for music area. Nielsen Holdings N.V. is a global information and measurement company with leading market positions in marketing and consumer clue, television and other media determination, online astuteness, mobile period, trade shows and related properties. Nielsen has a presence in some 100 countries, with headquarters in New York, USA and Diemen, the Netherlands. Cumulus Media is America’s second largest owner and operator of radio stations and the local marketing company in 120 communities across the United States. The company’s radio and digital brands target numerous large and demographically-distinct audiences in each of these stalls.

In a photo-death, Adele’s 21 narrowly withstands the challenge of Jason Mraz’ Love Is A Four Letter Word to keep the U.K. album chart coronate. On the singles measurement, Carlie Rae Jepsen’s “Call Me Perchance” beat off Parlophone/EMI newcomer Conor Maynard’s “Can’t Say No” for a third week at the tip. Of all the records 21 has set during its epic be used up, this week’s is the least splendid, since it topped the new chart with sales last week of a pure and simple 17,000, according to the Official Charts Associates. That’s the lowest total for a No. 1 U.K. album since the Levellers did it with 13,000 for Zeitgeist in 1995. Mraz’s opening tally was furthermore 17,000, finishing unprejudiced 44 copies below Adele’s unqualified. Mraz’s last album We Sing We Dance We Steal Things peaked at No. 8 in the U.K. in its fourth chart workweek, in January 2009. Jason Mraz Vs. Lionel Richie For Next Week’s No. 1 Album Nicki Minaj drop 2-3 with Pink Friday – Roman Reloaded and there were top ten climbs for Lana Del Rey’s Born To On, 6-4, and Ed Sheeran’s +, 10-8. Train’s California 37 debuted at No. 10 and Spiritualized’s Sweet Heart Sweet Light at No. 19. Now That’s What I Call Music 81 started a third week atop the compilation graph. Jepsen’s singles supremacy continued with a salubrious 114,000 new sales championing “Call Me Dialect mayhap” – up on last week’s 110,000, which in turn bettered the 106,000 with which it entered at No. 1 two weeks since. 19-year-old Maynard’s strong debut at No. 2, on 74,000 sales, follows his victory on MTV’s “Brand New In regard to 2012″ contest and a sizeable YouTube pursuit. He’s currently  touring the U.K., with a London date at Dingwalls on Tuesday (24). “We Are Uninitiated” by gibe. featuring Janelle Monae climbed 7-3, as John Legend’s 2005 blow “Ordinary Mortals” raced 27-4 after being covered by BBC1 talent series “The Reveal” contestant Jaz Ellington. The track peaked at No. 27 on first release but now becomes Legend’s biggest U.K. lone. Jessie J, one of the judges on “The Vox,” saw her own “Laserlight” featuring David Guetta, swoop down on 26-5. Also new in the singles chart’s upper echelons were B.O.B.’s “So Adroit” at No. 7 and “Primadonna” by Marina & the Diamonds, which became Welsh artist Marina Diamandis’ highest-charting U.K. wake trace.

AEG Live CEO Randy Phillips stops by the Pioneer Coach bus at Coachella to visit with Billboards Ray Waddell at the blustery Light of day Randy Phillips Re-Ups As President/CEO of AEG Follow This crew stopped by the legendary Monte Carlo Steakhouse on Carry 66 in Albuquerque en route to the Coachella Commemoration. From left are Mike Zradicka, driver, Pioneer Bus; Billboard’s Ray Waddell; Pioneer Coach President Doug Rountree; Neville Shende, fleet operations, Introduce; Wayne Linder, leasing foreman, Take the first step, and Ron Maggart, festival assessment straw boss. Coachella 2012: 12 Things Seen & Heard Friday Coachella Festival kicks off Friday in Indio, CA, and continues with an identical lineup next weekend. Waddell and his tour bus crew hit the road on the way to Indio, stopping at this iconic spot in the southwest. The festival boasts headliners the Black Keys, Radiohead, and Spy Dogg and Dr. Dre.

Google Trends: 9. dick clark – the legendary icon died this past Wednesday and people are still searching for news and updates, the most recent that he had prostate surgery before his heart attack
 20. neil rhomb – the singer married Katie McNeil this past weekend in Los Angeles Twitter Music Shift: 2. Put one’s trust in 2.0 – Justin Bieber announced that he recorded in excess of 40 tracks for his upcoming album “Think” leading fans to speculate that a “Into 2.0″ record will come in similar vein to his “My Fraternity 2.0″ album 8. Die In Your Munition – A track title of the upcoming Justin Bieber documentation “Consider” that seems to be having fans particularly excited despite other track titles being released. Digg Music News/Picture 24 Hours: 1. Coachalla Tattoos: Sweet Ink Sightings in Indio 2. New Rolling Stones Movie in the Works NPR Music Most Viewed 1. First Lend an ear to: Rufus Wainwright, ‘Out Of The Courageous’ 2. First Do as one is told: Santigold, ‘Master Of My Make-Think’ 3. Fiona Apple Releases First New Song In Seven Age 4. First Mind: Lower Dens, ‘Nootropics’ 5. First Keep one’s ears open: Damon Albarn, ‘Dr Dee’ NPR Music Most Commented 1. Eulogy For A Record Hold (13) 2. First Heed: Rufus Wainwright, ‘Out Of The Practise deceit’ (13) 1. 3. ‘Marley’: A History On Film Of The Man Off ‘Tradition’ (17) 4. For Trafficking: A Record Store For The Ages (10) 5. Music Man Murray: What’s A Guy To Do With A Half-Million Records? (8) NME’s Top Music Newscast: 1. Michael Jackson to tour with Jackson 5 as a holograph? 2. Metallica: ‘We’d love to play Glastonbury’ 3. Mystery Jets stream new album ‘Radlands” – harken to 4. Rogue 32, Gossip-monger, The Feeling added to V Red-letter day 2012 – ticket details 5. Noel Gallagher’s High Flying Birds score highest-selling vinyl single of Record Store Period 2012 6. Man with axe threatens Pussy Riot guess 7. Spiritualized announce November UK sightsee – ticket details 8. The Vaccines’ Justin Boyish: ‘Fundamentally, we’re a pop confederate’ Fader Most Review – Time 1. Kanye West Announces Chief Keef Remix 2. Deluge: Fiona Apple, “Every Single Darkness” 3. Beat Twist: OG Ron C 4. Spout: Beach Layout, “Equal Be in touch with oneself decide” 5. Mykki Blanco, “Wavvy” (Elbow. by Brenmar) MP3 6. Nicki Minaj is Upset With the Reception for Roman Reloaded 2. 7. The Tupac Hologram Might Spell 8. Download Le1f’s Dark York Mixtape 9. Stream Animal Collective’s Album Transverse Temporal Gyrus 10. Tv: Chief Keef f. Lil Reese, “I Don’t Selfsame” Fader Most Modern 1. Common Freestyles about Kim Kardashian, Chris Paul and Others at USAB/Jeep At the time 2. Polica Step Into The Black in Phoenix 3. The Things I Effect: Travis Concierge 4. Picture: SL Jones, “Gamble” (Activate. by DJ Burn The same) 5. Mykki Blanco, “Wavvy” (Reminder. by Brenmar) MP3 6. Stream Lower Dens’ Album Nootropics 7. March: Meg Baird, “No Song to Name names” (Michael Chapman Extend) 8. Picture: Lana Del Rey, “Carmen” 9. Jonathan Boulet, “This Song Is Called On one’s last legs” MP3 10. Stream Animal Collective’s Album Transverse Temporal Gyrus Pitchfork News Most Late: 1. Prick up one’s ears: New Saint Etienne: “Answer Commotion” 2. See: Thom Yorke Performs With Modeselektor at Coachella, DJs With Flying Lotus at Brainfeeder Club 3. Iggy Pop to Release Album of Mostly French Covers 4. Listen to Portishead’s Geoff Barrow and Composer Ben Salisbury’s Collaborative Album in Non-restricted 5. Experience Animal Collective’s Transverse Temporal Gyrus Installation in All Its Mind-Bending Pride oneself 6. Pay attention to: Beck Covers “Corrina, Corrina” 7. Sonny and the Sunsets Plan New Album for Polyvinyl 8. Conor Oberst’s Band Desaparecidos Reunites 9. Tv: Dr. Dre Explains Tupac Holograph 10. Cat Power Names New Album 11. New Fiona Apple: “Every Single Shades of night” 12. Coachella Sunday Pics: The Weeknd, At the Drive-In, Dr. Dre and Snoop Dogg, Girl Peach, and More Rolling Pit – Recent scandal 1. Flying Burrito Brothers Bassist Chris Ethridge Dead at 65 2. Iggy Pop Announces Album of Mostly French Covers 3. Ma$e Owes Superior to before $124,000 to I.R.S. 4. Conor Oberst to Open Bar in Omaha, Reunites Desaparecidos 5. Steven Adler on Axl Rosebush: ‘I’m Done With Him’ 6. Gotye Unhappy At hand ‘Exuberance’ Coat 7. Exclusive EP Cascade: The M Utensil, ‘Metropolis Pt. I’ 8. Dr. Dre: Tupac Hologram Only for Coachella 9. Brooklet: Fiona Apple’s Gorgeous New Distinguish ‘Every Single Stygian’ 10. Song First: SUPPLIED!, ‘Crackers’ Perez Hilton – Music Wink: 1. Robin Gibb’s Family Speaks After Comatoseness 2. PS22 Chorus Makes Us Cry With Live Your Entity! 3. Fiona Apple Sings To Our Soul Every Single Tenebrosity! 4. More Coachella Manner!! 5. David Guetta & Sia Invade Coachella With Titanium Significance! 6. Gotye’s Not A Gleek, Calls Darren Criss ‘Dinky’ 7. Lea Michele & Darren Criss Makes Us Feel Their Sweetheart 8. Neil Diamond Gets Hitched! CMT – Recent Message: 1. Women Control 2012 CMT Music Awards Nominations 2. WING: Taylor Swift From Both Sides, At the present time 3. Around the Cobweb: Kelly Clarkson Turns “Mr. Know It All” Power XXL – Recent Press release: 1. Michael Jackson Hologram Could Be Following Understood 2Pac’s Leading position 2. T.I. and Azealia Banks Exchange Insults Over Radio and Whirl 3. Dr. Dre Refutes 2Pac Hologram Tour Rumour 4. Lil Kim Announces Return of the Queen Tour Dates Stocks (Completion 4/23) Trans World Entertainment Corporation. (TWMC): $2.17 (unch) (unch) Live Nation Performance (LYV): $8.49 (+0.08) (+0.95%) Sirius XM Radio Inc. (SIRI): $2.14 (-0.085) (-3.82%) Sony Corporation (SNE): $16.51 (-0.32) (-1.9%) Pandora Media (P): $8.56 (+0.27) (+3.26%) Apple (AAPL ): $571.7 (-1.28) (-0.22%) Dmoz (GOOG): $597.6 (+1.54) (+0.26%) Madison Square Garden (MSG): $34.52 (-0.52) (-1.48%) Paid (PAYDE): $0.12 (+0.001) (+0.84%) Vivendi (VIVEF): $16.55 (0.59) (-3.44%) Heap Media Inc. (CMLS): $3.26 (-0.05) (-1.51%) NASDAQ Composite (COMPX): 2970.45 (-30)  (-1.00%) Dow Jones Industrial Avg. (DJIA): 12927.17 (-102.09)  (-0.78%)

From unexpended: Producer Jimmy Fill up, Recording Academy President/CEO Neil Portnow, and Jimmy Iovine attend the 5th annual Producers & Engineers Wing Event honoring Iovine at The Village Recording Studios in L.A. (Photo by Michael Kovac/WireImage) The Grammy week celebration that honors producers and engineers, now in its fifth yr, has earned a reputation for being a casual and easygoing event with little pretense and considerable comradeliness. It’s hardly a surprise that in the Village Studios largest abide, where Interscope chief/Beats by Dre co-founder/former producer and engineer Jimmy Iovine was honored with the Recording Academy Presidents Merit Award on Wednesday evening, standing in the front row stage left was Dr. Dre while at stage right was Stevie Nicks. No heavy security required. See all of our 2012 Grammy Awards coverage right hither Nicks, Dre and an audience that included Mary J. Blige, P. Diddy, Will.I.Am, Colbie Caillat, Sheila E. Lady Gaga producer/songwriter RedOne and many more (see below-stairs) heard Skylar Grey perform on piano a medley of “I’m Coming Living quarters,” “Love the Way You Untruth” and “I Need a Physician” and, after Iovine’s 20-minute lecture, Lana Del Rey depict “Video Gallants.” Jimmy Jam and Recording Academy president and CEO Neil Portnow also participated in the presentation to Iovine, who ranked no. 10 on Billboard’s “Powerfulness 100″ list last month. See all of our Backbeats right hither Iovine, whose public profile rose last year when he appeared regularly on “American Icon,” gave shout-outs to Larry Jackson, executive VP of A&R, Universal Music Group UK chief executive David Joseph, Eminem manager Paul Rosenberg, Simon Fuller, Nigel Lythgoe and hitmaker Polow da Don. He also pledged support to P. Diddy, noting  “we’re bringing back Bad Boy in a big behaviour pattern.” Singer/songwriter Lana Del Rey performing on stage at the Producers & Engineers Wing Occurrence (Photo by Michael Kovac/WireImage) The focus of his communication, nevertheless, was on his experiences as an build. The first story he told, complete with lesson well-grounded, concerned Bruce Springsteen and working with him on “Born to Compensation” and “Darkness on the Edge of Hamlet.” Iovine was responsible for the drum sound on “Duskiness” and after six weeks of takes in two studios, Springsteen was still unhappy with the vigorous; it reached the point that Little Steven van Zandt was suggesting they make “a friend from New T-shirt.” Thwarted, Iovine  told Springsteen’s manager Jon Landau, “This is abominable. I withdraw from. I cant take this anymore. He says, ‘Append.’ Landau, he speaks like Aristotle, so he said, ‘I’m going to teach you something — I am going to teach you something called the Big Visualize. This is not about you. … You go into that studio and say to Bruce Springsteen, ‘I’m here to support you’ and everything will be all prerogative.” Universal Music Group Chairman/CEO Lucian Grainge (leftfield) with Portnow (WireImage) Landau’s advice turned out punish. Everything was great and four weeks after, Springsteen asked Iovine how Patti Smith’s album was coming along and Iovine noted they lacked a song that could be enter one’s mind. Springsteen said, “How about that?” and played “Because the Gloaming,” which would become Smith’s only exceed 20 spank. “I learned the punishment,” Iovine said. “Big perfect. You support your friends and do what you’re supposed to do. … My life has been about people giving me opportunities I don’t think I was really ready in requital for.” After the demonstration, each of the five floors of the Village Studios was crawling with folks who work on both sides of the studio spyglass — Will.i.Am was chatting with Everclear’s Art Alexakis in a stairwell, Concord Records’ John Burke and saxophonist Dave Koz were holding court on third floor landing and Nicks was conversing with producer Peter Asher, who had spent the day in the studio with an Australian country group, the McClymonts. From heraldry sinister: Skylar Livid, Jimmy Iovine and Mary J. Blige on the red carpet at the Producers & Engineers Wing end. (Photo by Joe Scarnici/FilmMagic) The convergence, granted, was Iovine. Mary J. Blige told Billboard.biz she loves that he is a realist.” “He’s not afraid to say what he likes and doesn’t equal. He’s just honest  — I love that dignity. As musician himself, he can see things as an artist. “With Jimmy’s its like ancestry. He’s down to earth and I respect that about our relationship. I don’t take it for granted.” Prior to the event inside the studio a cocktail reception was held in a tented area outside that included a teeny, cramped red rug. Iovine, Blige, Gray and film producer Brian Grazer all made short appearances on the carpet for photographers and TV crews before heading inside where individual rooms featured displays from sponsors, among them the Musicians Set up, Greedy, Ultimate Ears and Shure. West L.A. Music, located less that two blocks away from the studio, had guitars in a hallway with price tags on them. The Black Eyed Peas’ Will.i.Am (formerly larboard) and “American God” Executive Producer Nigel Lythgoe (Pic: WireImage) That sort of fit the illustration, Producers & Engineers Wing senior executive director Maureen Droney said that some people thought the gathering would be a “big geek fest” before noting that human race “didn’t realize that studio people know how to have a good beat.” Among the engineers and producers  “having a good chronology” were Al Schmitt, Elliot Scheiner, Adam Anders, Harvey Mason Jr., Ed Cherney, Mike Jail, Recording Academy chair George Flanigen and representatives from L.A. studios such as Ocean Started, Conway, the Record Plant and EastWest. Iovine (hand) with singer Stevie Nicks (Picture: WireImage) Universal Music Group CEO Zach Horowitz (reactionary), with Portnow (Pic: WireImage). Dr. Dre, Skylar Grey and JImmy Iovine (Photograph: WireImage) Paul Rosenberg (dextral), Co-Founder/CEO Shady Records and Goliath Artists Management with Jimmy Iovine (Photograph: WireImage) Hitmaker Polow Da Don (mall) with Jimmy Iovine (sinistral) and Stevie Nicks (right)  (Photo Wire Icon)

“American Celebrity” mature 5 winner Taylor Hicks will return to the city where he first auditioned for the show that made him famed: Las Vegas. The Birmingham, Alabama native has signed on with Caesars Entertainment-owned Bally’s Hotel and Las Vegas Casino for a three-month residency starting on June 26. “It’s a true full circle moment for me,” Hicks tells The Hollywood Photojournalist. He’ll perform every Tuesday, Thursday, Friday and Saturday at The Indigotin. What is more, when the years ago 29-year-old tried out in October 2005, he was essentially fleeing Hurricane Katrina-ravaged New Orleans. “I had a free voucher to fly anywhere in the motherland,” Hicks recalled in a 2010 question. “I went to Las Vegas because I’d never been there and heard it’s a fun place to court. I was just hanging out until my brother called at midnight to tell me ‘Hero’ auditions were the next period. I had nothing better to do, so I showed up at 4 a.m., got in line with some very interesting public, and started rolling with it.” Hicks performed “Change is Gonna Be communicated” and “Swanee River,” wowed judges Simon Cowell, Randy Jackson and Paula Abdul, made “Soul Guard,” his eager and loyal legion of fans, a household name and the rest is ‘Graven image’ retailing. Since winning the show in 2006, Hicks has released several albums including his gold-certified self-titled debut and 2009′s “The Space.” He was also a cast member on the Broadway production and national tour of “Grease” in 2008 and 2009. Tickets for Hicks’ Bally’s run go on sale at the casino’s box office starting April 21 and online genesis May 15.

Cleveland rocked on Friday night with private parties and public performances as the city geared up for its third Rock and Roll Hall of Fame induction pro formas. Eric B. & Rakim, Guns N’ Roses, The Prescription, Joan Jett Nominated for Rock and Roll Hall of Celebrity The biggest knock, size-knowledgeable, was a gala at the Rock and Roll Hall of Renown + Museum, where hundreds gathered to snack, check out shrine’s intoxicating new Grateful Dead viewing, and musical performances by Darlene Treasure, Michael Stanley, .38 Special’s Jeff Carlisi and Felix Cavaliere, who turned Rascals hits such as “Groovin’” and “People Got to Be Untenanted” into buoyant soul revue medleys that touched on the Temptations’ “My Demoiselle,” Martha & the Vandellas’ “Nowhere to Dip into,” Stealthy & the Family Stone’s “Everyday Community” and the gospel prevalent “Oh Happy Lifetime” before wrapping up with “Good Lovin’.” Among those checking out the affair were incoming inductees from Bill Haley’s Comets, Gene Vincent’s Blue Caps and Hank Ballard & the Midnighters, whose Norman Thrasher and Lawson Smith spent some time chatting with 2011 inductee Alice Cooper and his missus, Sheryl. Producing legend Cosimo Matassa, another inductee, also hung exposed, along with a dapper George Clinton and ZZ Top’s Billy F. Gibbons and Dusty Hill and Derek Trucks, who will be performing in honor of Early Influence inductee Freddie King along with Joe Bonamassa. “Lemme tell ya, Billy Gibbons sounds great on this accomplishments” after a Friday account, Trucks told Billboard.com. Matt Sorum, who will be inducted as part of Guns N’ Roses, was also spotted checking out the smash. Rod Stewart To Skip Faces Reunion At Rock Hall Induction Due To Sickness Sorum then headed up to the House of Vapors, where he and former GNR guitarist Gilby Clarke guested at Duff McKagan’s concert for a shortened version of “Sweet Child O’ Source” (sung by the crowd) and “Fortitude” – heightening rumors that the GNR members attending the induction ceremony will still perform even without frontman Axl Rosiness ( Alter Bridge’s Myles Kennedy, who sings in guitarist Slash’s tie, is the predicted favorite to fill the assign). McKagan was also joined during 2012 inductee Donovan’s namesake son, Donovan Leitch. Across the alley, at the Corner Taw, the Red Hot Chili Peppers hosted a party where mostly friends and folk, including former drummers Cliff Martinez and Jack Irons, enjoyed everything from meats with special dips to s’mores while bowling and playing lake. Bassist Flea was a nearly constant presence on the alleys, while drummer Chad Smith preceded his Rock Hall induction with another token — this one presented by his materfamilias — after defeating one of his nephews in a family pool tourney. Motown royals, interim, gathered at Anatomy nightclub for a party hosted by the Miracles’ Pete Moore to celebrate the group’s impending initiation. Moore, Smokey Robinson, inducted as a solo act in 1987, and ex-wife and former Miracle Claudette Robinson were joined by members of the Vandellas, members of the late Four Tops singer Levi Stubb’s family and Katherine Schaffner at the small and pleasantly sedate intimacy. Moore’s niece, Vee, sang, and after the party Claudette Robinson headed over to the Rock Hall for a personally guided tour with her daughter Tamia, granddaughter Lyric and cronies. Seymour Stein was spotted at both the Rock Hall gala and the Chili Peppers’ bust-up. Others at the latter effect (where photos were out) were Peter Mensch and Gayle Fine from Q-Prime management and a number of people from Warner Bros.: Rob Goldklang, vp of alternative scheduling, SVP Peter Standish, Mark Cimino of business & legal affairs and label CFO Hildi Snodgrass. The Rock Hall induction ceremony takes place Saturday night at Cleveland’s Public Hall and will be filmed for a May 5 broadcast open on HBO.

As “Drink thereon” advances 2-1, Blake Shelton achieves his sixth straight commander — his 11th whole — on Country Songs, where he takes sole possession of second place among all artists with active No. 1 streaks. Zac Brown Band tops that tally with seven consecutive No. 1s (eight all-embracing), while Chris Young moves to third place with five straight chart toppers (five total). Shelton hasn’t had an official radio single peak outside the surmount 10 since December 2007, when “The More I Tope” stopped at No. 19. The new No. 1 is the third straight chart topper from Shelton’s Red River Blue album, preceded not later than “God Gave Me You,” which spent three weeks at the summit last wanting, and “Honey Bee,” which led for five weeks in June/July 2010. In its 12th week on Country Digital Songs, “Drink thereon” moves 40,000 downloads, according to Nielsen SoundScan, and holds at No. 11, while Red River Blue sells 9,000 copies in its 40th week on Country Albums (No. 8). Speaking of Zac Brown League together, the group’s “No Bustle” freshens up the freshen up 10 on Country Songs, where it jumps 11-9 in its 13th chart workweek — it sells 14,000 downloads in its fifth week on Country Digital Songs, where it ranks at No. 36. As anticipated following its historic No. 13 bow last week on Country Songs, Kenny Chesney & Tim McGraw’s “Feel Like a Rock Role” experiences a 7% second-week audience alignment (consume 1.5 million impressions), but maintains its No. 13 pecking order. Similarly on Country Digital Songs, “Rock Famed” dips 3-10, selling 44,000 downloads in its second chart workweek. Elsewhere on Country Songs, Keith Urban claims Hot Shot Debut honors, as “For You” opens at No. 47. The song appears on Act of Valour: The Album soundtrack, and is being worked to radio by Urban’s identification, Capitol Nashville. Urban will donate artist royalties to the Navy SEAL rationale. He will be officially inducted as a member of the venerable Grand Ole Opry radio show cast April 21 — the ceremony airs locally in Nashville on WSM-AM (650), on Sirius XM Prime Fatherland (canal 58), and televised on Great American Fatherland (GAC) “Noteworthy at the Opry” at 9:00 PM (EDT). Over on the Country Albums sea-chart, Lionel Richie scores a No. 1 with his hits collection Tuskegee, which also topped the Hoarding 200. Last week’s leader, Rascal Flatts, drops to second circumstances with Changed.

NEW YORK (AP) – The shadowy underworld of Internet hackers was rocked Tuesday by news that one of the world’s most-wanted and most-feared computer vandals has been an FBI informant for months and helped authorities build a case against five people they say were comrades. The FBI said it captured the legendary hacker known as Sabu last June and he turned out to be Hector Xavier Monsegur, a 28-year-old self-taught, unemployed computer programmer with no college learnedness, living on welfare in public housing in New York. Anonymous Hacker Suspects Arrested In Europe, South America, Says Interpol His exploits made him a hero to some in cyberspace until he made a rookie confusion – he posted something online without cloaking his IP direct, or computer agreement – and someone tipped off the FBI. Soon after his nab, he pleaded guilty and began spilling secrets, leading to charges Tuesday against five people in Europe and the U.S., including a Chicago man who boasted that he’d snared the personal data of a former U.S. vice president and one-time CIA commandant, and preventing more 300 attacks along the direction, authorities said. Anonymous Hacks RIAA, Universal Music, BMI, DOJ Sites in Retaliation for Megaupload Burst Law enforcement officials said it marked the first time core members of the loosely organized worldwide hacking group Anonymous have been identified and charged in the U.S. Investigators said Monsegur and the other defendants were associated with the group and some were also part of the elite spinoff organization that Monsegur formed last May, Lulz Security or LulzSec. “Lulz” is Internet slang in the direction of “laughs” or “joke.” Hackers Attack Another Sony Web, Post Notes Monsegur and the other defendants were accused in court papers of hacking into corporations and government agencies around the excellent, including the U.S. Sen, filching confidential tidings, defacing websites and temporarily putting victims out of line. Authorities said their crimes affected more 1 million persons. Prosecutors said that among other traits, the hackers, with Monsegur as their ringleader, disrupted websites belonging to Visa, MasterCard and PayPal in 2010 and 2011 because the companies refused to accept donations to Wikileaks, the organization that spilled a trove of U.S. military and diplomatic secrets. Along with, prosecutors said, Monsegur and the others attacked a PBS website last May and planted a false story that slain rapper Tupac Shakur was alive in New Zealand. Investigators said it was retaliation for what the hackers perceived to be unfavorable news coverage of Wikileaks on the PBS syllabus “Frontline.” But it was the arrest of Monsegur that sent shockwaves through the Anonymous mechanism, in which many described him as a leader and one of the collective’s most skilled hackers. Some Anonymous members put on a brave acknowledge. “Anonymous is a hydra, cut off one head and we grow two sponsor,” read one defiant message posted to Agitation. But the atmosphere in one of the group’s chat rooms had an edge of terror-struck. One Anonymous supporter discussed cleaning the group’s hard spin. Another warned that if Sabu is cooperating, later “we are all going to have the FBI at are (sic) threshold.” A Twitter account associated with Monsegur has some 45,000 followers and regularly spouts expletive-filled anti-government messages. His last tweet on Monday was in German and described the federal government as being run by way of “cowards.” It was apparently aimed at concealing his role as an witness. “Don’t give in to these folk,” the message learn. “Fight towards the rear. Stay unmistakeable.” Monsegur pleaded guilty in August to charges that included conspiracy to commit hacking, admitting he obtained dozens of credit card numbers online and gave them to others or used them to pay his bills. His queen’s, Philip L. Weinstein, declined to comment Tuesday. His deal with prosecutors requires his full cooperation and testimony at any pain in the neck. In give back, he gets leniency from a potential prison sentence of more 120 eld. He is free on $50,000 bond. Also charged with conspiracy to commit computer hacking were Ryan Ackroyd, 25, of Doncaster, England; Jake Davis, 19, of Lerwick, Scotland; Darren Martyn, 25, of Galway, Ireland; Donncha O’Cearrbhail, 19, of Whiz, Ireland; and Jeremy Hammond, 27, of Chicago. Together with, an unrecognized 17-year-old Londoner was charged separately Tuesday by British policewomen. Three of the British suspects – Ackroyd, Davis and the 17-year-veteran – were arrested last year as part of the trans-Atlantic investigation into LulzSec. Ackroyd was rearrested Tuesday. Davis, the 17-year-old and a fourth British LulzSec of, Ryan Cleary, 20, are currently free on bond. Cleary’s solicitor, Karen Todner, told The Associated Press she had no information about the indictment but said that “it wouldn’t be surprising if one of the hackers was an FBI witness.” Davis’ legal practitioner, Adel Buckingham, declined to remark on. Contact information for the other European defendants’ lawyers could not immediately be located Tuesday. Hammond, who was arrested Monday, appeared before a federal judge in Chicago and was ordered transferred to New York. Hammond was charged with crimes related to the hacking in December of Strategic Forecasting Inc., a global intelligence firm in Austin, Texas, that affected capable 860,000 pushovers, court papers said. The government said Hammond conspired to hack into computer systems used by Stratfor, a private firm that provides governments and others with independent geopolitical opinion. It said he and co-conspirators stole credit card information for give 60,000 credit card users and used some of the stolen data to make more $700,000 in unauthorized charges. Defense attorney Jim Fennerty described Hammond as pity, saying he had rallied against plans to hold the 2016 Olympics in Chicago because he felt it would hurt low-income people and had protested against neo-Nazi suites. “He’s concerned about people and issues – that’s why I like him,” Fennerty said. In July, when LulzSec’s attacks were grabbing world headlines, someone alleged that Sabu was Monsegur and posted personal details about him on the Net. Sabu took to Twitter to deny it. Barrett Brownish, a former journalist who became closely associated with Anonymous, said Sabu’s cooperation with the FBI could do serious damage to Anonymous. “He was an admired Anon,” he said. “He’s been a mr big. People came to him with information. God knows what else he told them.” Associated Press writer Satter reported from London. Also contributing were Associated Press writers Colleen Long and David B. Caruso in Young York and Michael Tarm in Chicago.

Dangerbird recording artist Fitz and the Tantrums were hard to miss as they passed through the beer gardens, lead vocalist Michael Fitzpatrick clad in an all red be acceptable. The band was joined by members of their management yoke, Lisa Nupoff and Brian Klein ( I’m in Music). Check Out All Our Backbeats Right Hither Nupoff told us that she was having a fabulous weekend and was able to catch a lot of bands. “I saw Radiohead of course and we saw Fice, Miike C, and Band of Skulls. They were moving. We’re really excited about Gotye.” We asked if Radiohead was as good as everyone had said they were – which was the talk of Coachella Prime 3 – to which Nupoff replied, “It was! Noelle [Scaggs] (Fitz and the Tantrums singer) and I pushed ourselves up on the front rail so we had a spot to watch it. We were strategic though and left before the second encore so we didn’t have to squeeze through thousands of common people.” Coachella Backbeat: AWOLNATION, Martin Solveig, Jared Leto, More Hang Offstage Klein, who also manages Joe Purdy, told us his favorite act at Coachella was AWOLNATION. He was also hoping to see through ” DJ Concealment, Fitz and the Tantrums -course – and possibly Dre.”

Grammy-winning jazz singer Norah Jones has parted ways with her longtime management company Macklam Feldman, The Hollywood Reporter has confirmed. She has joined S.A.M., or Silva Artist Operation, which counts Foo Fighters, Ryan Adams, Beastie Boys and Beck among its stable of clients. The Vancouver-based Macklam Feldman, founded by Steve Macklam and Sam Feldman in 1995 and whose roster includes Elvis Costello and Diana Krall, had represented Jones since 2003, the same year her debut album “Come Away With Me” won eight Grammy Awards and catapulted the singer to international hail. It has since sold more 10 million copies in the U.S. John Silva is a respected industry veteran who got his start working with Nirvana back when Kurt Cobain was still sleeping on Dave Grohl’s story. He along with his Gold Mountain Entertainment business partner Danny Goldberg got the band signed to Geffen Records and Silva has represented Grohl, now frontman for rock stalwarts Foo Fighters, for the entirety of his adult tear. As it turns out Grohl and Jones go overdue renege, too. The two have been friends for many years and Jones has been known to show up at a Foo Fighters concert every so oftentimes. In December, Jones and Grohl performed together at the 2010 Kennedy Center Honors, joining the likes of Steven Tyler and Gwen Stefani in honoring Sir Paul McCartney. They sang his 1970 greco-roman, “Maybe I’m Stunned.” See the video deeper. Jones’ most recent album, 2009′s The Allied with, debuted at No. 3 on the Hoarding 200 chart and has been certified pt.

From Radical: Steve Barnett, Chairman/COO, Columbia Records; Adele; Rob Stringer, Chairman/CEO Columbia Records; Doug Morris, CEO, Sony Music Recreation. (Negatives: Sony) After winning six Grammys at the niceties, Adele celebrated with her Sony Music family at Cecconi’s in West Hollywood. Attendees included artists Kelly Clarkson, Pitbull, Alicia Keys, Marsha Ambrosius and Kirk Franklin; executives included Sir Howard Stringer, Doug Morris (no. 5 on Billboard’s late-model “Bent 100″ ticket), Peter Edge and Tom Corson (who share no. 39) and Joe Riccitelli. Billboard Reveals the 2012 Turn 100 Read All Our Grammy Coverag Hither From L to R: Peter Prickly (CEO, RCA Records), Tom Corson (COO & Prexy, RCA Records), Kelly Clarkson, Doug Morris (CEO, Sony Music Spectacular) (Prints: Sony) From L to R: Tom Corson (COO & Prexy, RCA Records), Peter Crawl (CEO, RCA Records), Alicia Keys, Doug Morris (CEO, Sony Music Relief), Sir Howard Stringer (Chairwoman, CEO and Prexy, Sony Corporation of America) (Positives: Sony) From L to R: Joe Riccitelli (EVP of Advocacy, RCA Records), Tom Corson (COO & Prexy, RCA Records), Pitbull, Peter Margin (CEO, RCA Records) (Prints: Sony) Peter Touchy (CEO, RCA Records), Marsha Ambrosius, Tom Corson (COO & Prexy, RCA Records) (Mugs: Sony) Tom Corson (COO & Prexy, RCA Records), Kirk Franklin, Doug Morris (CEO, Sony Music Production) (Negatives: Sony)

It is a testament to the lasting influence of Dick Clark that President Barack Obama issued a statement on Wednesday, just hours after Clark died of a heart attack at the age of 82. The statement follows in in toto completely: “Michelle and I are saddened to hear about the passing of Dick Clark.  With ‘American Stand,’ he introduced decades’ worth of viewers to the music of our times.  He reshaped the television landscape forever as a creative and innovative producer.  And, of policy, suitable 40 age, we welcomed him into our homes to ring in the New Yr. Dick Clark: An Appreciation of the Man Who Took Rock and Roll Nationwide, and Helped Pioneer Its Dealing “But more important than his groundbreaking achievements was the way he made us believe – as young and vibrant and optimistic as he was.  As we say a sure ‘so want’ to Dick Clark, America’s oldest juvenile, our thoughts and prayers are with his family and partisans – which number far more than he knew.” Picture: 10 Classic Dick Clark Moments From ‘American Stand’

A couple of music companies reported Wednesday the compensation awarded to their top executives. In the last yr, it paid a whole lot more to work for concert promoter and Ticketmaster parent Live Nation Entertainment that it did to work for the popular purveyor of Internet-streamed music Pandora Media. Live Nation CEO Michael Rapino earned $11.9 million in 2011, down from $15.9 million a year earliest, according to an SEC filing on Wedesday. Business Matters: Pandora’s Stock Hits All-Time Low of $9.03 Rapino’s compensation fell primarily because he received fewer stock awards in 2011 than he did the year in front. Joseph Kennedy, in the meanwhile, was paying $732,425 for his services as CEO of Pandora during the company’s budgetary 2012, up from $503,829 the year in advance. Neither company managed to turn a profit during their full fiscal age, though Live Nation generated a lot more gate: $5.4 billion compared with Pandora’s $274 trillion. And neither company did much for shareholders, with Live Nation’s stock shaky 27 percent in 2011 and Pandora’s stock being more than halved since its initial public offering in June. Business Matters: Is Madonna Behind Live Nation’s Stock Rush? Some of the biggest money in music, even if, goes to Live Nation executive chairman Irving Azoff, who saw his compensation shoot capable $34.6 million from $22.8 million the previous yr. A vast portion of Azoff’s recompense — $25.3 meg — came by way of “all other recompense,” which, according to the SEC filing, relates to his ownership interest in Front Activity, a company he founded, then sold to Live State. Nathan Hubbard, CEO of Live Nation’s Ticketmaster underling, earned $4.1 million in 2011, down from $5.7 trillion. Alan Ridgeway, president of international and emerging markets at Live Country, earned $2.2 meg, down from $4 trillion. Michael Rowles, general opinion, earned $1.5 meg, down from $6 million in 2010 when his stock awards amounted to $3.8 meg, and CFO Kathy Willard earned $2 trillion, down from $6.6 million when she also received stock awards amounting to $3.8 trillion. Over at Pandora, CFO Steven Cakebread earned $446,400 during the company’s financial 2012, down from $1.1 million the year in preference to. Thomas Conrad, the chief technology dick, earned $3.4 meg, up from $405,000. Chief marketing officer Simon Fleming-Court, who wasn’t with the company a year gone, earned $2.7 million in pecuniary 2012, and chief revenue officer John Trimble earned $4.6 trillion, up from $1.6 million, mostly because of $3.5 million in way out awards.

There are two things you should know about eMusic’s first smartphone app: it’s available only for the Android operating setup, and it’s pretty laudatory. The app debuted Monday and is available in the Google Play app market. eMusic is joining a bevy of other companies, including Amazon and Msn, that already offer mobile apps that are part music player part download lay away. Developed in partnership with Hunted Media, eMusic’s app can be used by both subscribers and non-subscribers. “This is very much part of our new member acquisition strategy as well as a strategy to keep current members feeling like they’re up to antiquated, they’re in front and they’re getting the best experiences out thither,” CEO Adam Klein tells Billboard.biz. It’s a bit of a freemium business plus ultra: in theory, non-subscribers who use the app will have greater incentive to become a subscriber. Klein says eMusic chose to develop first for Android because of potential and economics. Elementary, Android is an underserved shop. Next, developing for iOS would mean paying Apple a cut of in-app returns. Cutting Apple in on 30% of subscription revenue derived from an iOS app would be economically prohibitive for eMusic’s subscription poser. “We find that the iOS world makes it relatively unattractive economically if you’re going to be generating new membership and things like that,” he says. eMusic Rolls Out Record Store Day Heat Map App eMusic’s app runs counter to another prevailing wind in digital music: there’s no cloud warehousing. eMusic is a download aid, and while its app has some streaming elements – more on that more recent – it’s rooted in fundamental belief that mobile devices should be used to store and listen to MP3 downloads. “The Dapple” may be the buzzword of the last couple age, but this app plays only songs stored on the gadget. There isn’t any one good music player for Android devices – unlike iTunes on iOS devices – so eMusic stands a chance of becoming some end users’ go-to MP3 performer. Much of the app is dedicated to uncovering. Email campaigns, reviews, recommendations, charts and eMusic Radio make the app a good source for frequent reading and browsing. The recommendations function looks at the user’s listening history and offers suggestions based on most played songs, recently played songs, under-played songs and recently added songs. You’ll need to build up a listening history for these features to work right. The page also has an artist search function and eMusic’s own picks. The app has a few noticeable flaws. One is the inability to buy a track or album on an album review call for. If an eMusic review creates a desire to buy the designation, you have to exit the partition off, go one step back to the home page and use the artist search use (which leaves you four clicks away from the buy clit). Another problem is found on the recommendations call. eMusic will list recommended tracks rather than albums – an oddity for a music service that targets album buyers and has an obvious album bias in its op-ed article. Luckily, these problems should be easily fixed in future updates. The other sections of the app work just as expected. The radio feature streams curated channels, allows songs to be saved for future download and links to each artist’s eMusic errand-boy. The charts page offers only an overall list of bestsellers and doesn’t filter by brand – as does the eMusic web situate – but limited features shouldn’t be a surprise on a mobile app. Purchasing music and downloading the files to the device is a zephyr. eMusic’s app is available only to U.S. users and only Android owners. The company says it plans to launch the Android app in Canada and in Europe and will also develop a version for iOS, although it gives no timeline for any of the three events. “We will build for the iOS world because there are a lot of people out thither, particularly in the tablet berth, but that will probably come through a browser app in the medium an arrangement, so a couple months for sporadically,” says Klein.

Billboard.biz is the 24/7 music industry news and resource destination for anyone and everyone driving the business of music. From regularly updated industry news and genre specific channels, to charts and exclusive video subject-matter, Billboard.biz is the most trusted online resource in music. If you looking to reach all or part of the music manufacture, Billboard.biz offers the opportunity to target you message to different verticals throughout the site as well as through our newsletters inventions. For more information, please contact Peter Lodola or your advertising representative for availableness, specifications and pricing. You can also purchase Billboard.biz advertising in conjunction with advertising on Billboard.com, our suite of email newsletters and in the weekly Billboard mag. Let us customize a program to fit your company’s requirements. Click Here after Click Here for Billboard Calendar and Media Utensils. BILLBOARD.BIZ NEWSLETTER INVENTIONS Billboard Account – Billboard’s daily premium newsletter containing a round-up of the music industry’s latest dispatch. Billboard.biz Business update – Music and entertainment news geared to the information needs of busy professionals distributed quotidian. Billboard.biz Breaking News On the qui vive – The trusted news source of the entertainment diligence, our news alerts are distributed as news breaks. Billboard.biz Digital update – The hottest news in digital entertainment distributed weekly to the mobile and technology marts. Billboard.biz Global update – The music industry’s intersection with world generals store. Breaking industry news spanning the globe distributed weekly. Billboard.biz Latin update – Expert insight on the Latin music and entertainment sectors distributed weekly to this ever-growing co-op. Billboard.biz Touring update – Instant insight on the touring and live entertainment industries. A weekly must-read for promoters, agents, managers and others interested in the touring effort.

SonarSound, the internationally acclaimed, multi-megalopolis, electronic music and art commemoration, will take place in Tokyo on April 21-22 at the Ageha venue after a successful reintroduction to the city last yr. Organizers Beatink vaticinate 5,000 attendees and Billboard calculates admission revenue should scope 45.25 million yen ($557,000). This year in Tokyo Squarepusher, Vincent Gallo and Cinematic Orchestra will headline SonarSound. An incarnation of SonarSound 2012 has already been held in Cape Townspeople, South Africa and the fest will head to Sao Paolo and its home city of Barcelona after Tokyo. The Japanese capital remains a unique and important feather in the cap of this globetrotting regardless. Says SonarSound founder Enric Palau, “The Japanese audience knows Sonar and what it stands an eye to, plus has a very natural and organic relationship with technology, always present in the work and creations of the Japanese artists participating at Sonar.” Started in Barcelona in 1994, the original Japanese edition for SonarSound was organized by the Tokyo-based promoter Third Sensitivity. They held it in 2002, 2004 and 2006, with the latter edition taking place over three days and keepering 7,000 masses. But the company found it difficult to continue financially. Director of Third Ear at that meanwhile, Masa Hiroishi, told Billboard in 2010: “In Europe the arts are supported by public money and the analogous. In Japan we have no such confidence. This fest, because it was so art-based, was extremely expensive to produce and that was another reason it was hard to with.” Powerhouse Tokyo-based showman, label and management agency Beatink picked up the baton in 2011 and produced a successful SonarSound event that yr. Taking place just three weeks after the Tohoku temblor, tsunami and nuclear accident devastated the provinces, it was the first major cultural event to take place in the Japanese capital after the tragic events of Step 11, 2011. The success is no concurrence. Beatink is a pioneer in bringing international electronic and dance music to Japan and promoting large live events, like its own Electraglide. It represents labels like Ninja Strain, Warp in Japan and was the first to work with game-changers like Fatboy Slim and Hell. In attachment, Beatink produced the second stage of the industry-leading Fuji Rock Festival for the first five years of the fest. Ray Hearn, founder of Beatink, points out SonarSound plays a big role in helping musical and exchange between Japan and the midwife precisely: “The breadth of the event appeals to me as it encompasses so much more than just music but further, unlike most music festivals that simply move into new markets for commercial causes, it has always made a genuine attempt to create cultural bridges with the talent of countries that it works with. Each year it includes a number of Japanese artists in the line-up and has come to be one of the most important showcases for Japanese creative output in Europe.” The fest puts the emphasis on live performance and all indications are that Squarepusher’s set will be genre-pushing, incorporating both music and visuals. Hearn relates, “Last year we took on management of Squarepusher from our London post, so we have been heavily involved with the development of his new album and live show. SonarSound Tokyo will be my first chance to see the new show before a live audience and am really excited helter-skelter that.”

Radio has changed with social media and with the evolving demographics of music lovers. That’s one thing radio executives who spoke Tuesday at the Latin Billboard Music Conference in Miami agreed on. For example, Pitbull is the most listened to artist on Pandora, with his songs playing less 14 million times a workweek. But that could be fueled by another fact that might surprise some: Latinos tune in to digital radio at a more rapid rate than the rest of the U.S. citizenry. Check Out All Our Billboard Latin Music Conference and Awards Coverage Right Hither “In a typical month we have at bottom 50 million unique visitors, all through 10 million of whom are listening to Latin music,” said Pandora President and CEO Joe Kennedy. “One in five Americans has listened to internet radio in the past workweek. But one in four Hispanic Americans is listening to internet radio once a workweek.” Regional Mexican is the most listened to sort, he added. “But not by become successful. You get into the other genres fairly post-haste.” Pandora, notwithstanding, reflects the national musical attention. “What’s most popular in this country is going to be most popular on Pandora. It’s the same precede. What’s different is the body and the tail are so much more impressive,” Kennedy said, referring to the more obscure music, like Brazilian Bossa Nova that some listeners might not be exposed to if it were not for internet transmit. The company is also an economic driver to the vigour, Kennedy added, paying out around $150 million in royalties last year unequalled. This yr, Pitbull stands to make roughly $750,000 just from his Pandora playlist. And the supplier – which has the zip code of every person who has registered with Pandora –is now in a position to partner with advertisers and sponsors to strengthen their market share in the evolving music business industry even more. Don Omar Talks ‘Danza Kuduro’ Success Audience Engagement and Business at Billboard Latin Meeting “We are looking to broaden the tools even more so we can become a planning partner with you and the promoters and the labels. Nothing would make us more excited than to enable us to connect more people with the live music that they beau.” Partnerships are increasingly what the music industry is far, others agreed. Univision Radio President Jose Valle said that broadcast radio has had to change and adjust to the market and to competition like satellite and internet receiver. “We’ve gotten a lot more competitive and belligerent,” Valle said, adding that his company just closed its best quarter in five or six age. “We were able to go back and capture a little bit of that share erosion we had on the revenue slope,” he said. Yet Valle does not subscribe to the commonly-held belief that radio is a dying business. “Let’s not forget what we do for a support. We play music and we throw parties,” Valle said. “That’s not a bad job stripe. So I don’t know where all this doom and gloom is coming from. It’s great frolic.” Billboard Latin Colloquy: Artists Need Brands As Much As Brands Need Artists Billboard’s Leila Cobo, who earlier had brought up concerns about the lack of new artists on the crystal set, pressed Valle to talk about how new artists can break through into the transistor. Valle talked about the “sorcery” that makes those decisions. “It’s about understanding into. It’s about understanding the numbers. It’s about understanding demographics. It’s about understanding lifestyles,” Valle said. “And it’s also about being able to determine by the hairs that stand on the back of your neck when you hear something you commensurate.” Cesar Canales, a Univision Radio regional program director for Midwest groceries store – which include Texas and Chicago – spoke in a subsequent panel and said the “ensorcelling” was a three-part pattern, or stint. “Part inquire into, part utterance, and also part emotional connection with the music.” Picture: Universal Music Latin Prez Victor Gonzalez Talks Belanova, Coca-Cola Olympic Partnership “Radio legitimizes you and can thrust you into the chain store,” said Texan artist Manny D., and asked what the program directors thought of pay for think about. They agreed it was not something they propound. “Most stations will not do that because it affects ratings and their stature. Grassroots is what ultimately works,” said Pedro Javier Gonzalez, Eastern regional programming director for Univision, and brought up Don Omar’s “Danza Kuduro.” “When we started to play that ado, it was already a success digitally,” he said, referring to the song’s explosion on YouTube. Though the Hispanic community is maturation, it still has not translated into dollars, said Valle, mostly because economic tightening means cutting costs in niche markets senior. Which is why Hispanics must start becoming part of that general drugstore, he said, adding that more and more acts considered “Latin” are born in the U.S. Traditionally Spanish-language stations are airing more cross-over artists and speaking more Standard english, or a Spanglish about, on haughtiness. Univision Radio’s output is nearby 95 percent Spanish instant. “That’s not sustainable 5 years from at this very moment,” Valle said. “I’m not opposed to taking English language ads on our stations. Billboard Latin Music Conference Leaders Panel Talks Morphing Landscape, Success of Prince Royce, 3Ball MTY “Why minimize ourselves? We can’t allow the general market to divulge ‘That’s Hispanic.’ We need to command and we need to lead from the aspect,” Valle said. “Are we still going to have regional Mexican music? That’s our substance. That’s our DNA,” he added. “But I listen to Ryan Seacrest and Ryan Seacrest is giving Vicente Fernandez tickets off.” And Latin audience trends are also shaping the labour, such as the Univision Radio app for mobile phones. “The numbers are out there for everybody to show – Hispanics are using mobile more than anybody else,” Cesar Canales said. “It is, for us, one of the most important platforms we are going to use in the next. But I think we are going to take it to the next trim.”

Foremost among his countless contributions to popular culture and the music enterprise, Dick Clark took in ruins ‘n’ roll out of bedroom radios and placed it on televisions in living rooms and dens across America. Nearly five decades ulterior, after creating and hosting game shows, the American Music Awards, New Year’s Eve celebrations and producing TV shows and films, “American Stand” remains the jewel in Clark’s her majesty. Clark was 82 years old when he died tod (April 18) of a heart attack in at Saint John’s Health Center in Los Angeles. A fixture on television since he took over as host of the regional “Stand” show in Philadelphia in 1956,  Clark was a less visible presence after suffering a stroke in 2004, but he soldiered through numerous appearances as he was handing over the baton to a new genesis. Tv: Dick Clark’s Lifetime Achievement Emmy Award Speech From 1994 With boyish looks that made him seem only a few years older than the teens who filled the studios at WFIL payment “Stand,” Clark was instrumental in providing exposure to budding rock stars whose access to TV airwaves was highly meagre. Chuck Berry, Jerry Lee Lewis and Buddy Holly were among the offspring, budding artists who appeared on the show when it went national as “American Stand” on August. 5, 1957 on ABC. Picture: 10 Classic Dick Clark Moments From ‘American Stand’ Clark, who was nigh 28 at that at intervals, understood that teenagers were trend-conscious and that the shows needed to reflect changes in clothing, hairstyles and dances as well as radio’s best 40. The dancers, all of them Philadelphia high schoolers, were a more consistent presence than any musical stars; “American Stand” took a democratic approach to pop, relying on the strength of songs rather than superstar penchant. Success from an appearance was swift. Paul Anka sang “Diana” on the August. 7, 1957 show and the single sprang into the ascend 10 in mid-August where it remained through early November. Countless other songs saw similar rises up the charts. Ryan Seacrest, LA Reid, Russell Simmons, More Pay Tribute to Dick Clark “We brought him Chubby Check, Bobby Rydell, Dee Dee High-pitched, the Orlons doing ‘The Bristol Stamp,’ ” says Cameo Records artist, arranger and producer Dave Appell, sporadically 90, who became friends with Clark during his radio years. The Philadelphia connection was crucial as labels based in Philadelphia and New Jersey were able to get their acts on aura, specifically Duane Gurgitation (on Jamie), Fabian and Frankie Avalon (on Premier), and Freddy Carom, who made a annals 110 appearances on “Stand” (on Cast). Appell and his band the Applejacks recorded an advantageous, “The Mexican Hat Scarp,” that became a hit first on “Stand” and then charted, reaching No. 16 in 1958. “He was a workhorse – he never stopped-up,” says Appell, who led the orchestra on Clark’s package tours. “He was always ample, always gave good view. We had a thing in Philadelphia, once a month, where all the people in the music business got unitedly – the distributors, musicians. He was always thither.” “American Stand,” Philadelphia International founders Kenneth Gamble and Leon Huff said in a communiqu, “promoted Philadelphia music around the land. Dick Clark was one of our inspirations for creating the ‘Sound of Philadelphia’ music trade name.” Bringing in such a variety of acts made Clark was one of the first stars of video. With fame came riches, and he invested in the businesses of the people he associated with – management companies, music publishers, record distributors, etc. When Congress started its payola hearings, ABC had Clark divest himself from any business that could look wary. He denied that he took direct payment to play records, but did acknowledge some of the transactions were doubtful; the divestitures reportedly cost him millions. Those events of 1959 and 1960 were the only marks against Clark’s squeaky-clean trope, and ABC wasted little time to capitalize on his stardom.  Buoyed next to “American Bandstand’s” daily afternoon repute, ABC attempted to plug Clark and pop music into other times. They tried a 30-minute show at 7:30 p.m. on Mondays and a Saturday night hour-long show out of New York Borough, but neither gained much friction. “American Stand” was cut to 60 minutes in 1961 and then to a half-hour a year subsequent. The show went back a to full minute, but only once a workweek, on Saturdays, beginning in September 1963.  It moved to Los Angeles in other 1964 and went off the air in 1989, making it one of the longest-running shows in television retailing. “American Stand,” prior to the disco times, never reflected Clark’s taste in music. Rather than, he held up a mirror to music he believed had the potential to tumble. Decades later its clips from the second half of the 1960s, taken out of frame of reference, seem quite strange: The booking of  “the Pink Floyd” to perform a track from their first album “Piper at the Gates of Morning”; doing a phone interview with Captain Beefheart to aid “Diddy Wah Diddy”; and “rate-a-archives” segments that would find teenagers turning their noses up at the Jimi Hendrix Experience and even the Beatles, whose “She Love You” scored a 73. Popular taste was easier to represent in the 1970s and ’80s, when he was still an early adapter and a gambler. Clark presented the Jackson 5 with their first gold write down, right before they performed “I Want You Assist”; Madonna sang “Furlough” on “Stand” in its first month of press. The show also presented Devo and John Lydon’s Public Image Ltd. in an era when the show was more likely to be booking disco acts. In 1972, Clark introduced “New Year’s Rockin’ Vigil” and in the next year went into game shows with the “$10,000 Pyramid” and devised, as an alternative to the Grammys, the American Music Awards with Michael Jackson and Donny Osmond as the hosts. Through his company Dick Clark Productions, he produced scores of TV shows and films including the Golden Globes, the Academy of Country Music Awards and “TV’s Bloopers & Practical Jokes.” He sold the company in 2001 (on account of $137 meg) soon after suing the Recording Academy and its then president C. Michael Greene, charging that he had a blacklist of stars to prevent them from appearing on the Grammys and the AMAs. Business by, Clark’s idea, granting, will almost always be of the man giving a young band a break with a exhibit. The Beach Boys, currently rehearsing for their upcoming perambulation, may well be speaking for many acts in the statement they gave Hoarding: “The music world has lost a valuable mentor and great lad.” Share your personal recollections of Dick Clark in the comments lower down.

Jack White will kick off the release of his first solo album with a concert streamed live on the web, to be directed by Gary Oldman. The show will be the first installment in the third season of American Immediate’ “Unstaged” series, which pairs top musical acts with renowned filmmakers. White’s concert at New York’s Webster Hall will be streamed live April 27 (9 p.m. EST) on VEVO. Jack White Rocks Career Retrospective at Third Man Records SXSW Staged A few days ex, on April 24, White will rescue “Blunderbuss,” the first solo album from the former White Class. The “Unstaged” series has drawn more 70 million streams for performances from Arcade Aroused, Coldplay, Mary J. Blige and others. Though best known for his personation, Oldman directed the critically-acclaimed 1997 covering “Nil by Boldness.”

“This was the first show I played in probably six months. I just like to keep playing shows even if I don’t have a lot of new traits. I like to just keep playing shows and have my fans hear me respond,” says singer-songwriter Diane Birch unwinding with a glass of wine after her first show of the night on January. 31 at Joe’s Pub in New York. “This has kind of kicked it off despite the fact that, I think now I’m getting ready to start getting back into playacting, getting ready for the new height.” Birch has less than an hour between her next panoply, but she still takes a picture with a Long Island high school student covering the show for her school newspaper and plans to say hello to her fans largest. She is gearing up for the follow-up to her 2009 debut album Bible Knock. In her read, she varied from material from that album, tracks from her covers EP The Velveteen Maturity, as well as new album data. The performance included just Birch and a softly, with candles on the retreat. While this show saw an extremely stripped down Birchen, she says this is not necessarily the sound of the new album. “This album is very multifarious. It’s got a lot of colours, sunglasses. There is a lot of stuff that’s just me and a piano but then there’s a lot of stuff that’s really produced, I guess there’s a slight minimal quality thereto, but it is more produced,” she says of the upcoming album she spent the past year transcription. “We’re fusing a lot of elements sonically in the record that we didn’t necessarily use in the first recount. There were a lot of horns; it was a lot more of a soul item. This one has different colours. It’s definitely an evolution from the first album. An evolution for trusted.” S-Curve Records CEO/President Steve Greenberg has noted the evolution in her performance vein. While congratulating her offstage, he told the 28-year-old that after watching her for age, she’s an even better player. The performance techniques Greenberg refers to included little chatter between the artist and the consultation (though at one point Birch asks “Did Michael McDonald get here so far? He was supposed to sing back-up for me…oh discontinuation, that was just my imagine.”), but the packed house still responded with loud cheers and applause after each tale — especially when it included improvisation on the softly. One of the most striking moments of the show came with a performance of a new track thought to be titled “Diamond In The Junk,” which is also the tagline of Birch’s Twitter history ( @dianebirch). The lyrics in particular stood out cold, with lines such as, “‘Cause I’m a star-gazer, you’re the speculation. But dreams aren’t always what they give every indication” and “Don’t know where we’re running to, don’t know what we’re running from,” giving indication of strong material for the upcoming album. Birch performed a few tracks from Bible Belt such as “Magic Aspect,” “Fools,” and the show nearer “Valentino.” Backstage was the bubbly and helpful Sharon Cho of Magus Pleasure, who works for Birch’s manager Wendy Laister. Duran Duran, Daniel Beddingfield, Kaci Battaglia, and several producers are all represented by Magnus Entertainment too. And how did Birch feel about the exhibition? “It’s just great to get back on a podium. It’s just really nice to kind of just take a crack at playing some new things and see how people react thereto. I haven’t been performing for this whole past yr. I love performing so lots, to get back to the juncture, I’m approximative ‘Yes! I want to master that! I want to master this bear out!’ Just play for people and have merrymaking. I’m feeling like I’m sinking into it a lot more instantly,” she says, also noticing her improvement. “The first record was distinct. I never really played a lot of shows. I hadn’t really done TV tommy-rot. I wasn’t used to having cameras in my face and all of sudden I was parallel ‘Aaahh!’ and now I just sort of feel at abate, in a fashion; I design, I still get tense. It’s just really faultless. I just feel really lucky to have such supportive fans. I just feel real warm and faint, without sounding like a cheeseball.” Looking to the subsequent, Birch feels confident involving 2012. “This last year was just so difficult in so many ways, just trying to get the album cool, and it was kind of a travail; it was a lot of trial and wickedness. And now we’re really kind of full steam on; I’ve really figured it not at home. And that was kind of the whole demand, figuring out what this record was going to be like and now I’m allied, ‘Yes! I’m quick! I’m ready to follow!’” She adds as a pacifying note to fans: “Just be patient because my album’s coming and I’m ready to go for it. I’m punctual!”

Dick Clark’s passing earlier today sparked an outpouring of tributes and dedicated to the late great television proprietress. From when he took over as host in 1956 until 1989, Clark’s “American Stand” brought thousands of dancing teenagers together under the banner of popular music, influencing entire generations of kids, while his thirty-plus year run as host of “Dick Clark’s New Year’s Rockin’ Day” made him synonymous with the countdown to the end of the yr. Dick Clark Dead at 82 Videos: Dick Clark Remembered The Music Industry Laments Dick Clark’s Death Various celebrities and industry professionals have begun sharing their memories of Clark; share yours in the comments section beneath.

Social commerce may not get any easier than Chirpify. The two-month-old startup allows people to buy and sell digital goods using nothing but tweets by linking Twitter and PayPal accounts. Now a new round of funding will help the company take its simple service to musicians, record labels and everyday inhabitants. The Portland, Ore.-based company announced Tuesday it has raised $1.3 million in series A financing from Voyager Matchless, angel investor Geoff Entress, BuddyTV CEO Andy Liu, former Facebook executive Rudy Gadre, HootSuite CEO Ryan Holmes, and TiE Oregon Angels. The company is targeting artists and music companies who can use the platform to sell MP3s and concert tickets. “The opportunity for us is huge because we think we can cut out some business from Ticketmaster and iTunes,” Chirpify CEO Chris Teso told Billboard.biz earlier this month. Chirpify is also focusing on solutions for descriptions, individuals and small businesses. The platform is easy to abuse. The digital matter — whether it’s an MP3 or a PDF of a concert tag — is uploaded using the Chirpify user’s splashboard. A tweet is sent out with instructions on how to buy the memorandum, such as “Reply with the set forth ‘believe’ to purchase our new EP in the interest $4.” Sellers can also offer physical goods and integrate with some existing ecommerce storefronts, including Magento, for order fulfilment. Chirpify is even easier from a buyer’s point of direction. After replying to a tweet or retweet with the in the final analysis “come by,” Chirpify will deduct the amount of the item from the user’s PayPal account and send a secure buy network. Someone who replies “steal” but isn’t a member will receive a reply that includes a link to sign. Creating an account and linking a Chirpify and Twitter account takes less than 30 nexts. A couple things make Chirpify good. Original, it’s ideal for mobile phone users because it does not require opening an additional app or Web page to complete a proceeding. Tick, the service can be used by any two people to send money to one another via PayPal. This combination of ease of use and scalability could provide Chirpify a powerful first-mover advantage and give it an install base large enough to fend off future competitors. Of advancement, the devil will be in the details and approach, but right now the company is starting off with a product filled with what it takes. The service is affordable but not free-born. For direct payments, Chirpify collects a 2% fee on top of the PayPal fees. For its commerce plans, the company charges a 4% fee on its able, basic service tier and takes no fees on its paying, enterprise-level help. The commerce plans give sellers such features as e-commerce platform integration, vouch for, the ability to schedule tweets and back officer order fulfillment integration or sales repots in the comma-separated values (CSV) dimensions.

Adele, LMFAO, Rihanna, Lady Gaga and Lil Wayne lead the finalists for the 2012 Billboard Music Awards, which will air live from the MGM Grand Arena in Las Vegas on May 20. See The Complete List of Finalists Hither Adele takes the lead as a finalist in 18 award categories, including Top Artist, Top Female Artist and Top Hoarding 200 Artist. “Rolling In The Clever,” the lead single from her blockbuster sophomore album 21, places the U.K. singer as a contender in seven song categories. Buy Tickets To The 2012 Billboard Music Awards Temporarily, LMFAO is a finalist in 17 award categories, although the electro-pop duo actually scored 22 entries compared to Adele’s 20. LMFAO and Adele will square off in the Top Licentious 100 Artist division, which also includes Bruno Mars, Katy Perry and Rihanna. Speaking of Rihanna, the pop superstar is a finalist in 13 categories this yr, after leading the pack with 18 category appearances in 2011. Lady Gaga and Lil Wayne each snagged a spot in 10 categories, and will both compete against Adele, Rihanna and Katy Perry for the prestigious Top Artist accolade. And the Top New Artist category features a diverse collection of fresh propensity, with Bad Meets Dreadful, Big Sean, Foster The Inhabitants, Scotty McCreery and Wiz Khalifa serving as the 2012 finalists. Carrie Underwood, Justin Bieber, More To Perform at the 2012 Billboard Music Awards The awards will reflect Billboard’s chart rankings based on key fan interactions with music, including album sales and downloads, track downloads, radio airplay and touring as well as streaming and social interactions on Facebook, Simper, Vevo, Youtube, Spotify and other popular online destinations for music. These measurements are tracked year-round by Billboard and its data partners, including Nielsen Entertainment and Next Big Earshot. The awards will be based on the reporting period of Parade 1, 2011 through February 29, 2012. Top artists will be recognized in a variety of genres, including R&B, Thwack, Stick out, Mountains, Stagger, Latin and Another. The 10 Best Billboard Music Awards Performances Now, Billboard launches a microsite for the 2012 Billboard Music Awards at Billboard.com/BBMA that offers up-to-the-minute updates about the upcoming ceremony. Music fans can also follow news about the show and related events on Twitter at @Billboard or on Facebook. Tickets for the 2012 Billboard Music Awards are now on sale at Ticketmaster.com and MGMGrand.com. The 2012 Billboard Music Awards will be co-executive produced by Richard D. Beckman, CEO of Prometheus Worldwide Media and Don Mischer Productions.

Mark Wilkinson will take over as president of Deutsche Grammophon as of April 9th. The appointment was announced today by Frank Briegmann, Prexy, Universal Music Germany, Austria, Switzerland and Deutsche Grammophon. Wilkinson will report directly to Frank Briegmann and will assume responsibility for all aspects of DG’s operations in Berlin. Wilkinson held senior management and marketing posts with Universal Music for the days beyond recall 19 years in London. Most latterly, he had served as managing director of Decca Records. “I am delighted that Mark will be taking over the leadership of Deutsche Grammophon. In addition to his expertise and his Universal Music knowledge, he has a strong reputation as a champion for classical music and its artists,” said Briegmann in a affirmation. “I am looking forward to working with Bring honour upon oneself, and wish him in this new stick, as well as the entire DG group, much victory.” Deutsche Grammophon Moving To Berlin Wilkinson succeeds Michael Lang, who left as President of Deutsche Grammophon at the end of 2011 aft 10 age. Mark Wilkinson has worked with UK and international artists including Nicola Benedetti, Andrea Bocelli and Milos Karadaglic, Bryn Terfel, Anna Netrebko and Rolando Villazon, composers Ludovico Einaudi, Eric Whitacre and Paul Mealor. For the past three age, Wilkinson has been co-Chairman of the UK’s Classic Brits awards. Deutsche Grammophon Launches Classical Download Stomping ground “Deutsche Grammophon LPs from the giants of classical music recording history were a central part of my own musical rearing, so the opportunity to work with the Yellow Label’s dynamic cooperate, its unique roster of both new and established artists, and its peerless catalogue is a genuine approbation,” said Wilkinson in a allegation. “This is a time of great change and opportunity in classical, and it’s a new era for Deutsche Grammophon,” said Max Hole in the wall, Chief Operating Catchpole, Universal Music Group All-embracing. “Mark will bring vigour, enthusiasm and innovation to this great society.”

Jay-Z performing at Carnegie Hall with a full-orchestra and the Roots’ Questlove on drums (Pic: Gabriela Herman) NEW YORK — What better way for Jay-Z to celebrate an iconic performance at Carnegie Hall than sharing laughs, glasses filled with Ace of Spades champagne, and chicken wings with Nas? Last night-time (Mon. February. 6), after the first of two charity concerts at Carnegie Amphitheatre, benefiting United Way of New York City and Shawn Carter Scholarship Fundamental principle, Jay-Z toasted at his NYC nightspot, The 40/40 mace, with his ball, new mother Beyoncé, Nas, BET’s president of scheduling, Stephen Mound, and more. Read All .Biz’s Backbeats Right Hither Beyoncé made her first appearance since the birth of hers and Jay-Z’s girl, Blue Ivy, exactly a month last continuously (January. 7). The upstairs of the newly re-opened club filled with whispers of how good Bey’ looked as she headed towards VIP with her old lady, Tina Knowles. Bey’ chatted with Roc Nation’s Rich Kleiman as Jay-Z shared laughs with Nas over wings and Ace of Spades.  Shawn “Pecas” Costner of Def Jam was planted in the VIP stretch. Journos spotted in the crowd included Village Voice music editor Maura Johnston and Rolling Stone’s Jeff Rosenthal. Beyonce made her first appearance since the birth of hers and Jay-Z’s girl, Blue Ivy, exactly a month last night clad in an Alice Temperly put on clothing, Alexander McQueen clutch and Louboutin place (Pic: Beyonce.com) Nas joined Jay-Z and Alicia Keys on stage earlier in the edge of night, performing both of their NYC anthems: “Empire State of Dress down” and “N.Y. State of Choose.” Jay stepped off stage as Nas and Alicia Keys performed his Hoarding 100 upon, “If I Ruled the In every way.” Backed by a full orchestra, singers Bilal and Bridget Kelly, and The Roots’ Questlove on the drums, Jay-Z managed to keep nearly all of the audience members on their feet for all of the approaching 2-hour execution. Jay performed vintage to classics, including “Hard Knock Elasticity,” “99 Disputes,” “Run this Township,” and more. Backbeat: Skrillex’s Abstruse ‘Blindfolded’ Brag, Where Even Lyor Cohen Got Skrillified BET’s Stephen Mound, who walked into the 40/40 club shortly after Jay-Z, was a fan of Jay-Z’s “Roc Boys” performance.  “When I heard the horns on ‘Roc Boys’ I was identical, ‘This is my kind of advertise,” Hill told Billboard.biz. One song in particular that awed the audience and touched Jay-Z himself, when performing last shades of night, was his earnest, candid single of his girl, titled, “Renown.” The Neptunes-produced track contains vulnerable coos of Blue Ivy. “I didn’t think I was gonna make it through that undivided. That was obstinate,” Jay said after performing the tale. Now that’s something to praise. Jay-Z in a Carnegie Hall state of be firm (Photograph: Gabriela Herman) Big Pimpin Goes Uptown: Last night’s set tabulate (Photograph: Erika Ramirez)

On Sunday’s Mad Men, Heinz executive Raymond Geiger (John Sloman) suggests to Don Draper (Jon Hamm) that he get the Rolling Stones to sing a version of “Heinz is on my english” set to their hit ado “Time is on my english” for the commercial promoting the company’s baked beans. ‘Mad Men’ Season-Premiere Long explanation ‘Zou Bisou Bisou’ Released on iTunes Draper and Harry Crane (Rich Sommer) set off in pursuit of the Rolling Stones, managing to set up a meeting backstage at their concert at the Forest Hills Tennis Ally. Don is dubious but Harry says, “The manager sounded cormorant.” Once they arrive at the concert, the meeting keeps getting delayed and Harry and Don end up talking to a couple of college women who managed to get wing. When one expresses skepticism to Don that the Stones would do a commercial-grade, he says, “They did one for cereal in England … three years since.” The coed rolls her eyes. Turns forbidden, the Rolling Stones did do a cereal commercial-grade–for Rice Krispies (see first of all). The air, according to Dangerous Minds, was written by Brian Jones and ran on British TV in 1964. The television band the Partridge Folk, as noted by the Miami New Times, shilled for the cereal brand in in the primitive-1970s. (see farther down).

The Billboard Build up 100: As previously reported, Gotye tops the Billboard Fiery 100 as his debut registration “Somebody That I Used to Identify” (featuring Kimbra) lifts 2-1, and the “Mirthfulness” cast notches its record-extending milestone 200th Roasting 100. Gotye’s ‘Somebody That I Used to See’ Roars to No. 1 on Brand-new 100 Here’s what else you need to know about this week’s tabulation: — Kanye West, Big Sean, Pusha T and 2 Chainz:  The rappers whizz 38-21 in their second chart week with “Benignity.” The footpath, from the upcoming G.O.O.D. Music compilation album, rises 15-9 on Hot Digital Songs, improving by means of 32% to 154,000 downloads sold, according to Nielsen SoundScan. Airplay adds to the song’s upsurge, as it soars 49-33 in its second week on Hot R&B/Hip-Hop Songs with a 49% gain in audience to eight zillion, according to Nielsen BDS. Chart Moves: ‘Newsies’ Cast Album Debuts, ‘MTV Unplugged’ Returns, and a Video Game Soundtrack Sizzles — Jennifer Lopez, Pitbull: Differing from “Leniency,” the pair’s “Dance Over” can’t maintain its overall second-week inertia. After debuting on the Lickerish 100 last week at No. 27 with 118,000 downloads sold following the premiere of its video on “American Perfection” (April 5), the song dips to No. 34. Following its splashy launching, the tracks’ digital sales fall past 28% to 85,000, a slide that the song’s early airplay can’t yet make good. Silently, radio is warming to the ado, as it climbs 59-52 on Fresh 100 Airplay with 27 million all-format audience impressions (up 33%). — Jason Mraz: For the first time since January. 28 — its second chart week following its No. 8 appear — “I Won’t Cede” ranks in the chart’s top one-half (57-49). As anticipation builds for his fourth studio sink, “Love Is a Four Letter Chit-chat,” which could bow atop next week’s Hoarding 200, per industry sources, the set’s lead one, “I Won’t Kick,” rises 45-32 on Hot Digital Songs (59,000, up 16%). Radio helps, too: in its 13th workweek, the song reaches the climb 10 (11-10) on Adult Peerless 40. Jason Mraz Vs. Lionel Richie For Next Week’s No. 1 Album — Kenny Chesney, Tim McGraw: Like Lopez’s new specific, a decline after a fast sales start outweighs budding radio growth for the stars’ “Feel Like a Rock Inimitable,” which waterfall 40-58 in its second workweek. The song plummets 19-49 on Hot Digital Songs (44,000, polish 52%) while lifting 62-54 on Saleable 100 Airplay (24 trillion, up 32%). Last workweek, “Rock Incomparable” made its chart arrival after Chesney and McGraw premiered the song on CBS’ April 1 telecast of the 47th Annual Academy of Country Music Awards in Las Vegas. — Juliet Simms: The second contestant of this season’s NBC reality struggle “The Verbalize” to chart on the Hard up 100 debuts at No. 86 with her version of the Police’s paragon “Roxanne,” as performed on the show’s April 9 adventure. Fellow contestant Lindsey Pavao made two Lecherous 100 appearances earlier this yr. With 45,000 downloads sold, “Roxanne” boasts the highest sum of any of the contest’s hopefuls this yr.

Island Def Jam has promoted former Vice President of Media and Artist Relations Gabe Tesoriero to Senior Vice President of the same borderline, the company announced tod. With the new crown, Tesoriero, who has been at the company since 2005, will be in charge of media, publicity and artist relations initiatives for the label’s vast array of artists, including exposure on tv, the Internet and in phrasing. Island Def Jam is responsible for artists such as Kanye West, Rihanna, Nas and The Roots. “I first learned of Gabe’s media skills when I began seeing all of the amazing press he was getting as an indie publicist for Kanye and so many others,” said Executive Vice President of Media and Artist Relations Laura Swanson. “Long before either of us had arrived at IDJ, I knew I had to work with him. Not only is he an amazing media strategist, but I can’t think of anyone else I’d rather have by my side for this wild snatch and rub out.” Tesoriero began his career at JLM Records in 1998 before moving to Roc-A-Fella as a publicist in 2002, where he began representing Kanye in addition to Ol Dirty Bastard, Beanie Sigel and Cam’Ron, number others.

The Copyright Royalty Board will be led by a new chief copyright judge with the appointment of Suzanne M. Barnett to that emplacement. She was picked by the Librarian of Congress James H. Billington to replace outgoing Chief Copyright Royalty James Sleigh, who is standoffish. The change comes two day after a huge music industry copyright settlement was announced and put in a motion before the CRB timber, which is comprised of three Judges, with Barnett expected to come on board May 20. Copyright Royalty Board To Set Mechanical Royalty Rates For Digital Music Services The settlement maintains the same mechanical royalty rates and formulas for all existing music formats and business models set back in the last CRB proceedings in 2008-2009 (they announced the ruling in October 2008, it was formally approved on January. 26 2009, but then the majors appealed in February. By May the appeal process was over and it was set in pit) and creates formulas for five new potential music business models or categories. The rates would apply to the period from 2013 during 2017. The switch in judges is likely to delay the expected approval of the proposed settlement announced on April 11, but not the end result, says sources connected to the outpost. Since the settlement was negotiated and signed off on by the National Assn. of Music Publishers, the Recording Industry Assn. of America, the Digital Media Assn. and CTIA, the wireless intimacy, and other interested parties, now that the motion containing the settlement has been filed with the Copyright Royalty Directors, the CRB is expected to approve the settlement and make known its determinations. When that happens, involved parties will participate in 15 days to request a re-listening, while the Register of Copyrights will have planned 60 days to review the decision for legal indiscretion. By the end of the latter patch, the Librarian of Congress will publish the determination in the Federal File. Once the ruling appears in the Federal Registrar, unhappy parties have in the offing 30 days to file an lure. “This may delay a final publication while Judge Sledge retires and the new judge takes his embarrass, but should not affect verdict,” says an executive with one of the parties that was involved in shaping the populating. Last time out after the CRB made known its determinations in October 2008, then-U.S. Register of Copyrights Marybeth Peters made comments on the CRB’s determination that caused the board to amend some of the finer points of the settlement that it had agreed to arrogate. After the final determination was finally published in the January. 26 issue of the Federal Registrar, the major labels challenged certain components of the CRB’s ruling, including the royalty rate structure for ringtones and whether the CRB decision to impose a 1.5% late fee per month was arbitrary and unpredictable. This time out none of the interested parties are expected to appeal since they all have either signed off on it or have told those involved in negotiations that shaped the settlement that they won’t object thereto, sources articulate. Meantime, Barnett, the new CRB Critic, is a superior court judge of King County in Seattle, WA. She was first elected to the court in 1996. As a judge in a court of general control, Barnett, who received her bachelor’s degree from the College of William and Mary in Virginia in 1971 and her law degree from Washington and Lee University in 1981, hears cases of all types and presides over both jury and non-jury trials. Barnett has served on all the King County calendars – laical, evil, sept, and infant – and at all three superior court locations. The superior court also acts in an appellate capacity under the state’s administrative procedures work. Prior to joining the judiciary, Barnett practiced law seeking 16 age, beginning  at Lane Powell in Seattle, then moving to the Houston office of Weil, Gotshal & Manges before returning to Seattle to co-found the Barnett MacLean law solidify. In a report, Librarian of Congress Billington said Barnett’s 16 years of experience presiding over a wide variety of trials make her highly qualified to be chief copyright royalty rule. Barnett joins William Roberts and Stanley Wisniewski on the Copyright Royalty Panel. The announcement noted that the copyright royalty judges are charged by statute with facilitating efficiency of transactions required by law between copyright holders and distributors. The judges conduct proceedings between parties when the parties are unable to reach agreement on royalty terms, and facilitate distribution of royalties in concert with the U.S. Copyright Room.

Angel Kaminsky (fist), VP Universal Music Latino/Machete Music and Luis Estrada, GM Universal Music Latino/Machete whose Coca-Col “Seremos Mas” campaign Featuring Chino Y Nacho won a  Billboard Latin Music Marketing Award for Best Social Media Race (Picture: Michael Seto) Tuesday dusk, Billboard honored the brands and agencies that had done the best work marketing and promoting brands with Latin artists at Billboard’s second annual Latin Music Marketing Awards. Read All Our Billboard Latin Music League & Awards Coverage Hither Top honors were divided into four categories: For social media/online campaigns, Coca-Cola won for its “Seremos Mas” promotion with Chino y Nacho. Cardenas Marketing Network and 5 Gum won for the tour sponsorship of the Camila Dejarte De Amar cruise. For TV campaigns, AT&T and Bravo won for the Paulina Rubio AT&T Blackberry 4G campaign.  And in writing, Western Union’s “Love in Any Conversation” electioneer, featuring Daddy Yankee won the top reward. Coca-Cola’s “Seremos Mas” campaign featuring Chino y Nacho Latin Billboard Executive Director of Latin Content and Programming Leila Cobo said it’s important not only to talk about best practices in campaigns but to recognize those efforts that meet or surpass standards. “Brands have become incredibly marked, not only in marketing albums but in releasing albums,” Cobo said after the winners were announced at the poolside Happy Hour sponsored by Atlantico Rum and State Grange, the conference title underwrite. “There is a need for these type of campaigns. Labels say they rely on them,” Cobo added. From leftfield: Borja Perez, Senior VP, Digital and Social Media, Telemundo; Hanna Bolte, VP Media & Predilection, Mun2; and Bill Werde, Billboard Editorial Director at the Marketing Awards happy minute (Pic: Michael Seto) One of the key elements in the winning campaigns was the right match and teamwork, such was the case with Western Union’s rivalry. “What made this campaign beautiful was our agency teamed up with their Western Union agency to make it muscle,” said Mayna Navarez, CEO of Navarez Communications, which represents Daddy Yankee. “Because he’s a social media capacity, because he loves to interact with his onlookers, we were able to make sure it was a huge attainment.” Billboard Publisher Tommy Stage, who opened the awards ceremonial, said it was increasingly evident that the marketing and music part of the industry is destined to make headway. “The old formula is crack. The record company’s traditional way of doing business is becoming departed,” he said. “So Billboard is highlighting and spotlighting people who are getting their messages across without compromising their craft.” (Photograph: Michael Seto) Paula Rubio in the AT&T BlackBerry Torch TV commercial-grade (Screen picture) Tricia Bonce, Director of Hispanic Sponsorships, AT&T with Luis Estrada, GM Universal Music Latino/Panga. (Photo Michael Seto) The inimitable Leila Cobo, Billboard’s Executive Director of Content and Programming for Latin Music and Spectacular (Pic: Michael Seto) Camila Dejarte De Amar tour poster with 5Gum and Cardenas Marketing Web Tour Sponsor Award recipients Giovanna Perez (odd) Senior Project Forewoman, Cardenas Marketing Web; Vicky Quintana,  National Project Superintendent, Cardenas Marketing Web. (Photograph: Michael Seto) Daddy Yankee in front of Western Union’s “Love in Any Lyric” Effort Mayna Nevarez, Owner,  Nevarez Communications with Billboard’s Bill Werde. (Photograph: Michael Seto)

Mexican trio and Latin Grammy winners Reik performed an versed, acoustic set at the Clive Davis Theatre at the Grammy Museum in Los Angeles February. 22. The troop, accompanied by their own guitars, played a set of old and new hits in pared-down versions that highlighted vocal quality and harmonies. Backbeat: Latin Grammy Parties — Including One With An ’80s Fault Prior to the steer, in an interview conducted by Hoarding, the members of Reik- Jesus Navarro, Julio Ramirez and Gilberto “Bibi” Marín-answered questions on a broad array of topics, from their history together to the way they write music in a conversation peppered with sniggering. Navarro’s dream collaborationism, he said, was with Adele, someone he’s wanted to sing with for over three eld. At the regulate, “everyone told me nothing would come out of it, and look at her any more,” he said ruefully. Check Out All Our Backbeats Right Hither The group’s most memorable appearance? Viña del Mar in Chilly. “Everyone hypes it so often, with all these stories about bands getting booed of the stage that you spend more time worrying about it than actually enjoying the exhibition,” said Ramirez. “At present, we’re really ready to play Viña.” 2011 Latin Grammys: 10 Things You Didn’t Interview As for the first realization that music was their life pick, Navarro admits that even after scoring Reik’s first hits, he wasn’t real. “It was so avid, everything was so hard-the travelling, the aggrandizement, the lack of sleep-it took me a while to decide I was going to keep on doing it,” he says. Following their Q&A, Reik members took questions from audience members before singing hits equaling “Peligro” — the title track of their most recent album on Sony — “Noviembre” and “Tu Mirada,” among others. Billboard Latin Music Congress & Awards, presented by State Farm taking place April 23-26, 2012 at the JW Marriott Marquis, Miami. Registration is open now.  Register by Trek 9th for the Early Bird Rate and save $175. Visit BillboardLatinConference.com in place of details.

X5 Music Group today announced the hiring of Noelle Bell to join their growing U.S. team as Account President. Bell had previously worked at Sony Commercial Music Group as part of their digital group, and also has worked on digital projects for Warner Music Group’s Alternative Distribution League. That history will work well with X5′s plans. The Scandinavian digital-music label had more charting albums on Billboard’s Classical Culmination 50 in 2010 and 2011 than any label except Epidemic, and hired Amazon’s Griff Morris head of content and label relations in August.  The group has focused in the past on classical recordings and repackaging artists’ back catalogs into custom-made compilations and focused strongly on emphasizing the digital mart. Backbeat: X5′s Griff Morris’ Birthday On the 73rd Floor of the Empire State Construction At X5, Bell will be orchestrating digital sales plans with music retailers such as iTunes and Amazon and with streaming services like Spotify, while also managing relations with the label’s newly-signed catalog accounts, a similar role to the one she had at Sony where she coordinated sales plans for the     label’s catalog in tandem with new releases, events or other opportunities. “Noelle Bell is a widely respected digital music executive and we are thrilled she’s joining our dream group,” said X5 North American CEO Scott Ambrose Reilly. “As we are growing in North America, we count Noelle as a key part of our expansion master plan.” Reilly and Bell are just two of the industry executives that X5 has signed on; Bell joins a U.S.-based office that also contains Morris and Chief Product Officer Dan Pifer (formerly of Rightsflow and The Plantation).

There have been a lot of announcements building up in anticipation of Record Store Prime 2012 (set your calendars for April 21 this yr) but the largest one of them all dropped today in the form of the official list of every Record Store Day unfetter. And it is far-reaching. Luckily, the RSD website has a pretty handy drop-down menu that makes the viewing process a whole lot easier, but there are a bunch of bands either dropping full-length albums, vinyl re-issues, collaborations, live albums, unreleased tracks, and an entire spectrum of collectible artwork and album covers to mark the warrant. Eric Levin, Record Store Day’s Co-Progenitor: The .Biz Q&A Some of the big names on the list are the Arcade Fire with a “Sprawl II” remix, Animal Collective’s ambitious audio project Transverse Temporal Gyrus, the Flaming Lips’ collaborations album The Flaming Lips and Heady Fwends with Bon Iver, Ke$ha and Neon Indian (to name a hardly), and Phish, Lou Reed, and Paul Simon album re-releases. Recent Billboard cover stars gaiety. are going to be celebrating RSD by releasing a 3-song acoustical 10″ record that includes their huge rails “We Are Babyish” (featuring Janelle Monae) and performing an in-store show at Newbury Comics in Boston ahead of their sold out show at the House of Blues that evening. Buck Owens, M83 Among Record Store Day Releases The list is so extensive that there’s really something for all and sundry, a big coup for the fifth anniversary of the result. The list is divided into exclusive releases, limited run/regional releases, and “Record Store Day Win initially” releases, and you can download a .pdf of everything from the site as poetically.

Snoop In The Motor: Only Snoop himself didn’t know he was playing inside a giant vending machine at SXSW. (Picture: Andrew Hampp) The only person who didn’t know Snoop Dogg played inside a giant Doritos vending machine Thursday night was…well, you guessed it. “That was a vending clique? I was high as a motherf—er — I didn’t know that was a vending manufacture!” Snoop exclaimed shortly after his 45-minute set at the Doritos Jacked stage on 5th St. and Red River. See all of our SXSW 2012 coverage right hither Snoop was the surprise guest at a product-launch party for Doritos’ two new Jacked chip flavors, Enchilada Supreme and Smoky Chipotle BEHAVIOR. The event was co-hosted by Maxim magazine and featured performances from Cisco Adler, Austin’s Ghostland Observatory and Snoop’s old No Limit labelmate Mystikal. Snoop’s appearance was successfully kept under wraps by Doritos up to an hour before the rapper hit the stage around midnight, though Snoop did invite a lot of speculation when he was spotted at the Austin airport Thursday post meridian. Doritos “plugged in” its giant vending machine on 5th and Red River at 10 p.m. Thursday tenebriousness, via an equally over-sized extension cord next to the manipulate. The 56-foot tall structure was the brainchild of Doritos’ ad agencies Goodby and OMD as a launch vehicle for two new Doritos flavors, Enchilada Supreme and Smoky Chipotle BEHAVIOR. (Photograph: Andrew Hampp) The Doritos party and approaching 6-story tall vending machine was the brainchild of the brand’s ad agencies Arrivederci, Silverstein & Partners and OMD, who wanted to do something extra special for Doritos’ first SXSW sponsorship. “The only way to stand out is to do something so weird and surrealistic, so this definitely achieved that,” Goodby’s associate creative director Anthony Decarolis told Hoarding. Backbeat: Lil Wayne Films a Mountain Dew Spot Onstage During SXSW Young Money Gig Jared Drinkwater, Doritos’ marketing top banana, had a similar raise ‘. “We really thought the timing was absolutely perfect to launch this in a grandiose kind of way in front of hundreds of thousands of our consumers.” Other execs on site included Goodby’s music supervisor Todd Tiler, the man who helped frolic.’s “We Are Teenaged” top the Lickerish 100 by placing it in client Chevrolet’s Super Bowl splotch, and Frito-Lay’s marketing VP Ram Krishnan. The showcase drew other rappers and producers in town for the music consult, including Timbaland, A$AP Craggy, Theopholis London, T. Mills, Skeme and Machine Gun Kelly.  Also spotty: Beavis and Butt-head father, Mike Value, CHAPPO, Lighthouse and the Whaler, model and wife of Cisco Adler, Barbara Stoyanoff, Brian Lincoln of the Minnesota Vikings and Cedric Benger of the Cincinnati Bengals. See all of our Backbeats — Billboard.biz’s look behind the scenes at the music energy — right hither Snoop played a hits-heavy set that kicked off with “The Next Chapter” and spanned “Doggystyle” classics coextensive “What’s My Pen name,” more recent pop hits agnate “I Wanna Love You” and “Drop It Like It’s Lecherous” and his current Hard up 100 Exceed 10 ace, “Puerile, Berserk & Relaxed.” The latter is Snoop’s first crack 10 as a lead artist since 2008′s “Sensual Seduction” (also on the set slant), a factoid that intrigued the rapper when Billboard mentioned it to him. “Wait intermission, no ‘California Girls?’ No ‘I Wanna Love You?’” he said, before being politely reminded that those were both guest raps. Snoop Dogg played a hit-laden set that spanned “Doggystyle” classics congeneric “What’s My Hero” and “Gin and Vitality” as well as current finish 10 lambaste “Adolescent, Mussed-up & Laid-back.” (Photograph: Andrew Hampp) Spurred by his recent walkaway, Snoop has major ambitions for his next concoct, a Jamaican documentary and upcoming album inspired by the life of Bob Marley commanded “Reincarnated.” Snoop recruited Diplo to produce the dispose, which he described as having a “next trim” kind of sound melding reggae and electro. “I’ve been nominated for close 11 Grammys, but I’ve never won bromide. I want this project to get me a Grammy, an Oscar, No. 1 records,” he told Hoarding. The vending machine will host two more official showcases Friday and Saturday, featuring performances aside !!!, Gamma Spark, Cool Kids, Chiddy Bang and others. Snoop takes a breather during a Spin.com interview backstage in the Maxim divan. (Pic: Andrew Hampp)

Billboard.biz reported way back in June that David Foster would be joining Universal Music Circle (and in August that he’d be heading up ?lan), and finally on Thursday light, the news was made lawful: the Grammy Award-winning and Oscar nominated creator, songwriter, organiser, artist and executive will be chairman of Verve Music Corps. The announcement was made today by UMG’s Chairwoman & CEO Lucian Grainge, to whom he reports. Tv: David Foster’s 10 Tips for Songwriters Succour, based in Los Angeles, will lead the creative operations of Pizazz, with a focus on identifying new talent and further developing UMG’s roster of adult music and pop artists, according to a press unloosing. The release goes on to note that “Over the last several eld, the adult contemporary music market has grown dramatically with increasing sales and a nationwide radio audience that has swelled to on 70 meg, with Mr. Foster being a key driver of that development.” Billboard celebrated the 50th anniversary of its AC chart in July. The Choicest 100 Adult Contemporary Songs By any chance “We are committed to expanding our A&R investment in all areas of music on a global footing, and the adult music, pop and jazz genres are very important to me,” Grainge said in the report. “With artists like Andrea Bocelli, Diana Krall and Jamie Cullum, among many others, UMG already has one of the finest rosters in this square footage. With David at the leadership, we’re now uniquely positioned for even more dramatic wen. He is one of music’s most versatile and prolific hit-makers, and one of the industry’s most gifted developers of penchant.” Also joining Foster at the label are Jay Landers (Senior Vice President of A&R, formerly with Columbia, EMI and Walt Disney Records), Jaymes Encourage (Senior Vice President of A&R, sister and longtime associate of David Foster’s and former publishing exec at Qwest and Geffen Music) and producer/engineer/musician Jochem van der Saag. The creative team will also include Dahlia Ambach Caplin, who currently serves as Vice President of A&R at Verve Music Classify. “Jay, Jaymes, Dahlia and Jochem represent the very best in creative leadership and business directing,” Foster added. “Each possesses a wealth of experience and a real track record of success and instauration. I’m looking forward to working with them and the entire Verve team as we rapidly ramp up our operations.” Over the course of his business, Foster has produced songs by a wide range of artists including Celine Dion, Andrea Bocelli, Mariah Carey, Varnish, Gloria Estefan, ‘NSYNC, Neil Rhomb, Whitney Houston, Cher, Chicago, Earth Wind and Passionate, Chaka Khan, Barbra Streisand, Donna Summertime, Kenny Rogers, Madonna, Michael Jackson, Beyonce and Christina Aguilera, among others.  He has earned 16 Grammy Awards, an Emmy and Golden Terra, as well as three Academy Award nominations for his music. He was presented with BMI’s Icon Award earlier this yr. During the 1990s, Foster founded 143 Records, which launched the career of the Corrs, among others. Earlier this yr, Foster produced 10-year ageing ‘America’s Got Talent’ star Jackie Evancho’s platinum introduction album.

Dick Clark, the revered TV producer whose “American Stand,” “American Top-notch 40″ and  “New Year’s Rockin’ Vigil” helped shape modern pop music for decades, died of a “massive heart approach” at a Los Angeles hospital on Wednesday, his agent confirmed to Hoarding. He was 82. Long dubbed “the world’s oldest young lady” because of his boyish air, Clark bridged the rebellious new music scene and traditional show obligation, and equally comfortable whether chatting about music with Sam Cooke or bantering with Ed McMahon about TV bloopers. He thrived as the founder of Dick Clark Productions, supplying movies, game and music shows, beauty contests and more to TV. Among his credits: “The $25,000 Pyramid,” “TV’s Bloopers and Practical Jokes” and the American Music Awards. For a time in the 1980s, he had shows on all three networks and was listed among the Forbes 400 of wealthiest Americans. Clark also was part of radio as partner in the United Stations Radio Web, which provided programs – including Clark’s – to thousands of stations. “There’s hardly any segment of the population that doesn’t see what I do,” Clark told The Associated Press in a 1985 appraisal. “It can be shaming. People come up to me and power, ‘I love your clarify,’ and I have no idea which one they’re talking close to.” The prototype “American Stand” was one of network TV’s longest-running series as part of ABC’s daytime lineup from 1957 to 1987. It later aired for a year in syndication and briefly on the USA Web. Over the eld, it introduced stars ranging from Buddy Holly to Madonna. The show’s status as an American cultural institution was solidified when Clark donated Bandstand’s original podium and backdrop to the Smithsonian Home. Clark united “Stand” in 1956 after Bob Tusk, who’d been the host since its 1952 inauguration, was pink-slipped. Under Clark’s government, it went from a local Philadelphia show to a national incident. “I played records, the kids danced, and America watched,” was how Clark once described the series’ bareness. In his 1958 attain “Sweet Little Xvi,” Chuck Berry sang that “they’ll be rocking on Stand, Philadelphia, P-A.” As a master, he had the smooth delivery of a seasoned radio sportscaster. As a business, he had an ear for a hit minutes. He also knew how to make wary adults welcome this odd new breed of music in their homes. Clark endured accusations that he was in with the squares, with critic Lester Bangs defining Bandstand as “a leggily acceptable euphemism of the teenage evidence.” In a 1985 evaluation, Clark acknowledged the complaints. “But I knew at the time that if we didn’t make the presentation to the older generation toothsome, it could kill it.” “So along with Little Richard and Chuck Berry and the Platters and the Crows and the Jayhawks … the boys wore coats and ties and the girls combed their hair and they all looked like sweet little kids into a high school shindig,” he said. But Clark defended pop artists and artistic unconstraint, the Rock and Roll Hall of Fame said in an online biography of the 1993 inductee. He helped give black artists their due by playing original R&B recordings instead of cover versions by white performers, and he condemned censorship. His stroke in December 2004 forced him to miss his annual appearance on “Dick Clark’s New Year’s Rockin’ Threshold.” He returned the following year and, although his speech at times was difficult to the hang of, many praised his machismo, including other stroke butts. Still speaking with dilemma, he continued taking part in his New Year’s shows, though in a diminished job. Ryan Seacrest became the main horde. “I’m just thankful I’m still able to enjoy this once-a-year review,” he told The Associated Press by e-mail in December 2008 as another New Year’s Eve approached. He was honored at the Emmy Awards in 2006, telling the clique: “I have accomplished my childhood illusion, to be in show area. Everybody should be so lucky to have their dreams come sincere. I’ve been truly blame.” He was born Richard Wagstaff Clark in Mount Vernon, N.Y., in 1929. His chaplain, Richard Augustus Clark, was a sales manager who worked in wireless. Clark idolized his athletic older companion, Bradley, who was killed in World War II. In his 1976 autobiography, “Dumbfound, Index & Recognize,” Clark recalled how radio helped ease his loneliness and turned him into a fan of Steve Allen, Arthur Godfrey and other popular hosts. From Godfrey, he said, he learned that “a radio announcer does not talk to ‘those of you out there in radio dock’; a radio announcer talks to me as an express.” Clark began his career in the mailroom of a Utica, N.Y., radio station in 1945. By discretion 26, he was a broadcasting vet, with nine age’ experience on radio and TV stations in Syracuse and Utica, N.Y., and Philadelphia. He held a bachelor’s degree from Syracuse University. While in Philadelphia, Clark befriended McMahon, who later credited Clark for introducing him to his days “Tonight Pretentiousness” foreman, Johnny Carson. In the 1960s, “American Stand” moved from black-and-white to gloss, from weekday broadcasts to once-a-week Saturday shows and from Philadelphia to Los Angeles. Although its influence started to fade away, it still featured some of the biggest stars of each decennary, whether Janis Joplin, the Jackson 5, Talking Heads or Prince. But Clark never did book two of rock’s iconic clutchs, the Beatles and the Rolling Stones. Elvis Presley also never performed, although Clark managed an on-air telephone interview while Presley was in the Squad. When Michael Jackson died in June 2009, Clark recalled working with him since he was a daughter, adding, “of all the thousands of entertainers I have worked with, Michael was THE most first-rate. Many have tried and will try to copy him, but his talent will never be matched.” Clark kept more than records spinning with his Dick Clark Productions. Its credits included the Academy of Country Music and Golden Globe awards; TV movies including the Emmy-bewitching “The Woman Who Willed a Miracle” (1984), the “$25,000 Pyramid” game show and the 1985 blear “Remo Williams: The Adventure Begins.” Clark himself made a cameo on “The Fresh Prince of Bel-Divulge” and a dramatic appearance as a witness on the basic “Perry Stonemason.” He was an involuntary part of Michael Moore’s Academy Award-fetching “Bowling for Columbine,” in which Clark is seen brushing off Moore as the filmmaker confronts him about working conditions at a restaurant owned by Clark. In 1974, at ABC’s petition, Clark created the American Music Awards after the network lost the broadcast rights to the Grammy Awards. He was also an ghostwriter, with “Dick Clark’s American Stand” and such self-help books as “Dick Clark’s Program for Success in Your Business and Personal Liveliness” and “Looking Heavy, Staying Minor.” His unchanging looks inspired a joke in “Peggy Sue Gets Matrimonial,” the 1986 comedy starring Kathleen Turner as an unhappy wife and mother transported back to 1960. Watching Clark on a black and white TV settled, she shakes her head in stupefaction, “Look at that chains, he never ages.” Clark’s clean-cut image survived a music industry disrepute. In 1960, during a congressional investigation of “payola” or bribery in the record and radio exertion, Clark was called on to affirm. He was cleared of any suspicions but was required by ABC to divest himself of record-company interests to avoid any appearance of a conflict of occupation. The demand cost him $8 zillion, Clark once estimated. His holdings included partial ownership of Swan Records, which later released the first U.S. version of the Beatles’ strike “She Loves You.” In 2004, Clark announced plans for a revamped version of “American Stand.” The grandstand a expose, produced with “American Pet” creator Simon Fuller, was to feature a host other than Clark. He was diagnosed with archetype 2 diabetes in 1994 and served as spokesman for the American Association of Diabetes Educators. Clark had continued performing even after he suffered a stroke in 2004 that affected his ability to speak and walk. Clark, twice divorced, had a son, Richard Augustus II, with first wife Barbara Mallery and two children, Duane and Cindy, with second wife Loretta Martin. He matrimonial Kari Wigton in 1977.

Oscar nominees, from leftfield, Brett McKenzie, Ludovic Bource, Sergio Mednes, Siedah Garrett and Alberto Iglesias chat before offical photograohs are taken as the annual Society of Composers and Lyricists pre-Oscar confederacy. (Pic: Phil Gallo) Most of the attendees at the the Society of Composers and Lyricists annual pre-Oscar get-together on Saturday focused on the nominees and Sunday’s Academy Awards. Chris Walden is far cry. Walden’s Oscar job is to lead the big band at the Governor’s Ball that follows the ceremony at the Hollywood and Highland Plaza. This yr, he says, the music his big band will play is connected with the culinary theme of small plates and unexpected — more lounge than white tablecloths. “They’ve taken out all of the tables and made it so people will be moving around more,” Walden told Billboard.biz at the party that included all of the score and song nominees in its bunch. “We’ve got two hours of music so it’s a lot of Henry Mancini, a lot of unexcited ’50s and ’60s film music. The vibe is ‘Playboy After Darkness’” Besides his big team up, Walden is a composer and arranger who most recently did arrangements for Michael Buble’s Christmas album. He’ll be doing the same for Rod Stewart’s holiday album, the recording for which is expected to begin in late spring at Capitol’s studios. He is also the type of individual one runs into at the annual fete held at a private home in Beverly Hills. Arrangers, composers, songwriters and professionals related to the field of film music gather each year on the day before the Oscars.  Society of Composers and Lyricists president Dan Foliart introduces each of the nominees to the crowd who then provide a few words of thanks – and in some cases, pep talk intrude. Oscar nominees, from left,  Howard Shoring, Ludovic Bource, Siedah Garrett and John Williams gather at a Beverly Hills home the day before the Oscars. (Picture: Phil Gallo) John Williams offered a thank you to the music branch for his 46th and 47th Oscar nominations. “At this point I’d think you must be fed up with me,” he deadpanned. Charles Bernstein, a composer on the boards of the Academy of Motion Pictures Humanities & Sciences and the SCL, took great pains to note the international flavor of this year’s nominees, pointing the origin of each composer: Alberto Iglesias ( “Tinker Tailor Soldier Shadow”) from Spain, Howard Shoring ( “Hugo”) from Canada, Ludovic Bource (“The Artist”), who arrived from Paris after the party started, Bret McKenzie (“Man or Muppet” from “The Muppets”) from New Zealand and Sergio Mendez and the not-present Carlinhos Brownish (“Real in Rio” from  “Rio”). He portrayed the much-honored Williams as a citizen of the circle. Siedah Garrett, who collaborated with Mendes and Brown on “Rio,” wanted to make it clear there was still some homegrown talent among the nominees, chiming in  “and I’m from Compton.” Coincidentally two of this year’s nominees will leave L.A. for New Zealand the day after the observance. Howard Shore heads back to work with Peter Jackson on “The Hob” and song nominee McKenzie returns home to begin rehearsals on a Flight of  the Conchords tour of New Zealand and Australia this summertime. Each of the nominees was given a chance to speak to a crowd that included songwriters Richard Sherman and Arthur Hamilton, lyricists Hal David and Dennis Spiegeleisen, ASCAP’s Mike Todd and Jeff Jernigan, BMI’s Ray Yee, SESAC’s Erin Collins, Leonard Maltin, composers David Newman, Daniel Licht, Austin Wintry and Roque Banos, violinist Lili Haydn, Lionsgate’s Tracy McKnight,  and SCL’s Jim Dipasquale and Laura Dunn. The event provides an opportunity for composers, musicians, agents and managers to mingle in unique perspective. As Garret said, “any time a singer or songwriter is being celebrated for what they do, I’ll symbolize up.”

Facebook is spending $1 billion to buy the photo-sharing company Instagram in the social network’s largest acquisition constantly. Instagram lets people apply filters to photos they snap with their mobile devices and share them with friends and strangers. Some of the filters make the photos look as if they’ve been taken in the 1970s or on Polaroid cameras. “This is an important milestone for Facebook because it’s the first time we’ve ever acquired a product and company with so many shoppers,” CEO Mark Zuckerberg wrote on his Facebook period. “We don’t plan on doing many more of these, if any at all.” The Message of Facebook’s IPO Filing: Social is Your Coming Facebook said it plans to keep Instagram running severally. That’s a departure from its tendency to buy small startups and integrate the technology – or shut them down altogether just so it can hire talented engineers and developers. “We think the fact that Instagram is connected to other services beyond Facebook is an important part of the intimacy,” Zuckerberg wrote. “We plan on keeping features like the ability to post to other social networks, the ability to not share your Instagrams on Facebook if you yearn for, and the ability to have followers and follow people separately from your friends on Facebook.” Facebook is paying cash and stock for San Francisco-based Instagram and hiring its heartlessly 10 employees. The deal is expected to close by the end of June. Menlo Green, Kaliph.-based Facebook is expected to complete its initial public offering of stock next month. Getting Instagram is big win for Facebook as it works to harness people’s growing obsession with their mobile devices and sharing every moment of their elasticity. Instagram was only available on Apple devices until of late. An app for Android devices was released last workweek.

Faced with mounting losses, Sony Corporation. said Thursday it will mark down 10,000 jobs, or close to 6 percent of its global men, and try to turn around its money-losing TV business over the next two age. New CEO and President Kazuo Hirai outlined his business strategy at a big press conference where he pledged to revive the electronics and entertainment flock. Sony earlier this week more than doubled its annual net loss projection for the fiscal year through this past March to 520 billion yen, or $6.4 gazillion. That would be its fourth straight year of red ink and worst loss continuously. Sony Doubles Red Ink Forecast to $6.4 Gazillion, Worst Loss Yet “As CEO, I take this very soberly. But at the same allotment, it strengthened my resolve to transform Sony,” Hirai told hundreds of journalists. “Employees too want to restore Sony to its former glory and go bey.” Sony, whose businesses run from digital cameras and personal computers to PlayStation game consoles and movies such as “The Smurfs,” has been battered by competitors including Apple Inc. and Samsung Electronics Co. For age, it has been struggling to regain the swagger and innovative flair that made it a dominant force in the 1980s and inappropriate 1990s. The company has also been hit over the past year by production disruptions from flooding in Thailand and a strong yen, which reduces income from exports. “Sony will replacement. I’ve fully dedicated myself to changing Sony,” said Hirai, 51, who took over the helm from Welsh-born Howard Stringer this month. Hirai said he was committed to strengthening the company’s mainstay electronics patronage – which includes digital cameras, games and smartphones – by concentrating investment and technological development in this compartment. He aims to boost its share of overall company sales to 70 percent by the year through Cortege 2015 from afoot 60 percentage. Through cutting fixed and operating costs, Sony will make its TV firm, which has lost money for eight straight eld, profitable again by the fiscal year through Parade 2014, he said. To cover the job cuts and restructuring efforts, Sony will take a 75 billion yen charge this fiscal yr. Sony also will also seek new growth in emerging markets such as India and Mexico, targeting 2.6 trillion yen in sales by the year through Demonstration 2015. Sony also plans to expand its medical equipment business with products such as endoscopes and will enter the medical diagnostics calling. The company aims during 8.5 trillion yen in overall sales for the year through Hike 2015, up from a forecast of 6.4 trillion yen for the just-ended fiscal yr. In February, Sony raised its net loss forecast to 220 billion yen. But on Tuesday, it further revised that to a 520 billion yen passing, mainly blaming an additional tax expense of 300 billion yen stemming from revaluing U.S. tax credits that are unlikely to be used due its string of losses. It stuck with its operating loss forecast of 95 billion yen ($1.2 trillion). Sony predicts a return to an operating profit of regarding 180 billion yen for the year through March 2013. It will release salary results and forecasts on May 10.

Skype hosted the Pack away, Doch an dorris, and Be Human event complete with an interactive stage where fans could jam with their favorite artists while they played in real generation, with such acts as Tribes, the Parlotones, RJD2, and Neon Trees. The South African-bred Parlotones sat down with us at Billboard.biz and shared why SXSWi and technology are so important to them. The Spellbound Band, the Parlotones’ marketing office, noted that not only is SXSWi one of the more important events for the band and its fans, it is also a great testing ground for innovations the band is doing. For event, they have a mobile app launching in April that will allow fans to travel with them around the far-out. Each fan will get a digital and physical passport that stamps Parlotones events they attend throughout the shift. The band’s’ foreman, Raphael Domalik, said that technology is a key component to the band’s triumph. “We run the band like a potbelly,” he said. “We all get salaries, including the band chapters, and we reinvest our funds in the band similar to that of a research and development model at a tech compressed.”

Coachella will be live streaming some of its acts across three channels on YouTube this yr, allowing fans who got priced pass? – or were too late to purchase tickets to the festival which sold out in just a workweek – to see some of their favorite bands without making the trek to Indio. The festival has clearly picked and choosed which artists to vitrine; for model, Friday night’s headliners the Black Keys will be broadcast starting at 9:45, but Saturday’s Radiohead performance and Sunday’s Snoop Dogg/Dr. Dre show won’t. Coachella Sells Broken Head over to YouTube.com/Coachella to see the list of artists, which begins streaming now (April 13) at 3:55 p.m. We’ve posted the full lineup infra. Friday, April 13 3:55 PM – James 4:00 PM – GIVERS 4:10 PM – honeyhoney 4:40 PM – Neon Indian 5:00 PM – Gary Clark Jr. 5:05 PM – Grouplove 5:25 PM – Jimmy Drop & Tim Armstrong 6:00 PM – Yuck 6:20 PM – Dawes 6:30 PM – Arctic Monkeys 7:00 PM – Wu Lyf 7:10 PM – Folly 7:50 PM – Flesh 8:15 PM – Frank Oodles 8:15 PM – Ximena Sarinan 8:50 PM – Mazzy Comet 9:10 PM – The Raptus 9:45 PM – The Black Keys 10:05 PM – Explosions in the Inordinately 10:50 PM – The Black Angels 11:15 PM – M83 11:20 PM – Refused 12:10 AM – Amon Tobin 12:25 AM – Swedish House Mafia Saturday, April 14 3:25 PM – The Big Rap 3:30 PM – Childish Gambino 3:30 PM – The Vaccines 4:05 PM – AWOLNATION 4:15 PM – We Were Promised Jetpacks 4:20 PM – Azealia Banks 4:50 PM – tUnE-yArDs 5:00 PM – Uprooter 5:15 PM – Buzzcocks 5:35 PM – Kaiser Chiefs 6:05 PM – Manchester Orchestra 6:30 PM – Noel Gallagher’s High Flying Birds 6:30 PM – Laura Marling 7:15 PM – Shake down 7:20 PM – Andrew Birdie 7:45 PM – St. Vincent 8:05 PM – Grace Around 8:10 PM – The Shins 8:55 PM – Kasabian 9:30 PM – Bon Iver 10:10 PM – Miike C 11:05 PM – TBA 11:35 PM – A$AP Unyielding Sunday, April 15 3:25 PM – Wild Beasts 3:30 PM – Oberhofer 3:30 PM – Santigold 4:20 PM – Real Standing 4:35 PM – The Growlers 4:45 PM – Fitz and the Tantrums 5:20 PM – Seun Kuti & Egypt 80 5:30 PM – Band of Skulls 5:45 PM – Wild Jack 6:15 PM – Beats Gaffer 6:40 PM – Greg Ginn 6:50 PM – The Urtication 7:10 PM – The Airplane Boys 7:45 PM – Objectivity 8:30 PM – Beirut 9:30 PM – Gotye 9:45 PM – Modeselektor 9:45 PM – Florence + the Shape 10:35 PM – TBD

Google Trends: 18. justin bieber fellow — Justin Bieber released his new uncommon, “Fellow,” tod. Twitter Music Leaning: Boyfriend is PURE — Justin Bieber fans are Tweeting their approval of his new onliest, “Swain.” Digg Music News/Tv 24 Hours: 4. Korean girl blows away the audience with her rendition of “Somewhere Over The Rainbow” NPR Music Most Viewed: 1. First Prick up one’s ears: M. Section, ‘A Wasteland Guide’ 2. First Prick up one’s ears: Of Monsters And Men, ‘My Head Is An Carnal’ 3. First Heed: High On Alight, ‘De Vermis Mysteriis’ 4. First Heed: Bear In Heaven on earth, ‘I Love You, It’s Controlled’ 5. Susan Right: Sometimes You Just Have To ‘Eat Soil’ NPR Music Most Commented: 1. Just Sing The Damn Number cheaply! 2. Julia Nunes: Homesick Anthems Spawn An Internet Personage 3. Susan Prison: Sometimes You Just Have To ‘Eat Indecency’ 4. Wes Montgomery: Early Recordings By A Late Guitar Pronounced 5. Melanie Fiona: A Grammy Winner Gets Exclusive NME’s Top Music Advice: 1. Azealia Banks debuts new Diplo quislingism ‘Fuck Up The Delight’ – prick up one’s ears 2. Sigur Ros to release new album ‘Valtari’ in May 3. Miles Kane: ‘I’d love to work with Janelle Monae’ 4. Florence And The Machine’s Florence Welch voted greatest woman in rock of all time by XFM 5. Lady Wild: ‘I wear veils because I’m mourning the world’s counts’ 6. Slipknot’s Sid Wilson talks ‘dirty and foul’ Professor Green quislingism 7. Fleetwood Mac’s Mick Fleetwood: ‘We brought a massive dildo onstage for our first shows’ 8. The Libertines’ Gary Powell: ‘We weren’t just drug-taking idiots’ 9. Franz Ferdinand to preview new material on intimate ramble 10. Madonna defends ‘dingy’ ‘Girls Gone Snare’ picture Fader Most Expound – Hour 1. Azealia Banks, “Fuck Up the Send up” (Reminder. by Diplo) MP3 2. Best Seacoast, “The Only Concern” MP3 3. Hear Grimes’ New Platoon, Membrain 4. The Things I Communicate: E-40 5. LoveRance f. 50 Centime, “Up! (Remix)” MP3 6. SLIDESHOW: Backstage at the FADER FORT Presented by Chat 7. GEN F: Maria Minerva 8. Frank Abundance, “Thinking About You” MP3 9. Audio Proceed, “Wassup” MP3 10. Michael K. Williams to Play Ol Dirty Bastard in Upcoming Cloud Fader Most Up to date 1. Walk: Volunteers Parking-lot, “Recuperate” 2. Download Fat Trel’s Nightmare on E Street Mixtape 3. Audio Browbeat, “Wassup” MP3 4. Showroom Chit-chat: Make fun of & Bone’s Floral Granny Stamp 5. Chain: Trey Songz, “Heart Decrial” 6. SLIDESHOW: Backstage at the FADER FORT Presented by Gossip 7. Best Skim, “The Only Settle” MP3 8. DJ Rupture Creates Sufi Plug Ins 9. The Things I Go on: E-40 10. Hear Grimes’ New Pile, Membrain Pitchfork News Most Look over: 1. Curren$y Sues Damon Drop 2. Japandroids Share New Bother, Tour Dates 3. Schoolboy Q Announces U.S. Journey 4. Dirty Projectors, Sleigh Bells, Flying Lotus, Danny Embrown, Iceage Added to Pitchfork Music Gala day 5. Mission of Burma Reveal New LP, Share New Slot 6. Air France Fragmentize 7. Listen to Grimes Side Project Membrain 8. Download Best Coast’s New Supervise “The Only Associate” 9. Drake Recreating Bar Mitzvah Proper for “HYFR” Picture 10. Liars Announce Album Release Reign Rolling Pit – Recent telecast 1. Aretha Franklin to Reunite with Clive Davis for Next Album 2. Derek Trucks Talks About New Live Album, the Allman Brothers 3. Morning Benders Change Name from Unintentional Gay Smirch 4. ‘Mad Men’ Version of ‘Zou Bisou Bisou’ in iTunes Department store 5. Justin Bieber Drops New Onliest, ‘Swain’ 6. Cash Money Records Settles EMI Cause 7. Aerosmith Betoken ‘Global Warming’ Tour Dates 8. Drake’s Party Gives Oklahoma City Nightclub Concern 9. Lady Wild, ‘Smasher’ Among GLAAD Award Winners 10. Apart from: Seclude 5 to Emancipation ‘Overexposed’ Album in June Perez Hilton – Music Trendy: 1. Deadmau5 Accuses Madonna Of Glamorizing Drug Utility! 2. Madonna Makes Surprise Guest Appearance At Ultra Music Holiday! 3. YES!!! Madonna To Do Twitter Q&A Tomorrow Edge of night!! 4. Watch Jimmy Fallon’s Q&A With Madonna HITHER!!!! TMZ Music Tidings: 1. MADONNA SLAMMED By Deadmau5 Stop ENCOURAGING Drug Reason! XXL Music Tidings 1. Nas Owes $6 Million to IRS in Taxes 2. T.I. to Drop New Single Next Month 3. Drake Asked to Pay Oklahoma Club Owner for Getting Club Manager Arrested 4. Curren$y Sues Damon Dash Over Music CMT Expos? 1. WING: Love Sustenance, Kenny Chesney 2. WING: Kellie & Hoda Wake Up With Jackfruit & Ernest 3. HOT MANTRAP: Peyton Manning Passes on Nashville Stocks (Windup 3/26) Trans World Entertainment Corporation. (TWMC): $2.18 (unch) (unch) Live Nation Diversion (LYV): $9.73 (+0.34) (+3.62%) Sirius XM Radio Inc. (SIRI): $2.26 (unch) (unch) Sony Corporation (SNE): $20.54 (+0.22) (+1.08%) Pandora Media (P): $10.5 (-0.06) (-0.57%) Apple (AAPL): $606.475 (+10.425) (+1.75%) Dmoz (GOOG): $647.94 (+5.35) (+0.83%) Madison Square Garden (MSG): $34.29 (+0.30) (+0.88%) Paid (PAYD): $0.168 (+0.005) (+0.3%) Vivendi (VIVEF): $18.52 (-0.069) (-0.37%) Heap Media Inc. (CMLS): $3.65 (+0.03) (+0.83%) NASDAQ Composite (COMPX): 3120.23 (+52.31) (+1.71%) Dow Jones Industrial Avg. (DJIA): 13238.11 (+157.38) (+1.2%)

After spending most of her career signed to Sony labels, Gloria Estefan is taking a completely different direction with her new album, which will be released September. 27 as an exclusive partnership with Goal, .biz has expert. “Little Miss Havana,” Estefan’s first English-language album since 2003, will be sold via a worldwide distribution and marketing deal with Verve Prophesy & Universal Music Aggregation. In the U.S., the physical album will be carried only by Butt, while the digital album will be sold exclusively in iTunes. The Target album will include four bonus songs and exclusive access to downloadable peace. Unlike most Latin releases, which are available in specific Targets located in areas with heavy Hispanic see trade, “Miss Little Havana” will be available in all Targets nationwide and on Target.com. Picture: Gloria Estefan, Prince Royce, Luis Fonsi on the Billboard Latin Music Awards Red Carpeting The album, produced by Pharrell Williams and co-produced by Estefan, is an up-tempo set that marks a return to the singer’s dance roots. The Target deluxe edition features four bonus tracks produced by Emilio Estefan, including a remix of the lead especial, “WEPA,” featuring Pitbull. The release of “Miss Little Havana” also coincides with the 25th anniversary of Estefan’s sock success “Conga,” and those who buy the album can download a 25th anniversary remix of the railway. Estefan, who received the Spirit of Hope Award at the 2011 Billboard Latin Music Awards, is one of only a handful of high-profile Latin act to deviate from a traditional major-label release after spending so many years signed to a significant. Earlier this summertime, singer/songwriter Ricardo Arjona announced he would release his new album, “Independiente,” on his own name. He has since signed a distribution agreement with his former epithet, Warner. His set is due October. 3.

On day two of CRS, Alan Jackson took time to sit down and discuss his long and illustrious career with a Q&A hosted by radio personality Lon Helton. Among some of the interesting moments came when Jackson talked about having to take over the steering wheel on a radio tour when the promo rep got bizarre. He also reminisced about his early days in Nashville with wife Denise. Helton brought out the fact that Jackson is one of only four singers to have written twenty of his number one hits – with Merle Spent, John Lennon and Paul McCartney being the other trey. Backbeat: Carrie Underwood, Kellie Pickler, Gary Overton, More at Country Radio Seminar’s Day Two Mike Dungan Leaving Capitol Nashville for Omnipresent: Sources Jackson also performed some of his biggest hits, offering stories behind songs allied “Here In The Real Age” and 1995′s “Song For The Resilience,” which was penned by Rodney Crowell – one of his few hits he didn’t make little of. Jackson is slated to release a new album for EMI Music Nashville/ACR (Alan’s Country Records) later this year – his first after a two decade route with Arista.

MERRILLVILLE, Ind. — The tour manager who was widely credited with saving the lives of country duo Sugarland before a deadly stage collapse at last summer’s Indiana State Fair has become a central focus of lawyers seeking millions in damages for the families of seven people who died and dozens who were injured. Sugarland Attorneys: Injured Ind. Fans Share Denounce Fair officials say they had a concert promoter ask the band twice to delay the August. 13 concert because of concerns about severe ride out, but were rebuffed. Investigative reports unveiled last week said tour manager Hellen Rollens told a state fair archetypal, “It’s only rainwater. We can frolic.” Excerpts from Sugarland lead singer Jennifer Nettles’ video testimony last week in Charleston, W. Va., were released Monday by Merrillville attorney Kenneth J. Allen, who represents victims of the stage come. In her dethronement, Nettles said that she wasn’t aware what fans were told about the timing of the concert. “I don’t know if anybody was told anything,” she said. Asked if she felt responsible for the safety of the fans given the heavy equipment on lap, she said, “I don’t feel it’s my responsibility or my management’s responsibility to evacuate the fans in case of threat. Do I care about their safe keeping? Truly.” Sugarland spokesman Allan Mayer said Monday that Nettles and Bush say they were never asked to delay the showboat. Reports released last week after months of investigation faulted the fair for the lack of clear safety protocols and confusion over who was in care. Reports also said the stage design was grossly short. But victims and survivors’ families who are seeking millions of dollars in damages still want answers and have filed lawsuits against various entities involved in the depict. Determining who was responsible for the decision not to delay the concert could be a key factor in the outcome of those lawsuits. The fair’s executive official, Cindy Hoye, said in a deposition in February that she asked Eric Milby, a representative for a concert promotion companionship, to seek a shilly-shallying. According to a report released last week by Witt Associates, which was hired by the state to examine the decisions made on August. 13, Milby and tour manager Rollens discussed putting off the production, but Rollens said the band wanted to go on and was willing to play in the run. But at show often, Rollens held the band backstage for a prayer circuit, Sugarland manager Gail Gellman told The Associated Press in Venerable. A minute ulterior, the stage rigging collapsed as Rollens walked down the gradient, Gellman said. “Her decision to hold them for literally a minute saved every band member and crew’s vivacity,” Gellman said. She did not return phone calls from the AP seeking comment Monday. Attorney Mario Massillamany, who is representing one of the dozens of people who were injured, said he would like to ask Rollens if fair officials had in fact asked to delay the concert and if she had relayed that information to the federate. “The biggest thing is we got those reports, which have a timeline of what people said, and it appears that it’s different than what Kristian and Jennifer are saying in their depositions,” Massillamany said. “We know there are inconsistencies,” he said. “We just don’t know which version of events is most nice.” Rollens has not yet been deposed, Allen said. “I think the plot will thicken on the part of Hellen Rollens, but I think at the end of the period, she’s an wage-earner,” Allen said. “The band had the ultimate authority to say we’re not playacting, and Kristian Bush admitted as practically.” Rollens’ lawyer, Kevin Kearney, did not return a phone call seeking observe, and the AP was unable to locate a phone listing for Rollens in the Los Angeles range. Mayer, Sugarland’s spokesman, said Rollens was not acting as manager on the band’s current tour but was still employed. Mayer denied that the band was front-office. “The decision to delay the show is typically left up to the venue,” in this case the sunny, he said. The state’s liability is limited to $5 million by state law, but state lawmakers voted in March to give an more $6 million to the stage collapse innocents.

Ana Guillen has left her position as Northwest Region Promotions Manager at Warner Brothers after eight years to take an executive position at Collective Sounds. Guillen, who previously worked at both Hollywood Records and at Limitless, brings her experience working with bands such as Linkin Car park, Metallica and the White Stripes to the outfit. “I am excited to join a company that I feel represents the future of the music effort, and which affords me the opportunity to take on so many new creative roles,” she said in a press disseminate. Collective Sounds is a division of management and production company The Corporate, handling music distribution for artists such as the Pains of Being Pure at Nitty-gritty, Jimmy Cliff and Counting Crows. Despite still being less than a year hoary, The Collective has a widespread and diverse lineup, from Latin superstar Enrique Iglesias to comedians Eddie Izzard and Martin Lawrence, and even represents YouTube success stories like the creators of “The Amazing Orangeness” and twin songwriters Megan & Liz. The Collective focuses on building and cultivating direct relationships between fans and artists to maximize the value of that fetters. “In the rapidly changing landscape of the music work, it’s exciting to have access to extremely talented and like-minded executives who understand and appreciate the Collective Sounds model of partnering directly with artists to help them develop their careers and reach new audiences,” said Collective Sounds head Tom “Grover” Biery in the unloose.

SXSW Interactive has forged a reputation as not only a breeding ground for the hottest new tech companies and apps on the call (Hi Straightforwardly), but also as a place that can introduce the world to companies that can change the way humans interact (how’s it growing, Giggle?), and the music industry is not immune to its advances. As SXSWi has grown, so has its influence on the music community, and this year’s Interactive fest (which runs from Marchland 9-13) has put up a bunch of parties and events that tap into that relations. SXSW Interactive What to Watch Throughout: Apps, Panels, More We’ve compiled a list of as many music-related events as we could come cross (though more are being added every lesser) and posted them farther down. Friday, Strut 9 Epic Synergistic! (7pm-1am) – Free drinks on Do512 at The Belmont and a three-band showcase curated by personal security app AirCover that includes Delta Spirit and Dale Earnhardt Jr. Jr. TechKaraoke (8pm-2am) – live band AND between-set DJ karaoke at The Stage on 6th, for all those moments when you are networking so intensely with SXSWi cohorts that you just can’t help but break out in song with a live backing ensemble. The Only Tools You’ll Need For SXSW 2012 Saturday, Border 10 Spare Beats (2-10pm) – All day long DJ showcase at Molotov bringing in acts from across the country to spin for the partying company, including Get Right Kids + Thick As Hook$, Table Manners Gang, and Roxy Cottontail, to name a occasional. StumbleUpon Open Mic (5-8pm) – StumbleUpon is flexing its music muscles, bringing in open mic performers from its vast array of users to perform at Karma Lounge for a meeting of the StumbleUpon minds (and those who stumble on in). Third Eye Unsighted (6-8pm) – That’s real, the 90s alt-rockers will be bringing their semi-charmed talents to Austin City Limits for a free execution. Preferred entry is sold at liberty, but you can still sneak into general admission if you show up early bountiful. Mouse + Guy Soir?e (6pm-midnight) – A “What’s Succeeding” on stage showcase featuring Austin locals Quiet Gang, Wild Moccasins, The Tontons and others at the outdoor amphitheatre at Stubb’s, curated by Guy Kawasaki and Kirtsy. Waggener Edstrom Champion (8-11pm) – The good folks at Waggener Edstrom Communications are hosting a meetup for Interactive’s minds at Malverde with Quiet Company and a special guest DJ providing the music. turntable.fm Accessory (8pm-2am) – Presented by Pepsi, powered by Intel, supercharged by appearances by Flying Lotus, Araabmuzik, Upper West and more. They’ll be hosting a SXSW Music Party on the 15th moreover, featuring ?uestlove and Diplo, among others. Sunday, Pace 11 ScreenBurn Power Up Approver (6-10pm) – ScreenBurn focuses mostly on video valiants, but for the Power Up Party they’ve invited Alternative Press to curate the bands, and Motion City Soundtrack and I Fight Dragons are already confirmed. SoundCloud Meetup (7-10pm) – The SoundCloud community will be gathering at Treehouse Gin-palace, where the site’s staff will be making a special announcement about their Heroes program and hooking up with StoryWheel to document the action. FLUENT Party Their heels (7-11pm) – Four hours of an open band, free cupcakes by Hey Cupcake!, Mexican food inspired by Carlos Santana, AND a performance by Queens rappers Mobb Extensive? Oh yea. CNET Do (9pm) – The good people over at CNET are hosting a party at Maggie Mae’s, where Delta Spirit will be making another festival advent. Monday, Tread 12 RoboTrip (6pm) – This party will be taking over both Club DeVille and Mohawk with big-name indie bands such as WAVVES, Oberhofer, Japandroids and Kool Keith, to name just a few of the artists that will be gracing the three stages. Jay-Z @ Amex Sync Manifest (7pm) – Jay-Z will be the star name at the AmEx vitrine, in a performance that will also be live-streamed via YouTube and re-broadcast on-demand for the duration of SXSW. Brisk Bodega Cantina (8pm) – Brisk has had a lot of success in aligning itself with big hip-hoppers (think Eminem, Shady Records 2.0′s Yelawolf and Slaughterhouse), and they’ll be bringing their Star Wars-themed Bodega with a performance by Just Flame fire. Say Media Partisans (8:30pm-2am) – Not a lot of information, but there doesn’t have to be when your lineup includes the likes of Cults, Wallpaper (who is also confirmed for Billboard’s SXSW Vitrine) and Quiet Horde. Digital Audio Meetup (9-11pm) – Free drinks, networking, and endless conversations celebrating the success of digital optic. Thrillist Rocktails (10pm-2am) – Live band karaoke hosted next to “College” party animal Asher Roth, plus rooftop sets by The Hood Internet and more. Tuesday, Marchland 13 Robert Rodriguez and AMD Litigant (9pm-midnight) – Director Robert Rodriguez will be hosting a night of old-fashioned Latin rock and roll with Chingon & Tito and Tarantula, both bands that have been featured in his famous films. Media Temple’s SXSWi Closing Signatory (8:30pm) – Wind down your interactive experience by getting down to the sounds of Miike C, Kasabian and a “special guest,” plus a nice open tavern at Stubb’s.

NEW YORK (AP) — Facebook made a much-anticipated status update Wednesday: The Internet social network is going public eight years after its computer-hacking CEO Mark Zuckerberg started the service at Harvard University. That means anyone with the right amount of cash will be able to own part of a Silicon Valley icon that quickly transformed from dorm-room startup to cultural criterion. If its initial public offering of stock makes enough friends on Wall Alley, Facebook will probably make its stock-market debut in three or four months as one of the world’s most valuable companies. In its regulatory filing with the Securities and Exchange Committal, Facebook Inc. indicated it hopes to put forward $5 billion in its IPO. That would be the most for an Internet IPO since Google Inc. and its early backers raised $1.9 billion in 2004. The final amount will likely change as Facebook’s bankers gauge the investor requisition. Joining corporate America’s elite would give Facebook newfound financial clout as it tries to make its service even more pervasive and expand its admirers. It also could help Facebook fend off an intensifying challenge from Msn, which is looking to solidify its status as the Internet’s most powerful company with a rival social network called Summation. The intrigue surrounding Facebook’s IPO has increased in recent months, not only because the company has become a common conduit -for everyone from doting grandmas to sassy teenagers- to share information about their lives. Zuckerberg, 27, has emerged as the latest in a lineage of Silicon Valley prodigies who are alternately hailed for pushing the world in new directions and reviled for overstepping their bound. In Zuckerberg’s suit, a lawsuit alleging that he stole the idea for Facebook from some Harvard classmates became the grist for a book and a movie that was nominated for an Academy Award last yr. Even before the IPO was filed, Zuckerberg was shaping up as his generation’s Bill Gates – a geek who parlayed his love of computers into fame and wealth. Forbes magazine estimated Zuckerberg’s wealth at $17.5 billion in its most recent survey of the richest people in the U.S. Depending on how long regulators take to review Facebook’s IPO documents, the company could be making its stock market debut around the time that Zuckerberg celebrates his next birthday in May. The IPO filing casts a spotlight on some of Facebook’s inner workings for the first delay. Among other facets, the documents reveal the amount of Facebook’s velvet, its major shareholders, its growth opportunities and its concerns about its biggest competitive threats. What’s not in thither, nevertheless, is Facebook’s market measure. That figure could arrive at $100 trillion, based on Facebook’s rapid growth and the appraisals that steered investors who bought stakes while the company was still covertly. Facebook heads a class of Internet startups that have been going public during the past yr. The early crop has included Internet radio service Pandora Media Inc., professional networking service LinkedIn Corporation. and daily deals company Groupon Inc. Most of those Internet IPOs haven’t lived up to their lofty expectations. The list of disappointments includes Zynga Inc., which has built a profitable business by creating a variety of games to play on Facebook. Zynga’s stock cut 5 percent below its IPO price on the first day of trading. Facebook stands obscure, yet. As it rapidly expands, people from Silicon Valley to Brazil to India use it to keep up with news from friends and long-lost acquaintances, play mindless games tending virtual cities and farms and share big news or minute details about their years. Politicians, celebrities and businesses use Facebook to connect with fans and the general harry. It’s becoming more difficult to tell whether going to Facebook is a pastime or an dependence. In the U.S., Facebook visitors spend an average of seven hours per month on the website each month, more than doubling from an average of three hours per month in 2008, according to the research firm comScore Inc. More than half of Facebook users log on to the site on any given period. Using software developed by outside parties – call it the Facebook restraint – they share television shows they are watching, songs they are playing and photos of what they are wearing or feeding. Facebook says 250 million photos alone are posted on its site each time. To make ready money, Facebook sells the promise of highly targeted advertisements based on the information its users share in, including interests, hobbies, private thoughts and parallels. Though most of its revenue comes from ads, Facebook also takes a cut from the money that apps make through its locality. For every dollar that “FarmVille” maker Zynga gets for the virtual cows and crops it sells, for exemplar, Facebook gets 30 cents. For all of Facebook’s velvet, the company has had its share of troubles. It went through a series of privacy missteps over the years as it pushed users to disclose more and more information about themselves. Most of late, the company settled with the U.S. Federal Trade Commission over allegations that it exposed details about people’s private lives without getting legally required concede. And the legal fights over Facebook’s origins have been embarrassing and sometimes distracting, though Zuckerberg has consistently denied allegations that have depicted him as a ruthless weasel. Zuckerberg has made it clear he isn’t especially keen on leading a public business. He has said many times that he prefers to focus on developing Facebook’s products and growing the site’s user wicked, rather than trying to hit quarterly earnings targets in an effort to keep investors apt. Latterly, yet, he has matured into the place, said Scott Kessler, a Basic & Poor’s equity analyst who follows Internet stocks. “Clearly he is a very smart and shrewd myself,” he said. Zuckerberg has surrounded himself with other savvy executives, who are often more practised. They include Chief Operating Officer Sheryl Sandberg, who helped build Google’s advertising business before Facebook lured her in 2008. Facebook’s finance chief is David Ebersman, a former executive at biotech firm Genentech. Amid the buoyant optimism about Facebook’s prospects as a public zoo, some analysts see troubling parallels to the dot-com boom of the recent 1990s, which turned into a devastating bust in the pioneer 2000s. The biggest fear is that some investors will become so enamored with Facebook’s brand and brawn that the will try to buy the IPO share with little financial analysis or recognition of the risks. “It’s a one-day circus,” said John Fitzgibbon, founder of IPOscoop.com. The IPOs of Zynga and LinkedIn showed that success isn’t guaranteed even for profitable companies with huge followings. Zynga’s stock is currently trading just slightly above its IPO assess. LinkedIn is considerably higher, but still far below the $122.70 record that it hit on its first trading period. “It seems there’s so much fuss, innovation around Internet startups in Silicon Valley and yet a lot of these companies … have not performed well at all,” Kessler said. “The concern is the sustainability of the growth and profitableness. It’s totally, very difficult to prove those things out over a short period of nevertheless.”

Slash was in Toronto for a few days to do press for his upcoming album, Apocalyptic Have a passion, out May 22, as well as for a Celebrity Interview as part of Slacker Canadian Music Workweek. As Billboard waited for the rocker to come into the hotel retinue, talk with his head, Jeff Varner of Collective Music Clique, turned to the unseasonably high-reaching “summertime” poorly. “You don’t get natural disasters hither,” he eminent, as the banter turned to how Toronto would probably see more of this unusual weather due to global warming. Check Out All Our Backbeats Right HITHER Varner then gave us a crash course on what to do in an seism – standing in a threshold, protected by the originate, is a myth he said. Rather than, go under a sturdy table or somewhere to create an air palm. Last August an earthquake in Virginia was felt by some in Toronto. Canadian Music Workweek: 15 Things You Should Know About the Canadian Music Establishment “I’ve never been to Toronto when it’s been this refined. It’s incredible,” Varner said. “This is now my third time here with different clients – by far the nicest endure. I was here with Slash in 2010 and I was here with Plain White Ts a prior yr.” Slash was at CMW two years ago before the release of his self-titled solo album, and did some press and a Celebrity Meeting. This for the present, his band on Apocalyptic Love and existent, Myles Kennedy and the Conspirators, is comprised of two Canadians: Todd Kerns, who rose to fame in Canada in the 90s fronting Age of Energized, and drummer Brent Fitz who has played with Theory of a Deadman, Alice Cooper, Gilby Clarke, Econoline Crush and more. “I’m learning that they can rock really hard and that there’s a lot of talent up hither, that’s for convincing,” Varner told Billboard about the Canadian content in the Conspirators. Kerns and Fitz have been playing live with Slash since 2010. “Honestly just great persons, just really nice and the most easy to get along with guys that I’ve ever had the pleasure of working with in a band site. It’s just been numerous. So if that’s indicative of all Canadians, then I’ll take that all period.” Rip – whose Dik Hayd label is distributed in Canada by Universal Music, in the U.S. by EMI Music and by various other labels around the wonderful – was primarily in Toronto to set up the album with Uncircumscribed, but also spoke for a half-hour in front of hundreds of CMW delegates with The Bound 102.1 radio host Dave “Bookmaker” Bookman who was brought in last minute.  Canadian and former VJ John Roberts, who went on to have an esteemed news career and is now at Fox Communiqu?, along with his partner Kyra Phillips of CNN, were supposed to interview Beat, as they had in 2010, but had to back out this year reportedly because of one of their kids was disturbing. Canadian Music Week President Neill Dixon On Why CMW 2012 is Larger & Better Than At all times “(Drop) is gonna be on tour predominantly in the U.S. when the album comes out so we’re getting a lot of long lead stuff perfected, a lot of pre-promotion tackled here because it’s been a very good market for Slash historically,” said Varner. “Universal did a fantastic job on the last album, so we wanted to make sure we gave them tools and time and have Slash in the market to really do a proper arrange.” Billboard.com will post two stories on Decrease, one this week and another closer to album manumission. We thanked Varner for the earthquake info, hoping we won’t have to use it, and when Slash heard, he started talking to Varner about it too, bringing up the same confusion over standing in a doorway and noting he wanted to take a preparedness course at the local fire department thanks to he has kids.

HOARDING Editorial Boss: Bill Werde Billboard.Biz Journalist: Jem Aswad, 212-493-4167 VP of of Business Development and Licensing: Andrew Min SUBSCRIBERS Print-magazine related issues, including: Print Liberation Missed/Damaged Issues Change of Address/Term Account erudition Charge Back-Issue/Single Issue Orders Please email nbb@omeda.com or summon (800)-658-8372, (847)-559-7531 outside the U.S. BILLBOARD.BIZ SUBSCRIBERS Direct any website comments or questions to nbb@omeda.com BILLBOARD BACKLOG For the Billboard Collector’s Issues, Directories, Books and Deal in, go to www.orderbillboard.com. EDITORIAL FEEDBACK Billboard.Biz Redactor: Jem Aswad Chart Beat Senior editor: Fred Bronson PUFF Advertising Coordinator: Peter Lodola peter.lodola@billboard.com Click Here for the contact list of all our ad sales representatives. Click Here to download a Media Equipment.

Media and production company Prospect Park today named Ron Cerrito the senior executive of its music classification. Cerrito has had a long career in the music bustle, founding artist management company Alarm Music Company, working as Head of Promotion for Warner Bros., and starting his career as chart editor at Hoarding. Cerrito has extensive experience managing and breaking artists, working with names such as Madonna, Metallica and the Black Keys while at Warner Bros., and helping to launch albums from Pearl Horde, U2, Rage Against the Manufacture, and Bruce Springsteen during stints at Columbia, Interscope, and Epic Records. “Ron has successfully launched some of the most well-known albums in pop culture history over the lifetime 20 age,” said Prospect Park co-founders Jeffrey Kwatinetz and Rich Frank in a communiqu?. “Our artists and platform will benefit from Ron’s fresh ideas along with his great marketing mind and creativity.” Prospect Park launched in 2009 as a joint venture between Kwatinetz and former Disney Studios head Sincere, garnering clients such as the Backstreet Boys and Smashing Pumpkins. “I’m excited to join the executives and artists at Prospect Greensward,” said Cerrito in a annunciation. “In an industry where status quo cannot outlive, I believe that this company is poised to lead the charge into the next phase of the music specialty.”

Prince will make a uncommon, royal visit Down Under this May. After months of rumor and gab, it was confirmed today that Prince will play three arena dates in Australia, for what will be the pop legend’s third tour of this country and his first shows here since 2003. What’s more, the superstar will be wheeling out his greatest hits, according to promoters, and he’ll play on a tailored 360-degree stage in the reverberating. Sydney-based Michael Chugg Entertainment and Melbourne-based Van Egmond Group are presenting the period of service, renewing a partnership which came together for the 2010 AC/DC stadium tour of Australia which sold more 600,000 tickets and more recently handled Dolly Parton’s arena tour of these parts. Tickets for the Prince dates will go on sale this Monday, and will start at $99 Australian ($102) – a steal for an artist of this gauge, in a market where premier acts can charge up to four or five times that sum for the premium seats. The Purple One’s run of shows will start May 11 at the Allphones Field (formerly Acer Sphere) in Sydney, May 14 at the Rod Laver Arena in Melbourne, and May 18 at the Brisbane Entertainment Cluster.

Island Def Jam today announced that Gabrielle Peluso would be taking over as General Director, Def Jam Recordings, a promotion from her prior position as Senior Vice Prexy, Video Promotions at Island Def Jam Music Pile. Her previous responsibilities included securing video airplay across all music video channels, including MTV, WAGER, VH1, The Fuse and others. Peluso has spent her entire career at Island Def Fill up, beginning in 1996 as assistant to the former president of Def Jam Recordings after receiving her BA in Communications from Syracuse University. “Gabby is a seasoned veteran at IDJ whose experience in Video Promotion put her in daily contact with the entire artist roster, as well as the key media who play such important roles in exposing our music to the patrons,” said Steve Bartels, President/COO of Island Def Jam Music Heap, in a averral. “For more than a declination, Gabby’s energy and creativity have helped keep Island Def Jam in the forefront of the energy, and we know that she will bring all her talent to bear in her new role as GM.” In the new situation, Peluso will be responsible for the day to day operations of the dub, including scheduling and organization on behalf of its artists, and will be reporting directly to Bartels. “[Def Blockage] is undeniably the most important brand in urban music,” Peluso said in a asseveration. “The goal for this label is, and always has been, to uphold the culture of hip-hop music by breaking new artists and supporting the envisioning of our superstars.”

With Music Business Foundation, Farm Aid’s Main Players: Dave Matthews, John Mellencamp, Willie Nelson Leave Strike This is what the music business has long known about Farm Subsidize: On one date, each yr, since 1985, Farm Aid co-founders Willie Nelson, Neil Young and John Mellencamp have gathered an all-star roster of musicians for a high-profile benefit concert to support the men and women who help feed America. With Dave Matthews later joining the organization’s board in 2001, Farm Aid through the years has welcomed hundreds of artists to its acting, from the inaugural event in Field, Unwell., to this past summer’s show in Kansas Metropolis, Kan. Along the progressing, it has raised more $39 million to help keep American’s family farmers on their capture. This is what the music business may not know about Farm Assistance: The support of the music industry has helped Farm Aid influence a profound shift in the cultural landscape of the country during the past quarter hundred. The organization’s labour, as Nelson has said, simply affects everyone who grub. Farm Aid deserves credit for promoting many of the positive developments in food culture in the United States in recent eld: the growth of farmers delis, the rise of community-supported agriculture lots, the spread of farm-to-present “slow subsistence” restaurants and the wider use of sustainable farming practices. And those changes in food culture and farming practices, in scoot, are affecting much broader issues, from health-care costs to the fight against climate vary. “We started out to save the family yeoman,” Nelson says. “Now it looks like the family farmer is going to save us.” Yet none of Farm Aid’s efforts would be possible without artists who donate their time and their music. Farm Aid is “eternally appreciative” for the support of the artists and the music dynamism, Farm Aid executive director Carolyn Mugar says. “It’s the combination of the music and the message that is so necessary. What happens at a Farm Aid concert opens up people’s hearts.” Farm Aid has its roots in the mid-’80s era of music activism. In 1984, the ad-hoc supergroup Band Aid released the holiday apart “Do They Know It’s Christmas?” to raise money and awareness for famine relief in Ethiopia. The American superstar ensemble USA for Africa followed in Butt 1985 with “We Are the Magic.” And on July 13, 1985, the Live Aid concerts for African famine relief were staged simultaneously in London and Philadelphia. That July, onstage at Live Service, Bob Dylan remarked to the congregate: “Wouldn’t it be great if we did something for our own farmers right here in America?” At the obsolete, falling crop prices and rising debt payments had ignited a wave of foreclosures that were pushing family farmers off their nation. “Out here in these rural communities, there was a real feeling of hopelessness,” recalls Rhonda Perry who, along with her husband Roger Allison, is a partner in the Missouri Rural Crisis Centerfield, and a co-founder of Patchwork Family Farms in Columbia, Mo. That Grand, Nelson was booked to play the Illinois State Fair in Springfield. In an interview for the 2005 scroll “Farm Relieve: A Song for America,” his then-booking agent Tony Conway of Buddy Lee Attractions recalled: “Out of the risqu, Willie said to me, ‘I want to do a concert for American farmers. I want to see if we can do it here in Illinois; I don’t care where, just someplace we can get a coliseum.’” That inaugural Farm Aid concert was staged on an all-but-impossibly short lead time at the University of Illinois Memorial Stadium in Champaign on September. 22, 1985. Perry recalls that her husband and Mugar had traveled by train from a farmers rally in Ames, Iowa, to the concert. “And as they made their way across by discipline, there were farmers along the sides of the road with American flags waving, and signs. It was an incredible experience in which farmers got hope for the first time in a expanded, long day.” Veteran promoter Arny Granat of Jam Productions tapped Ron Stern as producer of the first Farm Aid concert and Stern has filled that role since. The first show was led by Nelson, Young and Mellencamp, and also featured Dylan, Billy Joel, Jon Bon Jovi, Roy Orbison and many others before a crowd of 80,000. It might have ended thither, a one-shot expression of good intentions. But Farm Aid’s foursome have the tenacity of “junkyard dogs,” Mugar jokes. Upon my word, there are few other examples of activist organizations created by musicians that have had such staying influence, including the Hudson River Sloop Clearwater, conceived in 1966 by Pete Seeger, or WhyHunger, created in 1975 by the late Harry Chapin and led today by Bill Ayers, an ally of Farm Promote. Mugar is pleased to have Farm Aid cited in such fellowship. But she notes the organization’s unique stature: It’s the longest-running concert for a cause that the music industry has ever seen. More 300 artists, from across musical genres, have participated in Farm Aid concerts, with the backing of their respective managers, booking agents, tour support companies and others. The 2011 things turned out, staged at Livestrong Sporting Park in Kansas Burgh, Kan., featured Nelson, Inexperienced, Mellencamp and Matthews on a bill with Jason Mraz, Jamey Johnson, Jakob Dylan, Billy Joe Tiddler, Lukas Nelson & Promise of the Proper, Ray Nut, Robert Francis, Will Dailey & the Rivals, Rebecca Pidgeon, the Blackwood Quartet and John Trudell. Early in its r?sum?, Farm Aid’s power to influence both culture and policy was obvious. Family farmers joined Nelson and Mellencamp in testimony before Congress that led to the Agricultural Credit Act of 1987, which effectively halted farm foreclosures by allowing farmers to restructure their loans. More than two decades ulterior, Farm Aid’s range of activities is imposing. For exemplification, it continues to fight to shape government farm policies. Last month, Farm Aid’s directors wrote to U.S. Attorney General Eric Holder and Secretary of Agriculture Tom Vilsack, calling on them to take action to encourage fairness and competition in the agricultural sphere. “Family farmers are the backbone of our nation’s economy and are crucial to rebuilding it, but to do so they need fair venues,” Nelson said in a statement that accompanied the release of the epistle. Farm Aid also provides direct assistance to farmers through its hot up for, 1-800-FARM-ASSIST; online Farmer Resource Web; and its grants to scores of farm-support organizations nationwide. The organization’s role in creating connections between farmers and consumers is well-documented, through its efforts to get family-farm food into city neighborhoods, grocery stores, restaurants, schools and other public institutions. And Farm Aid has embraced communities in the digital realm as well as the dirt of the sphere. Homegrown.org is an online community designed to “celebrate the culture in geoponics,” according to the slot, connecting people who care about the quality of their food and more. But as a “brand appendage” for Farm Scholarship, Homegrown has flourished offline as seep. “Homegrown is a way we can reach eaters and doers and participants in the food methodology,” Farm Aid associate director Glenda Yoder says. Homegrown has also brought Farm Aid’s philosophy and message to events beyond its annual concerts. Homegrown, for ideal, “curates the food and farmer aspect of Maker Reasonable,” Yoder says, referring to the family events, staged year-round and nationwide, that are focused on technology, science and DIY craft projects. Homegrown Village, with its hands-on exhibits, is now part of every Farm Aid conclusion. For the music manufacture, perhaps the most promising aspect of Homegrown is its concessions that have brought family-farm food to tens of thousands of fans at Farm Aid concerts. That happened for the first time at the Farm Aid concert in 2007 in possibly the most unlikely setting-New York’s Randall’s Eyot. By proving that family-farm food can supply concert concessions, Farm Aid may help open a massive market to its farmers-the nation’s entertainment venues (see representation, stage 42). Farm Aid has been a bellwether in other ways as excellently, highlighting the dangers of corporate dominance in an essential part of the conservatism: the nation’s food provision. Like Farm Aid founder Nelson (see clothesline, leaf 36), executive director Mugar recognizes the link between Farm Aid and the recent protests of Occupy Wall Roadway, in opposing concentration of wealth and force. “It’s something that family farmers have known by their experience for decades,” Mugar says. “Sometimes we say they are the canary in the depositary. To understand what people’s problems are with corporate America now, and unbridled corporate dominate, I think family farmers are your best source to attend.” Reflecting on the changes facing America’s family farms, Missouri Rural Crisis Center’s Perry describes the struggle now. “What you’re seeing now is [a fight settled] corporations and their role in taking over agriculture in a way that means we don’t have markets for what we mould,” she says. “In some ways, it’s a little trickier to understand and the enemy isn’t always so obvious as when the government is foreclosing on your grange. “For the nonce, what happens is that a handful of corporations control the entire meat supply [for paragon]. So we can raise the best pork in the world and that doesn’t mean we will have a market in which to sell it, because of the concentration in the mart.” Looking back at her early involvement with Farm Succour, Perry recalls that the Missouri Rural Crisis Center was one of the first groups to benefit from the funds raised at the first Farm Aid concert. Those funds helped organize the center to fight for change but also provided emergency chow “for farm families who were raising food for the country but didn’t have enough food for their own families,” she says. “At that first classification, 700 families showed up.” Sure, the activists wanted to publicize their efforts-but not at the expense of the farmers’ revel in. “We asked them at the age, ‘If you don’t want to be public about [accepting free comestibles], that’s totally capital. We forgive.’” Out of those 700 families, Perry says, not one said they didn’t want to take a stand publicly. “They said, ‘No, these are our lives and people need to understand what’s going on out thither.’” And people still do. And Farm Aid is still making that reachable. “It’s been a faraway, long ride with Farm Funding,” Perry says, “and a great experience with them as an comrade.” For Family Farms, It’s About Leadership — And Sustainability Just how do you define a “family holding”? The phrase conjures up quaint images of farms with modest acreage and roadside vegetable stands. But the reality is that the family farms bolstered by Farm Service — with the ongoing support of the musicians and their fans — aren’t defined by gauge. “It’s about who controls the farm and makes the decisions,” Farm Aid executive director Carolyn Mugar says. The family farmers “are in the foul, every era. And they really make the decisions about their farms, not people in distant boardrooms.” Rhonda Perry knows what that’s comparable. Perry and her cover up, Roger Allison, are partners in the Missouri Rural Crisis Essence, one of the first farm-support organizations to benefit from a grant funded by Farm Aid’s concerts. They also are co-founders of Patchwork Family Farms in Columbia, Mo. Mishmash “is a project of the Missouri Rural Crisis Gist,” Perry says. “It acts as a cooperative-run entity that is made up of multiple family farmers who raise pork without antibiotics or growth hormones, with access to fresh air and temperateness.” Perry agrees that control is humour. “The way we determine a ‘family let out’ is much more based on who is in repress, who is making the decisions about that farming operation and doing the majority of day-to-day labor on that craftswoman,” she says. “And that means they also own their own livestock versus operations in which farmers are simply raising livestock for some potbelly.” The U.S. Department of Agriculture’s Economic Research Service produces periodic reports on how farming is organized in the United States. The ERS summary of its 2010 report doesn’t distinguish between family control and corporate control of large-scale farms, while it states that “for the most parting, large-scale farms are more viable businesses than small family farms.” But how “applicable” can unfettered, industrial-style farms be if they contribute to climate change and severe survive? “We won’t solve [global] hunger and stop climate change with industrial farming on large plantations,” United Nations official Oliver De Schutter is quoted as saying in a summary of a U.N. report issued in March on sustainable farming practices — the type of farming promoted by Farm Service. The U.N. report states that, in critical regions of the elated, small-scale farmers can double food production within the coming decade and help stem climate change through the use of what it calls “agroecology.” Why should the music business disquiet? The link among corporate farming practices, climate change and severe weather is increasingly perceptive, to those close to the go forth. And for an industry increasingly dependent on the strength of the global touring labour, severe weather can play havoc with its bottom specialty. “We need to go promiscuous,” De Schutter said, “if we want to avoid repeated food and climate disasters in the 21st c.” Words With Willie: Willie Nelson Talks Farm Aid’s Power To Stitch Willie Nelson has always drawn strength from his roots. His new album, Remember Me, Volume. 1, due November. 21 on R&J Records, is culled from sessions during which Nelson and producer James Stroud cut some 35 sides of classic country hits dating back to the 1940s. “Pretty much a history of country music,” Nelson says. “All the way back to when I did the Stardust album, I realized, ‘Hey, there are a lot of young people out there who never heard these songs.’” And as knowledgeable as his ace producer may have dinosaur, Nelson quips, “All of these songs I probably knew before James Stroud was natural.” A keen appreciation for the things that endure also helps explain why, more 25 years since, Nelson stepped up to help the American family farmer with the first Farm Aid concert. Did you expect in 1985 that you would still be involved today in the fight to support family farms? No. I really felt we’d do one [concert] and call attention to it and the big powers that be, the smart guys, would see what was going on and they would fix it. It took me a long time [to recognize] that these were the guys who were keeping it from [improving]. The big corporations were what’s keeping the family farmer polish. You teamed up with Neil Brood, John Mellencamp and later Dave Matthews, who each now serve with you on the Farm Aid gaming-table. After I talked to Jim Thompson, the governor of Illinois, about doing the first Farm Aid [at the stadium of the University of Illinois], the first thing I did was call Neil because I knew he felt the same way I did. It was easy to sell [each of] these guys on the idea because they go down the road every day like I do, and they talk to all kinds of people every ceaselessly, farmers and others. And they knew the problem was getting more and critical. They were the first to bring to light, “Yes, let me stop.” You joined George Straits, Dixie Chicks, Lyle Lovett, Asleep at the Wheel and others in Austin on October. 17 at Fire Remedy: The Concert for Central Texas. Corporate farming practices have been linked to climate change and severe rise above, such as the droughts that have fueled this year’s wildfires. It’s mythical. Without bottled water, what can a farmer do? The drought has gotten really criminal. Wells are evaporation. Oak trees are with one foot in the grave. Cedar trees are with one foot in the grave, and that just doesn’t luck. I’m hoping that this drought will be broken in a piece. But the experts are saying it could continue. Farm Aid has sourced T-shirts from Anvil Knitwear, which, among other initiatives, supports farmers during the three-year transition period needed to certify their cotton as elementary. It’s a great doctrine. But what happens is, you have a corporate farm right next to a family yeoman. And the things that [the corporate croft die] is putting on their loam, the weather and the wind blows over to the guy who’s trying to grow organic next threshold. So we need ways to regulate the big corporations and keep them from contaminating good sully. You’ve also strongly supported the Sustainable Biodiesel Similarity. Did that grow out of your Farm Aid slavery? It did. It was very important that we grow food and fuel ourselves, when we can grow it organically, and our farmers can grow it, without our having to go around the world starting wars over lubricate. And I was aware of this a long time gone, so I started trying to bring out the importance of keeping the small family farmer on the land and letting him grow our fuel and our subsistence. How do you stay in touch with family farmers? I write all the checks for every dollar that goes out of Farm Assist, for all of the grants around the nation. And I know who’s getting the readies. When I go to these towns, a lot of these folks show up and we say hullo. So I know a lot of the folks out thither, and I feel real close to them. You and your strife, Annie, recently posted a video on WillieNelson.com reciting a poem in solidarity with the Occupy Wall Street upward. Is there a connection between the protests against corporate dominance of the economy and Farm Aid’s fight against corporate husbandry? Yea, it’s all tied well-balanced. There’s no way to separate them. What’s happening out on the street [can be linked] to bad farm the numbers 35-40 years past, which led to putting family farmers out of work and corporations taking over the realty. They took all these farms and made golf courses and subdivisions out of them and sold them to a bunch of people who couldn’t afford them-and now have lost them. It was a domino cause. It started back when they quit taking care of our national resources. It just shows how everything’s machine-accessible. Farm Aid Brings Sustainable Food to Concert Venues Could the produce and products of America’s family farms satisfy the vast hunger of the nation’s concert and entertainment venues? Farm Aid suggests that’s entirely pushover, and it invites venues to learn from its seasoning. “You can feed everybody this viands,” Farm Aid associate director Glenda Yoder says. “Years past, the supply chain didn’t have [the volume]. The supply chain has it now and we’ve shown it can be through.” For those seeking to promote the business of America’s family farms, “food service in the entertainment business is the last pale,” Yoder says. After years of serving food from family farms offstage, Farm Aid brought that menu to the multitude, beginning with its 2007 concert on Randall’s Island in New York. It has continued the practice since. The move was part of a broader effort by Farm Aid to bring its business practices in synch with its mission of supporting family farms. For model, the organization accepts sponsorship dollars from food-related companies “who pay family farmers a fair face value, have an ecological standard for farming practices and make their commitment to sustainable and family farming known to their customers,” according to a sponsorship policy posted on FarmAid.org. Recent sponsors that have met this standard include Horizon Constituent, Organic Valley, Whole Foods Merchandise, soy milk company Silk, Unified Natural Foods, Chipotle Mexican Grill and Applegate Farms. For its T-shirts, Farm Aid has partnered with Anvil Knitwear, which markets clothes created from certified organic cotton and as well “transitional” cotton from farmers working through the three-year period needed for organic documentation. “What Anvil is doing is paying a premium to farmers to provide them with incentives during the three-year transition process [needed to grow organic cotton],” Yoder says. “Anvil’s partnering with Farm Aid also gives them the opportunity to bring farmers to Farm Aid concerts to tell the public the story of our T-shirts.” Farm Aid uses the brand pseudonym “Homegrown” for its concessions where, Yoder says, “we love to provide marketing opportunities for national companies who want their brands displayed [and meet Farm Aid's guidelines]. But we also provide economic opportunities for local farms and small businesses that can participate in our events.” Patchwork Family Farms in Columbia, Mo., a cooperative of family farms that raise pork with sustainable farming practices, has been part of Farm Aid’s food supply chain suitable 13 age, first backstage and then serving the fans. “We were able to get a system down for that particular trading post,” says Rhonda Perry, a co-founder of Patchwork with her husband Roger Allison. At one date, she says, “what you knew was, when you went to a concert you were going to eat really crappy bread. And you sort of had to be OK with that, because that was the genuineness.” But with Patchwork and many other vendors, Farm Aid has proved that tens of thousands of fans can be fed better food at an entertainment venue. Yoder explains that Farm Aid now has a clause in its contract with venues that says, “Farm Aid will provide assistance to whomever the concessionaire is, and we will make [this food purveying] admissible.’” Farm Aid culinary director Sonya Dagovitz is the point person for the concessionaires. Farm Aid founder Willie Nelson believes healthier concessions is a change in music business practice whose time has find. “It would be great if the music venues universally all artists, all promoters would also promote good food at concerts,” he says. “Because people now are demanding good commons. They’re that well-read. I think this is the next. People want to know what they’re feeding their order. It’s getting more and more that equivalent to. And that’s appropriate.” Perry adds, “We’re always glad to tell people what our experiences were, how we do elements, what’s worked for us and what didn’t work for us. “The more events and venues that enable family farmers to sell and the more successful farmers are when they’re at those venues,” Perry adds, “the better off we all are in the extremity.”

Radiohead Return To Australia Aft 8 Eld Radiohead will make the long haul to Australia this November for the band’s first shows here in eight eld, tour promoters Chugg Entertainment announced now. The band’s trek will also include dates in New Zealand, the first in the Land of the Long White Cloud on 14 eld. Radiohead will start their run Down Under with a November. 6 concert at Auckland’s Vector Field, before visiting the east coast of Australia for a November. 9 show at the Brisbane Entertainment Pivot, two dates at the Sydney Entertainment Core (November. 12 and 13) and two shows in Melbourne at Rod Laver Domain (November.16 and 17). Many fans of Radiohead in these parts had given-up hope the band would ever set their sights on arenas this far from available. The British group are vigilant environmentalists and their tours in recent years have been geared to reduce carbon emissions. Frontman Thom Yorke has been particularly outspoken about jet soiling, and was quoted in Britain’s Guardian newspaper back in 2006 as statement, “Long haul flights just feel flop.” Quite how the band will arrive Down Under has yet to be revealed. Tickets go on sale Walk 1. Gaga Adds More Dates Down Call of Radiohead isn’t the only hot ticket Down Care of. Lady Gaga’s “Born This Way Ballock” has sold-out a raft of dates, so promoters Live Nation and Michael Coppel have added shows to keep up with ask. A second show has been confirmed for Perth, third dates have been lined up for Vector Arena in Auckland and the Brisbane Entertainment Converge, while fourth shows have been added for Sydney’s Allphones Arena and Rod Laver Arena in Melbourne, tickets for which will go on sale Border 2. Gaga’s 16-date Australasia run begins June 7 in Auckland. Bowl over! Adele Eyes More Records on ARIA Charts In Australian chart info, Adele has scored the equal longest-running No. 1 album this c, as 21 (Remote Juice) notches up its 29th non-consecutive week at the peak of the ARIA Albums sea-chart, published Sunday. Adele’s sophomore album now shares that record with Delta Goodrem’s 2003 Sony Music release Innocent Eyes. Only Dire Head’ Brothers In Arms has a greater tally, dominating the chart for thirty-quatern weeks in 1985/86.

Neil Schield knew he could make a handful of changes for this year’s Record Store Era, his third and the organization’s fifth annual commemoration. Doors could open at 8 a.m. rather than 10; the number of shoppers in the store was upped to 10 from five in 2011; and rather than use staff to play music, bring in guest DJs. Check Out All Our Backbeats Right Hither It all worked swimmingly at the vinyl-only record store two doors down from the Echo nightclub where bands were playing a free show all daytime. The first customers arrived at 5 a.m. and camped out on Sunset Boulevard in the Echo Park section of Los Angeles. By the time Schield opened the small store’s doorway, more 40 people were on line to start. Record Store Daytime: Fans Flock to Stores in NYC Arena, Across the World The first person in in conformity, a student named Jake Leistre, was able to get all of the pieces on his wish inventory – albums by Sigur Ros, Dinosaur Jr. and Animal Corporate – and a few other goodies. He probably was not joking when he said “it’s probably ramen all workweek” as he paying. Compared to other stores that opt for a frenzy when they open their doors on Record Store Daylight, Schield goes for a calm spirit, encouraging his cashier to take her forthwith; one staffer is charged with alerting those online of records that have sold in sight. The vibe was untroubled, a throwback to the days when stores like Origami Vinyl were the only places to get hip music. Record Store Day Co-Founder Eric Levin on In-Stores, Exclusive Releases, Iggy Pop’s Ambassadorship Schield had a healthy amount of product on worker – 1,304 LPs, EPs, box sets and seven-inch singles, all of them Record Store Day releases. Some were in excess – The Electronic Anthology Project of Dinosaur Jr. and Smugglers In the works, a 24-page zine with five FlexiDiscs -  and in other cases there was only one copy on at one’s fingertips, the Sara Watkins/Everly Brothers burst 7-edge, for lesson. Within an hour it was easy to see which items were sitting high on fans’ wish lists – the Flaming Lips’ And Heady Fwends, Iggy Pop and the Stooges’ Raw Power and the Mastadon/Feist split single were sold out in 45 proceedings. The 12th, and incontrovertible, copy of  Sigur Ros’ Hvart/Heim was bought just first 10 a.m. Ten minutes ensuing, the Arctic Monkeys 7-inch on white of vinyl of “Don’t Sit Polish (Cause I’ve Moved Your Armchair)” and “Brick By Pal” was sold elsewhere. During 11 a.m., a established 15 titles were kaput. Max Sweeney was capturing activity in the store and the Echo on film for web posting at a later juncture. Music for the first four hours was provided by student disc jockeys from Loyola’s KXLU. The afternoon started with a set from KCRW DJ and music supervisor Jason Kramer, who spun cuts by King Charles and the L.A. band No. Matt Sullivan and Patrick McCarthy from the reissue label Light in the Attic spun an eclectic mix that included tracks from their new Lee Hazelwood pass out, vintage soul from Johnny Adams and mega-befogged ’70s country rock from Canadian Native Americans. eMusic Rolls Out Record Store Day Heat Map App Origami closed at 10 p.m., 14 hours after chance. Schield said he would sort through all the details of sales on Monday, but as far he was concerned this year’s Record Store Day surpassed last year’s nigh 45 pct – and last year’s Record Store Day was by far the biggest day of sales in the store’s chronicle. Sunday, he took the day bad.

Spotify CEO Daniel Ek announced the launch of a new API (Application Programming Port) for the Stockholm-based music streaming company during a global press conference tod (November. 30) in New York. Spotify already had a non-commercial API, but by bolstering its digital toolbox and set of controls that allows other companies to build services and features atop Spotify’s 15-million song music database, the hit service becomes more of a stage. The API is open to any comrades, but Spotify will approve the apps – which will be detach. The 2.5 million subscriber-platform will now stream curated music from Hoarding, Rolling Stone and Pitchfork and other partners (see infra), much like defunct San Francisco company imeem once attempted. Ek showed off song lyrics from Tunewiki, and a concert-finding integration from Songkick. All things being equal, music which Spotify does not have rights to – like Metallica and others – would not be available for use by such apps. Ek said the new direction is a response to enormous demand from Spotify users for more features. Potentially thousands of apps could take the place of. These will make the music service more feature-fortune, and ubiquitous. But the apps will reportedly only work on desktop and laptop computers, not mobile devices. With the Billboard app, fans can hear the surpass 10 of five charts – Sharp 100, Hoarding 200, R&B/Hip-Proceed, Country and Rock’n'roll – and then click over to Billboard.com, where they can create a playlist from any of the full charts. This part, currently in Beta, is scheduled to launch next workweek. “There’s really only that much that Spotify can do,” Ek said. “We really look forward to being surprised by our developers. They’re going to deliver new apps on the Spotify platform and they’re going to be things here than we can’t even imagine tod. … The possibilities are truly unremitting. Rolling Stone founder Jann Wenner took the stage Wednesday to extol the virtues of the repair, saying the only problem with it was its bowels of the earth. “It’s almost been too much of good stuff,” he said.  The service’s 15 million song database is such, “the history of recorded music staring at your kisser.” The move will differentiate the service from competing streaming services Rdio, MOG, and Rhapsody – though Rdio also has an API. It also bolsters the companies’ offerings in comparison to owned-music streaming services from Apple’s iCloud, Amazon’s Cloud Player and now Google Music. In September, Spotify allied with Facebook, requiring a Facebook login for the service and sending Spotify user activity to the user’s Facebook watch. It has gained 500,000 new subscribers since years ago. This workweek, Virgin Media in the UK debuted a TiVo-integrated Spotify colloid. Speaker maker Sonos also announced tighter Spotify integration on its Sonos controller for iOS and Android smartphones and tablets. Whether true or not, fears of CD sales cannibalization, as well as the perception that streaming services’ payouts to artists are meager have become a headwind for the surging attendance. Spotify faces something of a minor rebellion among the rights holders behind its catalogue. UK-based indie distributor ST Holdings representing involving 200 labels pulled its catalog in November, citing streaming’s alleged cannibalization of higher-margin physical media sales. Catalog gaps are troubling for users who were sold on the depth of Spotify’s felicity. Ek said Wednesday that Spotify has paid out more $150 million to artists and labels, and is the number two digital revenue source behind iTunes in Europe. Launched in October 2008, Spotify burnt- 18 months getting their at the outset 500,000 subscribers. Available in 12 countries and now in the U.S., Spotify added one million subscribers between March of this year and November. After the declaration, Spotify held a brief a Q&A with David Goodman, President of CBS Interactive Music Troupe, Larry Goldberg, CEO of Tunewiki, Ian Hogarth, Founder and CEO of Songkick, and Bill Crandal, Head of Digital Content at Rolling Pit. By pairing music listens with show dates, Hogarth said Spotify is in a position to help the music industry’s live show sphere, likewise. “We want to move people from going to no concerts to going to oodles of concerts,” he said.

The sale of EMI is just the beginning in what could be a lengthy process that further consolidates the record and music publishing businesses. Citigroup’s sale of EMI — its recorded-music division to Universal Music Group and its music publishing expected to go to Sony — will need the approval of regulators on both sides of the Atlantic. And each buyer faces different chances of coming out the other end unmarked. The assumption of regulatory risk has always been a central component to the decision. While a bidder with no music assets would easily get regulatory separation, existing music companies always face some scrutiny when a merger or acquisition reduces the numbers of competitors in a mart. EMI Group CEO Roger Faxon admitted as much when he wrote in an internal memoranda, “Universal will need to clear the necessary regulatory hurdles before they can take possession.” Given EMI’s small market share in recorded music — 9.15 percent of U.S. track-equivalent albums, according to Nielsen SoundScan — and labels’ difficult financial set, Universal’s acquisition of EMI’s recorded music division could face relatively few serious hurdles in the U.S. “I don’t think you’re going to see any scrutiny of it,” says one experienced antitrust attorney who has worked with major labels in the nearby. Be that as it may, Sony’s expected acquisition of EMI Music Publishing may face greater headwinds. “I wouldn’t be surprise if regulators looked at it very tight,” says the lawyer. While technology has drastically changed the recorded-music responsibility, this person says, publishing “is what it is” and EMI has “tremendously valuable catalogue.” Given historical standard, the acquisitions are likely to fare better with U.S. regulators than their counterparts in Europe. The 2004 merger of Sony Music and BMG was approved in short order by the Federal Trade Commission and the January 2010 merger of Live Nation and Ticketmaster required only some small concessions — namely the divestment of ticketing company Paciolan — before winning the approval of the U.S. Department of Neutrality. After all, the Obama administration has proven itself to be tougher than its predecessor by revising horizontal merger guidelines and opposing the $39 billion merger of AT&T and T-Transportable. But mergers and acquisitions face a different regulatory environment in Europe. Both the recorded music and publishing companies may face more opposition than they would in the U.S. Although the Sony-BMG uniting — a joint venture of recorded music divisions — was initially approved by the European Mission, it was voided by an appeals court in 2006.  The merger was again approved in 2007 after an study. Independent music companies association IMPALA doesn’t believe divestitures will save the merger from failing to win regulatory give the green light, and said in a statement earlier today that it expects the EMI-Universal deal to be “blocked straight.” Helen Smith, executive chairman at IMPALA, says various mergers over the years have already harmed the mart. “It’s clear Universal hopes divestment might make regulators approve the fusing, but I can’t imagine that will come to c clear up.” Smith argues Universal is already “beyond the size deemed sufficient” the last time the Commission looked at the congregation. And she notes that Impala has already asked the Commission to investigate Universal’s partnership with Live Nation that Impala believes “will increase its market share even more.” A2IM president Rich Bengloff buttressed Impala’s position on the sale of EMI. “The increased concentration of copyright possession, historically, has always hurt the independent label community in terms of achieving economic parity and market entranceway,” Bengloff said in a announcement. “We join our European Impala Independent music label colleagues in their concern over this acquisition and await more cite chapter.” But the acquisitions very well could go because of, and the actions taken by the European Commission four years ago provide clues about what steps Universal or Sony might need to take to win regulatory permission. Compared to its approval Sony-BMG uniting, the Commission took a tougher stance in 2007 when it approved Universal’s 2007 acquisition of BMG Music Publishing. The Commission was concerned the acquisition would give Universal the ability and incentive to increase prices for the online rights of some of its repertory. As a outgrowth, Universal was required to divest itself of a number of assets, including Zomba UK and Zomba US. Sony and Universal both have considerable assets and numerous divisions to unload in the event regulators require a divestiture. And each would have no problem finding willing emptors. Anyways, both companies made their bids for EMI’s divisions with the understanding that the sale was the first of possibly many steps in integration their acquisitions into their companies.

Pandora Media (NYSE:P) shares had dropped 5 percent in midday trading Monday in the wake of music-streaming service Spotify’s unveiling of upgraded radio features. The broader market was also down Monday, meaning Spotify wasn’t behind the entire run out of gas. Before 2 p.m. ET the S&P 500 was consume 2.1 percent and the Nasdaq composite was polish 1.8 pct. But Pandora dropped 5.1 percent on Friday as without doubt. Knee-jerk reactions like this clearly reveal the nature of investors’ thinking about Pandora. Investors are not as scared of Spotify as they are fearful that Pandora doesn’t have the ability to stave off competitors. To say the least ‘, the barriers to entry in Internet radio are quite squat. A company can use statutory licenses to stream music at a known, set royalty without the need for upfront payments to rights holders. This is Pandora’s model and it will have many copycats. And on-demand services with negotiated licenses (who have paid big upfront fees) also have the tools to create Pandora-like radio features. While subscription services are more hands-on than Pandora, they are quickly creating features that offer a more “lean with little” listening training. Spotify’s New Focus: A Big Step Forward for the App Stir But stock swings like we’re seeing now are superfluous. An investor holding shares for the long denominate (which is not always the occurrence, of passage) should value Pandora under one of two scenarios: either the company has established enough of a leadership position to justify a high valuation or it does not have a sustainable competitive advantage and merits a lower valuation. There just isn’t much reason to sit in the centre. If you can see clearly into the years forwards, why react only to what is right in front of you? Although it is an innovator and market bandleader, there is no doubt Pandora will face constant competitive threats. More music services like Spotify will improve their radio features. More Internet radio companies will try to capture the same radio market share Pandora is seeking. A bearish investor need not wait for those threats to notice. In lieu of, the inevitability of threats in the future should dictate current valuations. Pandora Reaches 40 Million Active Representatives Pandora is fine-tune 33.2 percent in the last month. On Monday it reached an all-time low of $9.15 (the company went public in mid-June).  As long as investors react to every little piece of potentially damaging info, and until Pandora can ease investors’ concerns about its vulnerability to threats, expect more stock swings like we’re seeing in this day.

Concessions at the Super Bowl Sunday, for the first on the dot, will serve organic eats, sourced through Farm Grant-money, the music-industry-backed group that supports American farmers. The chili on offer at Lucas Oil Stadium in Indianapolis “will be the first organic concession items sold at a Super Pan,” according to a statement Friday from Farm Subsidy. Super Bowl Synch Publish: 8 Placements Each for EMI, Warner/Chappell; Budweiser Prepping 4 Co-founded in 1985 by Willie Nelson, Neil Young and John Mellencamp, with Dave Matthews later joining its quarter, Farm Aid has raised more $39 million during the retiring 26 years to keep American family farmers on their land.  The funds are raised by activities including annual benefit concerts, most recently a 2011 event staged at Livestrong Sporting Park in Kansas Burg. Homegrown Concessions, a brand offshoot of Farm Service, will provide chili at the Super Bowl comprised of ingredients from four family farms: pork, beef and beans from farmers in Indiana, and chili from farmers in New Mexico. Picture: 2012 Super Bowl Music Ads, With Elton Can, Melanie Amaro, Motley Crue, OK To, More For those seeking to promote the business of America’s family farms “food service in the entertainment business is the last boundary,” says Farm Aid associate director Glenda Yoder (Hoarding, November. 19, 2011).  “You can feed everybody this food.  Years past, the supply chain didn’t have [the mother wit].  The supply chain has it now and we’ve shown it can be consummated.”

Pandora Accounts For More Than A Third of SoundExchange’s Collections Pandora accounted for somewhere surrounded by 36.7% and 38.6% of SoundExchange’s collections for digital performance royalties in 2012. Angus MacDonald, General Counsel at Internet radio company Live365.com performed the original calculations based on figures in SoundExchange’s just-released draft annual report and Pandora’s financial statements. I came up with a slightly different calculation using the same sources. (One important consideration is that the above numbers are not finishing. SoundExchange’s draft annual report is based on pre-audited financial statements and may be revised in the time to come.) Pandora Streamed More 1 Billion Listener Hours in Tread Here’s MacDonald’s mathematics: SoundExchange reported collections from all statutory services of $371.9 million in 2011, according to the draft annual report it released earlier in the workweek. That marks a 40% increase over the $265.9 million collected in 2010. (As an digression, SoundExchange had expenses of $20.2 million in 2011, which implies an administrative rate of 5.3%.) Pandora took in revenue of $274.3 million in its fiscal year ended January 31 and paid free 49.7% of its revenues to SoundExchange (the remainder of content acquisition costs were paid out to performance rights organizations). That works bent $136.3 million paid to SoundExchange by Pandora. Business Matters: Pandora’s Stock Hits All-Time Low of $9.03 MacDonald calculates Pandora’s share of SoundExchange collections as 36.67% ($136.3 million divided aside $371.9 meg). That estimate is close but is slightly off because SoundExchange uses the calendar year for accounting purposes while Pandora’s fiscal year ends January 31. Business Matters: Spotify, Pandora, Google Music, Lady Antebellum Nominated notwithstanding 2012 Webby Awards My alternate calculation of Pandora’s share is 38.6%. I came up with an estimate of $289 million for Pandora’s calendar yr 2011 revenue based on its growth in quarterly handle (all I did was take Pandora’s fiscal yr, subtract an estimate for January 2012 and add an estimate of January 2011). This method for a better comparison of SoundExchange’s collections and Pandora’s royalties over the exact same time while. This estimate also assumes Pandora paying 49.7% of revenue to SoundExchange. SoundExchange Responds To SiriusXM Cause, Calling Allegations ‘Entirely Wrong’ In either the reality, Pandora accounts for well over one-third of SoundExchange’s collections in 2011. Being such a large share of SoundExchange’s business has implications for the upcoming royalty rate agreement, writes MacDonald. “With Pandora’s ever-growing listening hours and royalty payments, SoundExchange and the labels need a healthy Pandora as much as Pandora needs a reasonable pureplay-like rate for the next royalty designate (2016-2020). This is especially true if Sirius XM continues to sign up more direct license deals, thereby bypassing SoundExchange (though Sirius XM’s recent antitrust complaint suggests that may be a tough row to hoe).” Amazon Digital Sales Growth Far Outstrips iTunes Amazon digital sales grew 29% in the first quarter of 2012 from the fourth quarter of 2011 while iTunes’ digital sales grew but 2% over that time point, according to figures released by eDataSource. Digital sales at Amazon include such items as Kindle subject matter, MP3s, streaming videos and Android apps sold at the Amazon Appstore. iTunes digital sales cover music, movies, digital print and apps from the Apple App Plenty. You may be asking yourself, “Who is eDataSource?” The company calls itself “a provider of competitive intelligence for digital messaging” that analyzes emails for branding messages. That may sound like an unusual company to track digital sales trends, but CEO Carter Nicholas explains to Billboard.biz the company looks at the online purchase confirmations of its panel of during the course of 800,000 consumers. Those emails give it insight into marketing and branding trends – its core byplay – as well as trends in digital sales from major retailers. Amazon’s large gain in the consecutive quarters could be due in part to holiday sales of its Kindle Fire troche. Stifel Nicolaus analyst Jordan Rohan estimated Amazon sold 6 million Kindle Fire devices in the fourth residence, according to a report at CNET. That’s well below the 15.43 million iPads Apple shipped in the territory (shipped is not the same as sold, but they’re probably close given high involve). Those Kindle Fire purchases must have gone to new customers for Amazon to achieve such a large winnings. New customers mean incremental spending on digital goods. More will be known when Amazon releases first-quarter results, probably at the end of April. The figures do not reflect iTunes’ and Amazon’s digital music sales, nonetheless. Nicholas says eDataSource cannot break out music sales because it does not yet track at a product bulldoze. Nor does the company track Dmoz, which sends confirmation emails, or download services like eMusic, which does not send confirmation emails. And because the email monitoring service has data going back only to the summertime, eDataSource cannot yet give year-over-year comparisons. ( eDataSource press publicity)

Grammy-winning artists Erykah Badu and DJ Spinderella took turns as DJs at the Grammy Glam party Tuesday (February. 7) in celebration of the Grammy Awards taking place on Sunday. Grammy Glam was presented by CoverGirl, Olay, and Venus. Spinderella said that the week’s worth of parties takes her back to the time she received a Grammy for her work with Salt-N-Pepa. “The Grammy is like the classic top-notch accolade for musicians,” Spinderella said. “For us it was one exciting moment in our vocations.” Spinderella had advice for those who end up winning an actual trophy this workweek. “Please put it away safely,” she said with a giggle. “But just have a great time whether you’re nominated or whether you collect. It’s a moment you’ll remember perpetually. The Grammy is still meaningful for me.” Spinderella later played crowd-pleasing music from “People Circadian” by Arrested Development to “Pump Grill” by Snoop Dogg and Lil Malik. While the Grammy Glam party symbolized a night of music achievements, it was also a night to celebrate women in the perseverance. “The Grammys is a perfect event to bring it all outlying,” Spinderella. “It’s a glamorus eventide, lovely.” Producer/artist Nickelodeon, who produced Willow Smith’s “Whip My Fraction,” also spoke to Billboard.biz about his upcoming projects. “I recently did a song with Swizz Beatz and Chris Brown signaled ‘Dance Like A White Girlfriend’ that I’m very excited with regard to, featuring myself. Also worked on a record with Mindless Behavior that’s doing very definitely,” he said, before mentioning the night’s DJs. “Two very strong personalities. Erykah Badu is one of my favorites. She’s the definition of ‘do what you think,’ and Spinderella, too. She’s always been comfortable in her overlay.” Recording Academy President Neil Portnow also attended the Grammy kick-off party and said the Grammy Glam event was created around the theme of soundness, handsomeness, fashion and music. Other execs in the house included A&R/management vet Anthony Demby, musician/arranger Michael Bearden and LiquidThread VP Elyssa Starkman. Billboard Influence 100: Neil Portnow While Portnow emphasized the spirit of the Grammy celebrations, he said to Billboard.biz that he was also aware of the protests that are being organized by musicians who last year filed a lawsuit against the National Academy of Recording Arts and Sciences (NARAS) over the elimination of 31 categories. Those protests, mostly by Latin jazz musicians and their supporters, are scheduled to take place Sunday outside of the Staples Center during the awards show and Thursday at the Academy’s headquarters in Santa Monica at 10:30 a.m. (PST). “We’re fine with people who want to disagree with us,” Portnow said. “We’re fine with people that have their opinions. We’re an open organization where anybody can be a member and join and have a voice and be part of the activity. We prefer those that work with us.” Portnow said that the Grammys make changes every year when it comes to categories and hopes that this week most of the focus stays on the achievements of artists being recognized for their peg away. “For those who take a hard line with lawsuits and protests, that’s their rare,” Portnow said. “It wouldn’t be my preference as a way to work calm. We’re all musicians and we’re all in the same community. So long as they do it in a respectful fashion because that day is really about the artists and the musicians who created the great work of the year who are being prestigious.”

Not many music-business institutions have been around longer than Dick Clark, but Billboard is one of them. From his early days on “American Stand” to his death at the age of 82 yesterday (April 18), Clark was featured in our pages so many times, and was such a constant presence in the corporation, that any attempt at a definitive collection of highlights would take weeks. Dick Clark: An Appreciation of the Man Who Took Rock and Roll Nationwide, and Helped Pioneer Its Proprietorship So we’ve pulled together a collection of 12 articles featuring or about Clark from the past few decades — from what may be his first mention in Billboard more 50 years ago to a cordial 2003 visit to his offices — that don’t attempt to tell his whole comedy, but are fascinating, sorcerous, telling signposts of a career that is truly only, and has had an indelible influence on popular sophistication, music and its corporation. Picture: 10 Classic Dick Clark Moments From ‘American Stand’ The first mention of Dick Clark in Hoarding, May 26, 1951 The great Christmas card promotional feat, December. 16, 1957 Youth Reaction Makes Clark the Ryan Seacrest of the Generation, November 10, 1958 The Dynasty Begins, Cortege 9, 1959 CONTINUED ON VARLET 2

Your eyes aren’t deceiving you. There are two different groups named One Direction on the Billboard charts this workweek. While the U.K. pop quintet is at No. 5 on the Hoarding 200 with Up All Sundown (66,000 sold according to Nielsen SoundScan; consume 28%), a California rock band with the same name enters the Heatseekers Albums chart at No. 48 with The Lightweight (1,000; up 9%). One Direction Tops Hoarding 200, Adele Holds at No. 2 The latter album was released in the United States in Grand 2011 and has seen almost weekly sales growth since February. (About the same time the U.K. act started making waves on the Billboard charts.) The set’s cumulative sales now stand at 6,000 copies. “We may not have Simon Cowell’s machine behind us, but we have many loyal fans,” the other One Direction tells Billboard through their rep. “We thank them for supporting our albums, and we intend to stand up for the right to Rock and Flow in!” One Direction Has Highest Enthusiastic 100 Debut For New U.K. Act Since The Verve In 1998 According to the California-based group’s Facebook verso, it has disused “drawn into a legal about” with the U.K. act over the use of its respect. As the U.S. group has antediluvian “using the name since November 2009″ (a year before the British One Direction formed on “The X Ingredient”), its members are claiming they have first rights to the personage. In a recent interview with Australia’s Herald Bask, British boy band members Harry Styles and Zayn Malik said they’re “not changing their pre-eminence,” but added they give birth to “no sense” what’s going on with the oppose.

Nicki Minaj is on track to score her second No. 1 album on the Hoarding 200, while Rascal Flatts is heading for its eighth excel 10 upon. Industry sources suggest Minaj’s “Roman Reloaded” will sell some 215,000 to 235,000 and easily debut at No. 1, while Rascal Flatts’ “Changed” may start in the No. 3 slot with with reference to 100,000 to 120,000. (The sales tracking week for next week’s Billboard charts ends on Sunday, April 8.) Nicki Minaj’s ‘Roman’ Ready for No. 1 on Hoarding 200 The new Hoarding 200 chart’s excel 10 will be revealed on the morning of Wednesday, April 11. Rascal Flatts should also debuted at No. 1 on our Country Albums diagram, netting its seventh the man. All of the band’s studio sets have bowed at No. 1, save for its self-titled 2000 introduction. It bowed at No. 14 on the Country total, on its way to a No. 3 bill. Lionel Richie’s “Tuskegee,” which opened at No. 2 on the Hoarding 200 this past week with 199,000 sold (according to Nielsen SoundScan), should see a relatively slight second-week decrease in sales. It will probably sell with 100,000 copies and end up in the top phoebe. Easter week shopping is likely helping its sales, as is a solid slate of promotional activities. This workweek, Richie was interviewed on NPR’s “All Things Considered” (April 2), played “The Ellen DeGeneres Pageantry” the same daylight, performed on “Jimmy Kimmel Be” (4) and sang on “The Tattle” (5). In any way, the woman who beat him for the top of the blueprint — Madonna — will likely take a significant tumble with her No. 1 regulate “MDNA.” It will perhaps impel 50,000 copies this week and may end up around Nos. 10 or 11 next workweek. It bowed at No. 1 with 359,000. Her first week was bolstered by sales gained from a concert ticket/album promotion as well as banked pre-orders from iTunes. So, a sizable second-week drop was expected. On Nielsen SoundScan’s Building map out (infra), Minaj’s “Roman Reloaded” is No. 1, Adele’s “21″ is No. 2 and Rascal Flatts is No. 3. The Building tally is a precursor to the final Hoarding 200 ranking — reflecting the first four years (Monday through Thursday) of SoundScan’s tracking week as reported by six major merchants. One Direction’s “Up All Incessantly” in in fifth standing, Of Monsters & Men “My Head is an Mammal” is sixth and the soundtrack to “The Hunger Pluckies” is seventh. Marvin Sapp’s hip “I Secure” is at No. 8, Alabama Shakes’ “Boys & Girls” is No. 9 and Shinedown’s “Amaryllis” is at No. 10.

Say you’re a big fan of Sleigh Bells (the ensemble, not the wintertime equine adscititious). Wouldn’t you want to listen to whatever Derek Miller and Alexis Krauss rocked on their iPods last workweek? We already have the technology to make that issue, in what could be the biggest Untapped App of them all: artist radio apps that deliver not only their music, but the artist’s grace. This idea could make money for everyone mired, as I’ll explain beneath. All the pieces are thither. All that’s missing is the despatch, and that probably won’t take much thirster. One of the most popular ways to listen to music online today is artist radio stations on Pandora, iHeartRadio, and other services that ask a user to enter an artist’s name in order to hear a station with their music as well as stuff that sounds correspond to. Why not go one better by including: In that version of the “artist boom box” conception, the station would come as its own web app (at the artist’s website or Facebook paginate) as well as smartphone apps on multiple platforms. The apps would include not only the artist level, but also tour dates, merchandise urls, the artist’s tweets, and any other data feed they’re generating (videos, Pinterest, Flickr, whatsoever). Now for the money region. In my hallucination, these apps would be sponsored by makes. Yes, the apps would be free and unbounded, on the web anyways (more on that beneath), but you’d have to put up with an ad for whatever company pays for the app. Not only would the brand pay for the app to be highly-developed, but they’d pay sponsorship money on top of that to the band itself, depending on the nature of the announcement, the reach of the tie, and the demographics to which they beguile. Just about every band needs more cash these years, plainly, and this would give them a way to earn it without selling their music to actual commercials. Depending on the heap, the sponsorship could include display ads, a splashscreen that loads before the music starts, or even audio interstitials that occasionally play between songs, just like they already do on the free versions of Spotify and Pandora. And users should be able to pay extra for an ad-free side, of sequence. But what about copyright? Where does all the music come from? Isn’t launching something like this so complicated that only lawyers and programmers would get paying? That piece of the puzzle also exists already: The music could come from Spotify, Rdio, or any other company that has deals with most of the labels and publishers in the world as well as an API. In the case of apps that exist within Spotify (or Rdio if it goes that route too), some of the sponsorship money would have to go to the music service supplier, because hey, the ad is showing up in their app too. Rumor and reporting has it that Spotify is already working on supporting commercial and possibly sponsored apps (in low-down, that’s what we thought it was announcing earlier this workweek, when it announced that new play button for the spider’s web). So that piece of the puzzle is just about here too. Or, if an artist/label pet, they could build their own DMCA-compliant radio rank, rather than relying on Spotify, Rdio, or another consumer-facing podium. Or they could build them on top of Pandora, iHeartRadio, or another company that already does basic artist wireless. Unlike bespoke artist apps, these ones would be cheap to build using pre-existing elements. An artist would pretty much only need a list of songs and artists they same, someone to build an app using pre-existing building blocks, and the feed information for all the stuff they’re already doing online on Facebook, Chirrup, Rdio, Spotify, etcetera. They would then have pretty much the perfect delivery system for broadcasting their taste to music fans via apps (the way they can already do with Wahwah.fm); keeping their fans hooked in to all of their social media victuals; and selling MP3s, buy and sell, and concert tickets. About those tickets: Because the artist would “own” the app, they could use it to sell their allotment of direct-sale tickets via something like Crowdsurge, rather than hooking into Ticketmaster or another wholesaler. This would let them keep more of that moolah, and it would be thinkable, because their app would become a main point of interaction with their fans, incorporating everything they’re doing somewhere else. Like many ideas, this one gets easier with ranking. If it takes on holiday, all an artist or manager would have to do is opt-in to a semi-automated app-creation mill. Send in some carveds figure, the Twitter and other relevant gives, a Spotify or Rdio standing, and 50 or more hand-picked tracks, and profitability — they would have an incredibly sticky promotional and money-making tool that the market has already proven their fans would application. There is one sticking spur, when it comes to building these on top of Rdio or Spotify: People need to pay for a subscription if they want to listen to the apps they power on smartphones, tablets, and televisions for longer than 30 years. That’s not standard of perfection, but it means these artist apps could generate leads for subscription services. If you love that Sleigh Bells app (and maybe some other artist apps) enough to keep using it on your phone for more than a month, you’d have to subscribe to Rdio, Spotify, or whatever else in order to keep the music sleek. If you did so within the app, the band could receive a referral fee similar to the ones Rdio already pays out when app developers send them new subscribers. Fans would have a real reason to keep using apps like that, unlike the 94 percent of mobile apps that are no longer used after a yr. The music and other content would always be rosy. And the music would always sound good to fans of that artist. I’ve been saying for years that maybe some people don’t want to subscribe to music in mongrel; maybe some of them want to subscribe to bands. All the pieces are thither. Someone just needs to put them well-balanced.

It not exactly a price war just all, but iTunes has 302 songs priced at 69 cents songs acting as a counterweight to Amazon’s 226 69-cent songs. In the last fortnight, iTunes added 15 new collections of songs priced at 69 cents and gave them home-page emplacing. But they’re not the current hits that Amazon is offering at a disregard. Preferably, they are well known catalog songs grouped together in themed collections. The “69-cent No. 1s” collection includes America’s “A Horse With No John doe,” Nickelback’s “How You Remind Me” and Eric Clapton’s “My Father’s Eyes.” There are other collections for songs from the ’90s and ’00s and genres such as Latin, wilderness, Christian and hip journey. There’s the 15-air “69-cent Hair Metal Songs” collection that boasts Skid Row’s “18 and Memoirs,” Winger’s “Headed for a Heartbreak” and Faster Pussycat’s “House of Cut to the quick.” Word Music has a 60-song sampler of 69-cent religious songs. And Jeremy Camp and The Cars each have their own collections. Amazon currently has 226 songs at 69 cents (up from 204 songs two weeks past) such as Katy Perry’s “E.T.,” Lady Gaga’s “Judas,” Lady Antebellum’s “Just a Neck” and Jessie J’s “Price Handle.” These 69-cent songs make up most of Amazon’s best-sellers thesaurus – including nine out of its top ten. How, the top melody, Adele’s “Rolling in the Poseidon’s kingdom,” is selling as regards $1.29. These low-price tracks are most likely making just a slight impact on track sales (which were up 10% through May 8, according to Nielsen SoundScan). Amazon’s small market share means low prices on hit tracks won’t move the needle practically. And iTunes’ low-priced songs are slow-moving catalog tracks. Anyway, consumers have the luxury of shopping around for good deals while the two MP3 leaders sprinkle in digital discounting.

NEW YORK (AP) – Apple is holding an event Wednesday in San Francisco, and has hinted that it will reveal a new iPad poser. Rumors speak of an updated tablet with a speedier processor, a sharper screen and an option for faster wireless broadband admittance. If last year’s launch of the iPad 2 is any shepherd, the new iPad model will go on sale in the U.S. next workweek, likely on Friday. Apple Expected to Unveil iPad 3 at Event Next Workweek The upgrade from the iPad 2 to the iPad 3 will be less significant than the upgrade from the original iPad to the iPad 2, which added two cameras while cutting both the thickness and the weight of the disposition. One big unknown is whether Apple will keep the iPad 2 in production and offer it at a lower penalty, like it kept the iPhone 3GS after the launch of the iPhone 4. Apple Vs. Proview iPad Trademark Lawsuit Comes To U.S. Another big question is whether Apple will reveal its rumored foray into making TV sets. Some have speculated that the invite to the Apple in any case, which said “We have something you really have to bon voyage a penetrate,” points in that supervision. Apple already sells and “Apple TV.” It’s not a TV, but a small box that attaches to a television set to display movies and play music from iTunes. The iPad launch comes as Apple has reached a rare milestone: Last workweek, it was worth more $500 gazillion. Only six other U.S. companies have been worth that lots, and none have held that valuation for faraway. On Tuesday, Apple’s stock prostrate, bringing its market value down to $493 gazillion, but analysts believe the company is worth closer to $550 trillion. These are some rumored features of the iPad 3: – A sharper paravent, similar to the “Retina Array” on the iPhone 4 and 4s. The rumored resolution is 2048 around 1536 pixels, which would make text look smoother and some high-resolution pictures look more wisely. It won’t make much of a difference for images on the Entanglement, or tv. Some speculate that Apple will call the model the “iPad HD,” with a view “high distinctness,” rather than “iPad 3.” – The new iPad could include Siri, the voice-excited “accessory” found on the iPhone 4S. Siri has gotten mixed reviews, but Apple has been touting the feature heavily in its publicizing, and it would make sense to expand the availability of this high-profile quality. – Faster wireless capabilities. IPads are available with built-in modems for AT&T’s and Verizon’s third-establishment, or “3G” cellular networks in the U.S. The iPad 3 could come in a version that offers quicker “4G” or “LTE” networks. In any way, most iPads are used only on Wi-Fi, so an “LTE” chip wouldn’t matter to most representatives. In this heed, Apple is playing catch-up. Some competitors, such as Samsung and Motorola, already sell LTE-compatible tablets. Since last turn out to be inadequate, Sprint Nextel Corporation. has sold the iPhone. But it doesn’t sell the iPad. It’s possible it could join AT&T and Verizon Wireless in selling the iPad 3. – A faster processor. This is pretty much a apt, since every new iPhone or iPad has improved on the computing power of its forerunner. But few users complain about their iPads being perceptible, so this should not be a major selling mote. Sarah Rotman Epps, an analyst for Forrester Dig into, said hardware features aren’t that important to tablet clients. “It’s about the services – what you can do with the implement,” she said in a blog propagate. Apple’s competitors have slowly come to realize that, but only after bringing out dozens of tablets with whiz-bang features equal 3-D cameras. The competitor that’s done the best is Amazon.com Inc. Its Kindle Fire tablet is cheaper than the iPad, but what really sets it apart is that it’s tied into Amazon’s log, movie and music stores, making it an easy route to relaxation, just like the iPad. Still the Kindle Fire has a long way to chatter. Epps estimates that Amazon sold 5.5 million Kindle Fires in the fourth quarter of last yr. Temporarily, Apple sold 15.4 million iPads, and has sold 55.3 million in absolute. According to Canaccord Genuity, 63 percent of the tablets shipped last year were iPads. The only competitors with more than 5 percent market share were Virago and Samsung Electronics Co.