Thursday, June 14, 2018

Billboard Hot 100 & Billboard Music Awards

Billboard Hot 100 & Billboard Music Awards:

Biilboard Hot 100 posted a photo:

Billboard Hot 100 & Billboard Music Awards

Billboard Hot 100

Billboard Hot 100 & Billboard Music Awards


Top Billboard 100

Coisa Linda

Happy Birthday

Magic Music


Not Anymore

Hold Me Tight

Ome E Net Ton

American Samba

Magic Music With Prelude

Do Not Let It Get You Down

The Billboard Hot 100 is the United States music industry standard singles popularity chart issued weekly by Billboard magazine. Chart rankings are based on radio play and sales; the tracking-week for sales begins on Monday and ends on Sunday, while the radio play tracking-week runs from Wednesday to Tuesday. A new chart is compiled and officially released to the public by Billboard on Thursday. Each chart is dated with the "week-ending" date of the Saturday two weeks after. Example:

Monday, January 1 – sales tracking-week begins

Wednesday, January 3 – airplay tracking-week begins

Sunday, January 7 – sales tracking-week ends

Tuesday, January 9 – airplay tracking-week ends

Thursday, January 11 – new chart released, with issue date of Saturday, January 20.

The first number one song of the Hot 100 was "Poor Little Fool" by Ricky Nelson on August 4, 1958. As of the issue for the week ending December 17, 2011, the Hot 100 has had 1,009 different number-one hits. Its current number-one is "We Found Love" by Rihanna featuring Calvin Harris.


1 History

2 Hot 100 policy changes

2.1 Double-sided singles

2.2 Album cuts

2.3 EPs

2.4 Paid digital downloads

2.5 Remixes

2.6 Recurrents

3 Year-end charts

4 Limitations

5 Use in media

6 Similar charts

7 See also

8 Sources


What has always been known as the Hot 100 had existed for nearly fifteen years as numerous charts, tracking and ranking the most popular singles of the day in several areas. During the 1940s and 1950s, popular singles were ranked in three significant charts:

Best Sellers In Stores—ranked the biggest selling singles in retail stores, as reported by merchants surveyed throughout the country (20 to 50 positions).

Most Played By Jockeys—ranked the most played songs on United States radio stations, as reported by radio disc jockeys and radio stations (20 to 25 positions).

Most Played In Jukeboxes—ranked the most played songs in jukeboxes across the United States (20 positions). This was one of the main outlets of measuring song popularity with the younger generation of music listeners, as many radio stations resisted adding rock 'n roll music to their playlists for many years.

Although officially all three charts had equal "weight" in terms of their importance, many chart historians refer to the Best Sellers In Stores chart when referencing a song’s performance prior to the creation of the Hot 100. Billboard eventually created a fourth singles popularity chart that combined all aspects of a single’s performance (sales, airplay and jukebox activity), based on a point system that typically gave sales (purchases) more weight than radio airplay. On the week ending November 12, 1955, Billboard published The Top 100 for the first time. The Best Sellers In Stores, Most Played By Jockeys and Most Played In Jukeboxes charts continued to be published concurrently with the new Top 100 chart.

On June 17, 1957, Billboard discontinued the Most Played In Jukeboxes chart, as the popularity of jukeboxes waned and radio stations incorporated more and more rock-oriented music into their playlists. The week ending July 28, 1958 was the final publication of the Most Played By Jockeys and Top 100 charts, both of which had Perez Prado's instrumental version of "Patricia" ascending to the top.

On August 4, 1958, Billboard premiered one main all-genre singles chart: the Hot 100. Although similar to the Top 100, the first Hot 100 chart reset all songs’ "weeks on chart" status to "1". The Hot 100 quickly became the industry standard and Billboard discontinued the Best Sellers In Stores chart on October 13, 1958.

The Billboard Hot 100 is still the standard by which a song’s popularity is measured in the United States. The Hot 100 is ranked by radio airplay audience impressions as measured by Nielsen BDS, sales data compiled by Nielsen Soundscan (both at retail and digitally) and streaming activity provided by online music sources.

There are several component charts that contribute to the overall calculation of the Hot 100. The most significant ones are shown below.

Hot 100 Airplay—(per Billboard) approximately 1,000 stations, "composed of adult contemporary, R&B, hip-hop, country, rock, gospel, Latin and Christian formats, digitally monitored twenty-four hours a day, seven days a week. Charts are ranked by number of gross audience impressions, computed by cross-referencing exact times of radio airplay with Arbitron listener data."

Hot 100 Singles Sales—(per Billboard) "the top selling singles compiled from a national sample of retail store, mass merchant and internet sales reports collected, compiled, and provided by Nielsen SoundScan."

Hot Digital Songs—Digital sales are tracked by Nielsen SoundScan and are included as part of a title's sales points.

Hot 100 policy changes

The methods and policies by which this data is obtained and compiled have changed many times throughout the chart’s history.

As the advent of a singles music chart spawned chart historians and chart-watchers and greatly affected pop culture and produced countless bits of trivia, the main purpose of the Hot 100 is to aid those within the music industry – to reflect the popularity of the "product" (the singles, the albums, etc.) and to track the trends of the buying public. Billboard has (many times) changed its methodology and policies to give the most precise and accurate reflection of what is popular. A very basic example of this would be the ratio given to sales and airplay. During the Hot 100’s early history, singles were the leading way by which people bought music. At times when singles sales were robust, more weight was given to a song’s retail points than to its radio airplay.

As the decades passed, the recording industry concentrated more on album sales than singles sales. Musicians eventually expressed their creative output in the form of full-length albums rather than singles, and by the 1990s many record companies stopped releasing singles altogether (see Album Cuts, below). Eventually a song’s airplay points were weighted more so than its sales. Billboard has adjusted the sales/airplay ratio many times to more accurately reflect the true popularity of songs.

Double-sided singles

Billboard has also changed its Hot 100 policy regarding “two-sided singles” several times. The pre-Hot 100 chart "Best Sellers in Stores" listed popular A- and-B-sides together, with the side that was played most often (based on its other charts) listed first. One of the most notable of these, but far from the only one, was Elvis Presley’s "Don’t Be Cruel" / "Hound Dog." During the Presley single’s chart run, top billing was switched back and forth between the two sides several times. But on the concurrent "Most Played in Juke Boxes," "Most Played by Jockeys" and the "Top 100," the two songs were listed separately, as was true of all songs. With the initiation of the Hot 100 in 1958, A- and-B-sides charted separately, as they had on the former Top 100.

Starting with the Hot 100 chart for the week ending November 29, 1969, this rule was altered; if both sides received significant airplay, they were listed together. This started to become a moot point by 1972, as most major record labels solidified a trend they had started in the 1960s by putting the same song on both sides of the singles it serviced to radio.

More complex issues began to arise as the typical A-and-B-side format of singles gave way to 12 inch singles and maxi-singles, many of which contained more than one B-side. Further problems arose when, in several cases, a B-side would eventually overtake the A-side in popularity, thus prompting record labels to release a new single, featuring the former B-side as the A-side, along with a "new" B-side.

The inclusion of album cuts on the Hot 100 put the double-sided hit issues to rest permanently.

Album cuts

As many Hot 100 chart policies have been modified over the years, one rule always remained constant: songs were not eligible to enter the Hot 100 unless they were available to purchase as a single. However, on December 5, 1998 the Hot 100 changed from being a "singles" chart to a "songs" chart. During the 1990s, a growing trend in the music industry was to promote songs to radio without ever releasing them as singles. It was claimed by major record labels that singles were cannibalizing album sales, so they were slowly phased out. During this period, accusations began to fly of chart manipulation as labels would hold off on releasing a single until airplay was at its absolute peak, thus prompting a top ten or, in some cases, a number one debut. In many cases, a label would delete a single from its catalog after only one week, thus allowing the song to enter the Hot 100, make a high debut and then slowly decline in position as the one-time production of the retail single sold out.

It was during this period that several popular mainstream hits never charted on the Hot 100, or charted well after their airplay had declined. During the period that they were not released as singles the songs were not eligible to chart. Many of these songs dominated the Hot 100 Airplay chart for extended periods of time:

1995 The Rembrandts – "I’ll Be There For You" (number one for eight weeks)

1996 No Doubt – "Don't Speak" (number one for 16 weeks)

1997 Sugar Ray featuring Super Cat – "Fly" (number one for six weeks)

1997 Will Smith – "Men in Black" (number one for four weeks)

1997 The Cardigans – "Lovefool" (number two for eight weeks)

1998 Natalie Imbruglia – "Torn" (number one for 11 weeks)

1998 Goo Goo Dolls – "Iris" (number one for 18 weeks)

As debate and conflicts occurred more and more often, Billboard finally answered the requests of music industry artists and insiders by including airplay-only singles (or "album cuts") in the Hot 100.


Extended play (EP) releases were listed by Billboard on the Hot 100 and in pre-Hot 100 charts (Top 100) until the mid-to-late 1960s. With the growing popularity of albums, it was decided to move EPs (which typically contain four to six tracks) from the Hot 100 to the Billboard 200, where they are included to this day.

Paid digital downloads

Since February 12, 2005, the Billboard Hot 100 tracks paid digital downloads from such internet services as iTunes, Napster, Musicmatch, and Rhapsody. With paid digital downloads added to the airplay/sales formula of the Hot 100, many songs benefited on the charts from the change. Billboard initially started tracking downloads in 2003 with the Hot Digital Tracks chart. However, these downloads did not count towards the Hot 100 and that chart (as opposed to Hot Digital Songs) counted each version of a song separately (the chart still exists today along with Hot Digital Songs). This is the first major overhaul of the Hot 100's chart formula since December 1998.

The change in formula has shaken up the chart considerably, with some songs debuting on the chart strictly with robust online sales and others making drastic leaps. In recent years, several songs have been able to achieve 80-to-90 position jumps in a single week as their digital components were made available at online music stores. Since 2006, the all-time record for the biggest single-week upward movement was broken nine times.

In the issue dated August 11, 2007, Billboard began incorporating weekly data from Streaming media and On-demand services into the Hot 100. The first two major companies to provide their statistics to Nielsen BDS on a weekly basis are AOL Music and Yahoo! Music, with more to follow in the future.


Billboard has also answered the call of music industry insiders who raised an issue regarding song remixes. A growing trend in the early first decade of the 21st century was to issue a song as a "remix" that was so drastically different in structure and lyrical content from its original version that it was essentially a whole new song. Under normal circumstances, airplay points from a song’s album version, "radio" mix and/or dance music remix, etc. were all combined and factored into the song’s performance on the Hot 100, as the structure, lyrics and melody remained intact. Criticisms began when songs were being completely re-recorded to the point that they no longer resembled the original recording. The first such example of this scenario is Jennifer Lopez’ "I'm Real". Originally entering the Hot 100 in its album version, a "remix" was issued in the midst of its chart run that featured rapper Ja Rule. This new version proved to be far more popular than the album version and the track was propelled to number one.

To address this issue, Billboard now separates airplay points from a song’s original version and its remix, if the remix is determined to be a "new song". Since administering this new chart rule, several songs have charted twice, normally credited as "Part 1" and "Part 2". The remix rule is still in place.


Billboard, in an effort to allow the chart to remain as current as possible and to give proper representation to new and developing artists and tracks, has (since 1991) removed titles that have reached certain criteria regarding its current rank and number of weeks on the chart. Recurrent criteria have been modified several times and currently (as of 2010), a song is permanently moved to "recurrent status" if it has spent 20 weeks on the Hot 100 and fallen below position number 50. Exceptions are made to re-releases and sudden resurgence in popularity of tracks that have taken a very long time to gain mainstream success. These rare cases are handled on a case-by-case basis and ultimately determined by Billboard’s chart managers and staff.

The most notable exception to the recurrent entry policy applies to holiday-themed releases, which are commonly reissued year after year in anticipation of Christmas purchasing. After its initial chart run, a holiday entry cannot re-enter the Hot 100 in subsequent years.

Year-end charts

Billboard's "chart year" runs from the first week of December to the final week in November. This altered calendar allows for Billboard to calculate year-end charts and release them in time for its final print issue on the last week of December. Prior to Nielsen SoundScan, year-end singles charts were calculated by an inverse-point system based solely on a song’s performance on the Hot 100 (for example, a song would be given one point for a week spent at position 100, two points for a week spent at position ninety-nine and so forth, up to 100 points for each week spent at number one). Other factors including the total weeks a song spent on the chart and at its peak position were calculated into its year-end total.

After Billboard began obtaining sales and airplay information from Nielsen SoundScan, the year-end charts are now calculated by a very straightforward cumulative total of yearlong sales and airplay points. This gives a more accurate picture of any given year’s most popular tracks, as a song that hypothetically spent nine weeks at number one in March could possibly have earned fewer cumulative points than a song that spent six weeks at number three in January. Songs at the peak of their popularity at the time of the November/December chart-year cutoff many times end up ranked on the following year's chart as well, as their cumulative points are split between the two chart-years, but often are ranked lower than they would have been had the peak occurred in a single year.


The limitations of the Hot 100 have become more pronounced over time. Since the Hot 100 was based on singles sales, as singles have themselves become a less common form of song release, the Hot 100's data represented a narrowing segment of sales until the December 1998 change in the ranking formula.

Few music historians believe that the Hot 100 has been a perfectly accurate gauge of the most popular songs for each week or year. For example, during the 1950s and 1960s, payola and other problems skewed the numbers in largely undetectable ways.

Further, the history of popular music shows nearly as many remarkable failures to chart as it does impressive charting histories. Certain artists (such as Pink Floyd and Led Zeppelin) had tremendous album sales while being oblivious to the weekly singles charts. Business changes in the industry also affect artists' statistical "records." Single releases were more frequent and steady, and were expected to have much shorter shelf lives in earlier decades, making direct historical comparisons somewhat specious. Of the sixteen singles to top the Billboard chart for more than ten weeks since 1955, just one was released before 1992. During the first forty years of the rock era, no song had ever debuted at number one; since a 1995 change in methodology, nineteen songs have.

Strategizing also plays a role. Numerous artists have taken deliberate steps to maximize their chart positions by such tactics as timing a single's debut to face the weakest possible competition, or massively discounting the price of singles to the point where each individual sale represented a financial loss. Meanwhile, other artists would deliberately withhold even their most marketable songs in order to boost album sales. Particularly in the 1990s, many of the most heavily played MTV and radio hits were unavailable for separate purchase. Because of such countervailing strategies, it cannot be said that a Hot 100 chart necessarily lists the country's 100 most popular or successful songs. Strategies like these were the main reason behind the December 1998 change in the charts.

Some critics have argued that an overemphasis on a limited number of singles has distorted record industry development efforts, and there are nearly as many critics of the Hot 100 as there are supporters. Certain of these criticisms, however, are becoming less and less germane as digital downloads have revitalized the concept of “singles sales.”

The Billboard charts have endured as the only widely-circulated published report on songs that have been popular across the United States over the last half-century. Competing publications such as Cash Box, Record World, Radio & Records and most recently Mediabase have offered alternate charts, which sometimes differed widely.

Use in media

The Hot 100 served for many years as the data source for the weekly radio countdown show American Top 40. This relationship ended on November 30, 1991, as American Top 40 started using the airplay-only side of the Hot 100 (then called Top 40 Radio Monitor). The ongoing splintering of Top 40 radio in the early 1990s led stations to lean into specific formats, meaning that practically no station would play the wide array of genres that typically composed each weekly Hot 100 chart.

Similar charts

A new chart, the Pop 100, was created by Billboard in February 2005 to answer criticism that the Hot 100 was biased in favor of rhythmic songs, as throughout most of its existence, the Hot 100 was seen predominantly as a pop chart. It was discontinued in June 2009 due to the charts becoming increasingly similar.

The Canadian Hot 100 was launched June 16, 2007. Like the Hot 100 chart, it uses sales and airplay tracking compiled by Nielsen SoundScan and BDS.

The Japan Hot 100 was launched in the issue dated May 31, 2008, using the same methodologies as the Hot 100 charts for the U.S. and Canada, utilizing sales and airplay data from SoundScan Japan and radio tracking service Plantech.

Further information: List of Billboard Hot 100 chart achievements and milestones

See also

List of number-one hits (United States)

List of artists who reached number one in the United States

List of number-one Hot 100 Airplay hits


Billboard charts


Single Certifications

Billboard Music Awards

List of best-selling music artists

List of best-charting U.S. music artists

Billboard Hot 100 50th Anniversary Charts

List of Billboard Hot 100 chart achievements and milestones


Fred Bronson's Billboard Book of Number 1 Hits, 5th Edition (ISBN 0-8230-7677-6)

Christopher G. Feldman, The Billboard Book of No. 2 Singles (ISBN 0-8230-7695-4)

Joel Whitburn's Top Pop Singles 1955-2008, 12 Edition (ISBN 0-89820-180-2)

Joel Whitburn Presents the Billboard Pop Charts, 1955–1959 (ISBN 0-89820-092-X)

Joel Whitburn Presents the Billboard Hot 100 Charts: The Sixties (ISBN 0-89820-074-1)

Joel Whitburn Presents the Billboard Hot 100 Charts: The Seventies (ISBN 0-89820-076-8)

Joel Whitburn Presents the Billboard Hot 100 Charts: The Eighties (ISBN 0-89820-079-2)

Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties (ISBN 0-89820-137-3)

Additional information obtained can be verified within Billboard's online archive services and print editions of the magazine.


Trust, Gary (2011-12-07). "Jay-Z, Kanye West Reach Hot 100's Top 10 with 'Paris'; Rihanna Still No. 1" . Billboard (Nielsen Business Media, Inc). Retrieved 2011-12-07.

Mayfield, Geoff (2007-08-04). "Billboard Hot 100 To Include Digital Streams" . Billboard magazine. Retrieved 2007-07-30.

Richard Campbell et al, Media and Culture: An Introduction to Mass Communication, 2004.

"Billboard Launches Canadian Hot 100 Chart" . Billboard magazine. 2007-06-07. Retrieved 2010-06-04.

Trust, Gary (2008-05-21). "Billboard Japan Hot 100 Finds Global Audience" . Billboard magazine. Retrieved 2010-06-04.

Billboard Music Award

The Billboard Music Award is an honor given by Billboard magazine, the preeminent publication covering the music business. The Billboard Music Awards show had been held annually in December until it went dormant in 2007, but it returned in May 2011. Janet Jackson has won the most awards.


1 Award process

2 Awards

2.1 Categories

2.1.1 Current categories

2.1.2 Defunct categories (1990–2006)

2.2 Recipients

2.2.1 Artist of the Year awards

2.2.2 Billboard Century Awards

2.2.3 Icon Award

2.2.4 Billboard Millennium Award

2.2.5 Artist of the Decade

2.3 Award record-holders

2.3.1 Artists with the most total wins

2.3.2 Most awards in a single year

2.3.3 Most wins within a category

3 The awards show

3.1 Venues

3.2 Hosts

4 See also

Award process

Unlike other awards, such as the Grammy Award, which determine nominations as a result of the highest votes received, the Billboard Music Awards finalists are based on year-end chart performance according to Nielsen data for sales, downloads and airplay. Awards were given for the top album/artist/single in different genres. Since 1992, the awards also give out a Billboard Century Award—the magazine's highest honor for creative achievement and named for Billboard's centennial in 1994. The award was renamed the Icon Award in 2011.



From 1990–2006, the show had the same categories and category names every year. In 2011, for the first time, all of the awards were renamed to "Top Award Title". The "of the year" portion of each category title no longer exists, and many of the awards have been further renamed. Other awards, including both "crossover" awards (No. 1 Classical Crossover Artist and No. 1 Classical Crossover Album) were discontinued.

Current categories

Album of the Year

Artist of the Year

Breakout Artist (Since 2011)

Century Award (2011: renamed to Icon Award)

Christian Artist

Christian Song

Concert Venue Award

Country Album

Country Artist

Digital Track

Duo/Group of the Year

Female Artist of the Year

Hot 100 Airplay Single of The Year

Hot 100 Female Artist

Hot 100 Group

Hot 100 Male Artist

Hot 100 Producer

Hot 100 Single of the Year

Hot 100 Songwriter

Latin Album

Latin Artist

Latin Song

Mainstream Top 40 Track

Male Artist of the Year

Millennium Award (Since 2011)

New Male R&B Artist

New R&B Artist

R&B Artist

R&B Producer

R&B Songwriter

R&B/Hip-Hop Group

Rap Artist

Touring Venue Award

Defunct categories (1990–2006)

New Male Artist

New Female Artist

New Group of the Year

Modern Rock Artist

Modern Rock Track

No. 1 Classical Crossover Artist

No. 1 Classical Crossover Album

Independent Album Artists

Independent Album

Bestselling Single

No. 1 Rhythmic Top 40 Title

Soundtrack Single


Artist of the Year awards

1990: M.C. Hammer

1991: Mariah Carey

1993: Garth Brooks

1994: Ace of Base

1995: TLC

1996: Alanis Morissette

1997: LeAnn Rimes

1998: Usher

1999: Backstreet Boys

2000: Destiny's Child

2001: Destiny's Child

2002: Nelly

2003: 50 Cent

2004: Usher

2005: 50 Cent

2006: Chris Brown

2007: Akon*

2008: Chris Brown*

2009: Taylor Swift*

2010: Lady Gaga*

2011: Eminem

* received from Billboard magazine at the end of the year (no award show)

Billboard Century Awards

1992: George Harrison

1993: Buddy Guy

1994: Billy Joel

1995: Joni Mitchell

1996: Carlos Santana

1997: Chet Atkins

1998: James Taylor

1999: Emmylou Harris

2000: Randy Newman

2001: John Mellencamp

2002: Annie Lennox

2003: Sting

2004: Stevie Wonder

2005: Tom Petty

2006: Tony Bennett

2007–2010: no award

Icon Award

2011: Neil Diamond

Billboard Millennium Award

2011: Beyoncé Knowles

Artist of the Decade

1999: Mariah Carey

2009: Eminem

Award record-holders

Artists with the most total wins


of awards

Janet Jackson33

Michael Jackson31

Whitney Houston30

Mariah Carey30

Garth Brooks25

Backstreet Boys24


Mary J. Blige20

Destiny's Child19

Lady Gaga19




Carrie Underwood16

Enrique Iglesias16

Taylor Swift14

LeAnn Rimes12


Beyoncé Knowles11

Katy Perry10

Alicia Keys10

Britney Spears10

Most awards in a single year


of awardsYear


Michael Jackson131983

Whitney Houston111993

Kelly Clarkson112005

Janet Jackson101990

Destiny's Child92001

Mary J. Blige92006

Lady Gaga92009



Alicia Keys82004

Most wins within a category


Michael JacksonMale artist

Backstreet BoysGroup

RihannaInternational artist

Garth BrooksCountry artist

EminemRap artist

The awards show

Since its inception (created by Rick Garson), the BMAs had been telecast on the Fox network; however due to contractual expirations and other unforeseen circumstances, the awards were canceled for 2007. Plans for a new version of the awards in 2008 (in association with AEG Live) fell through, and the BMAs were not held until 2011.

On February 17, 2011, Billboard announced that it would bring the BMAs back to television, moving from its original home on Fox to its new network, ABC, on May 22, 2011.


1990–1991: The first two years were shot at the Barker Hangar in Santa Monica, California, and aired later.

From 1992 onwards, the shows have been live:

1992–1994: The Universal Amphitheater in Los Angeles

1995: The (now demolished) Coliseum in New York City.

Then the BMAs became the first awards show to move to Las Vegas:

1996: Center for Performing Arts and the Hard Rock Hotel and Casino, Las Vegas

1997–2006: MGM Grand Garden Arena.

2007–2010: There was no venue for 2007 as that year's ceremony was canceled, and no awards were held until 2011.

2011: The awards show returned to the MGM Grand Garden Arena.


1990: Paul Shaffer and Morris Day (with Jerome Benton)

1991: Paul Shaffer

1992: Phil Collins

1993: Phil Collins

1994: Dennis Miller & Heather Locklear

1995: Jon Stewart

1996: Chris Rock

1997: David Spade

1998: Kathy Griffin & Andy Dick

1999: Kathy Griffin & Adam Corolla

2000: Kathy Griffin & *NSYNC

2001: Bernie Mac

2002: Cedric the Entertainer

2003: Ryan Seacrest with Nick Lachey & Jessica Simpson

2004: Ryan Seacrest

2005: LL Cool J

2006: no host

2007–2010: no awards

2011: Ken Jeong

See also

Billboard Touring Awards

Billboard Latin Music Awards

Tags : Billboard top 100, billboard, 100 top billboard, top 100, billboard charts, charts, music billboard, billboard songs, top billboard songs, hot 100 billboard

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Billboard - Selena Gomez Channels Silent Movies in 'Back to You' Video

Selena Gomez Channels Silent Movies in 'Back to You' Video:

Selena Gomez yearns for a former love in her new video for "Back to You." The song appears on the soundtrack for Season Two of Netflix's 13 Reasons Why, which the singer executive produces.

In the retro-styled clip, Gomez is seen at a party where she locks eyes with a blonde guy (who coincidentally or not resembles her on-off beau Justin Bieber) as the lyrics suggest she's reflecting on a past romance.

"I wanna hold you when I'm not supposed to/ When I'm lying close to someone else," she sings on the catchy chorus. "You're stuck in my head and I can't get you out of it/ If I could do it all again, I know I'd go back to you."

The pair's conversation appears silent movie-style in the video with subtitles as they sneak out a window and steal a car. Amid the romantic themes are some cheeky lines and looks. At one point her paramour remarks that she looks like Selena Gomez. She flashes a knowing glance at the camera before saying via subtitle, "Can you believe this guy?" She also runs through some playful poses to emulate the "Happy," "Bored," "Anger," "Drama" and "Surprised" subtitles.

During a recent interview with Zane Lowe's Beats 1 radio show, the singer confirmed she is "finishing up" her third studio album.

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Billboard - Ariana Grande Talks PTSD After Manchester Attack

Ariana Grande Talks PTSD After Manchester Attack:

Ariana Grande said she's been grappling with the symptoms of post-traumatic stress disorder since the terrorist attack outside her concert in Manchester last year.

In an interview with British Vogue, Grande said, "It's hard to talk about because so many people have suffered such severe, tremendous loss. But, yeah, it's a real thing. I know those families and my fans, and everyone there experienced a tremendous amount of it as well."

Twenty-two people were killed in the May 2017 attack, and Grande remains somewhat reluctant to discuss the incident and its aftermath. "Time is the biggest thing," she said. "I feel like I shouldn't even be talking about my own experience – like I shouldn't even say anything. I don't think I'll ever know how to talk about it and not cry."

Immediately after the attack, Grande canceled a handful of tour dates, but quickly returned to the road after hosting the all-star "One Love Manchester" benefit that raised over $13 million for victims. But when the trek ended, Grande said her anxiety reached new levels of intensity.

"I've always had anxiety," she said. "I've never really spoken about it because I thought everyone had it, but when I got home from tour it was the most severe I think it's ever been."

In a recent interview with Time, Grande spoke about how making her new album, Sweetener, aided her healing process. "I was never as involved," she said. "I felt more inclined to tap into my feelings because I was spending more time with them. I was talking about them more. I was in therapy more."

In April, Grande released "No Tears Left to Cry," the first song off Sweetener. At a concert Saturday, she teased another new track, "The Light Is Coming," which will feature Nicki Minaj and is set to arrive June 20th.

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Billboard - Watch Rita Ora, Cardi B Share a Kiss in 'Girls' Video

Watch Rita Ora, Cardi B Share a Kiss in 'Girls' Video:

Rita Ora has dropped the lush video for her controversial single "Girls." Earlier this month, LGBTQ artists and fans criticized Ora and the track's featured artists —Cardi B, Bebe Rexha and Charli XCX — for the song's lyrics.

The clip opens with Ora in a Grecian scene of blonde women holding hands and laying together. The rest of the artists are seen separately: Rexha appears in a mirrored room while XCX is surrounded by cacti in the middle of a pitch black night. Cardi B virtually interacts with Ora as the latter summons her through futuristic goggles. In light digital distortion, the pair kiss before the song's final chorus.

Following the release of "Girls," openly lesbian, bisexual and queer female artists like Kehlani and Hayley Kiyoko took to social media to call out what they perceived to be offensive, exploitative lyrics. They noted that the song, which was written by a majority male team of songwriters, built upon male gaze-y stereotypes of sexual intimacy between two women. In the process of apologizing, Ora publicly came out as bisexual and emphasized that the song's story was about her personal experiences.

"I would never intentionally cause harm to other LGBTQ+ people or anyone," Ora wrote. "Looking forward, I hope that continuing to express myself through my art will empower my fans to feel as proud of themselves as I'm learning to feel about who I am."

In an interview with Rolling Stone, XCX defended the song and apologized for offending members of the LGBTQ+ community, noting the conversations she had with many of the artists who shared public critiques of the lyrics. "I just really want to learn from this situation," she said. "I think that's something we can all do: we can all learn from this conversation. It would be great to continue this dialogue in a positive way — not in an attacking way — so that people can learn about people's feelings, about people's sexualities and viewpoints. We can learn to not judge people before we get all the information. We can learn how certain words might make certain communities sad or upset."

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Billboard - Watch Guns N' Roses Perform Raucous 'Shadow of Your Love'

Watch Guns N' Roses Perform Raucous 'Shadow of Your Love':

Guns N' Roses performed "Shadow of Your Love" live for the first time in more than 30 years during their Not in This Lifetime tour stop at the Dyrskuepladsen in Odenske, Denmark. The band's former B-side tune serves as a lead single for their massive Appetite for Destruction Locked N' Loaded box set, which will be released on June 29th.

In a fan-filmed clip of their performance, singer Axl Rose struts about the stage, singing over the band's winding, raucous deliveries.

It's one of two songs Guns N' Roses tracked during sessions with Appetite producer Mike Clink that appear on the new set. "Shadow of Your Love" was recorded during a trial session that earned Clink the production job along with an acoustic version of "Move to the City,” which was recorded during the GN’R Lies sessions. Both tunes are included in the forthcoming new offering.

Guns N' Roses also performed a cover of Velvet Revolver's "Slither" during their Denmark set, which they also played in Berlin, Germany during the opening night of their European tour earlier in the week. Guns N' Roses' European portion of their tour continues through the summer before they head to Southeast Asia in the fall.

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Billboard - Prince Estate Plots New Album 'Piano and a Microphone 1983'

Prince Estate Plots New Album 'Piano and a Microphone 1983':

On what would have been his 60th birthday, the Prince estate announced Thursday that it is prepping a new album of previously unreleased home recordings, Piano and a Microphone 1983, set to arrive September 21st.

The LP's nine tracks were culled from cassette recordings Prince made at his piano at his Kiowa Trail home studio in Chanhassen, Minnesota. The estate teased the project with Prince's rollicking and rumbling rendition of the 19th century spiritual, "Mary Don't You Weep," which will also play during the end credits of Spike Lee's upcoming movie, BlacKkKlansman.

Much of Piano and a Microphone 1983 captures Prince working through future classics like "Purple Rain," "17 Days," "Strange Relationship" and "International Lover," while it also boasts a cover of Joni Mitchell's "A Case of You." The album's first seven tracks are presented in the same format as they were originally recorded and will reportedly play like one of Prince's spontaneous live medleys.

Piano and a Microphone is available to pre-order and will be released digitally alongside CD and vinyl. A deluxe edition, featuring both a CD and LP, will come with a booklet featuring new liner notes from Prince's then-engineer Don Batts, who presided over the original sessions. The booklet will also include never-before-seen images of Prince.

Along with Piano and a Microphone 1983, the Prince estate plans to release another new album of unreleased Prince material next year as part of a deal with Tidal. An exact release date and title have yet to be announced.

Recently, the Prince estate partnered with Roots drummer Questlove to organize an orchestral tour, "4U: A symphonic Celebration of Prince," which kicks off September 6th in New Brunswick, New Jersey.

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Billboard - Hear John Fogerty, ZZ Top's Billy Gibbons Trade Licks on New Song 'Holy Grail'

Hear John Fogerty, ZZ Top's Billy Gibbons Trade Licks on New Song 'Holy Grail':

Ahead of John Fogerty's tour with ZZ Top, the singer teamed up with the latter's Billy Gibbons to collaborate on a new song, "The Holy Grail." The song sports a bluesy, John Lee Hooker–like guitar riff, à la ZZ Top's "La Grange," and Fogerty's lyrics about mumbo jumbo, mystical plains and the nectar of the Gods until the two artists join voices for the chorus. At the end the two guitarists trade the sort of bluesy solos that made them famous.

"For me as a musician, swamp boogie is the holy grail of music," Fogerty tells Rolling Stone. "This sound captured my soul from a very early age. I couldn't think of a better artist to conjure the vibe of the swamp with me better than the one and only Billy F. Gibbons."

"Getting together and collaborating with John Fogerty to create a new song called 'Holy Grail' is a tangible dividend from the Fogerty-Gibbons exchange," Gibbons says. "It's classic electric-guitar chops with an electrifying climax."

Fogerty and ZZ Top kicked off their Blues and Bayous Tour in late May and will be making their way around the U.S. through the end of June. The former Credence Clearwater Revival frontman last put out a new album, Wrote a Song for Everyone, in 2013. And while ZZ Top last put out a new record, La Futura, in 2012, Gibbons put out his solo debut, Perfectamundo, in 2015. "ZZ Top is one of my favorite bands, and Billy F. Gibbons is one of my all-time favorite guitarists," Fogerty said in a statement when they announced the trek. "Riffs, blues and bayous ... bucket list!"

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Billboard - Hear Christina Aguilera's Sexy, GoldLink-Assisted New Song 'Like I Do'

Hear Christina Aguilera's Sexy, GoldLink-Assisted New Song 'Like I Do':

Christina Aguilera and GoldLink team up for "Like I Do," the flirty new taste of her forthcoming release Liberation. Demi Lovato, 2 Chainz and Ty Dolla $ign also appear on the singer's sixth album.

Above a flute-like loop, GoldLink launches the song with his verse which makes references to some of Aguilera's best-known hits. "Genie in my bottle/I'm trying to rub on your hips/Ain't no other man who can talk to you like I did," he raps on the song's first verse. From there, Aguilera takes charge, telling her younger lover that she's "been doing this way before you" and that she "don't need your little money." The self-assured track has her offering "we can Marvin Gaye and get it on" during the track's pre-chorus.

Liberation will be released on June 15th. The album is already an eclectic mix of styles from Aguilera, from the rousing hip-hop-leaning "Accelerate" to the empowering Demi Lovato riff-off "Fall in Line." This fall, Aguilera will embark on her first tour in a decade.

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Billboard - Watch Lily Allen Let Go of Love in 'Lost My Mind' Video

Watch Lily Allen Let Go of Love in 'Lost My Mind' Video:

Lily Allen struggles with love and searches for relief in the new video for "Lost My Mind," set to appear on her new album, No Shame, out June 8th.

The Myles Whittingham-directed clip is set in a lone bedroom where Allen sings the snappy, yet melancholy pop tune as she paces not just the floors, but the walls and ceiling. These shots are interspersed with footage of Allen arguing with her partner, though eventually the singer finds herself alone as a torrential downpour suddenly soaks the room.

Along with "Lost My Mind," Allen has teased No Shame with album cuts "Trigger Bang," "Three" and "Higher." No Shame marks Allen's first LP since 2014's Sheezus, though she recently told Rolling Stone she's trying to put that last record behind her.

"I was writing music for the wrong reasons," Allen said. "Or not the wrong reasons, but just reasons that didn't sit well with me and I didn't know who I was. I was having an identity crisis and for the first time in my professional career I'd sort of let other people make decisions for me, which I'd never done before. Nobody was manipulating me or trying to push me in a certain way. It's just I didn't know what to do, so I was asking people for the first time, rather than knowing and then executing. And it was a mess."

This fall, Allen will embark on her first North American tour in four years. The 21-date trek kicks off October 5th in Santa Ana, California.

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Billboard - Bruce Springsteen Performs 'My Hometown' at Tony Awards

Bruce Springsteen Performs 'My Hometown' at Tony Awards:

Bruce Springsteen delivered a moving performance of "My Hometown" during the 72nd Annual Tony Awards Sunday.

Springsteen was presented the award by Robert De Niro, who caused the network to bleep him for saying "Fuck Trump" live while on air. Then he graciously presented the singer-songwriter's performance, while commenting "Do you have any idea how hard it is to get tickets for Bruce Springsteen's show on Broadway?". Then Springsteen gave a spoken word adaptation of his one-man show, performing a short rendition of "My Hometown" during the production while playing the piano. During the spoken part, he spoke about growing up "surrounded by God and all my relatives" near St. Rose's Cemetery, where people did the best they could to "hold off the demons, outside and inside, that sought to destroy them."

Springsteen also received a special Tony in honor – presented by Billy Joel – of his wildly successful and critically acclaimed show, Springsteen on Broadway. The production finds Springsteen performing a career-spanning setlist packed with classics and deep cuts, while also delivering spoken-word segments that are either new or culled from his 2016 memoir, Born to Run.

In his review, Rolling Stone's Andy Greene wrote of the show, "The performance is hard to categorize. It's not a concert; not a typical one-man-show; certainly not a Broadway musical. But it is one of the most compelling and profound shows by a rock musician in recent memory."

Springsteen on Broadway debuted at the Walter Kerr Theatre last October. The initial run was supposed to last just over a month, but the show is now scheduled to wrap this December. In all, Springsteen will have played 236 shows during his Walter Kerr residency.

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Billboard - Pink Floyd's Nick Mason Preps Solo Albums Box Set

Pink Floyd's Nick Mason Preps Solo Albums Box Set:

Pink Floyd drummer and co-founder Nick Mason will reissue his three solo albums in a new box set, Unattended Luggage, August 31st via Warner Music.

Unattended Luggage is available to pre-order as both a three-CD or three-vinyl LP set. The collection boasts Mason's 1981 solo debut, Nick Mason's Fictitious Sports, his 1985 collaboration with 10cc guitarist Rick Fenn, Profiles, and White of the Eye, Mason and Fenn's 1987 soundtrack for the British thriller of the same name. All three records will also be made available to stream and download.

"These recordings hold a very special place for me in my musical life," Mason said. "Listening back after 30 odd years, I'm delighted they are getting the reissue treatment. I'm rather hoping that sales will be sufficient to damage the market in the original rare vinyl versions!"

Mason recorded Fictitious Sports in 1979, though the record wouldn't arrive for another two years. The drummer collaborated with a variety of musicians on the project, including keyboardist and songwriter Carla Bley and singer Robert Wyatt.

Mason noted that his next two projects with Fenn – Profiles and White of the Eye – grew out of the work they were doing for advertisements and short documentary films. Profiles was a largely instrumental effort, though Maggie Reilly and Mason's former Pink Floyd bandmate David Gilmour provided vocals on "Lie for a Lie," while UFO keyboardist Danny Peyronel sang, "Israel."

As for White of the Eye, the record has not been available for over 20 years, and the Unattended Luggage set marks the first time it will be released on CD.

Following the release of Unattended Luggage, Mason and his new band, Nick Mason's Saucerful of Secrets, will embark on a European tour September 2nd in Stockholm, Sweden.

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Billboard - How the Rolling Stones' Massive New Vinyl Box Came Together

How the Rolling Stones' Massive New Vinyl Box Came Together:

"You've gotta hand it to the Rolling Stones," says Abbey Road mastering engineer Miles Showell with a laugh. "They've been at the top of their game for, oh, about 55 years now. Nobody's ever going to do that again, are they?"

Showell spent much of last summer and fall literally up to his ears in more than four decades' worth of Stones recordings, resulting in The Rolling Stones Studio Albums Vinyl Collection 1971-2016, a hefty new limited-edition box set that contains special 180-gram vinyl pressings of every Stones studio album from 1971's Sticky Fingers through 2016's Blue & Lonesome. Each album in the set (out Friday) comes housed in a heavyweight replica of its original packaging – Sticky Fingers has a working zipper, Exile on Main St. contains reprints of its original postcards – but it's the sound of the LPs that will be the real treat for Stones fans. Lovingly remastered by Showell from analog transfers using a painstaking process known as half-speed mastering, the albums boast a richer, more detailed aural picture with a sparkling top end, all while keeping the punch and groove of the original recordings intact.

"If you imagine the original version of each album turned up to 11, to kind of quote Spinal Tap, it's that – it's just one better," Showell explains. "That's what I was going for, without disrespecting the feel and the atmosphere of what's there."

Unless you're a diehard audiophile or vinyl collector, it's likely that you've never heard of Showell. But he's been Abbey Road's go-to guy for half-speed mastering since 2013, trusted with the delicate task of cutting vinyl reissues of albums by the Beatles, the Who, Queen, the Police, Marvin Gaye, ABBA, Amy Winehouse and many others. So devoted is Showell to the half-speed mastering process – in which a recording played back at half its normal speed is cut to an acetate revolving at 16 2/3 RPMs (instead of 33 1/3), thus allowing more recorded information to make it into the grooves of the vinyl pressing – that he now cuts the acetates for each project on his very own Neumann VMS 80 lathe. He spent over 18 months (and a considerable sum of his own money) restoring the vintage lathe, which he keeps at Abbey Road since it would take up far too much space in his home.

"This lathe works significantly better than a new one would have done 35 years ago, and is far and away the best lathe I have ever cut on," he raves. "I spent a lot more on the restoration and modifications than most studios would, but I wanted a secret weapon."

Inspired by the audiophile-oriented work of Mobile Fidelity Sound Labs, which began releasing limited half-speed master editions of classic albums in the 1970s, Showell – who has been working as a mastering engineer since 1984 – says he began experimenting with half-speed mastering about 15 years ago. "It's actually pretty soul-destroyingly awful to listen to, as an engineer, while I'm cutting it," he says, mimicking the sepulchral growl of a record spinning at half its normal speed. "But when you put the record on after you're done, you're thinking, 'My God, this just sounds incredible!' That's why you do it, really. That's my OCD, just to kind of noodle away at stuff and get it as good as you possibly can."

Showell spoke to Rolling Stone about how the big box set came together.

When did you start work on the Stones vinyl box, and how long did it take?They contacted me about this time last year, and I started probably about mid-August. I didn't work on it solidly the whole time; it was on and off. I do very long days, three days a week here [at Abbey Road], because I work on a rotation system with another engineer; we share the room. So I'd say probably two of the three days a week that I spent in the building were spent on the Stones. And I did that for eight weeks ... so about 16, 18 very long days, about 14, 15 hours apiece. And some of the work I was also doing at home, because there was some preparation work I needed to do, just to get rid of any extraneous noises, or fix any drop-outs, or do any "de-essing," which I can do on a workstation at home.

Were there any difficulties in tracking down the original master tapes for this project?I didn't have any original master tapes for this. The management of the band archived everything digitally a few years back, and I was loaned a hard drive – they said, "You can have this for 24 hours; take anything you need off of it, and then it has to come back." They had several high-resolution transfers of each album, or at least high-resolution where the source was analog tape, which was most of it. They just said, "Take your pick, and work with whichever transfer you feel is better with you."

I'd have liked to have got hold of the tape, but old analog tape is starting to get quite fragile, especially the stuff from the late Seventies and early Eighties, because the tape was not great. Tape from the Sixties is fine, that's holding up really well, but the Seventies- and Eighties-era tape is getting very fragile. It's considered nowadays kind of bad practice to continually keep trying to play these old tapes, because you're just going to wear 'em out. I don't want to be the person who destroyed the master for Black and Blue, you know? [Laughs] I don't want that on my conscience! If they'd given me a hard drive full of rotten transfers, I'd have said, "Look, if you want to do a high-quality box, then we have to try and get the tapes out, and see if I can get anything better." But what I had was good – and in most cases, it was very good – so I was happy to work with what they gave me.

Are you a big Stones fan?Yeah! I wouldn't say I lived and breathed the Rolling Stones, and some of these albums were new to me. But I knew a lot of them, and I knew Some Girls pretty well. That one, when it was new, was probably when I first woke up to them. But now, being so close to this library, I have to say I really like Goats Head Soup and Black and Blue – just the songs and the atmosphere, and you can really hear them getting together in a room, just people having fun and enjoying themselves.

I already knew Exile on Main St., because I worked on [a half-speed mastered version of] that about five years ago. And that one is what it is – just, like, chuck some mics in the air, and away you go. Some people will kind of rehearse and rehearse and rehearse stuff and make it so note-perfect that it's a bit devoid of atmosphere and vibe, whereas this is all about vibe and getting the right feel, and hang the rest of it. And I kind of like that attitude, really. And even the later albums, A Bigger Bang and Voodoo Lounge, they're great!

Vibe has been such an integral part of the Stones' magic since their very first recordings. Is it difficult to avoid tampering with that element when you're remastering their records?I really try not to do that. I'm a vibe person more than I am a sound person, if I'm honest with you. I mean, I like it to sound good, but it's no use having a fabulous-sounding record if the atmosphere is dead, you know? The whole point of having a record, and having a hi-fi, is to get moved by the music, as far as I'm concerned. So that's gotta come first. The last thing I wanted to do was to try and stamp my sound all over these records, because that's not what I'm about. I'm about doing as faithful a transfer as I can.

When I was working on this set, not only did I have the digital archive which they loaned me, but I was also given, for the duration of the sessions, a whole box of original [vinyl] pressings from the Stones' archives. So I would do my thing first, and then put the original record on and see how close I was, with the aim of being a bit better. Now, that's not actually as easy as it sounds, because I've got the advantage of a much cleaner signal path than any of the mastering guys would have had originally; but then, I'm also dealing with much more worn tape, so I've already got one arm behind my back before I start. But I'm happy with what I got, and it definitely feels better to me than what I was hearing from the original pressings.

Abbey Road engineer Miles Showell Abbey Road Studios

Did any of the albums present major challenges to you, in terms of remastering?To be honest with you, there weren't any major challenges. The hardest things to deal with were fixing drop-outs, where there were little holes in the oxide that had been transferred to the digital files. That may be a drop-out that's always been there, or it might just be wear and tear on the tape, or a point where somebody'd crunched the tape when they re-wound it; but with digital restoration software, I can repair those fairly well.

Obviously, in this box, the first three or four albums [Sticky Fingers, Exile on Main St., Goats Head Soup and It's Only Rock 'n Roll] are kind of fairly deliberately lo-fi. It was almost as if, when they went to record Black and Blue, they'd discovered FM radio, and thought, "We'd better make our record sound nice on the FM!" Because suddenly, from Black and Blue onwards, they sound really quite nice – it's a much cleaner sound. But I wasn't going to try and zing up the lo-fi albums, because people know and love them as they are, so it's not for me to try and rewrite history. And it would be wrong; if I was to try and screw in tons of EQ and make it sound really big and bright and smash you in the face, that wouldn't be what people are expecting, because that's not how those records sound. So I tried to be respectful of what was there. I'm quite happy to apply some EQ to a tape that's a bit worn or whatever; but just because I've got seven EQs in the desk, it doesn't mean I have to use all of them. It's like touching up the Mona Lisa – you've got to be careful, and not go too crazy with it.

Were there any big surprises that you encountered?The only really tricky track was "Fingerprint File," which is on It's Only Rock 'n Roll – it's the last track on Side Two. When I was comparing what I had [on the digital file] to the original record, I thought, "Hmmm, got the wrong speed here!" So I did a load of research, and learned that most versions of the song out there actually are the wrong speed. I went back to the management and I said, "What's going on here?" And they said, "Nope, that's the master; they must have changed the speed at the original session." So I said, "Well, seeing as we're trying to recreate the original album, let's get the speed the same."

In other words, the Stones' original studio recording of the track had been sped up during the mastering of It's Only Rock 'n Roll?Yes, it must have just been a decision that was taken at the original mastering session. But when I got the digital track [of the original recording] to match the speed of the version on the album, it was all out of phase; it was horrible. Basically, you can't cut out-of-phase music; when the information in one speaker is slightly out of time with the other speaker, it just doesn't work. The original mastering engineer would have had to have basically made it largely mono – or a fairly narrow stereo – to get it onto the record, otherwise it just wouldn't have cut properly. So with a bit of clever digital filtering, I was able to correct that far more elegantly than would have been possible 40 years ago. So that was the biggest challenge, I guess, and that's because I was comparing it to the original LP. If I had been sent one of the later represses [that included the track at its original speed], I might not have spotted it. So I'm lucky that they gave me that, really!

How much input did the Stones have into the project while you were working on it?Thankfully, for this, they gave me a real free hand; I couldn't believe it, actually. They said, "Here's the music, here are the original records. Go and do your thing!" And that was it. No input from anybody. They didn't get involved until towards the end, when the test pressings were back from the pressing plant, towards the end of last year.

And they were pleased with those?Yeah, thank God! [Laughs] The management had heard them all first, and they then sent them on to Mick, and he played them all, and the feedback was all positive. It's really good, because if somebody'd said, "No, I don't like this," then that would have been the end of that, and I would have had a lot of egg on my face, and you wouldn't have a box in your collection!

Coming off this major LP box, what's your take on the future of vinyl?Whoa, that's a good question, and I wish I knew the answer! If you'd asked me this question 10 years ago, I wouldn't have said that we'd be where we're at now, so it's very hard to be sure. But it would appear that vinyl is becoming the format of choice for the audiophiles – who never really gave up on it, anyway – and the true fans of an artist. Quite often a huge fan of an artist will buy their new LP, the vinyl version, and actually not be able to play it; they'll stream it so they can hear it, but they want to express the fact that they're such a fan of this artist that they've bought this physical thing: "Maybe one day I'll get a record player, but I love them so I bought this."

It's never going to be as mass-market as it was 40 years ago, because there aren't enough cutting lathes and pressing plants left; every pressing plant in the world has huge lead times now. But I don't see any reason, if we're all careful and we all work hard – it's not just me, there are other people as well working hard to create nice-sounding records – that it can't carry on as it is. And the good news, I've noticed, is that all of the pressing plants in Europe, and also in America, have really upped their game, and they're all turning out really nice-sounding stuff. But who knows? Maybe somebody will make an amazing disc-cutting lathe, and maybe the pressing plants will get even better, and it will become the format of the future. I struggle to see that, but I certainly don't see it going away. We may well have reached peak vinyl, but that doesn't mean it's going to drop from here. 

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Billboard - Hear Nicki Minaj, Ariana Grande Unite on Sexy New Song 'Bed'

Hear Nicki Minaj, Ariana Grande Unite on Sexy New Song 'Bed':

Nicki Minaj unveiled an enticing new song with Ariana Grande, "Bed." The track is expected to appear on Minaj's long-awaited new album, Queen.

"Bed" boasts a steady and sultry groove, with atmospheric synths pulsing over limber drums. Grande croons the seductive hook – "Got a bed with your name on it/ Got a kiss with your name on it" – while Minaj unspools a litany of sly bars like, "Waiting for you on some thousand dollar sheets/ I got Carter III on repeat/ Back shots to the beat of 'A Milli' on you."

Minaj and Grande have collaborated on several songs over the past few years. In 2016, they teamed for "Side to Side" off Grande's album, Dangerous Woman, while in 2014 they scored a hit with "Bang Bang," which also featured Jessie J. The pair first collaborated on "Get On Your Knees," off Minaj's 2014 album The Pinkprint.

"Bed" marks Minaj's latest offering as she gears up for the release of Queen, following "Rich Sex" featuring Lil Wayne, "Barbie Tingz" and "Chun-Li." Minaj has yet to release an official track list for Queen, which marks her first LP since The Pinkprint.

This fall, Minaj and Future will embark on their joint NickiHndrxx tour. The 28-date trek is set to launch September 21st in Baltimore, Maryland and wraps November 24th in Las Vegas, Nevada.

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