Taylor Swift's 'Midnights' breaks streaming, sales records – Los Angeles Times

It’s a good week to be a Swiftie.
Pop superstar Taylor Swift has toppled multiple sales and streaming records with the Oct. 21 release of her 10th studio album, “Midnights.”
In just the first three days of its release, “Midnights” has already become the top-selling album of 2022. On Spotify, “Midnights” tallied 88 million streams in the U.S. and 185 million worldwide in one day, besting Bad Bunny’s record of 183 million global streams for his album “Un Verano Sin Ti.” Swift also broke first-day records at Apple Music and Amazon Music.
Billboard reported that “Midnights” sold over 800,000 copies in the U.S. in its first day, including streams, digital downloads, and CD, vinyl and cassette sales. By comparison, Harry Styles’ “Harry’s House,” released in May, sold 521,500 equivalent album units in its first week; week-one sales for Beyonce’s “Renaissance” were 332,000, and “Un Verano Sin Ti” racked up 274,000 album-equivalent units sold. Adele’s “30,” released in November 2021, sold 839,000 equivalent album units in its first week of release.
With “Midnights,” Swift claims the biggest sales week for any artist since the 2017 release of her sixth studio album, “Reputation,” which sold 1.216 million copies in its first week.
Trade magazine Hits projects that “Midnight’s” first-week sales figure could end up between 1.4 and 1.6 million units.
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After two rootsy pandemic albums, ‘Midnights’ picks up right where 2014’s ‘1989’ and 2017’s ‘Reputation’ left off.

“Midnights” also broke existing vinyl sales records, having sold nearly 500,000 copies in one day. “Harry’s House” held the one-week record, with 182,000 12-inch copies.

Swift will appear as a guest on Monday night’s episode of the “The Tonight Show With Jimmy Fallon.”
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Suzy Exposito is a music reporter at the Los Angeles Times. She previously spearheaded the Latin music section at Rolling Stone, and has written for NPR, Pitchfork and Revolver.
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What Is the Role of a Record Label in Today’s Music Business? – Rolling Stone

By Milan Kordestani
As little as 10 years ago, getting a deal with a major record label was the ultimate dream for a hopeful artist. While the hype still resonates, the landscape of today’s music industry has largely centered on the decline of the prestige and dominance of powerhouse labels. The trend of smaller boutique labels and independent artists rising to prominence in today’s music scene, without the help of major labels, begs the question: What is the real value of a record label in today’s music business?
In the past, major labels were responsible for developing, distributing and marketing artists. Without them, artists would have very few avenues to succeed unless they wanted to handle all of the technical, marketing and business aspects on their own. For a starting artist, that was practically impossible. These were insurmountable challenges for anyone who did not already have a significant foothold in the industry or have a lot of cash to invest in their career.

But today, the game has changed, and record labels don’t have the impact they used to. We’re often told that “Bold managers are the greatest threat to record labels.” Why? Because developing, distributing and marketing music have all become tasks that no longer always require a huge team or an interconnected network. Instead, the right manager can oversee the business operations, outsource production and negotiate distribution. With so much creative and marketing centered on social media, managers and artists can handle all aspects of creative and community management.
Still, record labels play an important role in artist development, fostering a body of work and individual growth while maintaining a focus on profitability and data-driven results. Many musicians fail out of the industry because they lack proper guidance in finding a niche, opportunities to make money or the right path for them. Musical patronage — which is essentially what record labels provide — still has value in today’s evolving music industry.

From my perspective as the co-founder of an independent record label, we’re in a musical period similar to the Italian Renaissance. Sure, pop music is constantly evolving both sonically and lyrically, but, just like the Renaissance of the 15th and 16th centuries, we are also living through an era when the very way music is created, consumed and shared has changed dramatically. 
Comparing the Renaissance to today’s music landscape elucidates that record labels, big and small, are essentially profit-seeking patrons of the arts. During the Italian Renaissance, the Catholic Church and many of its Popes were patrons in the history of humanity — funding art, construction, industry, trade and more. Similarly, the Italian Renaissance saw an increase in “angel investors,” families with massive wealth and specific tastes: the Medicis, the Sforzas, the Borgheses or the Barberinis.
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We can reimagine the major record labels of today acting in a similar fashion as the Catholic Church during the Italian Renaissance: commissioning great works on easy-to-sell themes that are popular with the masses. This means that major record labels can still help relatively unknown artists become household names and get much larger paychecks in a short amount of time, sometimes at the expense of an artist’s preferred terms. In short, they help artists who really want to commercialize themselves as quickly as possible, just as the Catholic Church did for Michelangelo or Raphael. 

Beyond selling a fast-tracked dream to artist success, major record labels have their own captive audience. There is a true value to that kind of rapid exposure, which is why major record labels don’t need to be completely eliminated from the equation as a patron of musical talent. But their singularity and necessity have been greatly reduced as alternative paths to success become available.

Some of today’s best labels are more niche precisely because this allows them to provide tailored resources to every artist under the label. With many of today’s rising artists wanting to retain as much control over their music as possible, it’s important that smaller labels recognize this. Niche labels today can fill the same space as the individual patrons and famous families of the 15th century Renaissance, who commissioned a wider variety of non-religious themes and allowed for more artistic freedom. When smaller labels craft a more personalized feel to develop a direct connection with their artists, they offer artists the prioritization they want, while also getting the early capital investment and important connections needed to expedite their career. 

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The Renaissance was a period of such artistic flourishing that there was plenty of room for a variety of patrons, from the Catholic Church and its Popes to Italy’s most politically powerful families. Both patron classes sponsored artists, and in the same way, it’s worth acknowledging that independent labels and major labels are just playing very different games. Major labels might tend to prioritize their return over an artist’s longevity, just as the Church did with Michaelangelo’s Sistine Chapel or da Vinci’s Last Supper. Rather than functioning as a partner investing in long-term careers, or benevolent patron of the arts, major labels prefer to bet on later-stage artists who are on the verge of a hit that the label can sink its teeth into owning. 
We are truly in the midst of a musical renaissance, where we are not only experimenting sonically but also democratizing the way music is produced, marketed and distributed. Offering artists greater control over their music, brand and career trajectory are important in today’s business environment when it comes to independent or boutique record labels. If there’s anything the Italian Renaissance can teach us, it’s that there’s room enough for the behemoth labels and the smaller niche outfits — as long as there’s no shortage of talented musicians capable of building and monetizing large audiences.

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Drake's Dance Album Shatters Apple Music First-Day Streaming Records – EDM.com

The Come Up Show
It only took one hour for "Honestly, Nevermind" to become the biggest dance album in the platform’s history.
Break out the champagne, Champagne Papi.
Drake's newest and seventh studio album Honestly, Nevermind has broken Apple Music's record for the most first-day streams for a dance album. And it only took one hour.
Since the 35-year-old hip-hop superstar only gave one day's notice before he released the album, achieving such a record is quite impressive, even considering Drake's prominence in the contemporary music landscape.
A departure for Drake, Honestly, Nevermind has been simmering in a melting pot of mixed reviews since its surprise release on Friday, June 17th. Executive-produced by Grammy-winning house music artist Black Coffee, the album is dominated by electronic-focused production from the likes of Coffee, Carnage, Rampa, &ME and Alex Lustig, among others.
It's the Grammy-winning band's first-ever performance in Romania.
DJ sets from Eric Prydz, Carl Cox, REZZ, Hardwell and many more electronic music superstars have also been confirmed.
The Lost Lands team have also hinted at a reveal surrounding their virtual festival, "Couch Lands."
According to Billboard, Drake's sixth album Certified Lover Boy, which was released in September 2021, broke Apple Music's record for most first-day streams worldwide. It also currently holds the record for the biggest album in the platform's history. 2018's Scorpion currently has the second most first-day streams on Apple Music, per Billboard
It seems Honestly, Nevermind was an attempt by Drake to step out of his comfort zone during a difficult time in his personal life. When he dropped the album, he shared an intimate note with fans via Apple Music, which you can read in full below.
I let my humbleness turn to numbness at times letting time go by knowing I got the endurance to catch it another time

I work with every breath in my body cause it’s the work not air that makes me feel alive

That’s some real detrimental shit but that’s that shit my perfectionist mind doesn’t really mind because no one knows whats on my mind when I go to sleep at 9 & wake up at 5 – unless I say it in rhyme

I can’t remember the last time someone put they phone down, looked me in the eyes and asked my current insight on the times

But I remember every single time someone shined a light in my eyes

I purposely try to forget what went on between some ppl and I because I know I’m not a forgiving guy even when I try

My urge for revenge wins the game against my good guy inside every single fckn time

I got plans I can’t talk about with more than like 4 guys because the last time I shared em with someone on the outside…well that’s another story for another night

I was tryna get thru that statement to get to saying I’m not @ a time in my life where pats on the shoulder help get me by

I’ll take loyalty over an oh my & emoji fire

I know if it was a dark night where all the odds were against my side & my skill went to whoever took my life they’d done me off with a big smile & maybe evn post it for some likes

I know everyone that tells me they love me doesn’t love me all the time especially when im doing better than alright & they have to watch it from whatever point they at in their life

I got here being realistic

I didn’t get here being blind

I know whats what and especially what and who is by my side

Honestly…Nevermind.

DEDICATED TO OUR BROTHER V

-Drake

Lennon is a music journalist who has contributed to EDM.com for over five years. A seasoned music business reporter, his writings bridge the gap between education and technology through a musical lens. He is also the host of the music business podcast When Life Hands You Lennons and founder of his own electronic music website, EDM In A Soda.
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South Bend Record Show holds last event of 2022 – WNDU

SOUTH BEND, Ind. (WNDU) – If you’re looking for treble, you found it as The South Bend Record Show holds its final event of 2022.
Vendors from five Midwestern states filled 88 tables with thousands of vinyl records, CDs, memorabilia, and more at the Gillespie Conference Center in South Bend.
From 11 a.m. to 5 p.m., hundreds of people came to talk about music, add to their collection, or find a music lover’s perfect holiday gift.
Event organizers tell 16 News Now they love helping people start and add to their growing collections.
“We have people who come here who have thousands and thousands of records, getting to the point where it’s really hard for them to find something they still need, and we get people who walk in the door for the very first time,” South Bend Record Show Owner & Organizer Jeremy Bonfiglio said. “They just got a turntable. They’re just learning about what it is to have vinyl and how to play it, who are buying their very first records, and everything in between. So, it’s a really wide mix, which makes it a lot of fun.”
The South Bend Record Show has been selling music items and memorabilia in Michiana for over 30 years, and music experts say music sounds best on vinyl.
The South Bend Record Show will be back at the Gillespie Conference Center on February 12, 2023.
Copyright 2022 WNDU. All rights reserved.

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Cher's Record Label Hated the Vocals on 1 of Her Biggest Songs – Showbiz Cheat Sheet

Showbiz Cheat Sheet
Binge-worthy entertainment news and celebrity interviews
Cher‘s “Believe” was a massive hit and the Goddess of Pop said putting it together was fun. Despite this, she almost gave up on the song. Issues in the recording studio led her producer to make a major change to the song.
During a 2015 interview with Billboard, Cher said she’s not a fan of her music overall but she had positive things to say about some of her tunes. “I honestly think that the most fun I ever had making a song was ‘Believe,’” she said. “Because you didn’t know it was me in the beginning, and I was so excited.”
She recalled the creation of the song. “[Producer Mark Taylor] hated what I was doing and he kept saying to do it better, because it didn’t really pop until the chorus,” she remembered. “I just couldn’t do it.”
The singer had a difficult time working with Taylor. “We had a huge fight,” she said. “I stormed out. I mean, we were really close — we’re still really close — but he just kept going ‘It’s not good, it’s not good.’ And then I said, ‘Well, if you want it better, get somebody else.’ And I walked out.”
RELATED: Cher’s First Single Was a Love Song About Ringo Starr That Got Banned
Subsequently, Taylor altered the pitch of the vocals. Cher was a huge fan of the new edits to the song. She and Taylor jumped up and down in joy because it sounded so good.
She decided she wanted record executive David Foster to listen to it. “And then, after he heard it, he turned around and he said, ‘There’s only one thing wrong with this song,’” she remembered. “And I thought, ‘Oh my God, what is it?’ And he said, ‘I didn’t do it. I didn’t produce it.’”
RELATED: Why Barbra Streisand, Cher, and Donna Summer Nixed ‘It’s Raining Men’
According to The Billboard Book of Number 1 Hits, “Believe” still proved controversial with the record label. Some people working there wanted to remove the effects on Cher’s voice. The Goddess of Pop said they could do so over her dead body. Ultimately, the vocal effects remained on “Believe.”
Warner Records initially didn’t want to release the song in the United States. The singer tried to convince them the song was worthwhile. Finally, the song was released in the U.S. and became one of her biggest singles. She broke a chart record because there was a 33-year gap between her first No. 1 single (“I Got You Babe“) topping the charts in 1965 and “Believe” topping the charts in 1999.
“Believe” was a lot of fun for Cher to make even if she almost gave up on it.
RELATED: Why Cher ‘Never Liked’ ‘Dark Lady’ Even Though It Was a No. 1 Song

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Eagles players team up off the field to deliver “A Philly Special Christmas” album | Jalyn Smoot – NewsBreak Original

Dallas-based reporter with a focus on business, environmental justice, music, politics, and major events https://linktr.ee/JustJalyn_

PHILADELPHIA- It’s the holiday season and this year Eagles offensive linemen Jason Kelce, Lane Johnson, and Jordan Mailata are gifting fans with a festive music album.
You read that correctly, the core of the Eagles offensive line will release “A Philly Special Christmas” this month, an album full of holiday-themed hits.
The concept came to Kelce and his teammates in 2021 while they were assisting at the toy drive for Children's Crisis Treatment Center. Per the arrangement of Kelce and others, all proceeds from the record sale profits will be donated to CCTC.
The trio of Eagles stars plan to release a new song each Friday leading up to the release of the full album on December 23.
Along with its virtual release, the album may be bought on the official website. Additionally, on Saturday, December 3, a small number of autographed vinyl records will be offered at the Eagles Pro Shop at Lincoln Financial Field.
Preparations for the album began in the summer, when Kelce initially thought of the idea.
Although he had the charisma for a Christmas album, Kelce knew his vocals left much to be desired. That's when he, accompanied by Eagles teammates Jordan Mailata and Lane Johnson sought help from War on Drugs, a Philadelphia-based rock band.
Mailata has arguably become the star of the group, as videos of the trio singing have already begun to go viral.
It will be interesting to see how the full project sounds, but judging the viral leaks so far, Christmas fans may be in for a treat this holiday.
Kelce, who was a finalist for the Walter Payton Man of the Year award, an honor given to players who have had a significant positive impact on his community, is no stranger to spreading love and joy.
A staple in the Philadelphia community, Kelce is always actively involved in Eagles-related volunteering. Last year, Kelce helped raise $100,000 for the Eagles Autism Foundation fundraiser.
Kelce has also volunteered his time at a variety of organizations, including the Eagles Charitable Foundation, Habitat for Humanity, Ronald McDonald House (where he joined individuals from their camp for a field day at Lincoln Financial Field), Bringing Hope Home (where he joined families from BHH at a community event to paint and carve pumpkins in recognition of Breast Cancer Awareness Month), and Liberty USO (where he teamed up with Dietz & Watson to feed military families).
Given his adoration for Philly, it's not surprising to see Kelce lead an effort to deliver this Christmas album.
"A Philly Special Christmas" is being released on Vera Y Records, named after Kelce's daughter Wyatt and Barwin's daughter Vera. It was recorded at Rittenhouse Soundworks, Silent Partners, and Elm St. studios.
War on Drugs drummer Charlie Hall produced the album, and former Eagles linebacker Connor Barwin gets an executive producer's credit.
Check out the full album track list below:


Dallas-based reporter with a focus on business, environmental justice, music, politics, and major events https://linktr.ee/JustJalyn_
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