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José José Scores Fifth Latin Pop Albums No. 1 Following His Death

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It’s the Mexican singer-songwriter’s first leader since 1988.

Reactions to the death of José José on Sept. 28 sends the Príncipe de La Canción (Prince of Song) back atop the Latin Pop Albums chart as Serie Platino 20 Exitos, Vol. 2 opens at No. 1 on the Oct. 12-dated chart.

Serie Platino logged 3,000 in equivalent album units earned in the week ending Oct. 3 (up 803%), according to Nielsen Music. The 1997 album earns José his first No. 1 in over 31 years as he last took the crown in 1988 with the nine-week ruler Soy Así.

The romantic balladeer claimed his first crown, however, when Reflexiones, his 20th studio album, landed at the summit in 1985 where it remained for eight consecutive weeks.

Three other José sets arrive on Latin Pop Albums: El Principe de La Canción at No. 6, Secretos at No. 7 and 20 Triunfadoras de José José at No. 11. With the four new albums visiting the tally for the first time, the Mexican artist now holds the record for the most chart entries with 32 (Juan Gabriel follows with 31).

The Latin Pop Albums chart ranks the most popular Latin pop albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA).

Concurrently, Serie Platino, El Principe and Secretos debut on the Top Latin Albums chart at No. 13, No. 30 and No. 34, respectively; he’s had 18 total charted titles since his first entry in 1994.

In the week ending Oct. 3, the singer-songwriter’s catalog of albums earned 8,000 equivalent album units (up 930%) and sold 2,000 copies (up from a negligible figure previously). Meanwhile, his songs logged 68 million total on-demand streams (up 1,318%).

As Serie Platino arrives, two of the greatest-hits album’s 20 tracks enter the Latin Digital Song Sales chart: “El Triste” at No. 16 and “Amar y Querer” at No. 25. It’s José’s first visit to the chart, which began on January 2010.

José José died at 71 of pancreatic cancer in Homestead, Fla.





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NCT 127 Tour Dates Include Madison Square Garden Opener

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It’s only been a few months since NCT 127 came last April and May to North America with their Neo City – The Origin tour, and now U.S. NCTzen will be able to see the act once again this summer at the K-pop group’s second world tour: Neo City – The Awards.

Announced Tuesday (Feb. 25), Neo City – The Awards will kick off at New York City’s Madison Square Garden on June 5, and end with a show in Seattle on June 21 at the WAMU Theater. The act will also hit up Atlanta, Chicago, San Jose and Los Angeles throughout the rest of the month.

The tour news comes just days ahead of NCT 127’s upcoming NCT #127 Neo Zone album, out March 6, and ahead of their performance at the Houston Rodeo on March. 

General-sale tickets for Neo City – The Awards go on sale Feb. 28.

The dates for NCT 127’s Neo City – The Awards show are as follows:

6/5 – New York, NY – Madison Square Garden
6/10 – Atlanta, GA – Infinite Energy Arena
6/15 – Chicago, Il – Wintrust Arena
6/18 – San Jose, CA – SAP Center
6/19 – Los Angeles, CA – The Forum
6/21 – Seattle, WA – WAMU Theater






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Dreamcatcher (드림캐쳐) – Scream [Music Bank / 2020.02.21]

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RIAA’s 2019 Year-End Report: Four Key Takeaways

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The RIAA released its 2019 year-end revenue numbers for the U.S. recorded-music business Tuesday (Feb. 25) and for the fourth straight year it was full of great news in the form of double-digit percent increases and a wealth of money coming in from paid streaming. 

The U.S. recorded music business generated $11.1 billion in revenue in 2019, according to the RIAA’s annual year-end report, a 13% year-over-year increase from the $9.8 billion it reached in 2018. 

But within those numbers are a few hidden gems that can be highlighted as trends to keep an eye on. Here are four key takeaways:

1. Streaming growth rate is falling

Revenue from streaming reached $8.8 billion in 2019, larger than the entire amount of revenue generated by the U.S. recorded-music business in 2017, just two years prior. But the rate of that growth dropped again, from 68.5% in 2016 to 43% in 2017 to 30.1% in 2018 to 19.9% in 2019. In absolute numbers, it’s a different story, as the revenue growth generated has been fairly steady: a jump of $1.6 billion in 2016, $1.7 billion in 2017 and $1.71 billion in 2018. But 2019’s jump was just $1.43 billion, suggesting that revenue growth may finally be tapering off a bit — we emphasize a bit, of course, as it’s still nearly a billion and a half dollars more than the year prior. But a curve in the graph is beginning to emerge as streaming continues to climb.

2. Subscribers up, paid subscription revenue up, but…

The RIAA significantly altered its number of paid subscribers for 2018 from last year’s report — it regularly updates its numbers from year to year as more information becomes available — dropping it to 46.9 million subscribers from its initial 50.2 million figure. This year, it calculated the number of paid subscribers at 60.4 million, up 28.7% (and 13.5 million) over last year’s adjusted figures, while 2019’s $5.93 billion in revenue from paid subscriptions (subtracting the $829.5 million from limited-tier subs) is up 27.5% from the $4.66 billion (again, subtracting limited-tier subs) calculated in the prior year. That means the two are growing in near-lockstep — but that slight discrepancy in growth accounts for a $1-per-subscriber change in revenue generated, from $99.28 in 2018 to $98.25 in 2019. Those additional 13.5 million subscribers are bringing in around $94.67 per sub, in other words, meaning that there seems to be a significant amount of discounting bringing in those new streamers. The discrepancies aren’t huge yet, but it’s worth watching.

3. Digital downloads dip below ad-supported streaming

It’s no surprise that digital downloads of tracks and albums are drying up — they’ve been dropping faster than CD sales for a few years now, even as they still collectively bring in more than CD sales revenue in 2019. But for the first time since 2006, digital sales revenue dropped below the $1 billion mark, to $856 million — and it also fell below the the $908 million generated by ad-supported on-demand streaming from the likes of YouTube’s and Spotify’s free tiers, which is now likely to crack the $1 billion mark in 2020. They’re both in single digit percentages in terms of overall revenue — 7.3% for digital downloads and 8% for ad-supported on-demand streams — yet are headed quickly in opposite directions. Still, the RIAA pointed out that 500 billion of the 1.5 trillion on-demand streams in 2019 came from ad-supported services, meaning that 33.3% of total streams accounted for just 10.3% of total streaming revenue. And that mark hasn’t changed year-over-year at all.

4. #VinylWatch

It’s our favorite thing to point out every single time these reports are released. For the first time since 2004 (when the RIAA started tracking download singles and albums), vinyl revenue has surpassed that of album downloads and digital track downloads, with its $504 million representing its largest revenue total since 1988 and its 14th straight year of growth. Not only that, its rate of growth is accelerating even as its baseline revenue increases, too — its 19% growth in 2019 is more than double the 8% it grew in 2018, an impressive feat. So let’s do the math: If CD sales revenue declines at the same 12% rate in 2020 that it fell in 2019, and even if we assume that vinyl’s 19% growth rate was an anomaly and in 2020 its rate reverts to the 8% growth it saw in 2018, then vinyl sales revenue could pass CD sales revenue in 2020 for the first time since 1986. It’s possible and it could be right around the corner.






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