We do not need to examine every celebrity-haunting aspect of Nicki Minaj's stinging tirade about the failure of her new album Queen, which hit No. 1 in the US this week. Mainly because we are all here by October.
What We Need to Investigate: The fact that much of what she tweeted on Sunday (19 August) speaks volumes about the recent changes in the music business, the direct impact they have on the artist community – and the charts Superstars use to measure their success.
The first theme: a growing trend for artists and labels to play the Billboard 200 with the help of a ticket
This tactic has been good for people like Dave Matthews Band and P! nk, both of which have won the # 1
And now Travis Scott has worked well on Sunday (August 19th) in Astroworld's second week of the Availability got the first prize from Minaj.
The big difference between Scott and his ticket bundling predecessors is that the Texan rapper has sold ticket sales – bundled with Astroworld – to show that had not even been announced www.mjfriendship.de/de/index.php?op…39&Itemid=32 It 's this: The music industry does not really seem to have a clue about it to have what an "album" is actually – or how to measure it legitimate consumption
In recent months, the US music business has regularly committed to a weekly commercial ranking of albums – the Billboard 200 – where the " "The No.1 record is actually dominated by 'streaming-equivalent albums']" The music industry does not seem to really have any idea now what an 'album' is actually. "
In other words, something that began as an "equivalent" album (streaming) to a dominant album metric (sales) is now demonstrably greater than the Tradit (19659002) The inevitable, existential end of this "album chart" – Massage will certainly come in a few years: how can one thing remain an "equivalent" to another thing that comparatively hardly exists?
Take Astroworld as an example of this trend: Billboard "sold" 205,000 copies of "streaming equivalent albums" last week, Billboard said. But 61% of these "sales" were not sales at all; They were streams of a random combination of tracks.
The most disgusting example so far: Drake's Scorpion reached the top of the Billboard 200 charts after the second week of sales (July 12) with 29,000 actual album sales compared to 288,000 streams
See below: only 8 , 7% of Scorpions weekly & # 39; album sales & # 39; on Billboard 200 were actually album sales.
To further refine this madness to a pithier take-home for you: the weekly US album sales charts are now dominated by albums that …
Last week, Scott Astroworld recorded 78,000 actual sales – of which Minaj claims 50,000
The other 127,000 "sales" were all from streaming equivalents.
(We should point out that Astroworld in its past week on sale acquired very healthy 270,000 actual album purchases from the US.)
No wonder people like Dave Matthews Band – who barely get along with Drake and Travis Scott in & # 39; Kings of Streaming & # 39; – Fighting – Have opted to use another legitimate popularity standard, Tickets, to push the Billboard 200.
Whether this is right or wrong is controversial, and there are good arguments on both sides.
For example, Dave Matthew's band could point to 98% of their "album sales" on their latest LP, Come Tomorrow surpassed the Billboard 200 in June, were actual sales of their actual album.
Compare that to the lewd Minaj's queen, who sold 185,000 "albums" last week – of which 42% was from actual album sales
Here are two key topics:
The first – the proposal that album bundling with tickets / Merch & # 39; rampant & # 39;
Minaj himself suggested that "Billboard says they will change the rules" – and hinted that the US charting referee could soon mark chart-capable albums bundled with tickets (and maybe Merch) for shows that have not yet been announced.
As far as the streaming / selling mix of the Billboard 200 is concerned, this is much more complicated.
The latest Billboard 200 method postulates that Album Equivalent counts as 1,250 Premium Track Streams or 3.75 (19659002) In other words, you need to stream a track three times as much on a "free" layer as you would on one paid level to have the same effect on the chart. 19659030] Billboard has inevitably tasted some heat, and has won some praise for downgrading ad-funded streams in its methodology this summer. (YouTube and Spotify would not have loved it – Apple Music would have loved it.)
But here's something the industry really has to think about given the tweets of Minaj.
It's a line from their scattergun In the Kendal Jenner / Travis Scott / Billboard Attack, the baiting lost more of the headline potency it earned
"[Spotify has] has been giving away my music for free for years and I'm one of the best Spotify artists of all time. "
That's a pretty emotional phrase, no? "I give my music away for free."
It rather indicates that Minaj feels like the victim of industrial handicraft that has devalued her art. It also suggests ("give away my music") that she feels she had no reasonable decision-making power in this decision.
Maybe because she was told: Do not force your fans to pay anything to listen to your music, or … They will hurt your chances on the Billboard 200.
The flood could now tackle this argument.
With streaming equivalents drowning real-world albums On the Billboard 200, ad-funded streams were downgraded earlier this year.
Meanwhile, artists like Minaj (an original TIDAL artist shareholder, do not forget) have begun to talk about how they really feel about being "free".
Could now be an artist-led argument about snowball fights by asking Billboard (and the industry) to completely ban unpaid streams from the US album charts?
This is exactly what happened in France in April, when SNEP / Gfk decided that only real sales and premium streams would Le Top Albums list
A semi-annual report by SNEP, published in July was proud to understand that the diagram of the country had been "developed" – and at the same time revealed one of the biggest benefits of the move had improved the lives of its local artists.
No fewer than 19 of the top 20 albums in France in H1 2018 were from French acts – mainly, it's worth noting French hip-hop acts.
In contrast to Nicki Minaj, none of these artists have tweeted to the best of their knowledge to complain about the composition of his chart. Music Business Worldwide